Podcast appearances and mentions of robert sherwood

In which the Mister joins me in reviewing THE BISHOP'S WIFE (1947), from scriptwriters Robert Sherwood and Leonardo Bercovici (uncredited screenplay credit to Billy Wilder and Charles Brackett) from a novel by Robert Nathan and directed by Henry Koster.  In this very strange holiday film, an angel (Cary Grant) is sent from Heaven to help a Bishop (David Niven) understand the true meaning of the holidays by stealing the affections of his wife (Loretta Young), child (Karolyn Grimes) and everyone he knows.  This is currently streaming on Netflix but also available to buy/rent from Prime Video.  Please note there are SPOILERS in this review. #TheBishopsWife  #RobertNathan  #HenryKoster  #RobertSherwood  #LeonardoBercovici  #CaryGrant  #Dudley  #LorettaYoung  #Julia  #DavidNiven  #Henry  #MontyWoolley  #ProfessorWutheridge  #JamesGleason  #Sylvester  @freevee  @Peacock  ⁠⁠@Plex⁠⁠  @PrimeVideo  @RokuChannel  @Tubi  #FridayFamilyFilmNight Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

William Gargan appeared in more than fifty films in the 1930s. In between, he and Mary's second son, Leslie, was born on June 28th, 1933. The Gargans bought the late Jean Harlow's house at 512 North Palm Drive for twenty-seven thousand dollars. They'd live there for the next quarter century. Bill's parents passed away in the middle of the decade. Gargan soon signed a Warner Bros. two-year contract that paid him one-hundred-thousand dollars, turning down the role of Duke Mantee in Robert Sherwood's The Petrified Forest on Broadway to sign. The role went to friend Humphrey Bogart. For more info on Bogie, tune into Breaking Walls episode 140. Bill made his Lux Radio Theater debut on March 6th, 1939 in an adaptation of One Way Passage. Gargan hated working for Warner Bros. He likened it to sleeping on a bed of nails. The press labeled him “Bill Gargan, King of the B movies.” He later broke his contract. Perhaps his most famous role was as Joe in the 1940 RKO film, They Knew What They Wanted. Gargan received third billing behind Carole Lombard and Charles Laughton and was nominated for a Best Supporting Actor Oscar. The plot is: while visiting San Francisco, Tony Patucci — played by Laughton — an aging illiterate winegrower from the Napa Valley, sees waitress Amy Peters — played by Lombard — and falls in love. Tony gets his foreman Joe, a womanizer, to write her a letter in Tony's name. Tony's courtship culminates with a proposal. When she requests a picture of him, one of Joe is sent. Amy goes to Napa to be married, only to find that Joe isn't her husband-to-be. She decides to go through with the marriage. However, while Tony is in bed after an accident, Amy and Joe have an affair. Two months later Amy discovers she's pregnant. Upon learning of the infidelity, Tony pummels Joe, but forgives Amy, insisting they still be married. Unable to forgive herself, she leaves with the priest. Meanwhile, Gargan did more radio. He appeared on the January 4th, 1940 episode of The Good News with his former co-star Ann Sothern. Good News aired Thursdays at 9PM eastern time over NBC's Red Network. Its 16.9 rating was twelfth overall. Good News was the first major collaboration of a movie studio and a broadcasting system for a commercial sponsor.” The idea was, simply put, to “dazzle 'em with glitter.” MGM produced. Every star except Garbo was available. There would be songs, stories, comedy, and drama. In short, it promised an intimate glimpse of Hollywood with its hair down. The result cost Maxwell House $25,000 a week. Gargan was back on the program the following week in a one-act play opposite Lurene Tuttle. Bill was nominated for a best supporting actor Oscar, won by good friend Walter Brennan for The Westerner. He later joked that Brennan spent ninety minutes spitting and Gargan lost to a spittoon. The joking was short-lived. Gargan would soon begin work on another film with the appropriate title, I Wake Up Screaming.

Humphrey Bogart was born to Belmont Bogart and Maud Humphrey on Christmas Day, 1899 in New York City. The eldest child, his father came from a long line of Dutch New Yorkers, while his mother could trace her heritage back to the Mayflower. Belmont was a surgeon, while Maud was a commercial illustrator and suffragette. Young Humphrey was sometimes the subject of her artwork—a detail that got him teased in school. Maud earned over fifty-thousand dollars per year at the peak of her career. They lived in an Upper West Side apartment, and had land on the Canandaigua Lake in upstate New York. Bogart and his two younger sisters watched as their parents — both career-driven — frequently fought and rarely showed affection to them. His mother insisted they call her Maud. Bogart remembered her as straightforward and unsentimental. Bogie inherited his father's sarcastic and self-deprecating sense of humor, a fondness for the water, and an attraction to strong-willed women. He attended the prestigious Trinity School and later Phillips Academy. He dropped out of Phillips after one semester in 1918, deeply disappointing his parents. Bogart enlisted in the Navy in the Spring of 1918, serving as a Boatswain's mate. He later recalled, "At eighteen, war was great stuff. Paris! Sexy French girls! Hot damn!" He left the service on June 18th, 1919 with a pristine record. Bogart returned home to find his father's health and wealth doing poorly. Bogart's liberal ways also put him at odds with his family, so he joined the Coast Guard Reserve and worked as a shipper and bond salesman. Unhappy with his choices, he got a job with William A. Brady's World Films. He was stage manager for daughter Alice Brady's production of A Ruined Lady. He made his stage debut a few months later as a butler in Alice's 1921 production of Drifting. He had one line, and remembered delivering it nervously, but it began a working relationship that saw Bogart appear in several of her productions. Bogart liked the hours actors kept and the attention they received. He was a man who loved the nightlife, enjoying trips to speakeasies. He later joked that he "was born to be indolent and this was the softest of rackets." The man never took an acting lesson, preferring to learn on the job. He appeared in at least eighteen Broadway productions between 1922 and 1935, playing juveniles or romantic supporting roles, more in comedy than anything else. While playing in Drifting at the Playhouse Theatre in 1922, he met actress Helen Menken. They married in May, 1926. They divorced eighteen months later, but remained friends. In April 1928, he married actress Mary Philips. Both women cited that Bogart cared more about his career than marriage. Broadway productions dropped off after the Wall Street Crash of 1929. Many actors were heading for Hollywood. Bogart debuted on film with Helen Hayes in The Dancing Town. He signed a contract with The Fox Film Corporation for seven-hundred-fifty dollars per-week. There he met Spencer Tracey. They became close friends. Tracy made his feature film debut in his only movie with Bogart, John Ford's early sound film Up The River, from 1930. They played inmates. Bogart next appeared opposite Bette Davis and Sidney Fox in Bad Sister. Shuffling back and forth between Hollywood and New York and out of work for long periods, his father died in 1934. That year, Bogart starred in the Broadway play Invitation to a Murder. During rehearsal producer Arthur Hopkins heard the play from offstage and sent for Bogart, offering him the role of a lifetime. He cast Bogart as escaped murderer Duke Mantee in Robert Sherwood's The Petrified Forest.

In 1990, though no one knew it then, a fearless group of players changed the sport of soccer in the United States forever. Young, bronzed, and mulleted, they were America's finest athletes in a sport that America loved to hate. Even sportswriters rooted against them. Yet this team defied massive odds and qualified for the World Cup, and made making possible America's current obsession with the world's most popular game. In this era the U.S. Soccer Federation's preceding head coach had a better-paying day job as a black-tie restaurant waiter. Players earned $20 a day. The crowd at home games cheered for their opponent and the fields were even mismarked. In Latin America the U.S. team bus had a machine gun turret mounted on the back, locals would sabotage their hotel, and in the stadiums spectators would rain coins, batteries, and plastic bags of urine down on the American players. The world considered the U.S. team to be total imposters — the Milli Vanilli of soccer. Yet on the biggest stage of all, in the 1990 World Cup, this undaunted American squad and their wise coach earned the adoration of Italy's star players and their fans in a gladiator-like match in Rome's deafening Stadio Olimpico. From windswept soccer fields in the U.S. heartland to the CIA-infested cauldron of Central America and the Caribbean, behind the recently toppled Iron Curtain and into the great European soccer cathedrals, Adam Elder's New Kids in the World Cup: The Totally Late '80s and Early '90s Tale of the Team That Changed American Soccer Forever (U Nebraska Press, 2022) is the origin story of modern American soccer in a time when power ballads were inescapable, and mainstream America was discovering hip-hop. It's the true adventure of America's most important soccer team, which made everything possible that's come since—including America finally falling in love with soccer. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1990, though no one knew it then, a fearless group of players changed the sport of soccer in the United States forever. Young, bronzed, and mulleted, they were America's finest athletes in a sport that America loved to hate. Even sportswriters rooted against them. Yet this team defied massive odds and qualified for the World Cup, and made making possible America's current obsession with the world's most popular game. In this era the U.S. Soccer Federation's preceding head coach had a better-paying day job as a black-tie restaurant waiter. Players earned $20 a day. The crowd at home games cheered for their opponent and the fields were even mismarked. In Latin America the U.S. team bus had a machine gun turret mounted on the back, locals would sabotage their hotel, and in the stadiums spectators would rain coins, batteries, and plastic bags of urine down on the American players. The world considered the U.S. team to be total imposters — the Milli Vanilli of soccer. Yet on the biggest stage of all, in the 1990 World Cup, this undaunted American squad and their wise coach earned the adoration of Italy's star players and their fans in a gladiator-like match in Rome's deafening Stadio Olimpico. From windswept soccer fields in the U.S. heartland to the CIA-infested cauldron of Central America and the Caribbean, behind the recently toppled Iron Curtain and into the great European soccer cathedrals, Adam Elder's New Kids in the World Cup: The Totally Late '80s and Early '90s Tale of the Team That Changed American Soccer Forever (U Nebraska Press, 2022) is the origin story of modern American soccer in a time when power ballads were inescapable, and mainstream America was discovering hip-hop. It's the true adventure of America's most important soccer team, which made everything possible that's come since—including America finally falling in love with soccer. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In 1990, though no one knew it then, a fearless group of players changed the sport of soccer in the United States forever. Young, bronzed, and mulleted, they were America's finest athletes in a sport that America loved to hate. Even sportswriters rooted against them. Yet this team defied massive odds and qualified for the World Cup, and made making possible America's current obsession with the world's most popular game. In this era the U.S. Soccer Federation's preceding head coach had a better-paying day job as a black-tie restaurant waiter. Players earned $20 a day. The crowd at home games cheered for their opponent and the fields were even mismarked. In Latin America the U.S. team bus had a machine gun turret mounted on the back, locals would sabotage their hotel, and in the stadiums spectators would rain coins, batteries, and plastic bags of urine down on the American players. The world considered the U.S. team to be total imposters — the Milli Vanilli of soccer. Yet on the biggest stage of all, in the 1990 World Cup, this undaunted American squad and their wise coach earned the adoration of Italy's star players and their fans in a gladiator-like match in Rome's deafening Stadio Olimpico. From windswept soccer fields in the U.S. heartland to the CIA-infested cauldron of Central America and the Caribbean, behind the recently toppled Iron Curtain and into the great European soccer cathedrals, Adam Elder's New Kids in the World Cup: The Totally Late '80s and Early '90s Tale of the Team That Changed American Soccer Forever (U Nebraska Press, 2022) is the origin story of modern American soccer in a time when power ballads were inescapable, and mainstream America was discovering hip-hop. It's the true adventure of America's most important soccer team, which made everything possible that's come since—including America finally falling in love with soccer. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

In 1990, though no one knew it then, a fearless group of players changed the sport of soccer in the United States forever. Young, bronzed, and mulleted, they were America's finest athletes in a sport that America loved to hate. Even sportswriters rooted against them. Yet this team defied massive odds and qualified for the World Cup, and made making possible America's current obsession with the world's most popular game. In this era the U.S. Soccer Federation's preceding head coach had a better-paying day job as a black-tie restaurant waiter. Players earned $20 a day. The crowd at home games cheered for their opponent and the fields were even mismarked. In Latin America the U.S. team bus had a machine gun turret mounted on the back, locals would sabotage their hotel, and in the stadiums spectators would rain coins, batteries, and plastic bags of urine down on the American players. The world considered the U.S. team to be total imposters — the Milli Vanilli of soccer. Yet on the biggest stage of all, in the 1990 World Cup, this undaunted American squad and their wise coach earned the adoration of Italy's star players and their fans in a gladiator-like match in Rome's deafening Stadio Olimpico. From windswept soccer fields in the U.S. heartland to the CIA-infested cauldron of Central America and the Caribbean, behind the recently toppled Iron Curtain and into the great European soccer cathedrals, Adam Elder's New Kids in the World Cup: The Totally Late '80s and Early '90s Tale of the Team That Changed American Soccer Forever (U Nebraska Press, 2022) is the origin story of modern American soccer in a time when power ballads were inescapable, and mainstream America was discovering hip-hop. It's the true adventure of America's most important soccer team, which made everything possible that's come since—including America finally falling in love with soccer. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Celebrate Winter: An Olympian's Stories of a Life in Nordic Skiing (Morton Trails, 2020) by John Morton is a wonderful look back at experiences and lessons learned from over 55 years of enjoying winter. Morton has attended ten Winter Olympic Games in various capacities: athlete, coach, team leader, chief of course, and fan. He was the Dartmouth College Nordic Ski coach for 11 years and has built recreational trails for the past 30 years with over 250 projects completed. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Celebrate Winter: An Olympian's Stories of a Life in Nordic Skiing (Morton Trails, 2020) by John Morton is a wonderful look back at experiences and lessons learned from over 55 years of enjoying winter. Morton has attended ten Winter Olympic Games in various capacities: athlete, coach, team leader, chief of course, and fan. He was the Dartmouth College Nordic Ski coach for 11 years and has built recreational trails for the past 30 years with over 250 projects completed. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

Celebrate Winter: An Olympian's Stories of a Life in Nordic Skiing (Morton Trails, 2020) by John Morton is a wonderful look back at experiences and lessons learned from over 55 years of enjoying winter. Morton has attended ten Winter Olympic Games in various capacities: athlete, coach, team leader, chief of course, and fan. He was the Dartmouth College Nordic Ski coach for 11 years and has built recreational trails for the past 30 years with over 250 projects completed. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Celebrate Winter: An Olympian's Stories of a Life in Nordic Skiing (Morton Trails, 2020) by John Morton is a wonderful look back at experiences and lessons learned from over 55 years of enjoying winter. Morton has attended ten Winter Olympic Games in various capacities: athlete, coach, team leader, chief of course, and fan. He was the Dartmouth College Nordic Ski coach for 11 years and has built recreational trails for the past 30 years with over 250 projects completed. Robert Sherwood is a professor of history at Georgia Military College. He works on Swiss, Swiss-American and Sports History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

We finish our third and final play by Robert Sherwood. We discuss World War II, Finland, and how to keep current events relevant in plays when they are no longer current!.

Josh, Chris, and John discuss the first of three (!!!) Pulitzer Prize-winning plays by Robert Sherwood, "Idiot's Delight." Josh thinks it would be a good musical. John learned a lot. Chris thinks it's dull. They fight, lovingly.

On this episode of SPOT radio, we discuss protecting our brands and products from counterfeiters with our guest Robert Sherwood from Veritrace. Worldwide sales of counterfeit medications could top $75 billion this year. This is a 90% rise in five years according to an estimate published by the Center for Medicine in the Public Interest of the United States of America. This influx of counterfeit medicines into the marketplace poses huge risks to consumers. Robert speaks to solutions that Veritrace has created to combat this threat.Guest Description:Robert Sherwood, CPP, is a security print and software technology specialist with 25 years of Brand protection experience. He designs security solutions to protect IP, products, revenue, customers, and to reduce liability. He applies a total approach to brand protection solutions by analyzing counterfeiting, diversion, supply chain security, packaging, and stakeholder concerns.His packaging and labeling expertise includes security design, anti-counterfeit print technologies, substrates, adhesives, specialty converting, and authentication/track & trace software systems. Robert holds certification as an ASIS Certified Protection Professional. He is a past chairman and current board member of NASPO International and contributed to the writing and publishing of the 2015 ANSI/NASPO International Security Management Standard.VeriTrace Inc.Robert Sherwood513.673.1576rsherwood@veritrace.comWebsitewww.veritrace.com

SCREEN GUILD THEATER - The theatrical society in U.S.A. is termed as Theatre Guild. Founded in New York City in 1918 by Lawrence Langner (1890-1962) and others, the group proposed to produce high-quality, noncommercial plays. Its board of directors shared responsibility for choice of plays, management, and production. After the premiere of George Bernard Shawâs Heartbreak House in 1920, the Guild became his U.S. agent and staged 15 of his plays. It also produced successful plays by Eugene OâNeill, Maxwell Anderson, and Robert Sherwood and featured actors such as the Lunts and Helen Hayes. It helped develop the American musical by staging Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945); later also producing the radio series Theatre Guild on the Air (1945-53) and even presented plays on television.

The Theatre Guild On The Air - The theatrical society in U.S.A. is termed as Theatre Guild. Founded in New York City in 1918 by Lawrence Langner (1890-1962) and others, the group proposed to produce high-quality, noncommercial plays. Its board of directors shared responsibility for choice of plays, management, and production. After the premiere of George Bernard Shawâs Heartbreak House in 1920, the Guild became his U.S. agent and staged 15 of his plays. It also produced successful plays by Eugene OâNeill, Maxwell Anderson, and Robert Sherwood and featured actors such as the Lunts and Helen Hayes. It helped develop the American musical by staging Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945); later also producing the radio series Theatre Guild on the Air (1945-53) and even presented plays on television.THIS EPISODE:February 24, 1946. ABC network. "Dead End". Sponsored by: United States Steel. The story of New York's slums that led to the creation of the "Dead End Kids," and is based on the play and film of the same name. Agnes Young, Alan Baxter, Anne Burr, Ann Thomas, Arnold Stang, Danny Leon, George Hicks (commercial spokesman), Joan Tetzel, Norman Brokenshire (announcer), Richard Conte, Sidney Kingsley (author). 59:20.

The theatrical society in U.S.A. is termed as Theatre Guild. Founded in New York City in 1918 by Lawrence Langner (1890-1962) and others, the group proposed to produce high-quality, noncommercial plays. Its board of directors shared responsibility for choice of plays, management, and production. After the premiere of George Bernard Shawâs Heartbreak House in 1920, the Guild became his U.S. agent and staged 15 of his plays. It also produced successful plays by Eugene OâNeill, Maxwell Anderson, and Robert Sherwood and featured actors such as the Lunts and Helen Hayes. It helped develop the American musical by staging Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945); later also producing the radio series Theatre Guild on the Air (1945-53) and even presented plays on television.

The theatrical society in U.S.A. is termed as Theatre Guild. Founded in New York City in 1918 by Lawrence Langner (1890-1962) and others, the group proposed to produce high-quality, noncommercial plays. Its board of directors shared responsibility for choice of plays, management, and production. After the premiere of George Bernard Shawâs Heartbreak House in 1920, the Guild became his U.S. agent and staged 15 of his plays. It also produced successful plays by Eugene OâNeill, Maxwell Anderson, and Robert Sherwood and featured actors such as the Lunts and Helen Hayes. It helped develop the American musical by staging Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945); later also producing the radio series Theatre Guild on the Air (1945-53) and even presented plays on television.