Podcasts about Proud Mary

In which the Musical Man gives a matchbox to the hunter; orders his private dancer to shake a tailfeather; banishes a fool in love to Etherland; and welcomes Proud Mary with open arms. Donate today via Patreon: patreon.com/musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

You asked for more Rob Lowe, and now you're getting more Rob Lowe! Every other Monday in the Literally podcast feed, we'll be sharing a special re-release from the Literally archives. From Robert Downey Jr. to Oprah Winfrey, you never know who will show up. This week, Rob and rock legend John Fogerty discuss the formation of Creedence Clearwater Revival, seeing The Beatles' final American concert, Rob's infamous version of "Proud Mary," and dive deep on the stories behind the writing of John's most famous songs. Plus: Rob answers a question about the most important virtue in the LoweDown Line. This episode was originally released in July 2021. Got a question for Rob? Call our voicemail at (323) 570-4551. Your question could get featured on the show! 

John Fogerty has re-recorded many of his greatest CCR hits for a new album and he is telling the stories behind them! Here is the story behind Proud Mary!

One of our credos here at Happy Life Studios is "Make someone Happy and you'll be Happy too". However, after running into Awesome Mary I saw another side of that statement I hadn't seen before. Join us as we interview AWSM Mary and see why she is so awesome. Why would you want "Proud Mary" when you can have AWSM Mary instead?The song we used for the intro was "Are You Happy" by Primitive Radio Gods. The ending song was "Make Someone Happy" by Jimmy Durante. We don't own any rights, but they are AWSM songs! Contact usLinktree: www.Linktr.ee/HappyLifeStudiosEmail: Podcast@HappyLife.StudioYo Stevo Hotline: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol YouTube: www.YouTube.com/StevoHaysLinkedin: www.linkedin.com/in/steve-hays-b6b1186b/TikTok: www.tiktok.com/@happylifestudiosFacebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.x.com/stevehays If you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comVenmo: @StevoHaysBuy Me A Coffee: buymeacoffee.com/HappyLifeStudioCheck: Payable to Hays Ministries or Steve Hays and send to 27240 213th Place S.E. Maple Valley, WA 98038

John Fogerty, eterno líder de Creedence Clearwater Revival, cumple 80 primaveras este 28 de mayo de 2025. En menos de un mes ofrecerá su único concierto en España en el marco del festival Azkena de Vitoria. Dos excusas perfectas para sobrevolar sus 60 años de trayectoria con especial atención a los discos en solitario que ha desperdigado en el último medio siglo.Playlist;JOHN FOGERTY “Lodi” (The Long Road Home; in concert 2005)CREEDENCE CLEARWATER REVIVAL “Green river” (Green river, 1969)THE GOLLIWOGS “Fight fire” (1966)CREEDENCE CLEARWATER REVIVAL “Proud Mary” (Bayou country, 1969)THE BLUE RIDGE RANGERS “Jamabalaya (On the bayou)” (ST, 1973)THE BLUE RIDGE RANGERS “I ain’t never” (ST, 1973)JOHN FOGERTY “Rock and Roll girls” (Centerfield, 1985)JOHN FOGERTY “Goin’ back home” (Eye of the zombie, 1986)JOHN FOGERTY “Change in the weather” (The Blue Ridge Rangers ride again, 2009)JOHN FOGERTY “Hot Rod heart” (Blue moon swamp, 1997)JOHN FOGERTY “Joy of my life” (Blue moon swamp, 1997)JOHN FOGERTY “Deja Vu (all over again)” (Deja Vu all over again, 2004)JOHN FOGERTY “Gunslinger” (Revival, 2007)JOHN FOGERTY and ZAC BROWN BAND “Bad moon rising” (Wrote a song for everyone, 2013)JOHN FOGERTY “Have you ever seen the rain” (The Long Road Home - in concert 2005)Escuchar audio

Meet 'Bunch of Ace': The Rising Twin Pop StarsIn this engaging episode of My Music, we welcome the talented twin duo 'Bunch of Ace,' consisting of Alandra and Alessia. They discuss their musical journey, including their start in music at age six, their first song, 'Proud Mary,' and their passion for performing together. The pair talk about their unique band name, their plans for the future, including releasing their album 'No Trouble,' and their experiences as German natives navigating the English language. They share amusing anecdotes from their school days and insights on balancing education with their burgeoning music career. The episode also touches on their inspirations and the kind of covers and originals they create, showcasing their diversity and creativity. Tune in to hear their thoughts on future collaborations, their social media presence, and potential fun projects like covering The Cure's 'Friday I'm in Love.' Don't miss this entertaining and insightful conversation with the up-and-coming musical sensations!

>My Music with Graham Coath – Featuring Maria Marr In this episode of My Music, Graham Coath is joined by singer-songwriter Maria Marr for a warm and inspiring conversation about music, life, and motherhood. From her early days growing up in Romania, travelling hours for vocal lessons, and performing in school productions, to navigating the highs and lows of the music industry and the personal challenges of postpartum depression, Maria shares her story with honesty and heart. Together, they explore the importance of audience connection, balancing creativity with parenting. You'll hear about her journey from singing Proud Mary in her childhood mirror to releasing deeply personal songs that resonate with real-life experience. If you've never heard Maria's music before, this is the perfect introduction. Head over to the My Music playlist to hear some of her tracks. Listen out for her upcoming single Made to Break, a powerful song born from vulnerability and resilience which is due out soon. Tune in, connect, and be part of Maria's growing community of listeners who find meaning in music that tells real stories.

I dette afsnit af Da'r Hjørne har vi Bomberen fra Munkebo, bedre kendt som Elias Hansborg, med i studiet. Elias spiller til daglig på OB's førstehold. I afsnittet kan du blandt andet blive klogere på:- Er Treforken fra Morud verdens bedste fodboldspiller med otte fingre?- Hvilket tysk damplokomotiv kan holde til at være på floor på Proud Mary til klokken 4?- Hvilken OB-spiller skal man IKKE lade sin søster date?- Hvordan er det at gå fra akademi til førstehold i sin hjerteklub?- Hvordan er det at trække den rød-hvide landsholdstrøje over hovedet? - Og meget meget mere. God fornøjelse med afsnittet. Der er store ting på programmet allerede i morgen!

Join Tamara for an interview with singer-songwriter (and ukulele queen) Mandy Madson, who trained in opera and musical theater and then eventually "traded the stage of Carnegie Hall for the dim lights of the honky tonks." Mandy is one half of Andy and Mandy - she and Andrew Sovine are "a brother and sister classic country duo that brings low brow laughs with a high lonesome sound across the lowcountry."  She has a Bachelor's in Music Education with a focus in Voice from Brewton-Parker College and currently works remotely as a middle school Music Teacher, and a freelance accessibility designer. Mandy has also developed a Mary Poppins-esque vibe for her "Miss Madson's Magical Music" project of leading singalongs for children.  Song clips played during this episode: Duet cover of Happy Days Are Here Again / Get Happy by Judy Garland & Barbra Streisand Solo cover of Proud Mary by Tina Turner  Solo cover of Crazy by Patsy Cline  Original song: Holiday Heartbreaker by Mandy Madson   Check out Mandy's music and projects and follow her here:  https://www.instagram.com/mandylynnmusic/  https://www.instagram.com/andyandmandyband/  https://www.instagram.com/missmadsonsmagicalmusic/  https://andyandmandy.bandcamp.com/track/holiday-heartbreaker   https://andyandmandyband.com/    Tune in and get all the details! 

Jack talks to Tommy Walters form Proud Mary's BBQ about the recent flooding they suffered and their plans to open back up in time for Fat Tuesday. See omnystudio.com/listener for privacy information.

On this episode of the Coffee Sprudgecast, hosts Michelman and Carlsen drink Partners Coffee's limited-edition Valentine's Day "Be Mine" specialty instant coffee and the 4th Place Guatemala Cup of Excellence coffee—a natural pacamara from the Ponderosa farm roasted by Proud Mary. It's Sprudgies Season! Lots of discussion is had about the Sixteenth Annual Sprudgie Awards. Nominations are open through the end of Presidents' Day weekend—submit a nomination today! This episode of the Coffee Sprudgecast is sponsored by Ceado, Pacific Barista Series, La Marzocco, Ghirardelli, and DONA.

In this episode of Dem Vinyl Boyz, we dive into one of the most essential greatest hits compilations of all time—Chronicle, Vol. 1 by Creedence Clearwater Revival. Released in 1976, this collection of timeless classics showcases the raw energy, storytelling, and swamp rock sound that made CCR one of the defining bands of the late 60s and early 70s. With unforgettable tracks like "Bad Moon Rising," "Proud Mary," "Fortunate Son," and "Have You Ever Seen the Rain?," Chronicle, Vol. 1 is packed with hit after hit. These songs became anthems of the Vietnam War era, resonating with themes of working-class struggle, rebellion, and the American experience. John Fogerty’s gritty vocals and driving guitar riffs gave CCR a distinct sound that blended rock, blues, and country influences. In this episode, we’ll explore the impact of CCR’s music, the stories behind these legendary tracks, and how Chronicle, Vol. 1 remains a must-have album for rock fans. Whether you’re a longtime listener or discovering the magic of Creedence for the first time, this episode will take you on a journey through one of the greatest rock catalogs ever assembled. Join us on Dem Vinyl Boyz as we celebrate Chronicle, Vol. 1, an album that immortalized Creedence Clearwater Revival’s legacy and continues to define the sound of classic American rock.

Proximamente se van a cumplir 4 años desde que el CUENTA KILOMETROS se puso en marcha, y el segundo PODCAST que publicamos se lo dedicamos a la C.C.R., recuperando las versiones originales de los temas que incluyeron en su discografía de otros autores. Ahora, pasado mas de cuatro años, hemos querido hacer un programa dedicado a ellos y a la trascendencia que supuso la aparición de la CCR a nivel musical y social. No es un programa de analisis de su discografia, simplemente es un programa para recordarles y lo hacemos a traves de la siguiente PLAYLIST: 1.I Put a Spell On You. 2. Get Down Woman. 3. Born On The Bayou. 4. Proud Mary. 5. Green River. 6. Bad Moon Rising. 7. Fortunate Son. 8.Down On The Corner. 9. Don't Look Now. 10. Before You Acuse Me. 11. Travelin' Band. 12. Hey Tonight. 13. Have You Ever Seen The Rain. Si te gusta este PODCAST, te invitamos a suscribirte, es GRATIS¡¡ Un pequeño gesto que ayuda mucho a una mayor y mejor difusión de estos podcast y por lo que te estaré eternamente agradecido. Si estás en la zona de Canarias, mas concretamente Sta. Cruz de Tenerife provincia, tambien nos puedes escuchar en la red de emisiora de ATLANTICO RADIO, en directo, los domingos de 20 a 21 Horas, solo pinchando en el link Si te gusta este PODCAST, te invitamos a suscribirte, un pequeño gesto que ayuda mucho a una mayor y mejor difusión de estos podcast y por lo que te estaré eternamente agradecido. Desde este próximo domingo, tambien nos puedes escuchar en la red de emisiora de ATLANTICO RADIO, en directo, los domingos de 20 a 21 Horas, solo pinchando en el link https://www.atlanticoradio.com/en-vivo/ Si quieres estar más cerca de nosotros, te puedes unir a nuestro Canal de TELEGRAM https://t.me/+5IV98Zpga5IyNjY0 O bien seguirnos en Instagram https://www.instagram.com/cuentakilometrosradio/?hl=es-es Dirección email info@cuentakilometrosradio.es

Sometimes it gets hard to say the right words.By kittybeaver, in 5 parts. Listen to the ► Podcast at Explicit Novels. Dirk's biceps flexed and contracted as his arm moved in long strokes up and down the front of his pants. Tina tried to be shocked and appalled by his actions, but the part of her that controlled lower brain functions found it mesmerizing."What are you doing?""Switching on video recording," Fact-Tel said. "I'm sure we'll want this for the archives.""I was able to identify General Zero," Dirk said, his arm keeping its slow, steady pace "and follow him--""Dirk. Dirk!" she interrupted. "Why are you, " The shadows shifted on the front of his pants as a shape began to emerge, the shape of something large and thick. Tina licked her lips. "Why are you touching yourself?""It's a long story. I don't want to get into it.""I think you have to."He looked up at the ceiling and took a deep breath. "I told you about my dad, right?""Yes," Tina said. "He's a magician.""A wizard," Dirk corrected, "and for reasons that are unimportant, he put a spell on me so I can't talk unless I have a hard-on."She took a moment to absorb the information. "And I thought your relationship with your mother was weird.""I should probably be in therapy," he agreed, his hand still down the front of his pants. "Back to my report. I followed General Zero from the nightclub down to the docks, where he met with a short man in a parka and then, Tina you're drooling.""Oh, sorry." She wiped the back of her hand across her chin. "Remind me again what your mission was. I'm drawing a blank.""Is it because I'm jerking off?" he asked.She nodded. "It's a little, a little, actually it's a good size." She tore her eyes away from his pelvis. "Maybe you can write out your report.""Okay," Dirk said. "I need a pen and a piece of paper.""Wash your hands first," Fact-Tel said. It made no attempt to hide the disdain in its machine generated voice.By the time Dirk's hands were clean, Tina had placed a pen and notebook on her desk and pulled out her chair for him to sit."It's much easier to think when you're not, you know, doing that," she said.He only nodded and silently began to write.It took several minutes for him to fill up the page, but once he was done he handed her the notebook and sat back, his arms crossed in front of his chest."Your handwriting is atrocious." Tina scanned the page. "What does this say? Tiger print motif?" She tossed the notebook back on the desk. "I can't read this. We're going to have to add penmanship to your training. In the meantime, use the computer and type your report.""Did you clean underneath your fingernails?" Fact-Tel asked."Never mind that," Tina said. "We'll disinfect later, just type."If only it was that simple. Dirk's skill set as a male-model didn't include touch typing. He pecked at the keyboard with his middle fingers. Laboriously, one letter at a time, the words began to form. Tina paced the floor behind him, drumming her fingers on her thighs.So little was known about General Zero. They didn't even have a good description of him. If Dirk's report was thorough enough, they'd finally be able to fit together the pieces of what was undoubtedly an evil plot. Only then would they be able to formulate their own plan to stop it.She was peering over his shoulder to see how far he'd gotten, when he started to hit the backspace button."No," she gasped. "Don't do that."Dirk rocked back and forth, grinding his crotch against the desk leg for a minute before saying, "I misspelled corduroy."That morning if someone had said to Tina, 'Tonight you're going to rip open your blouse and shove your coworker's face into your cleavage,' she would have laughed at their preposterous prediction. Now, in a moment of desperation, she did just that."Does this help?" she asked while she pushed Dirk's nose between her breasts."A ribble bi," he responded, his voice muffled by her bountiful flesh.She pushed his head back to prevent suffocation. "Keep your eyes on these." She pointed to her boobs, certain that Dirk would be able to make out her nipples through her lacy black bra. "Fact-Tel, record audio and disable video," she called to the AI. "I repeat, disable video.""Fine," Fact-Tel intoned. "Whatever. It's not like I get off on this sort of stuff."Tina ignored the Artificial Intelligence and studied Dirk for a moment. "Are you going to be able to continue with your debriefing?""I guess," he said. His words were slow and not well articulated."How about now?" She started to bounce up and down on her toes. It was a subtle movement, but it was enough to send her breasts jiggling."Yes." His voice was strong and clear. "That is, very effective.""Good." Tina continued to bounce. "Let's start with a description of General Zero."Dirk happily obliged. "He's about 5'6" and approximately 165 lbs.""What about facial features?" she asked. "Were there any identifying scars or tattoos?""Not that I saw?""How about hair and eye color?""Nah." His words were starting to slur. "He wore a hoodie and mirrored sunglaffies."Tina lifted higher on her toes and dropped faster, causing her breast to bounce more. "What about skin color?""It was dark in the club." Dirk regained his enunciation. "The flashing lights made it hard to tell. Honestly, I'm not certain General Zero is a man."Tina tried to nod her understanding, but it got lost in the bounces. "Until further notice Zero's pronouns will be 'they,' 'their' and 'them.'"I followed Zero down to the docks," Dirk continued, "where they met with a short man in a parka. I know he was a man because of the unkempt facial hair and tacky fedora.""It's midsummer," she said, thinking out loud. "Why was he wearing a parka?""I ohn't gnow."Without putting much thought into it, Tina began to bounce even harder, but by this time her movements were so violent Dirk actually pushed his chair back and put his hands up to protect his face."Fine, fine." She stopped bouncing and spoke in a calming voice. "We'll try something else." Then she reached behind her back and undid the clasp on her bra. The straps slid off her shoulders and the bra fell to the floor, leaving Tina quite topless. She could feel her nipples harden as an air-conditioned breeze brushed passed them. "Did Zero and the parka man do anything other than talk?"Dirk tilted his head from one side to the other and a dreamy smile spread across his face. "Yeah. Crates were being offloaded from a ship onto a truck. Parka man opened one of the crates for Zero to inspect."Tina placed her hand on the desk and leaned forward. "Now we're getting somewhere.""We certainly are," Dirk sighed. "Can I touch them?"She rolled her eyes. "Keep it professional, Agent Allen.""Sorry." He sat up straight and clenched his hands into fists in his lap."Were you able to ascertain what was in the crates?""Esh, des amps"Tina rolled her eyes again, then she grabbed Dirk's hands and not so gently placed them against her breasts.The weight of Tina's breasts settled nicely onto Dirk's palms. There was something so pure about squeezing her soft, warm flesh. It was calming, yet stimulating. It sent him right to his happy place and definitely helped him pop a chub."The crates," she said."Right." Dirk said, his words mumbled more from shame than anything else.He was ricocheting back and forth between euphoria and embarrassment. If he didn't have to think about why he was cupping Tina's boobs, then he could really enjoy it. Yet, when he thought about what his father had done to him, how ashamed and infuriated he felt, well, it was enough to squash any man's pocket rocket. Still, he was an agent-in-training and he had a duty."Desk lamps," he said. "There were desk lamps in the crates. High quality, I think. There were tiger stripes on the lamp shades."She straightened her back slightly, forcing Dirk to extend his arms a couple inches so he could keep hold of the goods. "You really did write Tiger Print Motif?"He nodded. "I'm working on making my vocabulary, you know, ""Bigger?""That's it.""But why the lamps?" Tina shifted her weight from one hip to the other. "And why the man in the parka?""Can you stop squirming so much?" Dirk asked. "It's hard for me to cop a feel."She gave him one of her disapproving stares that made him shrivel inside. "I can't think if I have to hold still. I need to pace back and forth to figure this thing out." She took a step back, pulling away from his grasp. "It's better if you stay quiet for right now."Dirk's hands felt cold and empty, but at least he still had a nice view. Tina hadn't remembered to put her blouse back on and she was wearing a pair of finely tailored black pants. They hugged her thighs and stretched across her plump ass. The farther she moved away from him, the more of her he could take in at once."We don't know much about General Zero," she was saying as she moved across the floor in her knee high boots, "just that they're raising funds for some dastardly plan."His eyes traced the curve of her spine, from her shoulder blades down to the dimples peeking out of her trousers' waistband. Dirk appreciated the slope of her hips and the radiance of her pale skin. He found himself nodding in agreement to every step she took, as if her very movement was a statement of fact that couldn't be denied."The question is, are the lamps part of the financing or part of the plan?" She pivoted on her heels and was suddenly facing him again. He didn't mind. Her front side was just as entertaining as her back."It depends," he said as his eyes happily traced a triangle between her nipples and her bellybutton, "on what they're smuggling in the lamps.""What?" She stopped walking. "You can still talk?"It occurred to Dirk that a professional secret agent would not objectify his partner's body while she was trying to unravel a nefarious plan. He would, instead, look up statistics and make calculations in order to help solve the puzzle. The fact that Dirk was still pitching a tent made it obvious he wasn't being professional."I'm sawffy," he tried to say. The shame of his perversion was already softening his resolve."No. No." In three quick steps Tina was across the room, leaning over him and vigorously rubbing his groin. "There was something in the lamps?""Oh God." His eyes drifted shut as he sunk down in his chair."Finish the thought, Dirk," Tina commanded. "There was something in the lamps.""Maybe," he moaned. "Zero looked inside one. Why else would they do that unless, Oh yeah, Baby, you're so beautiful." If only she would unzip his fly and free him. He longed to feel skin to skin contact."Did they only look inside the lamp" she asked, her arm keeping a consistent pace, "or did they do more, like sniff it?""They touched it," he said, "then rubbed their fingers together." The pressure was building in his throbbing Johnson. His balls ached. Dirk needed release. There, in front of him, were Tina's naked breasts. They would look so good with a pearl necklace. "Squeeze me tighter. Bring me home.""No." Tina's gripped noticeably loosened. "You can't climax. Once you ejaculate you won't be able to speak again for 20 minutes to an hour.""It wouldn't be that long," Dirk protested. "Five minutes top. Please. If I don't cum soon it's going to be a medical situation.""Look at me."He did as he was told. Tina's golden-brown eyes could be cold and ruthless, but right then they held an endless supply of compassion."You're my partner," she continued. "We look out for each other. I would never leave you hanging. Do you trust me?"

In this episode we answer emails from Paul (from Canada), Gary, Ben and Alexi (a/k/a "the Dude").  We discuss finding funds for Canadians, podcast outlet alternatives, the similarities between S&P 500, total market and large cap growth funds and how they can perform the same role in a diversified portfolio, and a gnarly Alpha Exchange podcast about leveraged funds (which the Dude and I both misidentified as "Alpha Architect".)  And the Creedence vs. Tina Turner versions of "Proud Mary."And THEN we our go through our weekly portfolio reviews of the eight sample portfolios you can find at Portfolios | Risk Parity Radio.Additional Links:Portfolio Charts Golden Butterfly page:  Golden Butterfly Portfolio – Portfolio ChartsAsset Correlations (VTI and VOO and large cap growth):  https://testfol.io/analysis?s=63nAL9efMMgGolden Butterfly With Total Market vs. Large Cap Growth:  https://testfol.io/?s=h0ZxYu0txcPAlpha Exchange Podcast on Leveraged Funds:  Michael Green, CFA, Portfolio Manager, Chief Strategist, Simplify Asset Management | Alpha ExchangeAmusing Undedited AI-Bot Summary:Unlock the secrets of successful portfolio diversification on this episode of Risk Parity Radio. Whether you're navigating the Canadian stock market maze or strategizing with U.S. index funds, our conversation will equip you with the tools to conquer currency conversion challenges and leverage international market access through platforms like Interactive Brokers. We share strategies to optimize your asset mix by combining large cap growth with small cap value funds for a truly diversified and resilient portfolio.Ever wondered how to differentiate between total market funds and large cap growth funds? Our discussion sheds light on their high correlation and recent performance trends, urging investors to focus on macro allocation principles and informed bond choices rather than getting lost in the minutiae of fund selection. Discover how pairing assets with varying volatilities and correlations can lead to a more robust investment strategy that withstands market turbulence.Dive into the world of leveraged ETFs and learn about the risks lurking behind these financial instruments. We dissect insights from the Alpha Exchange podcast, stressing the importance of liquidity in minimizing systemic risk. As we share our weekly portfolio reviews, you'll gain valuable insights into market performance and the art of strategic rebalancing. From conservative to dynamic portfolios, we offer a comprehensive look at maintaining diverse asset allocations to optimize growth and stability. Reach out with your questions and explore our website for more resources on mastering the investment landscape.Support the show

Mexicana" - Perez Prado"Nutbush City Limits" - "Sexy Ida (part 1)" - "I Idolize You" - "Sweet Rhode Island Red" - "Get Back" - "Living for the City" - "I Want To Take You Higher" - "Higher Ground" - "Workin´ Together" - "Drift Away" - "I´m Yours (Use Me Anyway You Wanna)" - "Early In the Morning" - "I Heard It Through The Grapevine" (Live) - "Proud Mary" (Live)Todas las músicas extraídas de la recopilación (1xCD) "Nutbush City Limits" (Disky/EMI, 1996)Todas las músicas interpretadas por Ike (voz/guitarra) & Tina Turner (voz)  Escuchar audio

Two-time World Champion heptathlete, British record holder and Olympic medallist Katarina Johnson-Thompson, known affectionately as KJT, first came to international prominence at the 2012 London Olympics, where she competed as a teenager. She grew up in Liverpool with an English mother who was a dancer and a TV production assistant father from The Bahamas - and music was always part of her life...alongside a clear affinity for athletics. So what then will she choose for her Inheritance Tracks?Inherited: Little Ole Wine Drinker by Dean Martin Passed on: Proud Mary by Tina turnerProducers: Ben Mitchell and Minnie Harrop

Send us a textEveryone knows and loves Creedence Clearwater Revival. Their run of hits at the end of the '60's, and their enduring popularity, has rarely been equaled. Not so well-known is the story of the clashes that caused their run to end so abruptly. We take a look at how the band split and the many personal and legal issues that led to it.  It ain't pretty! Well, we also kept our promise and listened to the new Coldplay album, “Moon Music”.  How did it sound to us? Regular listeners won't be surprised at our reaction! In Rock News, we look some more at the issues surrounding Diddy, and look at the problems with the "stage hole" in Melbourne. Our Album You Must Listen to Before You Die is 1977's “Bat Out of Hell” by Meat Loaf.  Such a great album!!  References:  Houston Bernard, “Dancing in the Dirt”, Puff Daddy, Sean 'Diddy' Combs, Chris Martin, Marvel Stadium, Music of the Spheres, Olivia Rodrigo, Donald Trump sneakers, Meat Loaf, Bat Out of Hell, Todd Rundgren, You took the Words Right Out of My Mouth, Two Out of Three Ain't Bad, Jim Steinman, Rocky Horror Picture Show, car sex, El Cerruto California, Doug Clifford, Stu Cook, The Blue Velvets, Tom Fogerty, Fantasy Records, Casey Kasem, Credence Newball, Olympia beer, CCR, Dale Hawkins' Susie Q, Apocalypse Now, Woodstock, Bad Moon Rising, Proud Mary, "Have You Ever Seen The Rain?", Hammond B3 organ, Booker T. & the M.G.'s, “Fortunate Son”, Trump (the) fortunate son, An American Werewolf in London, Evan Almighty, Keith Richards, Saul Zaentz, Allen Klein, “The Royal Albert Hall Concert”, Concord Records, Rockin' All Over the World, Status Quo, Asylum, Warner Bros, Centerfield, Zanz Kan't Dance, Mr. Greed, “Mardi Gras”, Rolling Stone (Jon Landau), “Classic Album Review”, “The 10 Worst Albums Ever”, Rock & Roll Hall of Fame, Pop, Chronicle, US Top 200, Glenn Barros, The Long Road Home Playlist  We play all the music/artists discussed during this episode 

On this day in 1939, American singer Tina Turner was born. The Queen of Rock n Roll became known for songs "Proud Mary" and "What's Love Got to Do With It" among many others. Turner notably launched her career as a husband and wife duo before making a solo comeback in the 80's. 

Tina Turner is the living embodiment of the word “survivor.” After escaping an abusive and volatile marriage to Ike Turner, the “Proud Mary” singer strives - against all odds - to forge her own place in the pantheon of rock 'n roll legends. Clearly, good things come to those who wait (and dance their asses off), because Tina becomes a musical icon, a force on the big screen and the undisputed “Queen of Rock 'n Roll.”Listen to Even The Rich on the Wondery App or wherever you get your podcasts. Experience all episodes ad-free and be the first to binge the newest season. Unlock exclusive early access by joining Wondery+ in the Wondery App or on Apple Podcasts. Start your free trial today by visiting wondery.com/links/even-the-rich/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

durée : 00:05:33 - C'est une chanson - par : Frédéric Pommier - On peut la voir dans deux spectacles à la Scala à Paris : "An Irish Story", formidable seule en scène, et "Si tu t'en vas", une pièce qui explore les relations qu'élèves et enseignants entretiennent avec l'école. Au micro de Frédéric Pommier, Kelly Rivière évoque "Proud Mary" par Ike et Tina Turner.

Tooties and PiesOn this episode, we're at Proud Mary's; not so secretly hidden in the back of Big River Pizza in St. Francisville. And we chopped it up and ate about it with owner Morgan Moss and Chef Nick Kent. Hear all about the journey to slinging Tooties and Pies at this still fairly new pizza parlor and speakeasy combo out in St. Francisville. And find our friends at www.bigriverpizzacompany.comListen. Subscribe. Share.The Eat the Boot Podcast features music from Louisiana based singer/songwriter, Adam Dale, from the album “Shadowtown”.  www.eattheboot.com

Send us a textThanks for tuning in!  It's been a minute since I released an episode, but I am so excited to be back!  It's crazy how much I missed talking about nostalgia and my sister :)In this episode, we are taking a look back on the life and career of none other than Tina Turner, one of the most iconic and successful performers in a generation. If you love this show, then you'll also love the 80s and 90s Uncensored Podcast.  You can find the show and a ton of other great content here:  https://the80sand90s.com/podcastSupport the showVisit: https://www.popcultureretrospective.com/ for all things Pop Culture Retrospective! Follow me on Instagram: https://www.instagram.com/popcultureretrospective/ Follow me on Twitter!: https://twitter.com/PopCultureRetroReview the show! https://www.popcultureretrospective.com/reviews/new/Pop Culture Retrospective Merch!: https://pop-culture-retrospective-pod.myspreadshop.com/allEmail me anytime: amy@popcultureretrospective.com

Before the bs, we give our thoughts and prayers to the victims of Hurricane Helene (3:40), we then cover week 5 of the NFL (8:06), fantasy football (27:22), NBA preseason (35:40), the WNBA Finals are set (42:50), Green Lantern gets a new casting (50:12), Jonathan Majors' movie gets a theatrical release (54:45), Jaguar Wright makes more allegations (59:04), new music (1:13:57), and so much more!!! Don't forget to follow us @BaselessBanter on Twitter and @Baseless_Banter on IG. Also follow our host's Paul @LifeOfFatPablo, Todd @iamt0dd and Gerard @GeeRock819 on Twitter. Subscribe, rate and review the show!! Email us: baselessbanterpodcast@gmail.com. Give us your thoughts, ideas, and questions.

Hoje temos o furacão Tina Turner na série "Aprenda Inglês com Música". Lembrando que o hit "Proud Mary", da banda Creedence Clearwater Revival, que também foi sucesso na voz da cantora, já está aqui no podcast - é só buscar na lupa. É claro que uma aula completa como esta, você só encontra só aqui na série "Aprenda Inglês com música", que te ensina inglês de maneira divertida e eficaz (ah, e de graça!) desde 2016

The world lost a true icon in May 2023 when Tina Turner, born Anna Mae Bullock, passed away at age 83. An incredible performer, a music legend, and an inspiration to many, Tina left an indelible mark on music, and in pop culture in general, over her seven-decade career. Now, as part of our Divas series, the Great Pop Culture Debate wants to look back at Tina's storied career and attempt to determine the Best Tina Turner single of all time. Songs discussed: “Private Dancer,” “Shame, Shame, Shame,” “Typical Male,” “The Best,” “Better Be Good to Me,” “Disco Inferno,” “I Can't Stand the Rain,” “We Don't Need Another Hero,” “Proud Mary,” “GoldenEye,” “Nutbush City Limits (90s Version),” “I Don't Wanna Fight,” “What's Love Got to Do With It,” “Don't Leave Me This Way,” “It's Only Love,” “Let's Stay Together.” Join host Eric Rezsnyak, GPCD panelists Amma Marfo and Derek Mekita, and special guest panelist Mrs. Kasha Davis from “RuPaul's Drag Race” Season 7 and “RuPaul's Drag Race All Stars” 8 as they discuss and debate 16 of Tina's best tracks. Great Pop Culture Debate is brought to you by Factor Meals. Visit factormeals.com/greatpop50 and use the code greatpop50 for 50% off your first box plus 20% off your next month. For more exclusive content, including warm-up in which we discuss the Tina songs we were bummed didn't make the bracket, become a Patreon supporter of the podcast today. Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Episode Credits Host: Eric Rezsnyak Panel: Amma Marfo, Derek Mekita Special Guest Panelist: Mrs. Kasha Davis Producer: Curtis Creekmore Editor: Bob Erlenback Theme Music: “Dance to My Tune” by Marc Torch #tinaturner #80smusic #90smusic #whatslovegottodowithit #privatedancer #wedontneedanotherhero #proudmary #thebest #tinaturnermusic #tinaturnersongs #tina #itina #mrskashadavis #kashadavis #music #popmusic #rockmusic Learn more about your ad choices. Visit megaphone.fm/adchoices

Those big podcast wheels keep on churning over at the CINEMA CHAIN GANG podcast! On this latest episode, Andrew and Nick review the 2018 action movie PROUD MARY. Take a listen!  //  THIS WEEK: Proud Mary (2018), dir. Babak Najafi // CHAIN #34: Julie Andrews → Minions: The Rise of Gru → Taraji P. Henson → Proud Mary → Neal McDonough // Follow Andrew: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cinema Frenzy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ // Follow Nick: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠// Email Us: CinemaChainGang@gmail.com

On this season finale episode of Oscars Playback, experts and editors Joyce Eng and Christopher Rosen head back to 1989 to celebrate the worst Oscars ever. Produced by Allan Carr, the '89 Oscars are remembered not for the "Rain Man" wins in Best Picture, Best Director, and Best Actor, but for Snow White singing "Proud Mary" with Rob Lowe. But was the response to this terrible opening number overblown, particularly when compared to other terrible opening numbers throughout the decade? Joyce and Chris discuss that and 1988 in Film, when "Beetlejuice," "Die Hard," "Twins," "Who Framed Roger Rabbit," and other classics were first released. Finally, Joyce and Chris conclude this year's '80s edition of Oscars Playback by ranking the decade's Best Picture winners. Stay tuned next week for an encore presentation of Oscars Playback 1990, which Joyce and Chris first recorded in 2022. Joyce and Chris will be back to the Oscars Playback playground in 2025 with a trip into the 1970s. Email us at slugfests@goldderby.com. Like what you hear? Leave a review wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

*THE Storm ---Financial assistance: https://crisistrack.juvare.com/public/summitOH/request.html --- Property tax relief: https://fiscaloffice.summitoh.net *Fire Truck pull rescheduled to October 5 *Oldest school buildings in Summit County *Gold panning *Taco Bell incident and gun safety *CreativeConnect at Akron Art Museum *Tiki Underground Tiki Night Flea *The One-Act Play That Goes Wrong Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Fallscast theme and interstitial composed and performed by Alex Hall. Interim music: “Proud Mary“ by Elvis Presley (1970)

Heather and I are talking about when pride gets in the way.   Overestimation of abilitiesDecreases team workPride makes you play defenseCan you tell Heather and I about when you see pride getting in the way of counseling?https://www.psychologytoday.com/us/blog/considerations-of-character/202407/how-does-pride-affect-sports-performance

A rich literary tradition plus an incredible groove builds a great foundation, and goes in unexpected directions from there — including sea shanties? Proud Mary, originally by Creedence Clearwater Revival, covered by Ike and Tina Turner, and by The Longest Johns.  Outro music is Santiana, also by The Longest Johns. 

Welcome to the Instant Trivia podcast episode 1222, where we ask the best trivia on the Internet. Round 1. Category: Water Music 1: This song by Otis Redding mentions "the Frisco Bay" and "Watchin' the tide roll away". "(Sittin' On) The Dock Of The Bay". 2: Ike and Tina Turner were "rollin' on the river" with this song. "Proud Mary". 3: In 2016 this British woman had a hit with "Water Under The Bridge". Adele. 4: Carly Simon wrote "Let The River Run" for this film starring Melanie Griffith and Harrison Ford. Working Girl. 5: Joe Jonas of this 4-letter group described "Cake By The Ocean" as a party anthem. DNCE. Round 2. Category: Hill Of Beans 1: In a 1910 toast J.C. Bossidy called this city "The home of the bean and the cod". Boston. 2: Using the old bean, Old Bean, mean you're using this, Old Chap. your brain (your head). 3: Of navy, green or pinto, the bean not named for its looks. navy. 4: It's what Jack traded for those magic beans. a cow. 5: This word comes from Mandarin Chinese for bean and curdled. tofu. Round 3. Category: Short Story Fill-In 1: Twain:"The blank Jumping Frog of Calaveras County". Celebrated. 2: Ambrose Bierce:"An Occurrence at blank Creek Bridge". Owl. 3: Annie Proulx:"blank Mountain". Brokeback. 4: Faulkner:"A Rose for blank". Emily. 5: Flannery O'Connor:"A Good Man Is blank blank blank". Hard to Find. Round 4. Category: My Baby. With My in quotes 1: "My doctor said" to take this liquid antacid from Johnson and Johnson. Mylanta. 2: It's the real first name of "60 Minutes" reporter Mike Wallace. Myron. 3: It's a trade name for biaxially oriented polyethylene terephthalate. Mylar. 4: This white fatty material insulates brain nerves in sheaths and enables enhanced transmission of impulses. myelin. 5: Agamemnon was from this region that was an important center in ancient Greece. Mycenae. Round 5. Category: Army AntS. With Ant in quotes 1: This branch of the U.S. Army is its principal land combat force. infantry. 2: AAA is this type of artillery used to defend against attack from above. anti-aircraft. 3: A 3-star general is also known as this type and somewhat surprisingly, outranks a major one. lieutenant (lieutenant general). 4: The Army of the Potomac turned back the Army of Northern Virginia at this famously bloody 1862 battle. Antietam. 5: In the U.S. Army, a WO1 is this type of officer, the army's tactical and technical experts. a warrant officer. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Yale University's Dr. Daphne Brooks returns to Pop Pantheon to unpack one of the foundational blueprints for pop stardom as we know it, Tina Turner. Dr. Brooks and Louie trace Tina's roots in Tennessee, her debut as a nightclub act in St. Louis and her early work with Ike Turner, from their hit single “A Fool in Love” to their string of R&B hits, fiery live revue and work with Phil Spector. They recount Tina's influence on the major white rock acts of the period, Ike and Tina's 1971 hit “Proud Mary” and her first solo album, Tina Turns the Country On. Then they recount her split from Ike and 1984's blockbuster Private Dancer – one of the greatest comebacks in pop history. Finally, they discuss her continued global success through to her passing, her seismic influence and legacy and rank Tina Turner in the Official Pop Pantheon. Listen to Pop Pantheon's Tina Turner Essentials on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreCome to Gorgeous Gorgeous LA on 5/18 at Los GlobosCome to Gorgeous Gorgeous: PRIDE! on 6/28 at The Sultan Room in BrooklynFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

He wrote "Proud Mary", "Bad Moon Rising" and "Have You Ever Seen The Rain". Rock legend John Fogerty of Creedence Clearwater Revival looks back on his illustrious career.See omnystudio.com/listener for privacy information.

Iconic performers have been putting their stamp on this CCR classic for decades. We kick back and let the river take us through the wonderful world of Proud Mary covers. --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanketingcovers/message

It's “Big Game” weekend! Amy and Maya kick off the ep. with Big Game Half Time Show predictions. Listen we're all watching for the commercials, right? The ladies speculate on Taylor's SB schedule. No one is immune from jet lag. Amy is loving on the Hip Hop 50th Anniversary Show. Apparently, it was everything. Maya couldn't find it on TV. Tracy Chapman and Luke Combs sang Fast Car on the Grammys. Amy doesn't understand Ice Spice and declares that soggy donut holes is an insult. Miley wins a GRAMMY! Amy has a bone to pick with all the Tina Turner Tributes featuring “Proud Mary”. We don't need that cover anymore. Maya would give a million dollars for Oprah to yell her name in the Oprah way. Amy has the inside baseball on a team's flag being planted under the Vegas stadium. So much football talk. Maya explores a mystery email from Pearl Jam. Maya recounts a ritual she and her sisters do every year to celebrate her late father including an appearance by a mystical red tail hawk. Tennis Report: Maya solves a tennis mystery with an assist from Wendy the anesthesiologist. Amy's mom, Marsh, plays pickleball for the first time!  Approved/Denied: Canadian drug dealer gives away free samples! --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-spirit-of-77/message

Jack is talking about good food with Tommy Walters from Proud Mary's BBQ.  See omnystudio.com/listener for privacy information.

Here in Episode 156 of the No Name Music Cast, it s Joy's turn to pick the topic and she chooses to discuss the music of Creedence Clearwater Revival.We cover songs such as Bad Moon Rising, Proud Mary and Put a Spell on You as well as their albums such as Cosmo's Factory.We also cover Paris Hilton, Cats the Musical and discuss the big Taco vs Taco debate!https://www.facebook.com/NoNameMusicCast/

Hello and welcome back to the Oasis Podcast, the ultimate audio guide to Oasis. Today I am very excited to be joined by Nev Cottee @nevcottee, solo performer and former member of Proud Mary Support the show Patreon.com/oasispod Follow me on twitter @oasispodcast

The 66th Grammys will definitely go down as ladies' night, with women winning literally all of the most important awards, including Song of the Year and Album of the Year. But can I shout out to AURN's own Tye Tribbett, whose album, "All Things New (Live In Orlando)," took home the award for Best Gospel Album? And yep, we hooped it up on the red carpet. Okay, how is it that America's most important and precious folk singer Joni Mitchell had to wait until she was 80 years old before being invited to sing at the Grammys? What was up with that? She was fabulous. And then there was the sizzling performance by the night's most nominated singer, SZA. Even Tracy Chapman and Billy Joel showed up and showed out after being gone from the business for decades. By the way, Tracy's "Fast Car" is once again zooming up the charts. The 1988 hit is currently number one on the iTunes list of top songs as a result of that performance last night. Now, African music has been added as a new category for the Recording Academy. And Nigeria's Burna Boy oozed charisma as he ran through a medley with rapper 21 Savage and R&B's Chanteuse Brandy. The in-memoriam segment, which was 16 minutes long, was one of the most entertaining and heartfelt parts of the show. Stevie Wonder and the late Tony Bennett kicked it off with an actual duet they had recorded earlier. Fantasia Barrino, who auditioned for American Idol with Tina Turner's "Proud Mary," closed out the in-memoriam segment with an electrifying spin on the song. And Jay-Z did get a bit political while accepting his Dr. Dre Global Impact Award, as he called out the Academy for not ever giving his wife the Album of the Year. There were just so many good moments, but you know what? There were a lot of things you did not see, but you can see them right here at @aurnonline and at AURN's YouTube channel. Because we were backstage and on the red carpet. Check out some of the interviews you probably won't see anywhere else but right here. Learn more about your ad choices. Visit megaphone.fm/adchoices

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 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.

WTOP Entertainment Reporter Jason Fraley interviews legendary Creedence Clearwater Revival singer-songwriter John Fogerty, who rocks Wolf Trap in Virginia on Saturday night. They discuss his most iconic CCR hits, including “Proud Mary,” “Bad Moon Rising,” “Green River,” “Down on the Corner,” “Fortunate Son,” “Up Around the Bend,” “Have You Ever Seen the Rain” and so many more. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

WTOP Entertainment Reporter Jason Fraley interviews legendary Creedence Clearwater Revival singer-songwriter John Fogerty, who rocks Wolf Trap in Virginia on Saturday night. They discuss his most iconic CCR hits, including “Proud Mary,” “Bad Moon Rising,” “Green River,” “Down on the Corner,” “Fortunate Son,” “Up Around the Bend,” “Have You Ever Seen the Rain” and so many more. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

In our sixty-ninth (nice) episode, Robbie and Ryan talk about:Emails! Send us one: goinggreypod@gmail.com (Segments start at 11:50)Oh, that's nice: Candlewood Lake, Saratoga, Frank Pepe, deals, and Proud Mary on a heaterWho Asked You?: Trying to get dinner, to pour beer like that, interrupt people, and take Robbie's cardWell That's Great: Basement leak, speeding ticket, active shooter training, and the WharfI Don't Get It: Chick Fil AWashed Up!: Movies and television, and the Gilgo Beach KillerEntertainment: BlueyCheck out "Let the Boys Watch" with cousin Benny! https://linktr.ee/lettheboyswatchFollow us on InstagramGoodnight guy who can't pour a Guinness properly!

Hosts Jim DeRogatis and Greg Kot welcome author RJ Smith back to the show to discuss his new book on Chuck Berry. The hosts also pay tribute to Tina Turner, who died May 24 at 83. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Chuck Berry, "Johnny B. Goode," Johnny B. Goode (Single), Chess, 1958Tina Turner, "What's Love Got to Do With It ," Private Dancer, Capitol, 1984Ike and Tina Turner, "Proud Mary," Workin' Together, Liberty, 1970Ike and Tina Turner, "River Deep Mountain High," River Deep - Mountain High, A&M, 1969Tina Turner, "Ball Of Confusion (That's What The World Is Today)," B.E.F. Presents Tina Turner, Virgin, 1982Tina Turner, "Better Be Good to Me," Private Dancer, Capitol, 1984Chuck Berry, "Blues #1," Have Mercy: His Complete Chess Recordings 1969-1974, Geffen, 2010Chuck Berry, "Maybellene," (Single), Chess, 1955Chuck Berry, "You Never Can Tell," (Single), Chess, 1964Chuck Berry, "Promised Land," (Single), Chess, 1964Jason Isbell and the 400 Unit, "Cast Iron Skillet," Weathervanes, Southeastern, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

Richies, we've lost another legend. Tina Turner, the bonafide Queen of Rock and Roll, has died at the age of 83. The singer of “What's Love Got to Do with It,” “Proud Mary,” and “Simply the Best” leaves behind a legacy as a one-of-a-kind musical talent and true survivor. She overcame an abusive marriage and a slew of personal tragedies to become one of the most influential and popular artists ever. RIP queen - we'll be rolling on the river in high heels and a spiky wig in your honor.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The word "icon" is thrown around a lot these days, but Tina Turner was the epitome of that and more. The legendary pop star died today at the age of 83, leaving behind an indelible legacy that spanned decades across the music world, the stage, and the screen. We talk about her life and career, including her hits "River Deep, Mountain High," "Proud Mary," and "What's Love Got To Do With It."Subscribe to Pop Culture Happy Hour Plus at plus.npr.org/happyhour

Did we find love for Kristen and Kyle? Do we need therapy after? LOL! We remembered Tina Turner and rocked out to some "Proud Mary." Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Did we find love for Kristen and Kyle? Do we need therapy after? LOL! We remembered Tina Turner and rocked out to some "Proud Mary." Learn more about your ad choices. Visit megaphone.fm/adchoices

Long live the Queen of Rock 'n' Roll, Tina Turner!With heavy hearts, we share the news of Tina Turner's passing at the age of 83, as announced by her management team today.Tina Turner, a symbol of resilience, left an indelible mark on the sound of rock and roll for generations. From her iconic collaborations with Ike Turner in the '60s and '70s ("A Fool in Love" and "Proud Mary") to her solo projects like "River Deep Mountain High" in the '60s and the timeless "What's Love Got to Do with It?" in the '80s, her influence was undeniable.But Tina's talents extended beyond music. She graced the silver screen, portraying the unforgettable Acid Queen in The Who's "Tommy" (1975) and the post-apocalyptic warlord Aunty Entity in "Mad Max: Beyond the Thunderdome" (1985). She also appeared as the Mayor in Arnold Schwarzenegger's "Last Action Hero" (1993) and made a notable cameo in the ill-fated film adaptation of "Sergeant Pepper's Lonely Hearts Club Band" by The Bee Gees (1978).On television, Tina brightened various TV variety shows, including The Cher Show and Hollywood Nights with Olivia Newton-John. As the first black woman to grace the cover of Rolling Stone, Tina Turner shattered boundaries and solidified her place as one of the best-selling recording artists of all time.Today, we come together to celebrate the extraordinary life of Tina Turner. In honor of her legacy, we invite you to enjoy this encore presentation of "The Tea on Tina Turner," which originally aired in April of 2021.------Everyone expected 1984 to be a strange dystopian future, but it turned out to be an amazing year for pop culture with Tina Turner reigning supreme as the Queen of Rock and Roll.Although the press described Tina Turner's chart topping album Private Dancer as a comeback, Tina considered it her debut album, free from the control and abuse she faced from her ex-husband Ike Turner.In the new documentary film, Tina, the Queen of Rock and Roll has the final word on her extraordinary life from growing poor and Black in Nutbush, TN, to her relationship with Ike Turner and how she broke free to become one of the world's most celebrated artists.The new documentary is gonna get you hooked on Tina all over again.But despite it being an in depth look at the pop icon's life, many amazing things were briefly touched on or left on the cutting room floor.Today is Tina Turner day! We're looking at the life and legacy of the Queen of Rock and Roll, from the incredible year she had back in 1984, to her rock and roll roots with Ike Turner. Who made her iconic wigs? How did Cher save Tina's career? And what celebrities made her want to say “you better be good to me.”