Podcasts about sea cliff

HERE ARE THE 18 VILLAGES OF OYSTER BAY COVERED IN THIS EPISODE: Bayville, Brookville, Centre Island, Cove Neck, Farmingdale, Lattingtown, Laurel Hollow, Massapequa Park, Matinecock, Mill Neck, Muttontown, Old Brookville, Oyster Bay Cove, Sea Cliff, Upper BrookvillePICTURE: By https://bayvilleny.gov/, Fair use, https://en.wikipedia.org/w/index.php?curid=74631577

Drew Miles and the Tricer Podcast host Cliff Gray, discussing Cliff's extensive experience in the hunting industry and his expertise in elk hunting. They delve into Cliff's unconventional lifestyle, which includes homeschooling his children and living in various places around the world, highlighting both the benefits and challenges of such a life. Cliff shares his background in a corporate finance role to running a successful outfitting business in Colorado and British Columbia. After selling his business sooner than expected, Gray reflects on his newfound opportunities and future plans within the hunting community.CLIFF GRAYInstagram - https://www.instagram.com/cliffgry/Website - https://pursuitwithcliff.comTRICER USAWebsite – https://tricerusa.com/Instagram - https://www.instagram.com/tricerusa/Facebook - https://www.facebook.com/tricerusa/YouTube - https://www.youtube.com/@tricer6985#Tricer #TricerTripods #WesternHunting #ElkHunting #BackcountryHunter #LongRangeHunting #HuntPodcast #PublicLandHunter #HuntingLifestyle #RifleSeason #MountainHunting #HuntTheWest #HuntingCulture #ModernOutfitter #DIYHunter #FieldToTable #HunterConservationist #WesternBigGame

Tom and Jenny discuss the 1994 made-for-TV ghost story, which stars Ally Sheedy, William R. Moses, and Louise Fletcher. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us on Instagram. Also check out Jenny's horror channel, The Scare Salon, and her true crime channel, Crime Immemorial. … Continue reading Movie Time: The Haunting of Seacliff Inn (1994)

Ralph welcomes journalist Chris Hedges to talk about his new book "A Genocide Foretold: Reporting on Survival and Resistance in Occupied Palestine." Then, Ralph speaks to David Swanson of World BEYOND War about what his organization is doing to resist this country's casual acceptance of being constantly at war. Finally, Ralph checks in with our resident constitutional scholar Bruce Fein.Chris Hedges is a Pulitzer Prize-winning journalist, who spent nearly two decades as a foreign correspondent in Central America, the Middle East, Africa and the Balkans. He is the host of The Chris Hedges Report, and he is a prolific author— his latest book is A Genocide Foretold: Reporting on Survival and Resistance in Occupied Palestine.We not only blocked the effort by most countries on the globe to halt the genocide or at least censure Israel to the genocide, but of course have continued to sendbillions of dollars in weapons and to shut down critics within the United States… And that sends a very, very ominous message to the global south, especiallyas the climate breaks down, that these are the kind of draconian murderous measuresthat we will employ.Chris HedgesIt's a very, very ominous chapter in the history of historic Palestine. In some ways, far worse even than the 1948 Nakba (or “Catastrophe”) that saw massacres carried out against Palestinians in their villages and 750,000 Palestinians displaced. What we're watching now is probably the worst catastrophe to ever beset the Palestinian people.Chris HedgesIt's a bit like attacking somebody for writing about Auschwitz and not giving the SS guards enough play to voice their side. We're writing about a genocide and, frankly, there isn't a lot of nuance. There's a lot of context (which is in the book). But I expect either to be blanked out or attacked because lifting up the voices of Palestinians is something at this point within American society that is considered by the dominant media platforms and those within positions of power to be unacceptable.Chris HedgesIt eventually comes down to us, the American people. And it's not just the Middle East. It's a sprawling empire with hundreds of military bases, sapping the energy of our public budgets and of our ability to relate in an empathetic and humanitarian way to the rest of the world.Ralph NaderDavid Swanson is an author, activist, journalist, radio host and Nobel Peace Prize nominee. He is executive director of World BEYOND War and campaign coordinator for RootsAction. His books include War Is A Lie and When the World Outlawed War.The biggest scandal of the past two days in the United States is not government officials secretly discussing plans for mass killing, for war making, but how they did it on a group chat. You can imagine if they were talking about blowing up buildings in the United States, at least the victims would get a little mention in there.David SwansonThe Democrats are the least popular they've been. They're way less popular than the Republicans because some of the Republicans' supporters actually support the horrendous behavior they're engaged in. Whereas Democrats want somebody to try anything, anything at all, and you're not getting it.David SwansonYou know how many cases across the world across the decades in every hospital and health center there are of PTSD or any sort of injury from war deprivation? Not a one. Not a single one, ever. People survive just fine. And people do their damnedest to stay out of it, even in the most warmongering nations in the world. People try their very hardest to stay out of war personally, because it does great damage.David SwansonBruce Fein is a Constitutional scholar and an expert on international law. Mr. Fein was Associate Deputy Attorney General under Ronald Reagan and he is the author of Constitutional Peril: The Life and Death Struggle for Our Constitution and Democracy, and American Empire: Before the Fall.If there were really an attorney general who was independent, they would advise the President, “You can't make these threats. They are the equivalent of extortion.”Bruce FeinVigorous Public Interest Law DayApril 1, 2025 12:00 pm - 4:00 pm at Harvard Law School the Harvard Plaintiffs' Law Association is hosting Vigorous Public Interest Law Day with opening remarks by Ralph Nader. The program will feature highly relevant presentations and group discussions with some of the nation's most courageous public interest lawyers including Sam Levine, Bruce Fein, Robert Weissman, Joan Claybrook, and Pete Davis, to name a few. More information here.News 3/26/251. Starting off this week with some good news, Families for Safe Streets reports the Viriginia Assembly has passed HB2096, also known as the Stop Super Speeders bill. If enacted, this bill would allow would judges to “require drivers convicted of extreme speeding offenses to install Intelligent Speed Assistance (ISA) technology in their vehicles, automatically limiting their speed to the posted limit.” According to the National Highway Traffic Safety Administration or NHTSA, established by Ralph Nader, speeding was responsible for 12,151 deaths in 2022 and is a contributing factor in the skyrocketing number of pedestrians killed by automobiles which hit a 40-year high in 2023, per NPR.2. In more troubling auto safety news AP reports NHTSA has ordered a new recall on nearly all Cybertrucks. This recall centers on an exterior panel that can “detach while driving, creating a dangerous road hazard for other drivers, [and] increasing the risk of a crash.” This panel, called a “cant rail assembly,” is attached with a glue that is vulnerable to “environmental embrittlement,” per NHTSA. This is the eighth recall of the vehicles since they hit the road just one year ago.3. At the same time, the Democratic-controlled Delaware state legislature has passed a bill to “award…Musk $56 billion, shield corporate executives from liability, and strip away voting power from shareholders,” reports the Lever. According to this report, written before the law passed, the bill would “set an extremely high bar for plaintiffs to obtain internal company documents, records, and communications — the core pieces of evidence needed to build a lawsuit against a company.” On the other hand, “Corporate executives and investors with a controlling stake in a firm would no longer be required to hold full shareholder votes on various transactions in which management has a direct conflict of interest.” As this piece notes, this bill was backed by a pressure campaign led by Musk and his lawyers that began with a Delaware Chancery Court ruling that jeopardized his $56 billion compensation package. In retaliation, Musk threatened to lead a mass exodus of corporations from the state. Instead of calling his bluff, the state legislature folded, likely beginning a race to the bottom among other corporate-friendly states that will strip anyone but the largest shareholders of any remaining influence on corporate decision making.4. Speaking of folding under pressure, Reuters reports Columbia University will “acquiesce” to the outrageous and unprecedented demands of the Trump administration. These include a new mask ban on campus, and placing the school's Middle Eastern, South Asian, and African Studies department – along with the Center for Palestine Studies –under academic receivership for at least five years. By caving to these demands, the University hopes the administration will unfreeze $400 million in NIH grants they threatened to withhold. Reuters quotes historian of education, Professor Jonathan Zimmerman, who decried this as “The government…using the money as a cudgel to micromanage a university,” and Todd Wolfson, president of the American Association of University Professors, who called the administration's demands “arguably the greatest incursion into academic freedom, freedom of speech and institutional autonomy that we've seen since the McCarthy era.”5. The authoritarianism creeping through higher education doesn't end there. Following the chilling disappearing of Mahmoud Khalil, the Trump administration has begun deploying the same tactic against more students for increasingly minor supposed offenses. First there was Georgetown post-doc student Badar Khan Suri, originally from India, who “had been living in Virginia for nearly three years when the police knocked on his door on the evening of 17 March and arrested him,” per the BBC. His crime? Being married to the daughter of a former advisor to Ismail Haniyeh, who in 2010 left the Gaza government and “started the House of Wisdom…to encourage peace and conflict resolution in Gaza.” A court has blocked Suri's deportation. Then there is Rumeysa Ozturk, a PhD student at Tufts who was on her way home from an Iftar dinner when she was surrounded and physically restrained by plainclothes agents on the street, CNN reports. Video of this incident has been shared widely. Secretary of State Marco Rubio supposedly “determined” that Ozturk's alleged activities would have “potentially serious adverse foreign policy consequences and would compromise a compelling U.S. foreign policy interest.” These activities? Co-writing a March 2024 op-ed in the school paper which stated “Credible accusations against Israel include accounts of deliberate starvation and indiscriminate slaughter of Palestinian civilians and plausible genocide.” The U.S. has long decried regimes that use secret police to suppress dissident speech. Now it seems it has become one.6. Yet the Trump administration is not only using deportations as a blunt object to punish pro-Palestine speech, it is also using it to go after labor rights activists. Seattle public radio station KUOW reports “Farmworker activist and union leader Alfredo Juarez Zeferino, known…as ‘Lelo,' was taken into custody by [ICE].” A farmworker and fellow activist Rosalinda Guillén is quoted saying “[Lelo] doesn't have a criminal record…they stopped him because of his leadership, because of his activism.” She added “I think that this is a political attack.” Simultaneously, the Washington Post reports “John Clark, a Trump-appointed Labor Department official, directed the agency's Bureau of International Labor Affairs…to end all of its grants.” These cuts are “expected to end 69 programs that have allocated more than $500 million to combat child labor, forced labor and human trafficking, and to enforce labor standards in more than 40 countries.”7. All of these moves by the Trump administration are despicable and largely unprecedented, but even they are not as brazen as the assault on the twin pillars of the American social welfare system: Social Security and Medicare. Social Security is bearing the brunt of the attacks at the moment. First, AP reported that Elon Musk's DOGE planned to cut up to 50% of the Social Security Administration staff. Then, the Washington Post reported that the administration planned to force millions of seniors to submit claims in person rather than via phone. Now the administration is announcing that they are shifting Social Security payments from paper checks to prepaid debit cards, per Axios. Nearly half a million seniors still receive their payments via physical checks. These massive disruptions in Social Security have roiled seniors across the nation, many of whom are Republican Trump supporters, and they are voicing their frustration to their Republican elected officials – who in turn are chafing at being cut out of the loop by Musk. NBC reports Sen. Chuck Grassley of Iowa, chairman of the Senate Finance subcommittee on Social Security, said “he had not been told ahead of time about DOGE's moves at the agency.” Senators Steve Daines and Bill Cassidy have echoed this sentiment. And, while Social Security takes center stage, Medicare is next in line. Drop Site is out with a new report on how Trump's nominee to oversee the Center for Medicare and Medicaid Services – Dr. Oz – could shift millions of seniors from traditional Medicare to the insurer-controlled Medicare Advantage system. Medicare and Social Security have long been seen as the “third rail” of American politics, meaning politicians who try to tamper with those programs meet their political demise. This is the toughest test yet of whether that remains true.8. The impact of Oscar winning documentary No Other Land continues to reverberate, a testament to the power of its message. In Miami Beach, Mayor Steven Meiner issued a draft resolution calling for the city to terminate its lease agreement with O Cinema, located at Old City Hall, simply for screening the film. Deadline reports however that he was forced to back down. And just this week, co-director of the film Hamdan Ballal was reportedly “lynched” by Israeli settlers in his West Bank village, according to co-director Yuval Abraham, an anti-occupation Jewish Israeli journalist. The Guardian reports “the settlers beat him in front of his home and filmed the assault…he was held at an army base, blindfolded, for 24 hours and forced to sleep under a freezing air conditioner.” Another co-director, Basel Adra of Masafer Yatta, told the AP “We came back from the Oscars and every day since there is an attack on us…This might be their revenge on us for making the movie. It feels like a punishment.” Stunningly, it took days for the Academy of Motion Pictures to issue a statement decrying the violence and even then, the statement was remarkably tepid with no mention of Palestine at all, only condemning “harming or suppressing artists for their work or their viewpoints.”9. In some more positive news, Zohran Mamdani – the Democratic Socialist candidate for Mayor of New York City – has maxed out donations, per Gothamist. Mamdani says he has raised “more than $8 million with projected matching funds from about 18,000 donors citywide and has done so at a faster rate than any campaign in city history.” Having hit the public financing cap this early, Mamdani promised to not spend any more of the campaign raising money and instead plans to “build the single largest volunteer operation we've ever seen in the New York City's mayor's race.” Witnessing a politician asking supporters not to send more money is a truly one-of-a-kind moment. Recent polling shows Mamdani in second place, well behind disgraced former Governor Andrew Cuomo and well ahead of his other rivals, including incumbent Mayor Eric Adams, per CBS. However, Mamdani remains unknown to large numbers of New Yorkers, meaning his ceiling could be much higher. Plenty of time remains before the June mayoral election.10. Finally, in an extremely bizarre story, Columbia Professor Anthony Zenkus reports “Robert Ehrlich, millionaire founder of snack food giant Pirate's Booty…tried to take over the sleepy Long Island town of Sea Cliff.” Zenkus relays that Ehrlich waged a “last minute write-in campaign for mayor in which he only received 62 votes - then declared himself mayor anyway.” Though Ehrlich only received 5% of the vote, he “stormed the village hall with an entourage, declaring himself the duly-elected mayor, screaming that he was there to dissolve the entire town government and that he alone had the power to form a new government.” Ehrlich claimed the election was “rigged” and thus invalid, citing as evidence “One of my supporters voted three times. Another one voted four times…” which constitutes a confession to election fraud. Zenkus ends this story by noting that Ehrlich was “escorted out by police.” It's hard to make heads or tails of this story, but if nothing else it indicates that these petty robber barons are simply out of control – believing they can stage their own mini coup d'etats. And after all, why shouldn't they think so, when one of their ilk occupies perhaps the most powerful office in the history of the world. Bad omens all around.This has been Francesco DeSantis, with In Case You Haven't Heard. Get full access to Ralph Nader Radio Hour at www.ralphnaderradiohour.com/subscribe

The founder of Pirate's Booty Snacks lost his chaotic bid for mayor of a tiny New York community after he claimed he was the village leader and had the authority to replace the entire local government, officials said Thursday.Elena Villafane, the incumbent mayor of Sea Cliff, defeated Pirate's Booty Snacks founder Robert Ehrlich, 1,064-62, on Tuesday in the village, which is about 26 miles northeast of midtown Manhattan.Villafane had been running unopposed for her third two-year term when Ehrlich jumped into the fray a week ago Monday.

JLR wore his snoopy pants into work. Will the studio remodel ever happen? Rover is still upset about his stolen chair. The show takes updated Jeffrey teeth pictures. What is the hottest outfit a woman can wear? Charlie says woman who wear yoga pants are lazy. Founder of Pirates Booty, Robert Ehrlich, declared himself the mayor of Sea Cliff and tried to fire village staff after losing the election. Snitzer cried watching Bert Kreischer's latest special, Lucky. A woman drowned her dog in the toilet at the airport after being told she could not take her dog on her flight. Krystle feels guilty for not reporting a stray dog walking down the street. The filming of Adolescence. Jeffrey is a paid listener of Rover's Morning Glory. Was Jeffrey wearing woman's underwear? Charlie has been summoned for jury duty. How to get out of jury duty. The El Salvador mega prison. See omnystudio.com/listener for privacy information.

Founder of Pirates Booty, Robert Ehrlich, declared himself the mayor of Sea Cliff and tried to fire village staff after losing the election. Snitzer cried watching Bert Kreischer's latest special, Lucky. A woman drowned her dog in the toilet at the airport after being told she could not take her dog on her flight.

JLR wore his snoopy pants into work. Will the studio remodel ever happen? Rover is still upset about his stolen chair. The show takes updated Jeffrey teeth pictures. What is the hottest outfit a woman can wear? Charlie says woman who wear yoga pants are lazy. Founder of Pirates Booty, Robert Ehrlich, declared himself the mayor of Sea Cliff and tried to fire village staff after losing the election. Snitzer cried watching Bert Kreischer's latest special, Lucky. A woman drowned her dog in the toilet at the airport after being told she could not take her dog on her flight. Krystle feels guilty for not reporting a stray dog walking down the street. The filming of Adolescence. Jeffrey is a paid listener of Rover's Morning Glory. Was Jeffrey wearing woman's underwear? Charlie has been summoned for jury duty. How to get out of jury duty. The El Salvador mega prison.

Founder of Pirates Booty, Robert Ehrlich, declared himself the mayor of Sea Cliff and tried to fire village staff after losing the election. Snitzer cried watching Bert Kreischer's latest special, Lucky. A woman drowned her dog in the toilet at the airport after being told she could not take her dog on her flight.See omnystudio.com/listener for privacy information.

We explore the beaches beyond Adelaide City, from Glenelg to Brighton and Seacliff, full of good food, family fun & nature based experiences.

The Olympics are for the girls and gays. We're chatting about the pop culture take over of the 2024 Olympics, Taylor Swift performing for 125,000 people, Abbott Elementary's upcoming cross over episode, and wondering what the hell Beyoncé has been filming in New York!?  Save $20 on your first SeatGeek order when you use code "TOOPOPTOHANDLE" at checkout CHECK YOUR VOTER REGISTRATION: https://vote.gov  TV RECAP: The Kardashians Finale RuPaul's Drag Race All Stars 9 Finale NEW MUSIC  RECAPS: Halsey - Lucky  Y2K! - Ice Spice  Big Ideas - Remi Wolf  DREW RELEASES PLAYLISTS: Apple Music  Spotify  FOLLOW US: Instagram Twitter TikTok YouTube   FOLLOW ME:  Instagram Twitter TikTok EPISODE CHAPTERS:  00:00 - Introduction  05:53 - Taylor Swift performs to 50,000 people for free in Munich  07:35 - Abbott Elementary hosts Ava Fest at San Diego Comic Con  10:15 - Freaky Friday 2 filming in Los Angeles  11:24 - Beyoncé seen filming a project in Sea Cliff, New York 14:10 - Britney Spears deletes tweet saying she's disappointed in Halsey  18:16 - New Music Releases  25:48 - 2024 Olympics Recap (Opening Ceremony, Lady Gaga, Celine Dion, Beyoncé, and more) 44:54 - RuPaul's Drag Race All Stars 9 Finale  56:54 - Yes and Mess of the Week   

Dr. Marc Tedoff, founder of the Applied Behavior Analysis (ABA) Institute, joins us to share his inspiring journey and career insights. Growing up in Sea Cliff, Long Island, Dr. Tedoff attended college in upstate New York before starting his professional life as a paralegal. Torn between law school and teaching, he chose the latter, beginning as a teacher aide at a Special Education school specializing in autism in Manhattan.During a vacation in Las Vegas, he reached out to the Clark County School District and secured a job upon his return. Dr. Tedoff dedicated over 11 years to CCSD, earning his PhD in Special Education and a Behavioral Analyst Credential. He was instrumental in rolling out the Medicaid program for autism treatment, highlighting his commitment to improving mental health services.In this episode, Dr. Tedoff explains what Applied Behavior Analysis (ABA) and a Registered Behavior Therapist (RBT) are. He shares how the EmployNV Youth Hub assisted him in staffing his practice with skilled RBTs. He discusses his innovative idea of training aging-out foster youth to become RBTs, emphasizing the importance of flexibility, focus, and dedication in therapy.A family man passionate about working on his 1996 Corvette C4, Dr. Tedoff effortlessly balances his professional and personal life. His advice for young people is simple yet powerful: work hard and keep going.Applied Behavior Analysis (ABA) Institute: https://abainstitute.us/

Join Thomas, Matt, and jD as they welcome Ashley Bower to the show to discuss the shoo-in candidacy of Kate McKinnon. Do you agree she'll end up in the Hall. Time will tell. Transcript:Track 2:[0:42] Hey, it's J.D. here, and thank you so much, Doug DeNance, for that warm welcome.We are thrilled to be back here in the SNL Hall of Fame.Before we go anywhere, take a look at that mat outside that says, Wipe your feet, sucka.And wipe your feet, sucka. So there's that.Listen, I'm going to get right to it. The SNL Hall of Fame podcast is a weekly affair where each episode we take a deep dive Dive into the career of a former cast member, host, musical guest, or writer and add them to the ballot for your consideration.Once the nominees have been announced, we turn to you, the listener, to vote for the most deserving and help determine who will be enshrined for perpetuity in the hall.And that's how we play the game. It's just that simple.Track 2:[1:30] So, you're chomping at the bit to get voting. You've only got one more week to wait.If you are listening to this in real time, May the 6th is the date that we will be starting the voting and it will run through to May 17th, at which point we will tabulate the ballots and we'll check in with you on May 20th for our finale extravaganza and let you know who made the Season 5 SNL Hall of Fame. name.It's going to be interesting. And today's nominee is about to throw a monkey wrench in all your plans because, well, let's go to Matt Ardill because I've got a question to ask Mr. Ardill.Matt, my friend, I hope you're doing well. I have a question for you.Track 3:[2:22] Where do you start with a girl named Kate?I don't know. There's so much, there's so much Such an incredible talent.I'm just going to have to start at the beginning. I guess that's all I can do.Go for it. All right. Kate McKinnon, height 5'3", born January 6, 1984.78 acting credits, 4 writing credits, 5 soundtrack credits, and 1 producer credit.She was born in Seacliff, New York, and attended Columbia University.University uh growing up she had a pet iguana and she attended ucb in ucb manhattan school and uh yeah she grew up in a funny house full of funny people she and her sister were encouraged to watch mel brooks the producers on a weekly basis always watched snl growing up uh she thought Madeline Kahn was the tops and that that's a fact.You can't argue with that.That is, that is a.Track 3:[3:24] Great choice. Yeah, yeah. Now, her parents, they encouraged her to approach the world through the lens of comedy.Now, Funny runs in the family. Her younger sister, Emily Lynn, is also a comedian and does stand-up and is part of a comedy double act with Jackie Abbott. Check her out on YouTube.Super funny. Unfortunately, their father passed away when Kate was quite young, at the age of 18.Track 3:[3:51] But that didn't slow her down. She's a multi-instrumentalist, able to play piano, cello, and guitar.She can also speak three languages, English, French, and German. She makes me sick.Yeah. Well, that explains why her prime minister is such a good impression, because she can actually speak German.Right, yeah. It's not just making the noises.She knows the language. Her first job was as a little league umpire, but she left because she didn't actually know the rules for little league baseball, which is, you know, that's fair. No, it's foul.Yeah, it's foul. It's foul. She was PETA's sexiest vegan in 2017, but she actually gave that up that title because she just like a true New Yorker missed cheese pizza.Pizza um now she is an extreme introvert which she deals with by adopting funny voices uh which honestly sounds like 72.4 of the comedians i know her comedy heroes were molly shannon anna gasteyer.Track 3:[5:03] She says Kellyanne Conway, but that's obviously a joke because you can't ever give a straight answer like that.Her dream role, and this is another one I would pay good money to see, is Willy Wonka. Oh.I would have rather seen that than Timothee Chalamet.Really? Okay. Yeah, I would have loved to have seen her playing Willy Wonka.Um now before snl she starred in logo's big gay sketch show and uh she took over from the original miss frizzle uh lily tomlin uh who became a professor and a phd and as she started playing miss fiona felicity frizzle uh the original miss frizzle valerie felicity frizzle's younger sister.Track 3:[5:52] Oh i watched a lot of magic school bus with my kids yeah it's a great show uh yeah yeah and the thing is you think with this great education and all this like higher learning she would be you know a muckety muck when it comes to the comedy she finds enjoyable but honestly she said thing says one of the funniest things is a fart wow it's the ultimate bad thing a person can do and you know farts are funny they just they just are this is two weeks in a row you brought farts to the table well i mean it is comedy there you can't really get away from from a good fart um oh so whoopee cushion is a very funny thing if executed properly whoopee cushion and a rubber chicken comedy staples that's right yeah so that's that is uh that is Kate McKinnon.Track 3:[6:46] Well, I think that, um, we should head downstairs and listen in on the conversation this week. Excellent.All right. Take it away, Thomas and Ashley Bauer.Track 4:[7:27] All right. Thank you so much, JD and Matt. Yes, we are talking about a very recent SNL cast member, the most recent cast member that we've ever talked about on this show.This is her first season of eligibility, and I'm so excited to honor the great Kate McKinnon and see if she can make it past the voters, see if she can get into the SNL Hall of Fame.So to chat about Kate McKinnon is somebody who I go back with for over 20 years.We've known each other almost 20, probably 21, 22 years now.We've known each other quite a long time. And SNL was actually one of the things that we really bonded over, my guest and I.And if she slips and calls me Tom, that's how you know that somebody really knows me.Because, you know, I kind of go by Thomas and here and there, you know. But if somebody calls me Tom on this podcast, that's how you know that we go back.So my guest today, Ashley Bauer, if Ashley calls me Tom, then we've known each other for over 20 years.But Ashley, thank you so much for joining me here on the SNL Hall of Fame. How are you doing?Thank you, Tom. You're right. I can't even imagine calling you Thomas. That's so funny.Track 4:[8:45] But no, I'm great. I'm so excited. Yeah, like you said, this is how we bonded.And oh my gosh, talking about Kate McKinnon.I can't be happier. year yeah we really bonded I remember talking about because it was like probably about 2002 2003 that we became friends and we remember we really talked about like the Will Ferrell Sherry Oteri kind of years that was like the cast that that we always laughed about and shared sketches and stuff so I remember having a lot of conversations about those people but I never really knew or maybe forgot because it's been such a long time like your SNL fan origin story so why Why don't you let us know how you became a fan and what cast might have got you into it? What's your SNL origin story?Oh my gosh, yeah. So I grew up, my parents always had some sort of comedy type show on.And I remember being pretty young and my dad had on like...It must have been like a repeat episode or something of like a really old original SNL.Like I'm talking like Gilda Radner, like Jane Curtin.And I kind of just sat down to watch it with him. And I was like, Oh, okay. Yeah.This is kind of funny. Even though I was like kind of young and the humor probably went way over my head.Track 4:[10:01] So those are kind of my earliest memories, but I think when I really fell in love and like the light bulb went off that this isn't my parents show anymore.Like this is my show was, they started to let me watch them when it was Adam Sandler and Chris Farley and David Spade.And of course, I may have been like, eight, nine, 10 years old.So the slapstick comedy humor of, you know, Chris Farley, especially his physical comedy just had me in stitches.And I think that was the lightbulb moment. And when I really became obsessed.And I remember being, I can still picture this today, however many years later, standing in line at a grocery store and looking over and seeing the tabloids when Chris Farley passed away. And I just started to cry.And my mom was like, what's wrong? And I was so devastated when I learned that he had OD'd.And again, I was maybe 10, 11 years old.And that always kind of struck, hits me in my memory of, I think that's when I realized it was more than just a show I liked, that I was you know kind of borderline obsessed I felt like these comedians were like you know my friends so.Track 4:[11:12] But yeah, I guess that's probably one of my favorite casts, again, for sure, because I think that's when SNL really, you know, kind of transitioned into my show.But like you said, too, you know, gosh, it's hard to compare that that cast to like Will Ferrell, Sherry O'Terry, Molly Shannon.And, you know, when they started to kind of overlap with Tina Fey and Jimmy Fallon and it kind of started to mesh into that newer generation.Track 4:[11:37] Gosh, it's kind of hard to top that that cast, if you ask me.Yeah i always remember us talking about like will ferrell and anna gasteyer the culps so that i think i think that was one of the ones that we would always laugh about was like all the all the mashups and sharing videos that we found in youtube was even was even around when we when you and i were chatting about snl so we probably had downloaded sketches from like uh limewire or whatever i was just gonna say that i think we shared omia on limewire or like Napster or whatever, you know, that's definitely aging us a bit.Yeah, totally. So, yeah, so I know that, but that's interesting to me because I always associated you, yeah, with like Will Ferrell and Sherry O'Terry and those people.But yeah, you do go back to like Chris Farley and Sandler.And so that's awesome. Most of us SNL geeks remember watching when we were eight or nine years old, sometimes seeing sketches that maybe we shouldn't have been seeing at eight or nine years old.Track 4:[12:33] Yeah, yeah. Yeah, but it helped form form our comedy palettes and our love for SNL. So, so that's awesome. Thanks.Thanks for sharing. So our friends over at the Saturday Night Network, they did like a cast member countdown.So they went like, one through 50 talked about and John Schneider, the Lorne Michaels, essentially of the SNN, he kept asking this question, or he asked the question, like, you know, if you were to build a cast member in a lab, what would it look like?Or was this person and built for SNL.So that got me wondering, I'm interested in your perspective on this.Like if you had to create an SNL cast member in a lab, actually, like what traits would you give that cast member?Oh my gosh. You know, I'm such an SNL nerd.So I've actually thought about this before. I know what you're talking about.I saw that, that post in that episode.I mean, I think it goes without saying, obviously the improv skills, even, you know, I don't think you necessarily have to come from, you know, the Groundlings or Second City or anything like that.But I think just the ability to...Track 4:[13:39] Be able to go with the flow and take something and not be stuck to a script.I think having that trait, I think being a good writer too, I think understanding how a sketch is created, even if you don't necessarily write that one for yourself, but understanding, I think, the science behind it and what your writer wants you to contribute to that sketch, I think is a really good trait.I remember seeing an interview too, too.I think it was with Ana Gasteyer, actually, like you were mentioning and talking about, like musical abilities and how, you know, being on a show like Saturday Night Live, you don't necessarily have to be like a Mariah Carey or a Beyonce type singer who's really good, but just enough to kind of make it through a sketch.And I think Ana Gasteyer again, like with you know, the cults and anything else where she would have to sing, it was just good enough to get by and make it funny.So I've always thought I agreed with that assessment that having some sort of musical ability, you know, to make it through a good sketch and execute it. Timing.I mentioned, you know, I really liked the physical comedy and physicality of Chris Farley.But even if you don't throw yourself into a wall or a table like he did.Track 4:[14:58] I think Molly Shannon did a really good job of that.You know, Mary Catherine Gallagher would throw herself into something but um sally o'malley would even just stretch and pull her waistband up and i think just knowing whatever little physical ticks your character would have i think really kind of makes that more well-rounded you're not just reciting you know a line or like i said a script for a sketch but you're really creating a person and i always thought that was kind of fun.Track 4:[15:25] Um something that i think kate our girl kate was really good at was having zero modesty i think I think you have to be able to not take yourself too seriously and be okay looking like a fool on live TV.That's such a good point. I never thought of it that way as far as having zero modesty. But you're actually super right.That type of commitment to the character and the bit.And I know over the years, oftentimes there's cast members that come along and something doesn't feel right about the fit of the cast member.And I think a lot of times it's that they seem self-conscious up there and it makes me feel bad for them.And I don't want to feel bad for somebody who I'm watching on SNL.I want them to be completely confident and I want to feel like as a viewer, I'm in good hands with the person on screen.And sometimes I don't get that with certain cast members over the years.And those seem to be the ones that kind of like peter out as far as cast members.But you're right like it's just like that lack of.Track 4:[16:31] Being self-conscious, like, you know, the lack of modesty, the, the commitment.And I think our subject today, Kate McKinnon exemplifies that to a T along with like a lot of the other traits that you mentioned, like, Hey, she could sing a little bit, right? Ashley.Track 4:[16:47] Yeah. Again, I think just, just well enough where you're like, I mean, I'm not, maybe not like a Cecily strong, you know, type where Cecily could actually sing, but, um, I think enough.And she definitely sunk herself into a character like yeah you're right kate was like maybe one of the least self-conscious cast members that i could ever think of on the show and her physicality was great i mean we'll probably get to all of that but i think if you built a snl cast member in a lab it would look a lot like kate mckinnon honestly yeah no i agree i kind of thought that when i was you know going through my head and thinking about them like wow it sounds like i'm just describing kate you know like this is a shameless plug just for this topic but no like Like I genuinely believe that those are really good traits and that, yeah, she embodied all of them. And I think that's what made her so great.Yeah. And do you have a recollection of like what your reaction was to Kate when she joined SNL? She joined in 2012.So it's like April. We're coming up on 12 years almost of when she started on SNL. It was April of 2012.Do you have any recollection of like what you may have, what some of your first impressions might have been of Kate?I do actually. And I do this every season. And I always have this, like, cause you really do kind of grow to, to be fond of some of these.You're right. Maybe not so much the ones that kind of peter out and Lauren gave him a chance and it's like, okay, maybe not.Track 4:[18:04] Um, but especially like you said that year, that was when Kristen wig left and she was hired to replace Kristen.And so I think I was really like, hold on, who do you think you are?Nobody can come in here and replace Kristen wig. Are you serious?Is like there's no way anyone's going to be able to top what Kristen did and so I remember being like okay let's let's see what what this girl can do um but her first sketch ever on SNL that Sofia Vergara um Penelope Cruz impression that she did oh my gosh I just remember thinking, holy cow I wouldn't believe that she's a brand new featured player I thought that she embodied such confidence and comfortability in that sketch.Like she'd been doing it her whole life.And to be sitting next to such a big star at the time, Sofia Vergara and I'm sorry, I'm laughing because I'm thinking about the sketch, but I thought, wow, okay, she can hang. Maybe this is going to be okay.And that was kind of my first impression, even though I was kind of, you know, like a mean girl attitude about it at first, like my loyalties to Kristen, not to you. And it's funny to look back because now I say that about.Track 4:[19:16] Yeah, exactly. You know, I think a lot of people felt that way.There were obviously a lot of really hardcore Kristen Wiig fans, even someone like me who she wasn't my total favorite, but I loved her a lot of her characters.I think Kristen Wiig's an all time all timer.So having so you do look at somebody like Kate a little bit with like a skeptical eye and it's like, okay, well, you know, it seems like you're the person that they hired to replace Kristen.I don't know if the show Out and Out said that. I don't know that they would because they don't want to put that in there.Kind of pressure on her but the optics were such that Kate McKinnon seemed like she got hired to replace Kristen Wiig and so you're gonna look at her skeptically and be like okay well I don't know show us what you got and that Penelope Cruz sketch the Pantene one with uh yeah that with Sophia was just it showed me like the confidence with which Kate sunk herself into this character i must have given the show and snl fans like assurance like she was going to be a keeper on snl i can't imagine that was her first episode too that sofia vergara episode that was kate's first episode the sketch happened later on in the show and it was almost like i couldn't think of a more perfect introduction to somebody that was potentially going to replace a legend than this It's like, what kind of pressure is that for Kate? Gosh.Track 4:[20:40] Right. Oh my gosh. Like she could, like you said, we as audience members could have felt so bad for her.Like, you know, she could have been so nervous and unsure, you know, even with her, you know, prior experience in improv.I mean, it's so different when you do it, you know, for such a big institution like SNL.And I think that demonstrated too, because not all SNL cast members have been good impressionists necessarily.Necessarily um and i think that showed too what her range was going to be that she could come on and do such a big impression again first sketch first show ever and just nail it glossy nice.Track 4:[21:22] No no no no no no no penelope it's phytomorphogenesis, refrigerator no no sweetie listen to me it's it's not refrigerator okay say it with me fido fido good morpho morpho genesis jeff bridges no.Track 4:[21:44] What i love about kate's impressions too is a lot of times they are like pretty accurate she can do the accurate thing but a lot of them are always maybe 20 20 20 to 25 off kilter like she has that perfect she sprinkles in the perfect amount of caricature for a lot of these impressions and we saw that right away with this penelope cruz the way she was pronouncing things and then she kind of like turned penelope cruz into this sympathetic human kind of person where she kind of says is it it just me am i the only one who thinks that like i'm getting the big words here or you know what's going on like so she kind of turned penelope into this more human like you kind of relate to her like yeah she's right she is getting the hard words isn't she so kate did that little trick right away with with this one yeah it was so genius even then in her first sketch like you know she could have turned penelope into a diva or something but it was just kind of this like nice little timid like um excuse me but are you not seeing this am i the only one who thinks this and i just thought it was so so genius to bring to the sketch yeah that was great season 37 episode 18 kate's first episode on the cast and she already turned in something memorable and that just completely fits what what kate would become on snl so she started her first full season, season 38, that's the post-Kristen Wiig era.Track 4:[23:10] What kind of stands out to you, Ashley? Like what should we start with in terms of, of Kate McKinnon's work on SNL?Oh my gosh. Yeah. Where do you start with somebody like Kate? Um.Track 4:[23:22] You know, I think Ellen DeGeneres was one of her big impressions, for sure.Like you said, doing just enough to nail it, but kind of taking her a little bit over the top and making it a caricature.Now, as many of you know, this Sunday I am hosting the Oscars.And I can only hope that somewhere a guy named Oscars hosting the Ellens. I'm kidding.Track 4:[23:44] But you know what movie I love this year? Twelve Years a Slave.Slave that's about how i've been forced to dance on this show every day for the last 12 years, i'm just kidding it's about slavery i'm alan the justin bieber again the mannerisms you know the shrugging of the shoulders and the you know thumb in his nose and um but gosh i think my favorite i lump those two together though and it's kind of it's cool that you started like with those two specifically mentioned those two because i do lump them together the ellen degenerates and the Justin Bieber and you'd mentioned physicality with the performer like you're going to build somebody in the lab you want them to have some sort of physicality and Kate she's not necessarily like like Chris Farley like or Molly Shannon like jumping through sets and tables and and stuff like that with like Ellen and Justin Bieber but she's just doing those little moves like with Ellen it's like how she just kind of contorts her body when she's dancing, Too bad this isn't a video podcast because I'm sitting here like kind of like swaying in my chair.So only Ashley gets treated to my little chair dance moves here.But yeah, the way Kate...Track 4:[24:57] Moves her body as Ellen, and then I love even her exasperation.Like, you know, I shouldn't have danced my first episode because now everybody just expects me to dance and I have to do this.And so she takes that, like, kernel of something about Ellen or something about Justin Bieber and kind of dials it up, puts that absurdity, that caricature on it so perfectly.It's interesting that I, in my mind, associate Justin Bieber and Ellen DeGeneres.Those two are kind of almost one of the, they're very different, but I just lumped them together in my mind.Yeah, no, so epic. You're right. And I think she kind of debuted him around the same time as well.And I like when she takes, you know, celebrities like that in the impressions.And regardless of how much kind of they grow and change throughout their careers, I like that she kind of picks an era and kind of keeps the characters that, like, Justin Bieber, no matter how much he grew up, she kind of still played him as this, like, you know, baby heart.Heartthrob, you know, kind of still a little bit nervous and playing flirty, like throwing the hood up.It's okay. People can't see me doing my little shoulder shrug either, but, um, throwing the hood up and trying to act all coy.And I just thought, oh my God, it was so spot on.Track 4:[26:06] Yeah. Her Bieber, he, she played him like, uh, she captured the spirit of this young oblivious pop star who's so in love with himself.And I think that maybe that's the angle that Kate saw. And she just captured that aloof kind of thing about bieber that he just like really loved himself he did those they did those parodies of those calvin klein ads and i think that's where we first saw that seeing kate and tidy whiteys that was hilarious i think that's what you're saying like lack of modesty like she didn't care she she would parade around in tidy whiteys and for a sketch.Track 4:[26:42] And go all in. Like, I just, yeah, I love that about her.And I loved, too, if we're going to keep talking about favorite impressions, her, of course, Ruth Bader Ginsburg impression.And it makes me think of RBG like that and kind of wish that she was like that in real life.And I'm, like, convinced myself that that's how she was.But, you know, I mean, the Ginsburg.That's just so brilliant. It seems so simple, but I can't tell you how hard I laughed every time she came out on Weekend Update and did Ruth Bader Ginsburg and then would just burn all these people and, again, get up and dance and have the Ginsburg and just be all into it and being this little frail old 80-year-old woman just getting down.Let's focus. Now, were you swayed by any of the arguments you heard on Tuesday?Oh, man. They were useless.Useless. next time I'm just gonna put a crumpled up black cocktail napkin in my place no one will know I'm good the arguments I heard they were so weak I just hope they're not holding up Justice Scalia's chair oh that's a gills burn.Track 4:[27:57] Total commitment to to the character and to the bit that's what I always know Kate from her time at SNL as just somebody who just immersed herself into something.This Ruth Bader Ginsburg was perfect. And this wasn't even...Her voice was pretty spot on, the squeaky voice, but that was about it.This was kind of Kate putting on a robe and dancing on Weekend Update, and it was endlessly entertaining. So that's a really good call out.Track 4:[28:29] Gosh, I could go on and on. But even not just her impressions, but I think her ability to create an original character, too.I don't know that you can talk about you know Kate McKinnon potentially being in the hall of fame without talking about Colleen Rafferty in the close encounter sketches like oh my gosh I think I shed tears I laughed so hard during each and every one of those and again yeah the physicality and not just her own lack of modesty but I think forcing those in the sketch with her you know to kind of get up all up close to them and touch them and you know and get up all into their face and usually make them break um but gosh i just thought that was brilliant too to portray you know the third of a trio who clearly did not have the same experience these other people did, these fancy cats are seeing god meanwhile i'm starting phase two which is me sitting on a stool while 40 gray aliens take turns gently batting my knockers in.Track 4:[29:32] Did y'all get the knocker stuff? Uh, no. No knocker stuff. Sorry.And did you feel threatened, Ms. Rafferty? No. No, no, no, no, no.They were, uh, they were real respectful about it. They were... they were in a line.And then, uh, one by one, they'd step up, slap a knocker, and then go to end the line, wait for another turn.Kate, as a performer, you could tell she was like, well, it's not just going to be me that goes to 11, basically.I'm going to take all of you with me. I'm going to climb on Ryan Gosling.I'm going to do all this stuff to Liev Schreiber and...I'm going to bring you all along with me into this absurdity, whether you like it or not.I'm going to take you with me. That's like a powerful performer right there in Kate.I never thought about it totally that way, but she just was just such a powerful presence in kind of like a small stature.But she was so powerful up there on screen.Track 4:[30:38] Seriously. And I love this. I know Lauren hates it when they break, but I know the audiences love it.And especially in those, I mean, yeah, she wouldn't just make Ryan Gosling, you know, completely break down and laugh.But even like Aidy Bryant and those, you know, conducting the interview just could barely hold it together and ask their simple lines.So it's just, I think watching her was so great. They couldn't help but get immersed and forget where they were too. And you're at kind of go along with her.Yeah. Lauren, Lauren's like, oh, we're, uh, we're not the Carol Burnett show.We don't, uh, we don't do that kind of thing. but I guess it's okay for this one Kate keep doing your thing so that's probably that's probably in my mind what Lauren what Lauren told Kate right there it was a real good Lauren by the way I've been working on I've had like years to kind of like start fine-tuning my Lauren and at some point I'm gonna make all my guests do do their Lauren impression too so oh gosh please don't start with me and I would probably be terrible.I basically just do Dr. Evil when I try to do Morn.That's kind of my cheat code for it. I know it's like the worst kept secret that Mike Myers Yeah.Track 4:[31:50] This was Colleen Rafferty. Yeah, these close encounters.Perfectly weird like Kate character. It made me cry with laughter but also honestly made me tear up.I don't know some sadness some joy some sentimentality because she chose this as her unofficial send-off in her last show for a reason it was yeah it was the cold open, uh in her last show and she did calling rafferty and she did this like send-off where she was gonna go into the spaceship for good well earth, i love you thanks for letting me stay a while.Track 4:[32:39] Live from new york it's saturday night, it made me tear up i'm not even afraid to to say it like i was sitting there watching her last episode like what is this salty discharge like i'm i was like kind of crying like did it have that effect on you Ashley oh 100% yeah like you could ask my husband I was in tears because when I was devastated that she was leaving of course because I think Kate became SNL and it was so hard to imagine SNL without her so yeah obviously it was tears of you know just sadness that she was leaving and just that kind of oh trying to have to process that reality but just so brilliant that she chose that and what a way to kind of I love that she had the say in it and And kind of how she laughed on her terms and, and.Track 4:[33:29] To give that character that closure too and of course i you know you could tell that kate was tearing up so how could you not i mean yeah what a career like you said um she was on it for so long and um yeah don't don't worry i was absolutely bawling like a baby not even just tears like i was probably sorry yeah i think i think most snl fans like through the hardcore fans were sitting there on their couches crying a little bit another oddball character that i think we need to to bring up with kate she just excelled at playing these really odd i mean there's like probably a laundry list but she did this one nine times uh including her first full season in season 38 she broke broke out uh sheila savage the last call at the bar so so this this is hilarious she says like kate has this gift of saying like the grossest things with such sincerity and confidence, What's your name, sweetie?It's, uh, it's Sheila Sauvage. You can remember that because if you mix up the letters, it almost spells Vagisil.Track 4:[34:42] What's your handle, brother? They call me Ace Chuggins. Ace, get out!I'm wearing one of your bandages right now because I ran out of underwear.Mom, wow. Oh, my gosh. yeah like just the complete lack of inhibition like she did it with what like um dave chapelle louis ck adam sandler um larry david would just go yes oh and keenan's you know like pouring gasoline in his eyes on the side because you're right just these absolutely gross grotesque things coming out of her mouth and what she's doing you know at that bar and for keenan to be that kind of sane person that like, this is not okay.Like anyone else watching this would be completely tortured by it, but you couldn't help it. Just be me.Track 4:[35:29] At least for me, I get almost in tears laughing just so hard.I think the one with Dave Chappelle, especially, was one of the best ones.I just loved, again, like we keep saying about her, she goes all in and she takes it from a 10 to at least an 11, if not higher.There's certain performers. So there's different classes of performers.And some were if they're asked to do something like say say these insane gross things be so oddball and out there you could tell that that's against type and as they're performing it there they know that they're playing against type and so they're not all the way committed like that happens a lot of times with hosts so they bring a host on and then they have the host do this weird character maybe like scarlett johansson she's great love scarlett johansson but you could tell maybe sometimes it's scarlet's playing somebody weird that there's maybe an element of her that's almost calls attention to it while she's doing it but kate doesn't you think that this is really kate when when she's playing these characters like it's almost like a dana carvey kind of gift of sinking into a character and not calling attention to it so much Yeah, no, 100%. I think you're right.Oh my gosh, yeah, Dane is a perfect example of this, where they become so immersed in it.Track 4:[36:55] And I love that they don't take themselves too seriously. You're right.You see it a lot with hosts who just, they're so afraid of being embarrassed or how it's going to look and what the reviews are going to be that you can tell that they're holding back.And it completely changes the dynamic of that sketch. whereas yeah what Kate goes all in because she doesn't take herself too seriously I think she takes what she does very seriously clearly because she's so brilliant at it but I think that's the key of a good SNL performer is take what you do seriously but not yourself and I think that's why we got such amazing characters that other otherwise you could have walked away from a sketch being like okay wow that was odd why'd they do that and instead you got this oh my gosh what an epic, epic result we got from her yet again.I love that. What'd you say? Take the work seriously, but not yourself so seriously. Yeah. I love that.That's almost a perfect way to describe Kate and why maybe a lot of what she did worked on the show because she did find that formula of taking the work seriously, but letting herself go in the process. That's such a great way to put that.Ashley, I love it. Yeah, thank you. Yeah, I just, to me, that just seemed like the best way to describe it, because there's no way she could have done what she did if she took anything about herself seriously.Track 4:[38:15] Yeah, yeah. One last oddball character that I think about, too, is her, DeBette Goldry, the old, the actor, the actress from old Hollywood.Who's always on these panels sharing matter-of-fact anecdotes about how women were treated back then.What do you think is still holding women back?I think there are all these tiny little things. Like, you've got to change your hair to fit your type.Yeah, and you have to act a certain way so you don't get labeled as difficult.Yeah, you gotta eat arsenic to make your skin pale.What? Well, yeah, I mean, Samuel Goldwyn had a rule that all of his starlets had to eat arsenic tablets to make their skin glow.And then they discovered it made us, um, I'm sorry, what is the word? Psychotic.So to calm us down, they'd send in the monkey with a tray of opium, you know how it goes.Track 4:[39:09] That works because Kate is so matter-of-fact. as a performer about how she's sharing this awful stuff about what would happen to actresses in the whole of Hollywood.Right. Yeah. And it would have been so easy for that to have too closely mirrored Colleen Rafferty of, you know, trying to deliver this deadpan of all these horrible, ridiculous things.But that was such a different character. And it made you think it was a totally different concept again, because she was just so great at, again, the accent and her delving into that character made you believe you were talking to this old timey Hollywood actress.And, you know, when the interview is over and she's like, OK, I know what that means. And she starts undressing to lay on the table.Track 4:[39:49] It's kind of it could go right up to a point where you almost feel uncomfortable because there's probably way too much truth to that.But to that reality, but in a way that still lets you laugh at an otherwise very unfortunate reality.Reality yeah she's talking about things like forced marriages and tranquilizers being like just all sorts of very vivid descriptions of what what it must have been like and she just totally this like said and then she looks at the other people i think jen remember jennifer aniston being being on one or amma stone i think they were on actually the same one and she's just kind of looking at them like what that just what that's that's how it was like like am i right ladies like yeah am i right like you can relate that way probably yeah yeah yeah that's such a perfect kate like oddball character and she i think she did that four times it was toward more toward like her later the later half of her snl career but we love those and i speaking of like the almost later half of her snl career i think she had kate had a lot of things working against her as far as the era that she worked in because she was saddled with a lot of thankless roles because around 2016 Trump era hit unfortunately and it had a weird effect on comedy and SNL as well so I think Kate.Track 4:[41:19] Was almost i don't know doing sketch comedy with like weights attached to her in some ways with having to do political figures but ashley i don't know if you agree with this i think she did the best she could i think she did a really good job with a lot of potentially thank thankless political roles no i 100 agree you're right it's such a you know there's been unfortunately times in our country where it's is hey is it okay to laugh and i think snl has always been brilliant about reminding us as a country that it's okay to do that.Um, even when you otherwise don't feel like you should.And I think for, you know, a lot of people that Trump era was really jarring.And I know sometimes I've commented, gosh, is this too real to be funny?It's almost, it's not even satire anymore. This is real. But I think Kate was such a breath of fresh air through that.Track 4:[42:12] And I think by giving, I mean, they, she didn't just do, you know, female impressions. I know we talked about Justin Bieber, But she did Jeff Sessions and Rudy Giuliani.And again, just turned to these people that were certainly not very likable or well liked by most of the country and just made you laugh at the ridiculousness of it.And I think reminded people that it was okay to do that.And kind of like, okay, good. Yeah, this is ridiculous, right?Like, she's kind of highlighting, you know, the ridiculousness to what was going on in a way that I think made us not so scared anymore. more.And you're right, that could have really gone either way, I think, depending on the temperature of our country and were people ready to laugh at it.And I think Kate just had that knack of making it successful and getting us through that era.Track 4:[43:03] Yeah, I think she did the correct thing as far as you take like Jeff Sessions, Rudy Giuliani. Those are great examples.She didn't try to do spot on impressions, like maybe a little bit, certainly with the accents and things like that.But then she she inserted she tried to find the right angle to make it a unique impression, but also kind of roast those people. So like with Jeff Sessions, she played him like a possum.And she even, I mean, she made that obvious.I think there was even one time where Sessions was on maybe Weekend Update or a sketch and she had him eating like something like a possum would, like a rodent.So that's how she decided to play Jeff Sessions as this like rodent type of squirrely kind of character.And I think that was the perfect way to go about it. Do you really not remember meeting with George Papadopoulos about Russia?Well, you know, Colin, I've had some memory problems stemming from a childhood trauma.A childhood trauma? What was that?The passing of the Civil Rights Act.Track 4:[44:13] Yeah, and I think, too, I think we would be remiss if we didn't talk about her Kellyanne Conway impression through all of that, And especially the Pennywise pre-recorded sketch that they did, or was it Kelly wise?I'm not really sure. I can't remember now that I'm talking. Yeah. They turned it into, but again, just taking it just far enough to be a little bit roast of the character, but also, you know, enough past it for us, you know, the logical parts of our brains to remember that this is a parody of, And, you know, not taking it too far to like, I think, actually, you know, forget that those are still human beings.Track 4:[44:51] She's just so brilliant at towing that line and taking it over the top.Just again, like like Kelly Wise.Yeah, it was almost. Yeah, it was almost perfect that she played Kellyanne Conway.Like that was the Kelly Wise one was a logical extension of how she played Kellyanne.She almost played Kellyanne like a horror, like a movie villain, like a horror movie villain anyway.Yeah, there was this emptiness. behind her Kellyanne behind those eyes just like really creepiness and slightly unhinged that's how she played Kellyanne so like dressing her up as a clown and doing the whole Kelly wise thing was like almost a perfect extension of just how she played that character in general and she had to do this like 16 times so so it could have just been become another boring political impression Russian, but she made it her own.It's me, Kellyanne Conway.Track 4:[45:43] But you can call me Kellywise. Kellywise, the dancing clown.Track 4:[45:49] It's Kellyanne. What'd you do to your makeup? I toned it down.Put me on TV. I have to go. Wait, don't go.Don't you want a coat? No. I'll give you a coat. I'll give you a crazy, crazy coat.How about this? Okay, so Puerto Rico actually was worse before Hurricane Maria and the hurricane actually did blow some buildings back together.And I don't know why Elizabeth Warren won't tweet about that. That's insane.I know. I think, too, just, yeah, playing off the fact that there was always something in it for Kelly.She wasn't doing it for anybody else. And I think that Kelly Wise sketch really sold that message home, too.I keep thinking, too, of her physicality. With Rudy Giuliani, she decided to play him almost like the Crypt Keeper or like a serpent in some ways.Her Giuliani would sit there and he would manipulate his hands like they were spiders.Track 4:[46:45] These little mannerisms. It was just so perfect the way she played Giuliani because she could have just said, I'll just do an impression and let the crazy things that he says in real life speak for themselves.I think that was a crutch that SNL maybe still hasn't shaken, is sometimes they'll just do verbatim what the person said.But I appreciate Kate, because she tried to find a different angle, even if it was with her physical performance.So a lot of people don't necessarily appreciate that, about that era of political SNL was how Kate approached it.It yeah 100 because i think too they get so stuck on okay we need an impressionist who's gonna nail it and be so much like this person and i think you know will ferrell's george w bush i think kind of lulled snl into that because he was so spot on with it and then trying to find i think they go through like three or four different cast members trying to find someone to replace will ferrell's george w bush after that because they wanted so badly for it to be the way will ferrell did it and they just couldn't they couldn't replicate it and i think that's what was so genius about kate was once a cast member would leave who had otherwise done that impression and she stepped in to do it she made it her own she made it totally different so that way it wasn't like it was an exact comparison to either the real person or the cast member who had done it before.Track 4:[48:07] Yeah yeah that's a really great point kate almost played a president that she played hillary clinton and I think she really found...She did it over 20 times and I think she really...Track 4:[48:23] To me kind of subtly found this great angle on hillary like this element of desperation, but also competence at the same time like part of the joke was that she was so competent that it was boring so she would try to like spice things up and maybe the real hillary tried to do that a little bit too in 2016.Besides who can remember how many states i've lost in a row is it a two or is it three i don't hey miss clinton i'm here to fix seven holes in your wall.Track 4:[48:55] Come to think of it it might have been seven and and that's fantastic it humanizes me i'm the underdog now i'm this election's rudy and i like that after all i don't want to be a big old b and win every single state that's no fun she captured like like i said like the desperation but also So there was competence in how she played Hillary.Yeah. And again, she had to follow Amy Poehler's impression of Hillary Clinton, which was super popular.And again, made it her own.And they were both such perfect, you know, Hillarys, for sure.And same with Elizabeth Warren.Her impression of Elizabeth Warren was just so...I think that one was probably a little bit more like spot on to how she was.Um or at least how i i saw her in in media i put down enthusiastic nerd for uh elizabeth warren, yes yes oh my god yes oh and then she did that tiktok with her i don't know if you saw that where it was like the the drake um was the the drake song was the trend i think oh okay gosh again i'm an elder millennial i'm not cool enough to remember the names of these songs anymore but But, yeah, and just taking it outside of, like, a live SNL sketch and, you know, portraying, you know, some of these people in things like TikTok, I thought was genius.Track 4:[50:18] Yeah, so. You should look it up if you haven't seen it. Yeah, I will, because I actually haven't seen that one pass me by.Again, elder millennial, Drake, TikTok, these are all, like, words I barely know. So.Track 4:[50:33] I'll go take a look. Recently, like Robert Mueller, Anthony Fauci, like those could have been really thankless.Track 4:[50:40] But I think she found like a funny angle on Fauci, too.Track 4:[50:45] Just like especially that was a little more spot on and the way she looked and like her Fauci was just fun to listen to and look at.So even in like the later Kate years, she still tried to I think she still tried to work hard to find angles on on different societal and political figures.Figures and i think too we saw that with um doctor we notice kind of late on i think she only did that maybe two or three times but um i love how that kind of blended and it always turned into kate are you okay you know joe's asking her you know being that fourth wall even more so um and kind of reminding us hey kate um are you are you gonna be okay and her trying to get through the rest of that sketch i thought was really great and really again kind of captured how everyone was processing you know 2020 and 2021 um yeah like her doing those fourth wall breaks like i remember a cold open that she she hosted a talk show where it was just essentially her i think even the title of the talk show is like like what the hell is happening it was like in something along those lines where kate was just like marveling at just like the the craziness of of what was happening in the world.Track 4:[51:57] And I like seeing Kate start to almost share her exasperation about what was happening in the world through characters and sketches like that.So we started seeing Kate more, kind of come out of her shell a little bit in that way, as far as just like, the doctor we noticed was perfect.Track 4:[52:16] Fourth wall break and asking her like are you are you okay what's going on kate like i yeah i just i thought that was perfect and now he's holding rallies yeah who does this he did this we notice we hate us he do this we notice.Track 4:[52:31] I'm sorry doctor we notice um yes are are you saying we know this or are you just saying your last name oh okay we know this is greek in english it translates to we know this like we're aware of this okay okay yeah i think i think i got it are there any like almost hidden gems or one-off, sketches or anything like that that might maybe maybe she did once or twice that just always like tickled you oh my god yes did you did you see or do you remember the birds sketch it had john mulaney in it and it was keenan it was like the turner classic movies and he is playing you know reese to what and it's this you know supposed cut scene from alfred hitchcock's the birds, that oh my god gets me every time because it's just so ridiculous you've got to do something Please, these birds, they're the jerk of the year.Has anyone said, like, shoo, get out of here, bird, like with a hand wave?No, no, there's too many and they're too mean. Okay, so these are birds of prey, like a hawk or an eagle?No, no, they're seagulls, you know, the little guys that eat french fries at the beach. Oh, no, look!Track 4:[53:57] They set fire to the gas station. How? Wow.Sir, I cannot explain. She plays the main actress in the movie who's running from the birds and Kate runs into this phone booth, locks herself in and she calls the sheriff and the sheriff is played by john mulaney and kate's just hysterical and beside herself and the birds the birds are killing everyone and john mulaney is basically playing himself in this sketch and it's like i'm sorry like they're just like pecking a lot of people or like what's happening just like no they're murdering us all she's so hysterical he's trying to be like she's like there's no time to explain you have have to come quick and he's like no no no i need you to explain like you just said the birds murdered a man i need you to explain how that's possible and to me that is just one of the funniest one-offs that i think she ever did and um beck bennett kind of runs off and on screen every now and then getting attacked by the birds and then it just keeps getting more ridiculous and now now the birds have picked up turtles and they're throwing turtles at people and now the turtles can fly like the bird it just look at this could have been the most random dud tank of a sketch and to me it's one of the funniest things that she did the entire time.Track 4:[55:20] She's so good about playing that dramatic old hollywood kind of delivery that affectation that's so good i remember that sketch i found it hilarious and it was it was just like the premise was super silly the premise was almost like yeah that makes sense like you watch the movie and you're kind of you are thinking I remember I saw it when I was like a teenager or something and I remember thinking wait these birds are like murdering people like what what this doesn't make sense why I like Hitchcock but what so I think yeah that's where they were coming from and Kate delivered that so well I love her affectation it's kind of funny that you bring up like how when she played like a 1950s actress because the one off that really like spoke to me with kate was from season 44 i don't know if you remember teacher fell down yes oh my god i almost forgot about that one yeah the sketch started with uh it just shows a shot of the outside of a school then you hear like this commotion in class and the students are like oh like gasp and then the sketch starts with kate just like on the ground just laying with her legs out almost like I'm a seated but with her legs out and she does this monologue this dramatic monologue almost like a scene from a.Track 4:[56:38] 1950s movie about how she fell down and we got in this predicament and we're in this together and and, I've been doing some thinking about this. And then just the reactions of the students like Jonah Hill, A.D.Bryan, and Pete Davidson have these like perfect reactions to this teacher who's just like she fell down and she's monologuing. And it's because she was wearing willies. Her shoes had wheels on them, so she fell.Track 4:[57:05] But just Kate's just like commitment in her delivery, her affectation is this 1950s dramatic delivery.Like Teacher Fell Down is kind of like, over the last five or ten years, one that I always go to is like, this was such like a possible, unappreciated, one-off, weird kind of thing that I totally connected with. Teacher fell down.Are you okay? Yeah, because you really fell down there. No, you need like help?No, no. It's too late for that.Track 4:[57:42] Teachers on the ground like a silly little girl well i'm not a little girl and i didn't fall.Track 4:[57:50] Yes you did do you want to like get up.Track 4:[57:53] Though no no we're staying in this i loved it i think because i am also kind of weird and random that i connected so much with kate and the characters that she did because it's like she made it okay to be weird and random and people celebrated it and enjoyed it and yeah like again just this she's having this existential crisis in front of a bunch of high schoolers like on the floor but it it made it funny like i just yeah um even even the one-offs like you said are so memorable when 80s says he said she's sharing her existential crisis with the students and when 80s says don't tell us stuff like that i love like i could just imagine like some 16 year old like i don't want to hear about my teacher's life like don't tell us stuff like why are you saying why are you telling us this yeah did you have any any more were you about to say oh gosh i don't know if it was a one-off but i loved when she did the russian like olia um and she was like again same thing like this deadpan delivery of like all these horrible things happening to her in russia um but oh don't worry america like you know you're going through this but you know we don't have you know like food um but no i don't think that was a one-off because i think she did olia a few times but yeah that was a great weekend character yeah yes it's around the same time she was doing the the angela merkel.Track 4:[59:23] One-two-one weekend update yes yes oh god see she did so much i can't imagine kate not being a candidate for the hall of fame like i think that would just be criminal i know i know it's amazing my wife's a french teacher so one sketch that this is like maybe the last one that i'll bring up but one sketch that i had to show my wife because she's a french teacher was the america's funniest pets okay well then i'm gonna let you guys handle this next clip of a cat who has this It's his first taste of ice cream.Track 4:[59:55] This cat has seconds to live. She purposefully cut off her oxygen.This life is too much to bear. She is quietly backing out of this world.And she will not be missed.That's a funny cat. Yeah, very funny cat.Kate and Cecily were playing these French women commenting on pet videos.And they were these cute pet videos, but they were playing these nihilistic French women who were inserting these like these like kind of messed up scenarios with these pets and it was such wonderful caricatures and i showed my french teacher wife and she's like that's really funny like it's kind of a funny uh take on like a stereotypical take on like french culture aspects about french culture but that was one where she she and cecily were great in that and She was a really good teammate and especially had great chemistry with Aidy Bryant.Is that one of the better duos, do you think, that we've seen on SNL, Kate and Aidy?Oh, I think that would definitely be up there with Molly Shannon and Sherry O'Terry and those kind of duos. Like Tina Fey and Amy Poehler, I think.Track 4:[1:01:06] Maybe not quite as iconic as that um again tina's my queen um but i think kate and ade like fats and, is it dyke and fats um the top duo sketches that they did together and then the um the spiced meats that they were selling on weekend update um the like um whatever farms they're both vegetarians and they're trying to talk about this like rancid meat that's sitting in front of them um yeah Yeah, their duo together was perfection.I loved it so much. Yeah, they were so good together.And you could tell that they just fed off of each other's energy so well.There was a fairly recent one.John Krasinski hosted the episode. I thought it was a great episode all around.But they did one where it was like a game show from the early 90s. And they were partners.But they went on like there were these couples. And then it was Kate and 80.And it was obviously they wouldn't say because it was the early 90s.But they were a lesbian couple. couple and the way they talk to each other like you're my soulmate you're my life I like this.Track 4:[1:02:09] Just like they're you can do it yeah you can exactly there's chemistry was so so great that was like a wonderful encapsulation to me of just how Kate and 80 work together so well now let's learn a little bit about our front runners what do you guys do for work I have a doctorate in grocery riddles that's right I'm a I'm a Unitarian minister neat what will you do with the money if, Well, our blind horse needs a full-time nurse.My snowshoes are looking a little ratty. And I do need titanium ankles, because mine are just sort of bone on bone. Ouchie!Track 4:[1:02:43] Well, good luck catching up, couples, because these two are really in sync.Yeah. We got a really good thing. Yeah, this woman taught me how to trust.Sometimes I lie awake, praying that we die in the same moment.Kate is one of the... She was in one of the biggest movies of, like, last year, Barbie.I thought she did really great. She played weird Barbie, of course, but other Barbie would, would Kate play and do well.I mean, she could probably play any Barbie, but she was just so perfect as weird Barbie, really memorable performance.That said, how could you see her post SNL career kind of playing out like types of roles?And what would you like to see her do with her post SNL career?Track 4:[1:03:25] Oh, gosh, yeah, I mean, she was brilliant in it. And I think obviously, you know, uh, Greta Gerwig was, you know, her friend since forever.And so I think knew that too about that Kate would be perfect for that role. Um, I mean, it's hard to say as much as I love her. I don't know that I see Kate in this, like, you know, she's the main kind of starring character.I think she's always going to kind of be this like supporting actress role, but you're right.Like you said earlier, she's such a good teammate that I think she understands that that kind of followership role in comedy or in a movie is just as important as like the lead.And she really makes it such a well-rounded project to be in.And so I would just love to see more of that.I know she's had, you know, a few of those things here and there where it's been that side character.I think Barbie, again, was the biggest and most brilliant and kind of the most mainstream that we've seen her do.I would love that. I know we've seen like Maya Rudolph and Kristen Wiig get a lot of like recurring kind of shows now.Track 4:[1:04:26] I do think kind of in that smaller kind of show realm, Kate would be perfect for like a main role like that.Just anything that Kate wants to be in, I will watch. watch um is essentially all that i ask is that she keeps making comedy and kind of showing us that it's okay to be weird and random and people will enjoy it yeah 100 i can see you're settling in so you said maya because maya appears for guest spots and so many different things and it's always appreciated will forte is another one where he he appears in so many things he did get a chance at a leading role in the last man on earth and maybe kate will get a chance to do something like that but I can see her settling into like how will Forte settled in as we bring in this person to do a few minutes on this episode and they totally steal the show and they're so great and I think that's the kind the type of energy that she has I can totally see her settling into something like that and you're right whatever whatever she wants to do especially if it's in comedy.Track 4:[1:05:27] I'm all aboard. I'm just so interested to see what she's going to do in the next few years.Yeah and i hope that barbie was that kind of catalyst for more projects to come her way because she certainly deserves it yeah we always we talked a lot about her sketches as that kind of old hollywood actress and her making fun of the drama but really if you isolate those i mean i think she could pull it off too like she has that seriousness and the commitment to it to really do anything and have such a range of work available to her hopefully yeah i think so so So, not like it should even be a question.To me, this is one of the more obvious ones that we have, just in general, especially this season.Track 4:[1:06:13] But, why do you think SNL Hall of Fame voters should put Kate in the Hall of Fame in her first season of eligibility?Track 4:[1:06:21] I think she's just iconic. I think she really became one of those big names that you think of when you go through all those different casts over the years.I think her name holds up.And again, elder millennial, as we keep saying, so I still have the actual D of the best of, you know, when they would actually publish the DVDs of, you know, there's like three or four volumes of Will Ferrell and best of Chris Farley and everything.And I think that is kind of when you think of what goes on those types of, I don't even think we call them DVDs anymore, but those, those movies that you're going to put together is, can you fill 90 minutes of just this this one player and you could i think fill two or three volumes for kate mckinnon because she became so iconic and had so many roles that we identified with and love and quote and reference today in pop culture um and i think too one snl is such a big part of pop culture but i think the mark of a hall of famer is you know when that comedian comedian and their characters become part of pop culture outside of SNL.And I think Kate's really done that for comedy and continued to really kind of evolve it and evolve it for women.And I think be such a great role model for, you know, comedians to look up to and try to emulate.Track 4:[1:07:46] Like we said, the kind of the traits of an SNL character in a lab, I mean, she has them all.I think if you you could literally build somebody to be on SNL, I think they would look exactly like Kate McKinnon.And I can't imagine anybody else not being eligible, even though it's just her first year.Track 2:[1:08:17] So there's that. Kate McKinnon nominated for the SNL Hall of Fame in the cast member category.Track 2:[1:08:26] It's going to be interesting to see what kind of votes she receives.She's a first ballot Hall of Famer to me. It's a slam dunk.And it's just a matter of what percentage she gets in with. Does she top Dana Carvey and Will Ferrell?Does she you know just squeak through ultimately the percentages don't matter once you're in but they are curious to note and we will be noting them to satisfy your curiosity speaking of curiosity why don't we go to a sketch now with ms mckinnon this is a good sketch and i I want to just set it

Have you ever wondered where the relaxing sounds you listen to come from?  When you take this Journey of Relaxation with me you will know exactly where and when it was recorded.These relaxing sounds are coming to you from Seacliff on October 2, 2021 9:00 am.New intro Support the showTake a moment to find the beauty of nature every day,Duchess of the DunesTikTokFacebookYouTube

In this episode Matt and I chat over how years of using and abusing his body eventually led him to yoga where he explored his curiosity for understanding his unique path to feeling better. About Matt Yoga instructor Matt Giordano gives credit to an influential figure from his teenage years – his high school art teacher – for sparking within him the curiosity and tenacity that eventually led him to yoga. It was Eileen Walk who told Giordano, “You are not allowed to say ‘I can't.' You must rephrase to a question: ‘How?'” That inquisitive and unrelenting spirit laid the foundation for Matt to begin a devoted yoga practice. When coupled with his passion to understand the physics and subtle alignment of the body, Matt's dharma as a teacher came into focus. Originally from Sea Cliff, Long Island, Giordano spent 7 years developing his teaching style while living in Manhattan, where he taught at local studios (Pure NYC, Equinox). Matt now travels internationally to teach his signature technique-based style of yoga, educating yoga students on how to use their bodies in a profound and life-changing way. Well known for his ability to guide students deeply into postures with his refined attention to detail and precise action cues, Giordano is an adept guide for students of all levels at festivals, workshops, and in his weekly studio classes. His study of biomechanics and integrative mind-body techniques informs his teaching, as he draws upon wisdom from traditions of yoga, martial arts (Aikido and Tae Kwon Do), acrobatics, AcroYoga, and Thai Yoga Massage. Matt is known to inspire humble confidence, allowing students to find ease while expanding the edge of their comfort zones. In 2016, Matt created and founded an international school of yoga that focuses on community, growth and authentic teaching, and he hosts trainings each year out of his home in northwest Connecticut. __________________________________________________________________________________________________ Learn More with Matt:Matt Giordano website Matt's YouTube Matt's Instagram ----------------------------------------------------------------- My Socials:   ⁠Celest's Instagram⁠ ⁠Celest's Website ⁠ ⁠Too Flexible To Feel Good Book

90+days on market Santa Clara County  Bay Area Luxury homes  Fraud on the rise http://blog.abitano.com/2023/08/title-theft-is-on-rise-what-is-it-how.html Robin Williams' former Sea Cliff home for sale for $25M Fire weather watch issued for large swath of California Homebuyer Workshop https://event.webinarjam.com/register/6/8oz4kcg Bay Area 10 County Report https://www.onereal.com/vito-scarnecchia-1 View on YouTubeView on Facebook (Vito Scarnecchia)View on Facebook (Abitano Group)View on Facebook (San Jose Living)View on LinkedIn --- Send in a voice message: https://podcasters.spotify.com/pod/show/siliconvalleyliving/message

Bill Horan meets Cal Krinsky, a 9-year-old 4th grader at Sea Cliff Elementary School - who has become a local celebrity here on Long Island for raising money for the Sid Jacobson Jewish Community Center in Greenville by donating his homemade artwork to people who make donations that will be used to purchase new art supplies and more. Cal is here with his mom, Jaime Teich.

You can watch the VIDEO version of this episode here: Terror On The Tube (made for TV movie review) Ep. 38--The Haunting of Seacliff Inn 1994 - YouTube On Terror On The Tube, Joel, Peter, and Allyson pick, at random, a made-for-TV horror/suspense movie that aired sometime during the decades of the 1970s, 80s, or 90s. In this episode we talk about The Haunting of Seacliff Inn from 1994. Originally released on USA Network on Thursday, September 22nd, 1994, The Haunting of Seacliff Inn stars Ally Sheedy, William R. Moses, Lucinda Weist, Tom McCleister, and Maxine Stuart. ................................................................................................................................................ Synopsis: Susan and Mark move to a seaside town to buy an old house and open an inn. They came to look at one house, but Susan is inexplicably drawn to another. The house is high on a cliff overlooking a lonely beach. Something eerie is going on. A scary black dog appears. One strange guest stays at the inn. Susan finds letters in the attic written long ago by a wife who was terrified of something. What happened then is happening again now! ................................................................................................................................................ ................................................................................................................................................ Special thanks to Ross Bugden for the use of his music for the theme of this podcast under the Creative Commons Attribution 4.0 International License. You can find the track titled Something Wicked here.

Yes, Edward Lieberman is a former assistant district attorney and mayor of Seacliff but just as importantly, he is a long-time listener of the Long Island History Project. So when he reached out to talk about his own forays into Long Island history, we were all ears. On today's episode you'll hear about his work conducting historic bus tours around the Island, focusing on the Oyster Bay area but also venturing into Jones Beach and Great Neck. Further Research Sagamore Hill National Historic Site Bayville Bridge Rehabilitation The Mansion at Glen Cove Jones Beach State Park

Bill McIntyre talks with Nassau County Legislator Delia DeRiggi-Whitton. She serves the 11th district, which includes Sands Point, Port Washington, Roslyn, Roslyn Harbor, Glen Head, Glenwood, Sea Cliff and Glen Cove. They talk about the potential casino coming to Nassau Coliseum, and about the resignation of Nassau's Inspector General.

There is a vibrant and growing hub of education entrepreneurship and alternative learning models in New York City, and our guests today are a part of that. Jacob Greebel and Melissa Sornik, both licensed social workers and experienced therapists, founded Acton Academy Seacliff in 2020 in Seacliff, New York on Long Island, but decided to move their Acton Academy into the heart of Manhattan. In their private practice, they see mounting school-related youth anxiety and believe that alternative education models, and the Acton model in particular, can be a beneficial antidote.  Jacob and Melissa are planning to open the doors on Synergy: An Acton Academy in New York City this fall.  Sign up for my free, weekly email newsletter on education trends at fee.org/liberated.

Michael Sears' first novel, the best-seller BLACK FRIDAYS, a financial thriller with heart, took the Shamus award and was short-listed for the Edgar and three other major awards. MORTAL BONDS, the critically-acclaimed second novel in the Jason Stafford series, won the Silver Falchion at Killer Nashville. Continuing the series, LONG WAY DOWN, was described as "one of the best thrillers of 2015." SAVING JASON is the fourth in the series. Tower of Babel begins a brand new series, exploring the world of Queens, NY -- its denizens, their tormentors, and their heroes. Until 2005, Mr. Sears was a Managing Director for two different Wall Street firms, where he worked in the bond market for twenty years and, earlier, in foreign exchange and derivatives. Prior to returning to Columbia University for his MBA, he was, for eight years, a professional actor appearing at the Shakespeare Theatre of Washington (Folger Theatre), Playwright's Theater of Washington, New Jersey Shakespeare Festival, The Comedy Stage Co., and, in the course of a single year, every soap opera shot in New York City.   He is married to the artist and poet, Barbara Segal.  Together with the not-altogether-domesticated cat, Penelope, they live in Sea Cliff, NY, within sight of the towers of New York.

On this week's Filling the Void, Lesley talks to writer and director Mike Luciano (HBO's Animals) about his hobby of researching local histories. What started as a 5th grade school project has turned into years of exploring old photo archives, from 1940s New York to LA's '80s rave scene to Depression-era life in his hometown, Sea Cliff. To talk to Lesley about your hobby, you can email the podcast at fillthevoidpod@gmail.com. Filling the Voiding is part of the Earios Network. This episode is produced, engineered, and edited by Alex Paul. Theme music by Michael Cassidy.Map Pointz: https://www.instagram.com/map_pointz/?hl=enVeterans and Rucas: https://www.instagram.com/veteranas_and_rucas/?hl=en12 Sunsets: https://12sunsets.getty.edu/Boroughs of New York City: 1940s: https://1940s.nyc/1980s: http://80s.nyc/ Hosted on Acast. See acast.com/privacy for more information.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

In this episode, we bring you the calming sounds of the ocean as you stand on top of a sea cliff. As you listen to the gentle ebb and flow of the waves and the distant calls of sea birds, you'll feel a sense of peace and tranquility wash over you. This episode features only natural soundscapes with no dialogue or voice, making it perfect for unwinding after a long day or for use during meditation or yoga practice. Whether you're a beach lover or simply looking for a calming and soothing backdrop to your day, "On Top of a Sea Cliff" is the perfect way to unwind and find inner peace.Tags: relaxation, sleep, ocean sounds, sea cliff, white noise, natural sounds, meditation, yoga, mindfulness, soothing soundsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Rachel Stewart chats with Robbie Phillips about his climbing endeavour and film.

In this year's Hike For Hope, Roo is walking 30km from Seacliff to Adelaide to support local charity Kickstart For Kids. We caught up with Founder, Ian Steel to learn more about the importance of supporting disadvantaged school children in South Australia.  See omnystudio.com/listener for privacy information.

In this year's Hike For Hope, Roo is walking 30km from Seacliff to Adelaide to support local charity Kickstart For Kids. We caught up with Founder, Ian Steel to learn more about the importance of supporting disadvantaged school children in South Australia.  See omnystudio.com/listener for privacy information.

This morning on Roo, Ditts and Loz we speak with the father of the teen who was attacked by a 4 metre shark 700m off the coast at Seacliff. Murray Drummond joins us to share his thoughts about what he witnessed and the experience his son, Nate went through. Picture: Getty/Surf Live Saving SASee omnystudio.com/listener for privacy information.

Pennie Stuart and Dan Holland visit the jaw dropping National Trust for Scotland's Inverewe Gardens, a place which feels like a tropical paradise right in the heart of a Highland wilderness! Walking around the garden its hard to believe it was the brainchild of just one man, the visionary plantsman, Osgood Mackenzie.   In the year marking the centenary of Osgood's death, its amazing to see how his legacy continues to grow and thrive.  Away from the garden, Pennie heads north to climb an undiscovered gem of a sea-cliff with Hamlet Mountaineering while Dan dives into the remarkable history of one of the most daring allied operations of World War 2 at the Arctic Convoy Museum.  Tropical paradise, hidden histories and daring sea-cliff climbs come together in this inspirational episode! Plan your North Coast 550 adventure and download the North Coast 500 App The North Coast 500 podcast is an Adventurous Audio production

Bill McIntyre and Matt Leonard meet members of, and get a live performance from the rock band KONKUSSION - including 15-year-old twins from Great Neck, Noa and Ella Pourmoradi, as well as 15-year-old Ava Peterson and 13-year-old Wes Peterson from Sea Cliff.

Eulabee und ihrer charismatischen Freundin Maria Fabiola gehören die Straßen von Sea Cliff, wo die Häuser prachtvoll und die Strände wild sind. Morgens gehen sie im Faltenrock zur Mädchenschule, nachmittags spüren sie ihre Macht, wenn sie frei und furchtlos über die Klippen rennen. Eines Morgens werden sie von einem Mann in einem weißen Auto angehalten. Er fragt nach der Uhrzeit, Eulabee schaut auf ihre Swatch. Doch was danach passiert, darin sind sich die Mädchen uneinig. Angefasst habe der Mann sich, erzählt Maria Fabiola der Polizei. Eulabee widerspricht ihr – und wird plötzlich zur Ausgestoßenen.Vor der Kulisse der sich verändernden Landschaft von San Francisco erzählt Vendela Vida von der Grausamkeit der Jugend, von verlorener Unschuld, Lügen und Verrat.(Quelle: Verlagstext)

Alex Deegan's obsession with drumming began when he was living in Whyalla attending Primary School. His teacher Sister Bernadette invited a drummer to come along to class with his kit to do a talk about drums, Alex put his hand up when the drummer asked if anyone would like to have a go at playing, and despite never having the opportunity to play before he managed to do an impressive roll down the toms to which the drummer responded by saying that he should take some lessons as he had a natural talent. He began to have lessons with that drummer which mainly involved watching him play for an hour, needless to say those lessons didn't last for long with Alex being keen to have more of a hands on role. Alex began performing live at the age of 8, with his earliest memory being drumming in the school play. His brother Ray also decided to play the drums and when the family moved to Seacliff their dad converted the garage into a practice room and they got their first kit, this was a problem as unlike Alex, Ray was left-handed. Alex was addicted to playing, would rush home from school so that he could beat his brother home. His sister Christine noticed how keen he was and suggested that Alex start having lessons, their parents agreed and Alex began having lessons at John Reynolds Music City with Greg Mundy. After a year or so Christine had a chat with Greg to see how Alex was progressing, Greg advised that he had taught him as much as he could and that if Alex was to progress further that he should begin to have lessons with another teacher. At 13 years of age Alex studied with renowned Adelaide percussionist Jim Bailey and he continued with Jim up until Alex left Adelaide for the first time. Alex joined his first professional band 'Idiot Stick' when he was 15, their first gig was at the Tivoli hotel. Alex having been an avid reader of 'Modern Drummer Magazine' for many years, began playing a drum solo when the guitarist had to replace a broken string. When he finished playing he was introduced to one of the other bands on the bill 'The Touch', who were looking for a drummer, he joined and at 18 years of age they began touring. Alex's career has seen him perform all over Australia having lived and worked in the music scenes of Adelaide, Sydney and Melbourne where he has resided since 1995 after being invited to audition to play for 'Out Of Control'. He began working and teaching at DRUMTEK, and eventually writing articles for Australia's #1 Drum Magazine DRUMscene after coming second in the Best Up & Coming Drummer Competition. Throughout his career Alex has toured, recorded, and co-written with many bands and artists both nationally and internationally. Some of Alex's achievements include: Australian Platinum Number 1 Single "Wasabi" by Lee Harding, Award winning albums by Australian Country Artists Carter & Carter and Sue Boyd, MTV Awards performance with American Pop Artist Teddy Geiger, Touring nationally with Sony Artist Marie Wilson, on call session drummer for Birdland studios in Melbourne, Guest artist on "Australia's Ultimate Drummers Weekend 2004" internationally released DVD with 'Dom & Friends', Featured artist on "Australia's Ultimate Drummers Weekend 2003" internationally released DVD. Music "Band It About" theme song, written & recorded by Catherine Lambert and Michael Bryant. Outro "Tonight" by SHADOWQUEEN. Issue 102 available now, Alex's feature interview with Australian drumming legend Graham Morgan https://www.drumscene.com.au/ DRUMTEK: https://www.drumtek.com.au/ http://www.shadowqueen.com.au/ https://truckofficial.com.au/ BAND IT ABOUT - Podcast Series Links: https://linktr.ee/banditaboutpodcastseries #alexdeegan #drumtek --- Send in a voice message: https://anchor.fm/dianne-spillane/message

Here are some of my favorite date places in and around Sea Cliff. I think we could all use more time with friends and family and our significant others after the past two years of being pretty isolated. When you live on the North Shore there are so many great options to choose from. Here are some of my favorite places to enjoy breakfast, lunch, desert, and cocktails locally. if you have any questions about any our favorites spots or real estate, feel free to contact me at (646) 331-1237 or Raquel.knoell@elliman.com or @Teamknoell

One Man's Family was a 30-minute family drama radio series sponsored by Snowdrift and Wesson Oil. Created by Carlton E. Morse, the thing about this radio show was that it is divided into books and chapters like those of literary works. The story was about the daily life and struggles of a family living in a Sea Cliff in San Francisco, California --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

One Man's Family was a 30-minute family drama radio series sponsored by Snowdrift and Wesson Oil. Created by Carlton E. Morse, the thing about this radio show was that it is divided into books and chapters like those of literary works. The story was about the daily life and struggles of a family living in a Sea Cliff in San Francisco, California --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

One Man's Family was a 30-minute family drama radio series sponsored by Snowdrift and Wesson Oil. Created by Carlton E. Morse, the thing about this radio show was that it is divided into books and chapters like those of literary works. The story was about the daily life and struggles of a family living in a Sea Cliff in San Francisco, California --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

One Man's Family was a 30-minute family drama radio series sponsored by Snowdrift and Wesson Oil. Created by Carlton E. Morse, the thing about this radio show was that it is divided into books and chapters like those of literary works. The story was about the daily life and struggles of a family living in a Sea Cliff in San Francisco, California --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

One Man's Family was a 30-minute family drama radio series sponsored by Snowdrift and Wesson Oil. Created by Carlton E. Morse, the thing about this radio show was that it is divided into books and chapters like those of literary works. The story was about the daily life and struggles of a family living in a Sea Cliff in San Francisco, California --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

“At first. What I did have the drive for was to share this practice of yoga that I loved so much. And I wanted everybody to experience the transformation that I was experiencing.”Welcome to Episode #2 of The Out of Your Mind Podcast. Thank you for taking time out of your busy schedule to show up for yourself and tune in. In this week's episode, I sat down to chat with Matt Giordano, an expert on all things yoga & self-inquiry, where we took a deep dive into the growth process and the accessibility of success in the helping fields. Matt's Bio:Originally from Sea Cliff, Long Island, Matt spent 7 years developing his teaching style while living in Manhattan, where he taught at local studios (Pure NYC, Equinox). Matt now travels internationally to teach his signature technique-based style of yoga, educating yoga students on how to use their bodies in a profound and life-changing way. Well known for his ability to guide students deeply into postures with his refined attention to detail and precise action cues, Giordano is an adept guide for students of all levels at festivals, workshops, and in his weekly studio classes.If you'd like to cultivate a more positive inner state and attract greater success, you're going to want to grab our 30-day Abundance and Manifestation challenge. Where I give you a play-by-play plan to shift your thoughts & beliefs so that you can experience more of what you want from life. My secret sauce to 2Xing my business with ½ the effort and time. Get your access now at www.pamgodbois.com/freebieHere's a quick glance at this episode…[00:02:20] The power of comparison, and how we can shift into action.[00:07:20] The social media strategy he has used to build his large following. [00:18:00] How his own spiritual work, supporting his growth as a teacher and entrepreneur. [00:26:50] Becoming the person he needed to BE to up-level.[00:42:40] The secret to success, according to Matt and others he has observed. What inspired you in this episode? I'd love to hear from you. Take a screenshot, tag @pamgodboiscoaching and  @theyogimatt on Instagram, and share something that resonated with you from this week's episode with Matt Giordano. Find Matt at:www.theyogimatt.comOn all other platforms at @theyogimatt        Rate, Review, & Follow on Apple podcasts at https://pamgodbois.com/ApplePodcast Leaving a review helps me to continue to create more content for entrepreneurs, just like you, looking to level up their life and business by stepping into alignment. Click here, scroll to the bottom, and tap “Write a Review” to get started.& If you haven't done so already, be sure to follow the podcast. I often add bonus episodes to the feed and if you're not following, you may just miss out on the episode that will allow you to unlock your highest potential.Thank you so much for tuning in.If you are loving these episodes, please consider donating to support the show. https://www.paypal.com/donate/?hosted_button_id=3ST6F3UZ86P6U

Christina McLaughlin has over 30 years experience in the hair industry.  She is a highly revered expert as a hair stylist and color expert.  Her creativity and appreciation for the artistry of hair design is inspiring.  Throughout her career she has owned several hair salons and after settling in Sea Cliff, N.Y. opened a salon there named Wabi Sabi (the beauty of imperfection).

This week, Melanie is WRONG, a bet is made, the Wendy's alligator goes out to pasture, TAG is an evil puppeteer, miners are poetic, history loves insane asylums, gold rushes, and white men, Brianne has hot takes on lobotomies, Robert Lawson ain't shit, and Melanie is doing Count Dante. Content warnings: fictional addiction, alcoholism, housefire, deaths of children, and suicidal ideation, old-timey ableist language, sexism, domestic violence, murder to escape domestic violence, masturbation, mental illness, eugenics, graphic discussion of lobotomies, forced sterilization, fatal fire. Links:80-year-old woman sentenced to prison for killing ‘abusive' husband while he sleptA survivor against the odds—noted New Zealand writer Janet Frame diesArchives New ZealandAsylum admission criteria in the 1800s means you might have qualified‘Barbaric' medical practices still used todayFilming in 'one of creepiest places'Gold rushKirkbride PlanMania, dementia and melancholia in the 1870s: admissions to a Cornwall asylumOtago gold rushRobert Lawson (architect)Scots Baronial Architecture: how to spot itSeacliff Lunatic AsylumThe Anti-Insane Asylum SocietyThe sad saga of Seacliff: Built on shifting sandsThe story of Seacliff, the most haunted place in New ZealandVictorian Oppression of Women Through Psychiatry

Picture yourself lying in the snow. The ocean crashes in the distance. Ice bobs on the water. Relax and close your eyes. Let the sounds of the artic pull away your anxiety. Focus on the sound of the water and ice. Your heart rate slows. Everything is calm and serene. Why I made this soundscape: I once traveled to the North Sea. Even though it was the middle of summer a cold wind blew down and across the water. My friends undressed down to their skivvies and the dove into the sea. I lay down on my beach towel while wearing a heavy parka and beanie.  My friends ran out of the water shivering. This soundscape may be a bit north of where I was, but I think it invokes the happiness I had that day. I hope by listening to it you find happiness and calmness.

Picture yourself lying in the snow. The ocean crashes in the distance. Ice bobs on the water. Penguins slide across the ice into the sea. Relax and close your eyes. Let the sounds of the artic pull away your anxiety. Focus on the sound of the water and ice. Your heart rate slows. Everything is calm and serene. Why I made this soundscape: I once traveled to the North Sea. Even though it was the middle of summer a cold wind blew down and across the water. My friends undressed down to their skivvies and the dove into the sea. I lay down on my beach towel while wearing a heavy parka and beanie.  My friends ran out of the water shivering. This soundscape may be a bit north of where I was, but I think it invokes the happiness I had that day. I hope by listening to it you find happiness and calmness.

We discuss all things Sea Cliff, Long Island, NY with Mayor Ed Lieberman. Mayor Ed Lieberman was a trial lawyer in his early days of life and now has transitioned this love for the law to lead the progressive town of Sea Cliff.Mayor Ed Lieberman shares his vision on health and well being on Long Island. He shares how this one square mile of a gem on the north shore coast of Long Island went from a Hamptons-like vacation town to a place where young families cannot buy a house now for under a million dollars.He talks about the health measures that this town has taken from banning plastic straws and plastic bags by all businesses and restaurants, to fighting big companies that have tried to challenge the way of life for this lovely community. He talks about the measures that they have put in to ensure proper environmental health for all its residents.Mayor Ed has implemented live weekly music on the beach to booming restaurants in town as well as 16 parks for people to be out and active. Host Sam Balooch resides in Sea Cliff and shares his love for this magical town on Long Island and how it has more than met his and his wife's expectations.This is a great podcast to see Ed's vision on the future of Sea Cliff and his legacy as Mayor.

In this special edition of our podcast, we're chatting with Dr. Gary Gecelter, the Chief of Surgery at St. Francis Hospital, and Mayor Ed Lieberman of Sea Cliff, NY to discuss what it's like being on the front lines of battling COVID-19. SHOW NOTES Mayor Ed details his experience as a community leader and a member of government making decisions on social matters to help ensure the safety of his people.Dr. Gecelter talks about the medical aspect of what he's personally faced dealing with COVID-19 as a first responder in the hospital systems.They both dive into what happened and what they experienced. The fears, the truths, the effects on them, their families, and the people who are testing positive for the coronavirus. Dr. Gecelter dives into the details of this disease and how it came about. He shares the changes the hospital and staff members had to make to get ready for this pandemic.He shares his frustration of his efforts falling shy of what he had wished could have been done and was not. Additionally, Dr. Gecelter highlights the amazing things we've done as a society and medical professionals to finally get to a point where we believe we have peaked.Mayor Ed talks about his decisions to close down parks and beaches as well as restaurants and other businesses alike.He shares his personal experience with the first responders (fire fighters, cops, EMTs) and how his town and their front line people came together and continue to come tougher through this process.Dr. Gecelter and Mayor Lieberman go back and forth to come up with solutions as to how the medical world can help better their response by helping the politicians create better legislation to implement a faster response to situations like COVID-19.Both feel that there's a light at the end of the tunnel. They discuss the effects of this on people emotionally, spiritually, financially, and psychologically.They discuss solutions and what they think will be the best way to get back to what will be looked at the new normal.

Poet Rhian Gallagher's latest collection Far Flung takes us from South Island bush to Dunedin's notorious Seacliff Mental Hospital. She also reflects on the many challenges facing Irish migrants who came to New Zealand in the late 1800s. In one of them, she imagines the life of Agnes who arrived full of hope, but ended up trapped in the Seacliff asylum. Rhian Gallagher talks to Lynn Freeman about the stories of those dark days.. Far Flung by Rhian Gallagher is published by Auckland University Press. Her previous collection, Shift, won the 2010 New Zealand Post Book Award for Poetry.

The preservation awards ceremony continues! Today we speak with Erinn McDonnell of the village of Sea Cliff in Nassau County. Erinn managed the restoration of their 1931, Tudor revival-style firehouse on Roslyn Avenue, challegened to restore the building's distinctive steel casement windows without disrupting the operations of a working firehouse. With a mix of funding support from state and local government, the village was able to revitalize this important piece of the local landscape. Erinn tells us about the decisions that had to be made, the story that had to be told, and the stubborness it took to keep it all on track. Further Research Village of Sea Cliff Sea Cliff Firehouse Cultural Resource Information System (CRIS) Postcards of Sea Cliff, Sea Cliff Village Museum Music BugaBlue Walk That Dog People at a Party

Today's tony Sea Cliff neighborhood originated as a result of the 1906 Earthquake and Fire. The very first house in Sea Cliff, located on 25th Avenue, fortunately still exists. Learn how this home came about and its first and subsequent occupants.

In this special edition of our podcast, we’re chatting with Dr. Gary Gecelter, the Chief of Surgery at St. Francis Hospital, and Mayor Ed Lieberman of Sea Cliff, NY to discuss what it’s like being on the front lines of battling COVID-19.

Day 8 was spent exploring San Francisco. Lattes, the golden gate and nourishing dinners were all served up. --- Send in a voice message: https://podcasters.spotify.com/pod/show/josh-lynott-project/message

Happy New Year! Wow, 2020!! A new year and a new decade. In this episode you will learn how to make 2020 YOUR YEAR in real estate. What are your goals in real estate?? Tune in to find out our Top 5 attainable goals that you can set to make 2020 YOUR YEAR in real estate. If you or anyone you know needs help buying, selling, renting or investing, please don't hesitate to contact us at: Raquel.Knoell @elliman.com 646-331-1237 Instagram @teamknoell Facebook @teamknoell Always happy to help!

John Skvarla is a long time BMX rider and trail builder. We both share the same home town of Sea Cliff and John is about 15 years older than me so it was fun to talk about the differences and similarities 15 years can have on a town. If you follow trail riding at all you would know about the infamous Keyko trails which John takes a lot of pride in building and maintaining. It was really cool to learn about the culture of trail riding and its history.    Support this podcast: https://shanghaiobserved.com/shop/

Today I'm talking to Damien Roth. He's an agent with Daniel Gil Sotheby's of Sea Cliff Office in Sea Cliff, New York. What's really fun to talk to Damien about is that, he's doing over 40 transactions a year. Last year he did 44 and he's doing this without an assistant. He's gotten awards such as top 20 under 40. He's going to talk to us well let me pause without an assistant so what we really wanted to gain from him for everybody today and he's going to tell us is how he prioritizes where his clients come from his strategies his philosophy was doing business insights he's gained and just how he does it.Jere interviews the world’s most renowned and best real estate agents around the country and the world.These outstanding Agents tell their stories, how they got into the business and what has made them successful in one of the oldest and most competitive industries.All of this on the “Jere Metcalf Podcast, Top Real Estate Agents tell how they do it.”www.JereMetcalfPodcast.comPowered by Jere Metcalf Partners 404.627.7789jere@jeremetcalfpartners.comJeremetcalfpartners.com

There's probably only a handful of radio listeners throughout the United States who are not familiar with the name of Barbour. The Barbour's of Sea Cliff, San Francisco that is. Henry, the head of the house of Barbour; Fanny, the mother and grandmother to all of the Barbours; Paul, the strong right arm to anyone in trouble; Hazel, the eldest daughter now married to Daniel Murray, and the mother of Hank and Pinky, the twins; and Margaret the dark eyed twelve year old daughter. Broadcast Date: July 4, 1949 --- Send in a voice message: https://anchor.fm/dennis-moore9/message Support this podcast: https://anchor.fm/dennis-moore9/support

In this episode, I talk about new facts about lucid dreaming and what we mostly dream about! Surfing on the sea with my bro and some cliff workouts

Shane and Rodney ride around on the Sea Cliff Bridge. Topics include: Falling rocks, padlocks on the bridge, shark spotting, Bad Ass Pete, Pete Mattaz, Coalcliff, American expressions and electric planes. Write us a review! www.instagram.com/spokeyblokeyblokeys www.facebook.com/spokeyblokeys  

We discuss all things Sea Cliff, Long Island, NY with Mayor Ed Lieberman.

Listen in to what it was like to grow up in Sea Cliff. Our guest talks all about her favorite restaurant in Glen Cove...think crispy salmon over arugula and lentils-yum! She also tells us all about her family's farm in Northport called Treiber Farms(we forgot to mention that little detail during our conversation!) and their delicious collaboration with Brooklyn Ice Creamery, Van Leeuwen Ice Cream (another detail we forgot!) with their Blackberry Danish Holy Basil ice cream....omg drooling!!!   If you or anyone you know is interested in buying, selling, renting or investing on the North Shore of Long Island, OR if you are interested in being a guest on the podcast, please don't hesitate to contact me, I'm always happy to help! Raquel Knoell  raquel.knoell@elliman.com  @teamknoell on Instagram and Facebook  646-331-1237

Well this was unexpected - I invited Esha in for an interview on the podcast and she turned the tables and interviewed me! In this interview we discuss how meditation has helped play a role in running my businesses. We talk about how businesses almost never turn out the way we first expected they might.

Curious about where to grab the yummiest lunch on the North Shore in and around Sea Cliff?? Listen in! If you have any questions, feel free to email me or send me a message through social media! Raquel Knoell raquel.knoell@elliman.com @teamknoell on Instagram and Facebook 646-331-1237 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Want to find out where to get the freshest food on the North Shore of Long Island? Learn about all of my favorite places to get my weekly grocery shopping done and why you should shop there. As always, if you have any questions about moving to the North Shore of Long Island, please feel free to contact me. I help my clients buy, sell, rent and invest in real estate in Sea Cliff, Glen Head, Glenwood Landing, Old Brookville, Locust Valley, Glen Cove, Roslyn and beyond. Contact me at: raquel.knoell@elliman.com @teamknoell on Instagram and Facebook 646-331-1237 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Raquel Knoell is a Licensed Real Estate Salesperson, Entrepreneur and mom of 4 children who all went to North Shore High School. She also owns an awesome Pit Bull named Blue. In this episode, you'll learn a little bit about Raquel, why she moved from Queens to Sea Cliff and why she chose this area of the North Shore of Long Island specifically to raise her family and grow her business. If you or anyone you know is interested in buying, selling, renting or investing contact Raquel Knoell raquel.knoell@elliman.com @teamkneoll on Instagram and Facebook 646-331-1237 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We will be doing some venue spotlight podcasts to find out details about some of our amazing local wedding venues.On today's podcast episode I sit down for a chat with Brendan the owner of Seacliff House in Gerringong. Seacliff is a gorgeous property that hosts weddings of up to 150 guests and we have done many events at the venue before. The property has stunning rural and ocean views- across dairy pastures and to the sparkling sea beyond, making it a unique property on our south coast for anyone looking for a wedding venue. Being a venue that we frequent quite a bit I wanted to pick Brendan's brains to find out all about Seacliff House, so welcome to the podcast Brendanhttps://seacliffhouse.com.au/www.theweddingandeventcreators.com.auwww.thegelatobike

A customer celebrating Father's Day at the Bohemian Hall and Beer Garden yesterday got a nasty surprise when he looked at his receipt. Curtis Mays of Seacliff, Long Island had just finished his meal at the 29-19 24th Ave. restaurant when he noticed upon–receiving the check–that he was paying for a well-done burger with cheddar, mayo— and a glob of spit, abc7NY reported.  SOURCE: https://astoriapost.com/bohemian-hall-and-beer-garden-receipt-calls-for-burger-with-spit-report  Here is the restaurant's website: http://bohemianhall.com/ --- Send in a voice message: https://anchor.fm/lancescurv/message Support this podcast: https://anchor.fm/lancescurv/support

**Season 3 Episode 1** Anne Redman and Pirjo Kemppainen lived over 60 kms from each other. Their paths had never crossed. Anne lived in the seaside south Australian Suburb of Seacliff. Pirjo lived in the small town of Callington, in the Eastern slopes of the Adelaide Hills. Despite being complete strangers to each other, their names would soon be spoken regularly in the same breath for years to come…. **Vote for Felon in the 2018 Australian Podcast Awards** https://australianpodcastawards.submittable.com/gallery/2829f195-1021-4d7c-853f-f0ce775f4fa4/9795253 **Felon Social Media** facebook.com/felontruecrime Instagram @felontruecrime Twitter @felontruecrime **True Crime Finland** https://truecrimefinland.squarespace.com/

Chapter 17

The showcase neighborhood overlooking the Golden Gate.

You’ve seen her.  You’ve probably received a card or phone call from her.  She’s smart, she’s funny and, yes, she used to be a hair model…she’s Barbara Grapstein!  Yes, this week I get to talk to Barbara Grapstein.  Barbara shares her own humor story and how it spurred an international quest to make a difference through her non-profit organization, Healing Headbands.  Take a listen and find out how Barbara is making a difference at home and abroad through laughter and art!     More on Barbara… Barbara Grapstein is the founder and CEO of Healing Headbands Project Inc. As a Global Laughter Ambassador, Certified Laughter Leader and Laughter Yoga Instructor, Barbara's passion is her never ending devotion to helping others through philanthropy complemented by her entrepreneurial spirit. Barbara is actively involved with several organizations including the Association of Applied Therapeutic Humor(AATH), Steve Wilson's World Laughter Tour and Comedy Cures. Barbara is a featured guest on WCWP 88.1 N-Joy show and is well traveled. Barbara has had the privilege of engaging with many influencers and leaders in the field including the "Guru of India", Dr. Madan Kataria, founder of Laughter Yoga. Barbara is a corporate consultant for holistic health, stress management and serves to help children and families living with cancer. The program currently runs in child life centers, universities and hospitals in the North East. More on Healing Headbands… Healing Headbands Project is a nonprofit organization based in Sea Cliff, New York. Our purpose is to inspire others to develop a healing mindset by integrating laughter with art. Our core program helps healing communities realize their full potential through laughter exercises that awaken the creative mind. We then encourage those participating to express themselves and capture the moment through painting. The artwork is custom printed on special soft UV protected fabric, made into headbands and then delivered with 100% love. Our goal is to build a foundation of joy as a whole consciousness and express to others that through this creation process we hold the power to heal. Wearing a Healing Headband is a daily reminder that happiness is a state of mind. Over the past year, we have reached several communities with the Healing Headbands Project and have received a growing number of requests to integrate the project into schools, hospitals and organizations. We are ready to make this happen and to scale our work to a larger audience. We will train hundreds of young leaders that embody the ethos of our mission to share our world healing project. Want even more?  Go to http://www.healingheadbands.com/

Landscape architect for Forest Hill, part of Sea Cliff, the National Park Service.