Podcasts about secret policeman

Alexei Sayle is an actor, author, stand-up comedian, television presenter and former recording artist. He was one of the leading figures in the British alternative comedy movement in the 1980s, becoming the leading performer at The Comic Strip, in Soho. In 1981, he wrote and performed the radio series, Alexei Sayle and the Fish People, for which he won a Pye Radio Award. This was followed by Alexei Sayle and the Dutch Lieutenant's Trousers, and two series of Lenin of the Rovers, a 1988 comedy about Britain's first communist football team. He returned to Radio 4 in 2016 with Alexei Sayle's Imaginary Sandwich Bar, which has run for five critically acclaimed series so far. His first high-profile television appearances were on Central Independent Television's late-night alternative cabaret show O.T.T. and several appearance in The Young Ones. He's had his own shows, three series of Alexei Sayle's Stuff for which he won an International Emmy, two series of The All New Alexei Sayle Show (1994–1995) and one series of Alexei Sayle's Merry-Go-Round On film he's appeared in The Secret Policeman's Other Ball, Gorky Park, The Caucasian Chalk Circle, The Supergrass, Indiana Jones and the Last Crusade, Carry On Columbus, The Legend of the Tamworth Two, and How to Build a Girl, among others. He's also been in Dr Who, The Comic Strip Presents, Selling Hitler, Tipping the Velvet, Bremner, Bird and Fortune, Rob Brydon's Annually Retentive, Miss Marple, Horrible Histories, New Tricks, Toby City, Casualty, and lots more. He's written two short story collections, five novels, including a graphic novel and a radio series spin-off book, as well as columns for various publications. He can be heard on Alexei Sayle's Strangers on a Train on BBC Sounds Where he breaks the golden rule of travelling by train in the UK - by actually talking to his fellow passengers and his own podcast is available now, and it's called the Alexei Sayle Podacst .Alexei Sayle is our guest in episode 493 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Listen to The Alexei Sayle's Podcast here - https://podfollow.com/1540500007/links .Follow The Alexei Sayle's Podcast on Twitter/X & Instagram @alexeisaylepod .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Hosted on Acast. See acast.com/privacy for more information.

Richards website: www.richardsparks.com.  Blue Sky: @richardsparks.bsky.social The book publisher: www.caezik.com Just Say Yes: https://www.youtube.com/watch?v=zpnxBuO6l_s Rowan Atkinson Schoolmaster sketch, The Secret Policeman's Ball: Rowan Atkinson – The School Master

Richards website: www.richardsparks.com.  Blue Sky: @richardsparks.bsky.social The book publisher: www.caezik.com Just Say Yes: https://www.youtube.com/watch?v=zpnxBuO6l_s Rowan Atkinson Schoolmaster sketch, The Secret Policeman's Ball: Rowan Atkinson – The School Master In this episode: In New Rock, Role, Daxx, Qrysta, and Grell are characters in a role-playing game (RPG) who win the Grand Championship. After winning, Daxx wakes up as his avatar in […]

Episode 507 - Richard Sparks - Richard Returns to Share His Next Project, to celebrate news about The Schoolmaster skit and Rowan Atkinson's creative licenseRichard SparksOne morning in 1979 I got a call from an understandably excited Rowan Atkinson.“John Cleese just called. He's asked me to be in his new charity show – and can I do The Schoolmaster?”Er, yes.I'd written The Schoolmaster for Rowan the previous year, for a revue at the Hampstead Theatre (Rowan with Elspeth Walker and Peter Wilson). John and his co-producer, Martin Lewis, had seen it; and a year later, Rowan and I were backstage at Her Majesty's Theatre, meeting John and other members of the cast of The Secret Policeman's Ball.Rowan went on stage an unknown, with his gown and clipboard and pen, and came off a star. The Schoolmaster became his signature piece, the encore of his live shows. Eventually, he got tired of doing the same old routine and wrote another (ruder) version, generously giving me half the royalties.By that time, I'd cut my teeth on various TV shows, from HTV (Wales) to ITV (Southern and Central) to the BBC. I'd also written some stage shows (reviews, original plays, and adaptations of Goldoni comedies), and done a lot of freelance script editing. In 1992, I was hired by Columbia Picture Television to work with Blake Hunter and Marty Cohan, the creators of Who's the Boss?. My wife and I moved with our young daughter to her parents (converted) garage and we've lived in Los Angeles since.I've written a number of libretti for operas, almost all for the LA Opera – some original pieces, some translations from German or Italian. My writing partner, the composer, Lee Holdridge, was – in a way – once G.R.R. Martin's ‘writing partner' in that he composed the scores for the TV series Beauty and the Beast, for which Martin was a script writer.I'd been a hard-core RPG gamer for years when the idea for these books just fell out of the sky one morning, and I started writing. I have hardly had a moment to log on to any game — I'm too busy exploring the New Rock stories as they unfold.My publisher, Caezik SF & Fantasy, is a company of enthusiasts who love these genres. I am delighted to join their family of authors, and to be working with their executive editor, Lezli, Robyn.Three sequels – New Rock New Realm, New Rock New Rules, and New Rock New Roads, have been completed and will be published in due course. I'm currently working on the fifth bookhttps://richardsparks.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Richards website: www.richardsparks.com.  Blue Sky: @richardsparks.bsky.social The book publisher: www.caezik.com Just Say Yes: https://www.youtube.com/watch?v=zpnxBuO6l_s Rowan Atkinson Schoolmaster sketch, The Secret Policeman's Ball: Rowan Atkinson – The School Master

Richards website: www.richardsparks.com.  Blue Sky: @richardsparks.bsky.social The book publisher: www.caezik.com Just Say Yes: https://www.youtube.com/watch?v=zpnxBuO6l_s Rowan Atkinson Schoolmaster sketch, The Secret Policeman's Ball: Rowan Atkinson – The School Master

Send us a textThis Week on the Podcast Richards Sparks stops by to discuss his new book New Rules New Realm. In this clip, he talks about the writing not being right for one story but might belong to another story. ****Richard Sparks was born in England, and a graduate of Oxford University (Exeter College, where, like both JRR Tolkien and Philip Pullman before him, he studied English Language and Literature), Richard started out as a writer of stage plays, comedy revues and TV, for such shows as Not the Nine O'clock News. Rowan Atkinson performed his Schoolmaster sketch in John Cleese's The Secret Policeman's Ball. UK TV credits include The Famous Five, The Flying Kiwi, The Optimist, The Worst of Hollywood, and a lot of script editing. On being hired by Columbia Pictures TV, Richard moved with his family to Los Angeles. His lyrics have been recorded by talents as diverse as Dom de Luise, Eric Idle, Vanessa Williams, and Plácido Domingo. He has written libretti for several new operas composed by Lee Holdridge (TV's Beauty and the Beast, et al.), produced by the LA Opera, as well as writing new English versions of German and Italian classics. His non-fiction books, Diary of a Mad Poker Player, and its sequel, Getting Lucky, chronicle his adventures in the poker boom of the 2000s. Along the Cherry Lane is his biography of the music producer, Milt Okun.“High Adventure Spiced with Low Comedy,” inspired by his love of online role-playing games, New Rock New Role is the first of four volumes Richard has written so far in the New Rock fantasy series and is his fiction debut. The Next book in the series is New Rock New Realm.Support the show

In this special Christmas “10 Minutes with Jesus” meditation, we hear the story of “Herod's Secret Policeman”. Sent by the ruthless King Herod to spy on the Holy Family, Secret Policeman Number Three is led by a number of apparently chance encounters to reconsider his actions. Will he help Jesus, Mary and Joseph or will he betray them to Herod? Listen to find out! This recording, “Herod's Secret Policeman”, is a very slightly revised version of a video and story book produced by the Christian charity “Open Doors” (https://www.opendoorsuk.org/). A video version of this story can be found here: https://www.opendoorsuk.org/act/herods-secret-policeman/ The image accompanying the recording is also from Open Doors. The closing music is 'Soar' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com

Décembre 1984, peu après la St Nicolas, nous découvrons à la télé de courts reportages dans lesquels on voit toutes nos nouvelles stars de la New Wave, mais pas que, bref des membres de U2, Spandau Ballet, Duran Duran, Culture Club ou The Police, chanter et jouer ensemble, avec Phil Collins. La chanson s'appelle Do They Know it's Christmas et est éditée pour rassembler un maximum d'argent pour lutter contre la famine en Afrique. Ce n'est évidemment pas le premier disque du genre charity bizness. Même s'il n'y en a pas encore eu beaucoup, on se souvient du coffret Bengla Desh de George Harrison et ses amis en 1971, ou encore du concert annuel Secret Policeman's Ball au profit d'Amnesty International. Mais celui-ci va dépasser tout ce qu'on a connu jusqu'à présent car dès sa sortie, il monte à la première place, se vend dans le mois à 3 millions d'exemplaires rien qu'en Grande-Bretagne et atteint la première place dans treize autres pays dont la Belgique. Près de douze millions de singles vendus, c'est deux fois Billie Jean au même moment, c'est énorme. Il faut dire que les images du reportage de la BBC montrant des humanitaires en Ethiopie contraints de choisir quels enfants vont vivre car ils n'ont pas reçu assez de nourriture pour les sauver tous, a secoué tous les téléspectateurs dont Bob Geldof, le chanteur du groupe les Boomtown Rats et sa femme, l'animatrice télé Paula Yates.Et justement, quelques jours plus tard, fin octobre 1984, à Newcastle, elle reçoit sur leplateau de son émission musicale, Midge Ure, le leader du groupe Ultravox. Quand Geldof, resté à Londres, appelant sa femme, apprend que son pote Midge est de l'émission, il lui dit : passe-le moi. T'as vu les images à la BBC ?Oui, je n'ai jamais rien vu d'aussi terrible. J'en avais les larmes aux yeux.Tu as vu les vagues de donation du public après le reportage ? T'es au courant ? Si on faisait quelque chose aussi ?Tu veux dire des donations, appeler nos potes à faire pareil ?Et si au lieu de demander aux gens de donner, on leur demandait d'acheter un truc, un disque sur lequel tout le monde abandonne ses droits pour maximiser le bénéfice ? Geldof et Midge Ure conviennent de se voir le lundi 5 novembre pour en parler et le croirez-vous, le 7 décembre, le disque Do They Know it's Christmas est en vente partout. Avec le casting le plus hallucinant des années 80 quand on sait la place que tous ces jeunes artistes occupent encore aujourd'hui dans notre vie 40 ans après, qu'on ait connu l'époque ou pas.Les auteurs compositeurs Midge Ure et Bob Geldof ont, bien sûr, abandonné leurs droits au profit de l'aide humanitaire. Ils comptaient récolter quelques dizaines de milliers de livres, ils vont en envoyer 8 millions en Ethiopie. Bob Geldof enchaînera avec le festival télévisé Live Aid au mois de juillet 85. Et si vous ne voyez toujours pas qui est Bob Geldof, c'est lui qui chante cette chanson qui lui avait été inspirée, elle aussi, par un moment d'horreur télévisée.

My guest today is the British scriptwriter and librettist for opera, Richard Sparks. In 1978 he wrote a sketch for Rowan Aktinson, the actor who later played Mr Bean, which Atkinson performed in the Secret Policeman's Ball, a series of benefit shows organised by John Cleese to raise funds for Amnesty International. The success of the sketch led my guest to become a writer for BBC2's ‘Not the Nine O'Clock News' comedy show, and a slew of other TV writing gigs followed.In 1992 he moved to Los Angeles where he began to write libretti for the L.A. Opera. In 2016 he directed Stravinsky's The Soldier's Tale for the Los Angeles County Museum of Art, which starred Jack Black in the leading role. Now he has returned to his comedy roots, with the publication of “New Rock New Role”, a fantasy comic novel about a retired teacher who discovers video games while in his sixties. Website: https://richardsparks.com/The School Master Sketch Be attitude for gains. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

A few weeks ago, David Gilmour announced Luck and Strange, his first release since 2015, as well as a select set of tour dates and dropped a new video. On the second episode of the 100 Guitarists podcast, hosts Jason Shadrick and Nick Millevoi break down the video, from Gilmour's collaborators and gear to his climactic solo. Friends and listeners call in to support their favorite member of the '80s Armani and Strat mafia.Get at us: 100guitarists@premierguitar.com Call/Text: 319-423-9734 Sponsored by EMG Pickups: https://www.emgpickups.com/ Podcast powered by Sweetwater. Get your podcast set up here! - https://sweetwater.sjv.io/75rE0d Subscribe to the podcast:Spotify: https://open.spotify.com/show/0aXdYIDOmS8KtZaZGNazVbApple: https://podcasts.apple.com/us/podcast/100-guitarists-you-should-know/id1746527331 Check out the playlist: https://music.apple.com/us/playlist/david-gilmour-100-guitarists/pl.u-ReW7Sq7RWADavid (w Steinberger) and Kate Bush playing “Running Up That Hill” at the Secret Policeman's Ball 1987: https://www.youtube.com/watch?v=Lk7AVm0Ome0David Gilmour's “The Piper's Call” : https://www.youtube.com/watch?v=gMr5GpCpKyAAll about the “Black Strat”: https://www.gilmourish.com/?page_id=66

EPISODE 363 - Richard Sparks - Rowan Atkinson, Operas and a New Rock, New Role - Words MatterRichard SparksOne morning in 1979 I got a call from an understandably excited Rowan Atkinson.“John Cleese just called. He's asked me to be in his new charity show – and can I do The Schoolmaster?”Er, yes.I'd written The Schoolmaster for Rowan the previous year, for a revue at the Hampstead Theatre (Rowan with Elspeth Walker and Peter Wilson). John and his co-producer, Martin Lewis, had seen it; and a year later, Rowan and I were backstage at Her Majesty's Theatre, meeting John and other members of the cast of The Secret Policeman's Ball.https://www.youtube.com/watch?v=FiWJWLCoH2MRowan went on stage an unknown, with his gown and clipboard and pen, and came off a star. The Schoolmaster became his signature piece, the encore of his live shows. Eventually, he got tired of doing the same old routine and wrote another (ruder) version, generously giving me half the royalties. By that time, I'd cut my teeth on various TV shows, from HTV (Wales) to ITV (Southern and Central) to the BBC. I'd also written some stage shows (reviews, original plays, and adaptations of Goldoni comedies), and done a lot of freelance script editing. In 1992, I was hired by Columbia Picture Television to work with Blake Hunter and Marty Cohan, the creators of Who's the Boss?. My wife and I moved with our young daughter to her parents (converted) garage and we've lived in Los Angeles since.I've written a number of libretti for operas, almost all for the LA Opera – some original pieces, some translations from German or Italian. My writing partner, the composer, Lee Holdridge, was – in a way – once G.R.R. Martin's ‘writing partner' in that he composed the scores for the TV series Beauty and the Beast, for which Martin was a script writer.I'd been a hard-core RPG gamer for years when the idea for these books just fell out of the sky one morning, and I started writing. I have hardly had a moment to log on to any game — I'm too busy exploring the New Rock stories as they unfold.My publisher, Caezik SF & Fantasy, is a company of enthusiasts who love these genres. I am delighted to join their family of authors, and to be working with their executive editor, Lezli, Robyn.Three sequels – New Rock New Realm, New Rock New Rules, and New Rock New Roads, have been completed and will be published in due course. I'm currently working on the fifth book.https://richardsparks.com/___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Support the Show.https://livingthenextchapter.com/Want to support the show and get bonus content?https://www.buzzsprout.com/1927756/subscribe

Today, we have a special guest episode. Dana Lombardy of Lombardy Studios hosts talks on military history and current events. To find out more about Dana's work, check out LombardyStudios.com. For this episode, he brings in retired Rear Admiral Michael Baker, a general surgeon who travels to Ukraine to teach combat first aid.  It's a great story about volunteering and working in a war zone to help Ukrainians save soldiers' lives.  Great news: FeedSpot ranked One CA Podcast as one of their top 10 foreign policy podcasts. Check it out at: https://podcasts.feedspot.com/foreign_policy_podcasts/ One CA is a product of the civil affairs association  and brings in people who are current or former military, diplomats, development officers, and field agents to discuss their experiences on the ground with a partner nation's people and leadership. We aim to inspire anyone interested in working in the "last three feet" of U.S. foreign relations.  To contact the show, email us at CApodcasting@gmail dot com or look us up on the Civil Affairs Association website at www civilaffairsassoc.org Special thanks to Max Jansson for posting the Mark Knopfler and Chet Atkins instrumental "I'll see you in my dreams," performed live at Secret Policeman's Third Ball 1987. Retrieved from https://www.youtube.com/watch?v=5wTVLIZaxMk

On this episode of the podcast, I sit down with Author, screenwriter, and a man of many talents Richard Sparks to talk about his new novel, New Rock New Role. *****                                                                                Born in England, and a graduate of Oxford University (Exeter College, where, like both JRR Tolkien and Philip Pullman before him, he studied English Language and Literature), Richard started out as a writer of stage plays, comedy revues and TV, for such shows as Not the Nine O'clock News. Rowan Atkinson performed his Schoolmaster sketch in John Cleese's The Secret Policeman's Ball. UK TV credits include The Famous Five, The Flying Kiwi, The Optimist, The Worst of Hollywood, and a lot of script editing. On being hired by Columbia Pictures TV, Richard moved with his family to Los Angeles. His lyrics have been recorded by talents as diverse as Dom de Luise, Eric Idle, Vanessa Williams and Plácido Domingo. He has written libretti for several new operas composed by Lee Holdridge (TV's Beauty and the Beast, et al.), produced by the LA Opera, as well writing new English versions of German and Italian classics. His non-fiction books, Diary of a Mad Poker Player, and its sequel, Getting Lucky, chronicle his adventures in the poker boom of the 2000's. Along the Cherry Lane is his biography of the music producer, Milt Okun.“High Adventure Spiced with Low Comedy,” inspired by his love of online role-playing games, New Rock New Role is the first of four volumes Richard has written so far in the New Rock fantasy series, and is his fiction debut. Website:  https://richardsparks.com/            ********If you would like to contact the show about being a guest please email us at Dauna@betertopodcast.comFollow us on Social MediaThis episode is on YouTube: https://youtu.be/_Fm2Ce6dcmUInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomHave a question or want to be a guest on the podcast email: dauna@bettertopodcast.comHave a question for our producer Rich Zei contact him at rich.zei@thirdearaudio.comIntro and Outro music compliments of Fast SuziTo see upcoming guests click here: https://www.dmneedom.com/better-topodcast©2024 Better To...Podcast with D. M.NeedomSupport the show

Richard Sparks has been successful in so much of his work from writing The Schoolmaster, performed by Rowan Atkinson, to aiding an opera singer to launch her career. The one area he couldn't seem to get into was fiction writing, until now that is. On today's episode, I am so excited to have writer and author Richard Sparks on the show to discuss his prior pieces of work as well as his new fantasy novel! Richard shares what it was like to work with John Cleese, Rowan Atkinson, and others. At the end of the episode, we hear a clip from his new fantasy story, New Rock New Role that talks about a man who gets sucked into a video game and is trying to understand how he got there. This is Richard's take on how it would feel to be a character in one of the games that he frequently plays. The clip we hear is from early on in the book and series, and there is more to come! Grab a free audio book chapter and ebook chapter or buy the full novel released December 12 on his website - www.richardsparks.com! IN THIS EPISODE:[1:37] Richard tells us about what he's been doing and the work he's done with John Cleese, Rowan Atkinson and others.[6:38] A clip from The Schoolmaster by Richard Sparks and Rowan Atkinson.[10:14] Richard tells us about his experience in the music industry. [11:58] Richard shares about his new project, a fantasy, and how it was inspired from real life. [19:45] A clip from New Rock New Role read and written by Richard Sparks. KEY TAKEAWAYS:Richard doesn't take credit for launching people off into their careers, he says they are all a collaborative relationship, where both sides are needed to be successful. Comedy is fear and pain and misery and disasters and things going wrong and people falling into puddles and betrayals and miscommunications and what good adventure isn't full of that.Richard struggled to become a fiction writer because he couldn't connect with the content. He has now finally embraced fiction writing now that he can use his own voice.Check out HelloFresh and use my code truefictionprojectfree for a great deal: https://www.hellofresh.com/Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Fiction and Schoolmaster Credits:Excerpt written by: Richard SparksExcerpt narrated by: Richard SparksSchoolmaster Clip performed by: Rowan AtkinsonSchoolmaster Clio written by Richard SparksBIO:Born in England, and a graduate of Oxford University (Exeter College, where, like both JRR Tolkien and Philip Pullman before him, he read English), Richard started out as a writer of stage plays, comedy revues and TV, for such shows as Not the Nine o'clock News. Rowan Atkinson performed his Schoolmaster sketch in John Cleese's The Secret Policeman's Ball. UK TV credits include The Famous Five, The Flying Kiwi, The Optimist, The Worst of Hollywood, and a lot of script editing. On being hired by Columbia Pictures TV, Richard moved with his family to Los Angeles. His lyrics have been recorded by talents as diverse as Dom de Luise, Eric Idle, Vanessa Williams and Plácido Domingo. He has written libretti for several new operas composed by Lee Holdridge (TV's Beauty and the Beast, et al.), produced by the LA Opera, as well writing new English versions of German and Italian classics. His non-fiction books, Diary of a Mad Poker Player, and its sequel, Getting Lucky, chronicle his adventures in the poker boom of the 2000's. Along the Cherry Lane is his biography of the music producer, Milt Okun. “High Adventure Spiced with Low Comedy,” inspired by his love of online role-playing games, New Rock New Role is the first of four volumes Richard has written so far in the New Rock fantasy series, and is his fiction debut.Richard Spark's Website Richard Spark's FacebookRichard Spark's Instagram Buy New Rock New Role Fantasy Novel Today!Our Sponsors:* Check out HelloFresh and use my code truefictionprojectfree for a great deal: https://www.hellofresh.com/* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Afternoon Teatime November 30th, Coming at 3 P.m. EST to share a T-E-A with Miss Liz is a man who tells a fantastic, incredible story with books, lyrics and films in the comedy world of the entertainment industry is the tremendous, incredible Richard Sparks. Join us, PODCASTLIZ'SPlease give to. Richard, let's make a difference together.LIVE STREAMING TO MULTIPLE PLATFORMS AND PODCASTS STATIONS AND APPS. LIVE SHOW ON MISS LIZS YOUTUBE CHANNEL BELOW. Give it a quick subscribe and be notified when teatimes are live.https://youtube.com/@misslizsteatimes?si=VhVODhNkY__evnOtRichard Sparks ' writing credentials span the gamut of the entertainment world, from film and TV and books through lyrics for operas. These include iconic shows like Not the Nine O'clock News (BBC TV) and The Secret Policeman's Ball (BBC TV, performed by Rowen Atkinson and directed by John Cleese).Books he has written include the biography of the music producer Milt Okun, Along the Cherry Lane. Richard was born in England and now lives in Los Angeles, writing fantasy novels and opera libretti (original and translations of classic works).StageRichard Sparks is an English-born comedy writer, lyricist, librettist, author and director now living in Los Angeles. He has written extensively for television, film, radio, stage, theatre, and opera. His opera libretti include original works, commissioned maina by the Los Angeles Opera, and translations/adaptations of Classic operas.He is the author of three books, including Along the Cherry Lane, the biography of a music producer multi-award-winning; Richard wrote the Schoolmaster sketch for Rowan Atkinson (The Secret Policeman's Ball). He was also a staff writer on Not The Nine O'Clock News. He had previously written two Edinburgh Fringe Oxford Revues starring Mel Smith.Richard is also the owner of Sporting Life Bar in Las Vegas, a multi-award winning Nevada tavern named Sports Bar of the Year every year since it opened in 2014.https://richardsparks.com/#teatimewithmissliz#makingadifference#comedywriter#comedy#entertainmentworld#films#operas#fantasy#novels#biography#barowner#staffwriter#radio#stage#author#theatreplays#joinus#likefollowshare#livestreaming#podcastshow#interviews#youtubechannel#subscribe 

Richard Sparks ' writing credentials span the gamut of the entertainment world, from film and TV and books through lyrics for operas. These include iconic shows like Not the Nine O'clock News (BBC TV) and The Secret Policeman's Ball (BBC TV, performed by Rowen Atkinson and directed by John Cleese). Books he has written include the biography of the music producer Milt Okun, Along the Cherry Lane. Richard was born in England and now lives in Los Angeles, writing both fantasy novels and opera libretti (both original and translations of classic works). Richard wrote the Schoolmaster sketch for Rowan Atkinson (The Secret Policeman's Ball). He was also a staff writer on Not The Nine O'Clock News. He had previously written two Edinburgh Fringe Oxford Revues starring Mel Smith.Richard is also the owner of Sporting Life Bar in Las Vegas, a multi-award winning Nevada tavern that has been named Sports Bar of the Year every year since it opened in 2014. https://richardsparks.com The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising. Please see our website for complete details. http://douglascolemanshow.com If you have a comment about this episode or any other, please click the link below. https://ratethispodcast.com/douglascolemanshow Please help The Douglas Coleman Show continue to bring you high quality programs like this. Go to our Fundrazer page. https://fnd.us/e2CLX2?ref=sh_eCTqb8

Episode 221: This episode is inspired by another recent Kari find at the record store (she is on a roll!). Have you heard of the Secret Policeman's Ball? It's okay if you haven't because it's a secret! The UK fundraiser for Amnesty International dates back to 1976, but the 1987 event put a focus on music, and featured performances from Kate Bush, Joan Armatrading, Duran Duran, and Bob Geldof, among others. Joe and Kari discuss those performances, as well as those from Erasure, Nik Kershaw and Mark Knopfler. Finally, the QUIZ continues -- find out who ends up on top after the next round!!

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

We sometimes forget just how talented The Police - Sting, Stewart Copeland, Andy Summers - actually were. They arrived in the late-70's, merging elements of Reggae, New Wave & Punk.  Their sound -  simple, lean (bass, drums, guitar), well-produced - still sounds fresh, with songs like “Roxanne”, “Message in a Bottle”, and “Walking on the Moon”. We saw them live at the Hordern Pavilion back in 1980, in the days before digital light shows, when every single light can had a specific purpose – and what a show it was! Our "Album You Must Hear Before you Die" is Frank Sinatra's “In the Wee Small Hours”, a classic from the early LP era.  Sinatra is a master, and a joy to listen to. The man himself was certain that many baby boomers were conceived to the sound of this album.  Jeff tells us more about Mr Beast, and digital sampling of Beavis and Butt-Head. It's almost too much for one episode!! Police playlist_______________________________________ References:  Nelson Riddle, Chairman of the Board, "Ol' Blue Eyes", Sting, Stewart Copeland, Andy Summers, Outlandos d'Amour, Regatta de Blanc, Zenyatta Mondatta, Ghost in the Machine, Synchronicity, Roxanne, “The Secret Policeman's Ball”, Message in a Bottle, Walking on the Moon, Hordern Pavilion, John Cale, The Bottom Line, Every Little Thing She Does is Magic, King of Pain, Wrapped Around Your Finger, Every Breath You Take, physical light cans  

Macro Confessions Part XX IV (2006) This week risk is resetting. Things changing. There will be opportunities. There will be blood. Let it be the other guy. Let's get absurd. The boys review the slaughter of the innocents, namely the abject poor performance of some of last year's most hyped new companies to emerge on the stock market.The conversation is fast paced. Chris has led Hugh to the Valley of Happiness but he wants to know more about what's causing the melt down in high profile stock names Peloton, Deliver and Oatly. No new Hedge Fund wannabee can afford to miss this journey from the past to the present day where Hugh reveals his latest macro insights and explains his Quantity Theory of Insanity. The Alchemy of Finance, it is not...This week they consider The Secret Policeman's Macro Ball, an annual illuminati gathering of the great minds in macro hedge fund management. The event you are assured not to receive an invitation to. Just why do the greatest minds share their best-ideas with their competition?Regrets, Hugh has a few and he travels back to December 2008 to confront his younger self. You see back in early 2006 he predicted a deflationary event that would send Treasury bond prices surging and the gold price crashing. But when his prophesy came true, he failed to load up on gold. Hugh is raging mad with his younger self.And with markets in turmoil, the chart rotator returns to examine the Dow Jones constituent 30 stocks to determine where prices are versus their slower, longer-dated moving averages. Hugh invokes his Acid Capitalist powers to draw predictions and stock ideas for the coming year. Chris continues to spin his wheel...Tune-in or be square...Charts can be found here https://www.youtube.com/channel/UCs4X8HJf2dQog8-CCaDBlsg

Daryl has been the exceptional touring guitarist/bassist with Genesis since 1977 (42 years), and Phil Collins main guitarist since his first solo album.  Besides digging into his time with both, Greg and Daryl talk about his early years with Jean Luc Ponty, Gino Vannelli, and Daryl's solo project, and also what it's like for a touring musician to live in Milwaukee!1:11 - Moments before the pandemic,  the near-reuniting of Genesis, and how the band prepares for rehearsal7:51 - Daryl's gear on the road with Genesis, his new Mesa Badlander and Godin guitars, and the power of in-ear monitors11:09 - How improvisation plays into a Genesis show13:16 - Daryl's early days on guitar - influences, style, and early bands with his brother20:02 - How Daryl got tied into working with Genesis, and the importance of preparation 31:31 - Recording "In the Air Tonight"33:26 - The Secret Policeman's Other Ball34:34 - Phil Collins as a drummer - whoa39:55 - Adjusting to the ascent to playing with Rock 'n Roll royalty, and having to shift his style to accommodate the needs 45:51 - Daryl's transition back to Milwaukee51:19 - Daryl's solo projectTotal Length: 68:42Fishman Dedicated to helping musicians achieve the truest sound possible whenever they plug-in. Wildwood Guitars One of the world's premier retailers of exceptional electric and acoustic guitars.

After spending the last month looking at Australian terrorist incidents, it’s high time to look at where these people are coming from. What makes a terrorist, how does someone get radicalised and what can we do to stop it? And just what is a Secret Policeman’s Ball really like and why does David like dancing so much? See omnystudio.com/listener for privacy information.

This episode's guest is Bill Shipsey, founder of Art for Amnesty, human rights activist and the bringer of culture to all things. We'll be talking about his adventurous life of attaching U2, Sting and Joan Baez to Amnesty International, founding and then bestowing the Ambassador of Conscience award on Vaclav Havel, Nelson Mandela, Ai Weiwei, Alicia Keys and other inspiring advocates of human rights.Shipsey was Co-Executive Producer of “Instant Karma” – Amnesty's multi-star benefit album of John Lennon compositions. He devised and produced the Small Places Tour, a 2008 music concert project which partnered with over 800 concerts in some 40 countries worldwide. Shipsey first joined Amnesty in the late 1970's – inspired in part by the activism of entertainers who performed at the Monty Python inspired “Secret Policeman's Ball” benefit show.He is a former Chair of the Irish Section of Amnesty International and a former member of the International Executive Committee of Amnesty International. By profession Shipsey is a Barrister and has appeared for Amnesty International before the Court of Justice of the European Union.  He has consulted widely with other human rights organisations around the world seeking to partner with artists in the promotion of human rights campaigns.We talk about his recent article for the Irish Times about Aleksey Navalny and Amnesty International awarding him the title of Prisoner of Conscience despite his previous history of ultra-nationalist sentiment. We discuss culture and some of his many projects including his exhibitions with Peter Sis, how the journey began and unfolded with his friends from the world of music and art, including Bono and Peter Gabriel, and even the Human Rights Now world tour in 1988, headlined by Bruce Springstein and Tracey Chapman amongst others. Global Arena Research Institute is an independent, non-partisan research organisation that combines the most advanced methods of AI-driven data, scientific and other artificial reasoning capabilities, elevating data science into completely new levels of opportunity. Our goal is to provide unprecedented insights into the nature, impact, and management of globalization in order to improve institutional and governmental as well as business, energy and other sectors' decision making. Our mission is to make the most of organically connecting AI-level reasoning capacities with the human-level critical reasoning capacities for the sake of a better future.

We've returned to the alphabet to discuss the joys of being old. Andrew's YouTube channel: https://www.youtube.com/user/duku6 Fest of Al 2020's Online performance will be on June 27th, 2020!! FoA is postponed to 2021! Special thanks to Allura March (@RetroAutomaton) for the awesome design! https://retroautomaton.tumblr.com/ https://www.instagram.com/retroautomaton/ https://twitter.com/retroautomaton?lang=en Support us on Patreon: https://www.patreon.com/weirdalphabet Email us at: alscarrierpigeons@gmail.com Facebook:  https://www.facebook.com/theweirdalphabetpodcast/ Twitter: https://www.twitter.com/weirdalpod Instagram: https://www.instagram.com/weirdalpod   Thumbnail by Josh K! https://twitter.com/AnimationJosh http://oneandonlyjsk.deviantart.com/ Weird Al "When I Was Your Age" Don Henly "Dirty Laundry" "If Dirt for Dollars" "Four Yorkshiremen" At Last the 1948 Show Live at Drury Lane (1974) Live at the Hollywood Bowl (1982) Monty Python Live (Mostly) (2014) The Secret Policeman's Ball (1979 Amnesty International benefit gala) 2001 Amnesty show We Know Where You Live Red Nose Day 2015 "Four Millionaires" Holló Színház Windows 95 Startup Dial up tone Rugrats The We're All In This Together Video For the above sound clips and songs, we don't own the rights to them, but are using them in compliance to Fair Use. Parody & Educational. Thank you. Find more of our episodes at www.pipedreampodcasts.com

This week, Doug and Meredith remind us about getting out of our comfort zone and experiencing the cool things there are to do - regardless of quarantine (like glow in the dark seaweed!). In the session, Drew looks at what’s next after getting the support of his parents and putting in his two weeks notice at work. Doug and Drew look at how issues from his past relationships have shaped how he approaches his current one. Drew is starting to recognize triggers and see the path to breaking old patterns.   Episode Webpage   Mentioned in this episode:  Your Mental Breakdown - The Facebook Group  Meredith Levy Doug Friedman The Great Realisation - Hindsight’s 2020 (Bedtime Story)  George Harrison and Paul Simon performing acoustically in 1976 Sting at The Secret Policeman’s Other Ball 

The Secret Policeman’s Tour – Edinburgh Playhouse 2019 Hosted by Deborah Frances-White Recorded 3 December 2019. Recording engineer: Chris Sharp. Photos: Callum Baker. 00:00   Deborah Frances-White 12:10   Suzie Ruffell 14:30   Tiff Stevenson 17:44   Sean Binder 32:02   The Four Yorkshire Women 39:01   Jackie Hagan 45:56   Shappi Khorsandi 54:23   Nish Kumar 1:08:00           RoxXxan Get involved… This was one of 3 riotous shows in 2019 for Amnesty - an organisation that works tirelessly fighting for the millions of people around the world who are discriminated against and denied their rights simply because of who they are, who they love or what they believe in. Amnesty believes in people power and the more members we have the stronger we are. If you would like to become part of the movement and join Amnesty International please visit amn.st/manchester To support Sean and Sarah please visit www.amnesty.org.uk/write where you can also find out more about Amnesty’s global write for rights campaign.

The Guilty FeministPresented by Deborah Frances-White and Alison Spittle Episode 178: Documentingwith special guest Eleanor Church Recorded 10 June 2019 at the BFI in London. Released 2 December 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Alison Spittle https://twitter.com/AlisonSpittle https://twitter.com/extraordfilm More about Eleanor Church https://twitter.com/larkrisepacific https://www.xtrillionfilm.com https://www.facebook.com/XTrillionfilm https://www.instagram.com/LarkRisePictures For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now availablehttps://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase.http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. 7-22 February, Australia and New Zealand Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty FeministPresented by Deborah Frances-White and Jessica Fostekew Episode 177: Friendshipwith special guests Stef Smith, Sukh Ojla and music from Flo and Joan Recorded 3 August 2019 at The Pleasance Grand in Edinburgh. Released 25 November 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Jessica Fostekew https://twitter.com/jessicafostekew https://twitter.com/thehooveringpod More about Stef Smith https://twitter.com/stefsmith http://www.stefsmith.co.uk More about Sukh Ojla https://twitter.com/forsukhssake https://www.sukhojla.com More about Flo and Joan https://twitter.com/FloandJoan https://www.floandjoan.com For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now availablehttps://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase.http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. 7-22 February, Australia and New Zealand Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty FeministPresented by Deborah Frances-White and Johnny Cochrane Episode 176: Fatherhoodwith special guests Elliot Rae and JJ Recorded 21 October 2019 at Kings Place in London. Released 18 November 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Johnny Cochrane https://twitter.com/JohnnyICochrane https://johnnycochrane.co.uk More about Music Football Fatherhood         https://twitter.com/mffonline_ http://musicfootballfatherhood.com https://www.youtube.com/channel/UCliRtN3_P96BnwHRn2r6L4A For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now availablehttps://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase.http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. 7-22 February, Australia and New Zealand Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Abigoliah Schamaun Episode 175: Lemonade with special guest Nell Gifford Recorded 10 August 2019 at The Spiegeltent on London’s South Bank. Released 11 November 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Abigoliah Schamaun https://twitter.com/abigoliah http://abigoliah.com More about Nell Gifford https://twitter.com/giffordscircus https://www.giffordscircus.com For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Friday 6 December, An Evening with Deborah Frances-White, Waterstones in London. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, America and Canada tour. Tickets on sale now. 7-22 February, Australia and New Zealand tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist live from The Royal Albert HallPresented by Deborah Frances-White Recorded 7 July 2019. Released 4 November 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Music by Dave and the Quavers. Photos by Callum Baker. Recording engineer Grundy le Zimbra. Kindly supported by Getaround the carsharing app that lets you rent cars in your neighbourhood. https://uk.getaround.com. In an effort to get more feminists on the platform, Getaround is hosting a feminists-only lunch in late November where you can learn more. Drop them a note on any of their social media channels to get more info about it. With thanks to the Royal Albert Hall PART ONE 00:00    I am a Feminist But… 08:34    Cell Block Tango with @AMusicalShow 21:44    Deborah Frances-White @DeborahFW 31:57    London Hughes @TheLondonHughes 39:05    Adjoa Andoh @andoh_adjoa 52:19    Jess Robinson @JessieRobinson PART TWO 00:00    Epic Speech compiled and directed by Emma Butler 30:11    Jessica Fostekew @JessicaFostekew 37:56    Amnesty Panel with Deborah Frances-White, Felicity Ward, Mhairi Black MP, Kate Allen, Bumi Thomas @AmnestyUK 58:35    Joyful Resistance Panel with Ben Monks and Scarlett Curtis 1:09:32  Speech from Emilia with Clare Perkins @EmiliaThePlay 1:16:14  Bumi Thomas @BumiThomas Also featuring Juliet Stevenson, Susan Wokoma, Bridget Christie, Alison Spittle, Jessica Regan, Sindhu Vee, Reubs J Walsh, Rosie Jones, Athena Kugblenu, Felicity Ward, Phoebe Waller-Bridge, Aisling Bea, Scarlett Curtis, Sian Clifford, Jessica Hynes. https://www.change.org/p/https-www-sajidjavid-com-bumi-thomas-was-born-in-scotland-and-is-scottish-she-been-told-to-leave-her-birth-nation Come to a live recording! Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist live from The Royal Albert Hall Presented by Deborah Frances-White Recorded 7 July 2019. Released 4 November 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Music by Dave and the Quavers. Photos by Callum Baker. Recording engineer Grundy le Zimbra. Kindly supported by Getaround the carsharing app that lets you rent cars in your neighbourhood. https://uk.getaround.com. In an effort to get more feminists on the platform, Getaround is hosting a feminists-only lunch in late November where you can learn more. Drop them a note on any of their social media channels to get more info about it. With thanks to the Royal Albert Hall PART ONE 00:00    I am a Feminist But… 08:34    Cell Block Tango with @AMusicalShow 21:44    Deborah Frances-White @DeborahFW 31:57    London Hughes @TheLondonHughes 39:05    Adjoa Andoh @andoh_adjoa 52:19    Jess Robinson @JessieRobinson PART TWO 00:00    Epic Speech compiled and directed by Emma Butler 30:11    Jessica Fostekew @JessicaFostekew 37:56    Amnesty Panel with Deborah Frances-White, Felicity Ward, Mhairi Black MP, Kate Allen, Bumi Thomas @AmnestyUK 58:35    Joyful Resistance Panel with Ben Monks and Scarlett Curtis 1:09:32  Speech from Emilia with Clare Perkins @EmiliaThePlay 1:16:14  Bumi Thomas @BumiThomas Also featuring Juliet Stevenson, Susan Wokoma, Bridget Christie, Alison Spittle, Jessica Regan, Sindhu Vee, Reubs J Walsh, Rosie Jones, Athena Kugblenu, Felicity Ward, Phoebe Waller-Bridge, Aisling Bea, Scarlett Curtis, Sian Clifford, Jessica Hynes. https://www.change.org/p/https-www-sajidjavid-com-bumi-thomas-was-born-in-scotland-and-is-scottish-she-been-told-to-leave-her-birth-nation Come to a live recording! Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Alison Spittle Episode 173: Sex Workers’ Rights with special guests Miranda Kane and Niki Adams Recorded 21 October 2019 at Kings Place in London. Released 28 October 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Alison Spittle https://twitter.com/AlisonSpittle https://twitter.com/extraordfilm More about Miranda Kane https://twitter.com/miri_kane https://www.mirandakane.co.uk https://www.audible.co.uk/pd/Slaving-Away-Audiobook/B07BN1WRFL More about Niki Adams https://twitter.com/ProstitutesColl https://prostitutescollective.net/petition/ https://nobadwomen.brownpapertickets.com For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Athena Kugblenu Episode 172: Plugging In with special guests Renée Davis and Heidi Regan Recorded 11 November 2018 at Kings Place in London. Released 21 October 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Athena Kugblenu https://twitter.com/athenakugblenu https://www.athenakugblenu.co.uk More about Renee Davis https://www.instagram.com/outhebox.uk More about Heidi Regan https://twitter.com/heidi_regan http://www.heidiregan.com For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Monday 21 October, Kings Place in London. Tickets on sale now. Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. 2-22 January, North American Tour. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Susan Wokoma Episode 171: Fresh Starts with special guests Sabrina Mahfouz, Chris Whitehead and Reem Othman Recorded 7 September 2019 at Kings Place in London. Released 14 October 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Photo by Kobi Omenaka. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Susan Wokoma https://twitter.com/siwokoma https://www.channel4.com/programmes/year-of-the-rabbit https://www.bbc.co.uk/programmes/m0006pkj More about Sabrina Mohfouz https://twitter.com/SabrinaMahfouz http://www.sabrinamahfouz.com https://royalcourttheatre.com/whats-on/ahistoryofwater https://www.amazon.co.uk/Smashing-Working-Artists-Making-Happen/dp/1908906405 https://www.hachettechildrens.co.uk/titles/sabrina-mahfouz/poems-from-a-green-and-blue-planet/9781444951257/ More about Seek UK https://twitter.com/helloseek https://www.seekuk.org https://www.refugee-action.org.uk/lift-the-ban https://www.linkedin.com/in/reem-othman-27902276/ For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Monday 21 October, Kings Place in London. Tickets on sale now. Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. Saturday 4 January, Gramercy Theater New York. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Jayde Adams Episode 170: Women in Music with special guests Jamie Barton and Errollyn Wallen Recorded 14 September 2019 at the BBC Proms. Released 7 October 2019 The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://www.intelligencesquared.com/events/the-power-of-womens-voices-with-yvette-cooper-and-daisy-goodwin More about Jayde Adams https://twitter.com/jaydeadams https://ilovejaydeadams.com/the-ballad-of-kylie-jenners-old-face More about Jamie Barton https://twitter.com/jbartonmezzo http://www.jamiebartonmezzo.com https://wigmore-hall.org.uk/whats-on/select-seats/jamie-barton-kathleen-kelly-201911301930 https://www.youtube.com/watch?v=sDtyJyidhlc https://www.bbc.co.uk/sounds/play/m0008h24 More about Errollyn Wallen https://twitter.com/ErrollynWallen http://www.errollynwallen.com https://www.bbc.co.uk/programmes/m0007k0n https://www.youtube.com/watch?v=Gk4ZOM8EX4I For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Monday 21 October, Kings Place in London. Tickets on sale now. Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. Saturday 4 January, Gramercy Theater New York. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Kiri Pritchard-McLean Guilty Feminist Culture Club, episode 1: Judy with special guest Rosalyn Wilder Recorded 30 September and 1 October 2019 in London. Released 4 October 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Kiri Pritchard-McLean https://twitter.com/kiripritchardmc http://www.kiripritchardmclean.co.uk More about Judy http://www.pathe.co.uk/at-home/judy111 https://youtu.be/iJ4mU3oQW3g For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Monday 21 October, Kings Place in London. Tickets on sale now. Tuesday 5 November, Manchester podcast festival. Tickets on sale now. Wednesday 6 November, Dublin podcast festival. Tickets on sale now. Tuesday 3 December, Secret Policeman’s Ball in Manchester. Tickets on sale now. Monday 9 December, Kings Place in London. Tickets on sale now. Saturday 4 January, Gramercy Theater New York. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Secret Policeman’s Tour – Edinburgh Playhouse 2019 Hosted by Deborah Frances-White Recorded 24 August 2019 00:00   Intro 01:01   Deborah Frances-White 09:07   Nish Kumar 15:15   Hollie McNish 25:58   Rachel Parris 32:34   Amal Azzudin 41:56   Larry Dean 49:19   The Four Yorkshire Women 58:14   Steve Ali 1:08:35           Climate Change Panel 1:21:07           Deborah Frances-White 1:27:11           Rachel Parris and Grace Petrie 1:33:10           Outro Next stop on the tour – Manchester Palace Theatre on 3 December 2019. Get your tickets here. https://www.atgtickets.com/venues/palace-theatre-manchester   Get involved… If you would like to become part of the movement and join Amnesty International please visit http://amnesty.org.uk To get involved with Truth To Power Hour follow http://twitter.com/Amnestyuk and get ready to take action at 3pm every Friday If you would like to donate to help protect human rights around the world it’s http://amnesty.org.uk/donate Reuniting Refugee Families Now is the time for our Home Secretary to listen and seize the opportunity to make a lasting difference to the lives of refugees in the UK. Children need their parents. By signing Amnesty’s petition, you can urge the Home Secretary to change the rules and reunite more refugee families in the UK. TEXT: TOGETHER + YOUR NAME to 70505 Please note Amnesty International will also call you about ways to support their work, including fundraising. Text NOCALL to 70505 to opt out. See http://amnesty.org.uk/smsterms  

The Guilty Feminist Presented by Deborah Frances-White and Sophie Duker Episode 163: Seeing and Being Seen with special guests Tobi Kyeremateng and Koko Brown Recorded 2 December 2018 at The Leicester Square Theatre in London. Released 19 August 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Sophie Duker https://twitter.com/sophiedukebox https://www.pleasance.co.uk/event/sophie-duker-venus https://www.bbc.co.uk/programmes/p05ys9yl https://www.facebook.com/wackycomedyclub More about Tobi Kyeremateng https://twitter.com/bobimono https://twitter.com/btproject_ https://www.penguin.co.uk/authors/1082635/sherin-khankan.html http://www.firsthandfilms.com/films/#film-1000493 More about Koko Brown https://twitter.com/thekokobrown https://heykoko.com For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Friday 30 August – Sunday 1 September – Guilty Feminist Crossover season. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Jessica Fostekew Episode 162: The Future with special guest Sherin Khankan Recorded 7 October 2018 at The Dance House in Manchester. Released 12 August 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Donate today to Every Month https://www.everymonthcampaign.org More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Jessica Fostekew https://twitter.com/jessicafostekew https://tickets.edfringe.com/whats-on/jessica-fostekew-hench https://twitter.com/thehooveringpod More about Sherin Khankan https://www.exitcirklen.dk https://www.penguin.co.uk/authors/1082635/sherin-khankan.html http://www.firsthandfilms.com/films/#film-1000493 For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Friday 30 August – Sunday 1 September – Guilty Feminist Crossover season. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Catherine Bohart Episode 161: Awareness with special guests Corry Shaw, Natasha Devon and Jamie Windust Recorded 2 July 2018 at Kings Place in London. Released 4 August 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Photos by Grace Gelder. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Catherine Bohart https://twitter.com/CatherineBohart https://www.pleasance.co.uk/event/catherine-bohart-lemon More about Corry Shaw https://twitter.com/CorryShawComedy https://metro.co.uk/2018/06/20/disabled-woman-fighting-make-commuters-look-london-underground-7647740/ More about Natasha Devon https://twitter.com/_natashadevon https://www.panmacmillan.com/authors/natasha-devon/a-beginner-s-guide-to-being-mental/9781509882229 More about Jamie Windust https://twitter.com/fabjamiefab https://www.jamiewindust.co.uk https://fruitcakemagazine.co.uk For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 11 August in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Friday 30 August - Sunday 1 September. Guilty Feminist Crossover Season. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Natalie Haynes Episode 160: Leading Ladies with special guest Jessica Swale Recorded 8 April 2019 at the BFI in London. Released 29 July 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Natalie Haynes http://www.nataliehaynes.com https://www.panmacmillan.com/authors/natalie-haynes/a-thousand-ships/9781509836192 More about Jessica Swale https://twitter.com/jswale https://www.comedy.co.uk/film/horrible_histories For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 4 and 11 August in London. Book your place now. 31 August in Chester. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Friday 30 August – Sunday 1 September – Guilty Feminist Crossover season. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Aisling Bea Episode 159: Loneliness with special guest Danielle de Niese Recorded 17 July 2019 at Kings Place in London. Released 22 July 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Live music by Harry Baker. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Aisling Bea https://twitter.com/WeeMissBea https://www.aislingbea.com https://www.hellomerman.com/portfolio/this-way-up More about Danielle de Niese https://twitter.com/Danielledeniese https://www.instagram.com/danielledenieseofficial https://danielledeniese.com https://music.apple.com/gb/album/diva/1452289514 For tickets to Cinderella visit www.glyndebourne.com or call 01273 812321. For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 28 July, 4 and 11 August in London. Book your place now. 31 August in Chester. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Secret Policeman’s Tour – Hackney Empire 2019 Hosted by Deborah Frances-White Recorded 5 June 2019. 00:00    Intro 00:41    Deborah Frances-White 11:33    Alison Spittle 17:24    Funmbi Omatayo 23:38    Francesca Martinez and Konnie Huq 31:42    Sindhu Vee 36:23    Maria Munir 41:18    Saudi Women Drivers appeal 44:06    RoxXxan 46:53    The Four Yorkshirewomen 53:51    Grace Petrie   Get involved… If you would like to become part of the movement and join Amnesty International please visit http://amnesty.org.uk To join the rainbow network or Amnesty’s women’s network check out http://twitter.com/AmnestyUK_LGBTI and http://twitter.com/AmnestyFeminist To get involved with Truth To Power Hour follow http://twitter.com/Amnestyuk and get ready to take action regularly on Friday. If you would like to donate to help protect human rights around the world it’s http://amnesty.org.uk/donate Saudi Women Drivers appeal Women activists in Saudi Arabia who fought for the right to drive face 20 years in prison. Reports suggest they have been tortured and abused in detention.After years of campaigning, the ban on driving for women in Saudi Arabia has been lifted. But in a cruel twist, the women who bravely fought for this right have been arrested and branded ‘terrorists’. Some of these women have been provisionally released, showing the authorities are listening.  We want you to join us in demanding that the remaining women are immediately freed, and all charges are dropped. To take action all you need to do is: TEXT: WOMEN + your NAME to 70505 By texting this number, you will have joined us in writing to the Saudi Embassy making these demands. Please note Amnesty International will also call you about ways to support their work, including fundraising. Text NOCALL to 70505 to opt out. See http://amnesty.org.uk/smsterms

The Guilty Feminist Presented by Deborah Frances-White and Zoe Lyons Episode 158: Safety at Night with special guests Amy Lamé and Alicia Wittmeyer Recorded 15 April 2019 at Kings Place in Dublin. Released 15 July 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Photos by Grace Gelder. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Zoe Lyons https://twitter.com/zoelyons http://www.zoelyons.co.uk https://gildedballoon.co.uk/programme/zoe-lyons More about Amy Lamé https://twitter.com/amylame https://twitter.com/NightCzar https://www.bbc.co.uk/programmes/b09n0t37 More about Alicia Wittmeyer https://twitter.com/apqw https://www.nytimes.com/subscription For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 21 and 28 July, 4 and 11 August in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Saturday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Alison Spittle Episode 157: Going Undercover with special guests Ellen Coyne and Molly Sterling Recorded 26 March 2019 at Vicar Street in Dublin. Released 8 July 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Alison Spittle https://twitter.com/AlisonSpittle https://tickets.edfringe.com/whats-on/alison-spittle-mother-of-god More about Ellen Coyne https://twitter.com/ellenmconyne https://www.irishtimes.com/subscribe More about Molly Sterling https://twitter.com/SterlingMolly https://twitter.com/lauramccabster For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 21 and 28 July in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Monday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Athena Kugblenu Episode 156: Women in STEM with special guests Faith Uwadiaea and Amali de Alwis Recorded 19 November 2018 at Kings Place in London. Released 1 July 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Athena Kugblenu https://www.athenakugblenu.co.uk https://twitter.com/athenakugblenu  More about Faith Uwadiaea https://twitter.com/faith_uwadiae More about Amali de Alwis and Code First Girls https://twitter.com/amali_d https://twitter.com/CodeFirstGirls https://www.codefirstgirls.org.uk For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 21 and 28 July in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Sunday 7 July, The Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Monday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Jen Brister Episode 155: Sex Education with special guests Carys Afoko, Lynn Enright, Suzi Boulting Recorded 25 March 2019 at Kings Place in London. Released 24 June 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Tickets are on-sale now for The Guilty Feminist Live at the Royal Albert Hall https://guiltyfeminist.com/rah More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Jen Brister http://www.jenbrister.co.uk http://www.twitter.com/JenBrister More about our guests https://twitter.com/we_level_up https://twitter.com/carysafoko https://www.welevelup.org https://twitter.com/teachingthetalk https://www.teachingthetalk.com teachingthetalk@gmail.com https://www.waterstones.com/book/vagina/lynn-enright/9781911630012 https://twitter.com/lynnenright For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Sunday 7 July, The Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Monday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts! #rigidititty

The Guilty Feminist Presented by Deborah Frances-White and Geraldine Hickey Episode 154: Flying Solo with special guest Kate Bolick Recorded 3 March 2018 at the Sydney Opera House. Released 17 June 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Tickets are on-sale now for The Guilty Feminist Live at the Royal Albert Hall https://www.royalalberthall.com/tickets/events/2019/the-guilty-feminist More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Geraldine Hickey https://twitter.com/geraldinehickey https://www.comedyfestival.com.au/2019/shows/geraldine-hickey-things-are-going-well More about Kate Bolick http://www.katebolick.com https://twitter.com/katebolick For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 21 and 28 July in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Sunday 7 July, The Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Monday 7 September, The London Podcast Festival. Tickets on sale now. Monday 21 October, Kings Place in London. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Cal Wilson Episode 153: Being Too Much with special guest Lizzie Marvelly Recorded 5 February 2019 at the Q Theatre in Auckland. Released 10 June. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Give today to Endometriosis New Zealand. https://www.facebook.com/nzendo Tickets are on-sale now for The Guilty Feminist Live at the Royal Albert Hall https://www.royalalberthall.com/tickets/events/2019/the-guilty-feminist More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Cal Wilson http://calwilsoncomedy.com.au https://twitter.com/calbo https://www.boffinsbooks.com.au/books/9781742762753/george-and-the-great-bum-stampede-1 More about Lizzie Marvelly http://www.lizziemarvelly.com https://twitter.com/LizzieMarvelly https://www.villainesse.com https://www.amazon.co.uk/That-Word-Growing-Feminist-Aotearoa-ebook/dp/B07B4N4BZL For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Big Speeches workshops in London 21 and 28 July in London. Book your place now. Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! Monday 10 June, BFI in London. Tickets on sale now. Sunday 7 July, The Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 10 August, Underbelly South Bank. Tickets on sale soon. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Emma Thompson Episode 152: Late Night with special guest Mindy Kaling Recorded 17 May and 20 May in London. Released 3 June 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Tickets still available for Guilty Feminist at the BFI, Monday 10 June. https://whatson.bfi.org.uk/Online/guiltyfeministlivejun2019 More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://guiltyfeminist.com/tour More about Emma Thompson, Mindy Kaling and Late Night https://twitter.com/mindykaling http://www.latenightfilmuk.com https://twitter.com/latenightfilmuk For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Get £15 tickets to BREXIT at the King's Head Use offer code BREXIT15. https://www.kingsheadtheatre.com/ Come to a live recording! Secret Policeman’s Tour. Wednesday 5 June, Hackney Empire. Tickets on sale now. Saturday 8 June, Belfast. Tickets on sale now. Monday 10 June, BFI in London. Tickets on sale now. Sunday 7 July, Royal Albert Hall. Tickets on sale now. Wednesday 17 July, at Kings Place in London. Tickets on sale now. 2,3,4 August Edinburgh Fringe. https://www.pleasance.co.uk/event/guilty-feminist-live-podcast 24 August, Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts! #latenightfilmuk

The Guilty Feminist Presented by Deborah Frances-White and Jen Brister Episode 151: Shame with special guests Dolly Alderton and Kemah Bob and music from Grace Petrie Recorded 25 March 2019 at Kings Place in London. Released 27 May 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Tickets are on-sale now for The Guilty Feminist Live at the Royal Albert Hall https://www.royalalberthall.com/tickets/events/2019/the-guilty-feminist Give today to Happy Baby Community https://www.happybabycommunity.org.uk More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://guiltyfeminist.com/tour More about Jen Brister https://twitter.com/JenBrister https://www.penguin.co.uk/authors/1083345/jen-brister.html More about Dolly Alderton https://twitter.com/dollyalderton https://www.dollyalderton.com More about Kemah Bob Femmes of Colour https://www.facebook.com/groups/909110315947609 https://twitter.com/kemahbob More about Grace Petrie http://gracepetrie.com https://twitter.com/gracepetrie For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! The Guilty Feminist Podcast Live Tour 2019. Tickets on sale now. Wednesday 5 June, The Secret Policeman’s Tour, Hackney Empire. Tickets on sale now. Saturday 8 June, The Limelight, Belfast. Tickets on sale now. Sunday 7 July, The Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Sara Pascoe Episode 150: Disobedience with special guests Lisa Fa’alfi and Ofa Fotu, Leyla McLennan and Daisy Jacobs Recorded 25 August 2018 at McEwan Hall in Edinburgh. Released 20 May 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Give today to Ubuntu Womens Shelter http://www.ubuntu-glasgow.org.uk More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://guiltyfeminist.com/tour More about Sara Pascoe https://twitter.com/sarapascoe http://www.sarapascoe.com https://thebikeproject.co.uk https://www.bemyeyes.com More about Hot Brown Honey https://twitter.com/hotbrownhoney http://www.hotbrownhoney.com More about Routes Collective https://routescollective.com https://twitter.com/routeswomen For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! The Guilty Feminist Podcast Live Tour 2019. Tickets on sale now. Preview screening of Late Night. Monday 20 May. Tickets on sale now. Secret Policeman’s Tour. Wednesday 5 June, Hackney Empire. Tickets on sale now. Saturday 8 June, Belfast. Tickets on sale now. Sunday 7 July, Royal Albert Hall. Tickets on sale now. Wednesday 17 July, at Kings Place in London. Tickets on sale now. 2,3,4 August Edinburgh Fringe. https://www.pleasance.co.uk/event/guilty-feminist-live-podcast 24 August, Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Zoe Lyons Episode 149: Home with special guest Hannah Gousy Recorded 15 April 2019 at Kings Place in London. Released 13 May 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. Photo by Grace Gelder Give today to The Red Box Project http://redboxproject.org More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://guiltyfeminist.com/tour More about Zoe Lyons https://twitter.com/zoelyons http://www.zoelyons.co.uk https://gildedballoon.co.uk/programme/zoe-lyons More about Hannah Gousey and Crisis https://twitter.com/hannahgousy https://crisis.org.uk/asafehome For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! The Guilty Feminist Podcast Live Tour 2019. Tickets on sale now. Monday 20 May, preview screening of LATE NIGHT. Tickets on sale now. Wednesday 5 June, The Secret Policeman’s Tour, Hackney Empire. Tickets on sale now. Saturday 8 June, The Limelight, Belfast. Tickets on sale now. Sunday 7 July, Royal Albert Hall. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts! #asafehome

The Guilty Feminist Presented by Deborah Frances-White and Sara Pascoe Episode 148: Women in Science with special guests Dr Maggie Aderin-Pocock and Dr Anne-Marie Imafidon Recorded 27 February 2019 at The Science Museum in London. Released 6 May 2019. The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon. More about Deborah Frances-White Tickets available soon for The Guilty Feminist at the Royal Albert Hall https://guiltyfeminist.com/rah/ http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book https://guiltyfeminist.com/tour More about Sara Pascoe https://twitter.com/sarapascoe http://www.sarapascoe.com More about Dr Maggie Aderin-Pocock https://www.bbc.co.uk/cbeebies/shows/stargazing https://www.amazon.co.uk/dp/1785943510/ref=cm_sw_em_r_mt_dp_U_zr7UCbB4G1NZ9 More about Dr Anne-Marie Imafidon https://twitter.com/aimafidon https://itunes.apple.com/gb/podcast/women-tech-charge/id1454224152?mt=2 For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT Guilty Feminist jewellery is now available https://www.road-from-damascus.co.uk The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! The Guilty Feminist Podcast Live Tour 2019. Tickets on sale now. Wednesday 5 June, The Secret Policeman’s Tour, Hackney Empire. Tickets on sale now. Saturday 8 June, The Limelight, Belfast. Tickets on sale now. Wednesday 17 July, Kings Place in London. Tickets on sale now. 2, 3, 4 August, Pleasance Courtyard at the Edinburgh Fringe. Tickets on sale now. Saturday 24 August, The Secret Policeman’s Tour, Edinburgh Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

Debbie Hynes enters The Gateway to discuss her relationship with Outlandos D'Amour by The Police. We learn about her upbringing in Newfoundland and the exposure that the album gave her to Bob Marley, The Clash and her MEGACRUSH on Corey Hart. Spotify Playlist of songs referenced or played on the episode: https://open.spotify.com/user/x5228znb6j0817tdq7otw61fi/playlist/1u1ZHiVMKxrVaSoIZ6rnt2?si=RpbvAtBNRNOGEEEiiwrtpA YouTube link to clip of Sting playing Message In A Bottle at Secret Policeman’s Other Ball: https://youtu.be/k6JNtEZwTLw Facebook: https://www.facebook.com/Gatewaymusicpodcast/ Logo Design: Eric Doudeau Producer: Tom Zalatnai www.upfordnetwork.com

The Guilty Feminist and Amnesty International present The Secret Policeman’s Podcast Live – part two Recorded 24-25 August 2018 at the Edinburgh Playhouse. Released 18 October. Edited by Tom Salinsky. Recorded by Garry Boyle. Photos by Malcolm McCurrach. Thanks to Chris and Amy at Phil McIntyre Entertainments for all their help and support and everyone at the Edinburgh Playhouse. Nazanin Zaghari-Ratcliffe is a British mum serving a five-year prison sentence in Iran - but she hasn’t committed any crime. She was recently released on a three day leave from prison to visit family - but has now, crushingly, been returned to prison. She has done nothing wrong. Help secure her freedom by signing our petition now. 00:00 Introduction from Deborah Frances-White @deborahfw 01:04 Sara Pascoe @sarapascoe 06:07 Ruby Wax and Juliet Stevenson @rubywax @Juliet945600 19:43 Phill Jupitus 26:41 Going for an English written by Sharat Sardana and the cast of Goodness Gracious Me. Performed by Kulvinder Ghir, Himesh Patel, Nish Kumar, Sindhu Vee, Bisha K Ali and Thom Tuck @kulvinderghir @himeshjpatel @mrnishkumar @sindhuvfunny @bishakali @turlygod 35:12 Deborah Frances-White 40:50 Shappi Khorshandi @shappikhorshandi 50:06 Kemah Bob @kemahsvoice 55:16 Jen Brister @jenbrister 1.01:41 Sindhu Vee @sindhuvfunny 1.09:27 Steve Ali @Steveali_ 1.21:28 Rose Matafeo @rosematafeo 1.29:20 Jessica Fostekew @jessicafostekew 1.36:55 Grace Petrie: Black Tie @gracepetrie Part one was released on 11 October. www.amnesty.org.uk • www.guiltyfeminist.com

The Guilty Feminist and Amnesty International present The Secret Policeman’s Podcast Live – part one Recorded 24-25 August 2018 at the Edinburgh Playhouse. Released 11 October. Edited by Tom Salinsky. Recorded by Garry Boyle. Photos by Malcolm McCurrach. Thanks to Chris and Amy at Phil McIntyre Entertainments for all their help and support and everyone at the Edinburgh Playhouse. Everyday family life is full of wonderful moments we all take for granted. But many refugee families are being forced apart. After fleeing conflict and persecution, unfair and restrictive rules are forcing people to make an impossible decision: family or safety? The stroke of a pen could reunite these families. Tell the new Home Secretary, Sajid Javid to change these rules - sign our petition. 00:00 Introduction from Deborah Frances-White @deborahfw 05:22 The Ballad of Barry and Freda with Rachel Parris and Grace Petrie @rachelparris @gracepetrie 10:42 Deborah Frances-White 16:58 Rosie Jones @josierones 26:59 Paul Sinha @paulsinha 34:26 The Four Yorkshirewomen. Based on The Four Yorkshiremen written by Tim Brooke-Taylor, John Cleese, Graham Chapman and Marty Feldman. Adapted by Rosalind Brody. Performed by Juliet Stevenson, Aisling Bea, Pippa Evans and Margaret Cabourn-Smith. @RHSB_ @Juliet945600 @weemissbea @iampippaevans @mcabournsmith 43:49 Deborah Frances-White 53:28 Alison Spittle @alisonspittle 1.00:17 Athena Kugblenu @athenakugblenu 1.05:34 Aloysius Ssali and Doris Funtong Kembong from The Say it Loud Club @Aloysius_Ssali 1.11:42 Tiffany Stevenson @tiffanystevenson 1.19:02 Felicity Ward @felicityward 1.23:22 David O’Doherty @phlaimeaux 1.35:25 Camilla Cleese @camillacleese 1.41:57 Nish Kumar @mrnishkumar 1.51:52 Hot Brown Honey @hotbrownhoney Part two will be released on 18 October. www.amnesty.org.uk • www.guiltyfeminist.com

The Guilty Feminist Presented by Deborah Frances-White and Sindhu Vee Episode 111: Being Part of Two Worlds with special guests Karen Cogan, Emily Lloyd Saini and Sherin Khankan Recorded 23 July 2018 at Kings Place in London. Released 20 August.  The Guilty Feminist theme composed by Mark Hodge and produced by Nick Sheldon. The Secret Policeman’s Podcast https://www.atgtickets.com/shows/the-guilty-feminist-presents-the-secret-policemans-podcast/edinburgh-playhouse/ Help Refugees For information about how to send donations to our warehouse please contact calaisdonations@helprefugees.org and find your nearest drop-off point or donate funds directly to our Calais warehouse at https://donate.helprefugees.org/campaigns/northern-france/ Items can also be delivered straight to us here in Calais through our Leisure Fayre page or on our Amazon wish list.  Thank you for your generosity in supporting Help Refugees! More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book Vote for Deborah: http://www.thehospitalclub.com/h100awards More about Sindhu Vee https://twitter.com/sindhuvfunny https://www.pleasance.co.uk/event/sindhu-vee-sandhog More about Karen Cogan https://sohotheatre.com/events/drip-feed-at-the-edinburgh-fringe/ https://sohotheatre.com/shows/drip-feed/ More about Emily Lloyd Saini https://twitter.com/emilylloydsaini https://tickets.edfringe.com/whats-on/egg-richard-pictures More about Sherin Khankan https://www.penguin.co.uk/books/1116184/women-are-the-future-of-islam For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page https://www.facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT  The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! 25-26 August at the Edinburgh Fringe. Tickets on sale now. 17 September at Northern Stage, Newcastle. Tickets on sale now. 10 October at the Barbican. Tickets on sale now. 20 October at the Liverpool Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Felicity Ward Episode 110: Drawing a Line and Planting a Flag with special guests from Say it Loud and Save the Black Cap and music from Grace Petrie and The Oxford Belles Recorded 15 July 2018 at the Regents Park Open Air Theatre in London. Released 13 August.  The Guilty Feminist theme composed by Mark Hodge and produced by Nick Sheldon. The Secret Policeman’s Podcast https://www.atgtickets.com/shows/the-guilty-feminist-presents-the-secret-policemans-podcast/edinburgh-playhouse/ Help Refugees For information about how to send donations to our warehouse please contact calaisdonations@helprefugees.org and find your nearest drop-off point or donate funds directly to our Calais warehouse at https://donate.helprefugees.org/campaigns/northern-france/ Items can also be delivered straight to us here in Calais through our Leisure Fayre page or on our Amazon wish list.  Thank you for your generosity in supporting Help Refugees! More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Felicity Ward https://www.felicityward.com https://twitter.com/felicityward https://tickets.edfringe.com/whats-on/felicity-ward-busting-a-nut More about our guests https://www.oxfordbelles.com http://www.sayitloudclub.co.uk https://twitter.com/aloysiusssali http://gracepetrie.com https://twitter.com/kemahsvoice https://www.facebook.com/friendsofthejoinersarms https://www.facebook.com/groups/weareblackcap https://twitter.com/kate_elizabeth https://twitter.com/ebonyrosedark For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page https://www.facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT  The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! 25-26 August at the Edinburgh Fringe. Tickets on sale now. 17 September at Northern Stage, Newcastle. Tickets on sale now. 10 October at the Barbican. Tickets on sale now. 20 October at the Liverpool Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Guilty Feminist Presented by Deborah Frances-White and Abigoliah Schamaun Episode 109: Pushing Back with special guests Anita Anand and Fiona Smith Recorded 12 April 2018 at the National Portrait Gallery in London. Released 6 August.  The Guilty Feminist theme composed by Mark Hodge and produced by Nick Sheldon. Tony Robbins https://www.youtube.com/watch?v=74YILhy4RgE 100 Pioneering Women https://www.npg.org.uk/business/publications/100-pioneering-women The Secret Policeman’s Podcast https://www.atgtickets.com/shows/the-guilty-feminist-presents-the-secret-policemans-podcast/edinburgh-playhouse/ More about Deborah Frances-White http://deborahfrances-white.com https://twitter.com/DeborahFW https://www.virago.co.uk/the-guilty-feminist-book More about Abigoliah Schamaun http://abigoliah.com https://twitter.com/abigoliah http://www.underbellyedinburgh.co.uk/whats-on/abigoliah-schamaun-do-you-know-who-i-think-i-am More about Anita Anand https://anitaanand.net https://twitter.com/tweeter_anita https://www.bloomsbury.com/uk/sophia-9781408835456 For more information about this and other episodes… visit guiltyfeminist.com tweet us twitter.com/guiltfempod like our Facebook page https://www.facebook.com/guiltyfeminist check out our Instagram instagram.com/theguiltyfeminist or join our mailing list eepurl.com/bRfSPT  The Negotiations special episode of the podcast is now available to purchase. http://guiltyfeminist.com/product/include-yourself-podcast/ Come to a live recording! 25-26 August at the Edinburgh Fringe. Tickets on sale now. 17 September at Northern Stage, Newcastle. Tickets on sale now. 10 October at the Barbican. Tickets on sale now. 20 October at the Liverpool Playhouse. Tickets on sale now. Leave us a review and rate us on Apple Podcasts!

The Kremlin's secret police have gone by many names. And this week, they had a birthday. Listen to the new Power Vertical Podcast.

Corey Pein discusses the Spanish Civil War with writer and historian Adam Hochschild.

The Secret Policeman at the Marathon Corey Pein talks about the Spanish Civil War with writer and historian Adam Hochschild. Notes And Links This podcast at The Baffler’s website Adam’s book Spain in Our Hearts: Americans in the Spanish Civil War, 1936-1939 The Harper’s review of Adam’s book Adam’s faculty profile at the UC Berkeley … Continue reading "News From Nowhere Ep. 13"

John Altman began his musical career at age 3 with Judy Garland at the London Palladium! Commencing his recording and live career in the late 60’s as an in-demand saxophonist - he has performed with many major figures in music, including Eric Clapton, Sting, Phil Collins (all of whom performed in his band, the Secret Police, an all star aggregation specially assembled for the Secret Policeman’s Ball), Jimi Hendrix, Nick Drake, Muddy Waters, Bob Marley, Jimmy Page, Little Richard, Prince, and Van Morrison and Hot Chocolate (for both of whom he functioned as musical director) and many more. He has recently contributed saxophone solos for the new albums by Rick Astley, Chuck D and Goldie. To learn more about this ASMAC Luncheon with special guest, John Altman, go to: http://www.asmac.org/john-altman-luncheon-august-19-2009

Poet and writer Rita Gabis grew up surrounded by grandparents with accents—Russian, Yiddish, Lithuanian. That makes it sound like a familiar Jewish immigrant tale, but it was far from that. While Gabis’s father came from a family of Russian Jews who immigrated to the United States well before WWII, her mother was born in Lithuania. She and her family emigrated in the 1950s. And they were Catholic. As a child, Gabis was vaguely aware that these two different family backgrounds were at odds with each other. It was as an adult, however, that she came to understand that the divide went much deeper, and that her mother’s father, her beloved Senelis as she called him... See acast.com/privacy for privacy and opt-out information.

Stephen Merchant talks to Jimmy Fallon in an exclusive backstage podcast from The Secret Policeman's Ball.

Stephen Merchant talks to Chevy Chase in an exclusive backstage podcast from The Secret Policeman's Ball.