POPULARITY
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
2 episodes with Spanish Prisoner
From Spanish Prisoners to Nigerian Princes, advance fee scams have endured for centuries, relying on victims to follow the same formula: pay first, regret later.SponsorsRoutable - http://ohmyfraud.promo/routableRightworks Rightnow 2025 - https://ohmyfraud.promo/rightnow2025 (use code OMF15 for 15% OFF)(00:00) - Introduction to Advanced Fee Scams (00:57) - Podcast Introduction and Listener Interaction (06:25) - Historical Background of Advanced Fee Scams (12:51) - Modern Variations and Techniques (16:12) - Psychological Manipulation in Scams (21:26) - Case Studies of Advanced Fee Scams (28:47) - How to Spot and Avoid Scams (35:22) - Conclusion and Final Thoughts Join Caleb and Greg live in New Jersey NJCPA Convention & Expo [NJCPA]HOW TO EARN FREE CPEIn less than 10 minutes, you can earn 1 hour of NASBA-approved accounting CPE after listening to this episode. Download our mobile app, sign up, and look for the Oh My Fraud channel. Register for the course, complete a short quiz, and get your CPE certificate.https://www.earmark.app/Download the app:Apple: https://apps.apple.com/us/app/earmark-cpe/id1562599728Android: https://play.google.com/store/apps/details?id=com.earmarkcpe.appCONNECT WITH CALEBTwitter: https://twitter.com/cnewquistLinkedIn: https://www.linkedin.com/in/calebnewquist/Email us at ohmyfraud@earmarkcpe.comSources:Advance-fee scam [Wikipedia]Spanish Prisoner [Wikipedia]Pigeon drop [Wikipedia]The 9 Lives of the Spanish Prisoner, the Treasure-Dangling Scam That Won't Die [Atlas Obscura]AN OLD SWINDLE REVIVED. [NYT/TimesMachine]Nigerian Scams [Know Your Meme]We're All Somebody's Fool | Dan Simons & Chris Chabris [OMF]The Psychology Behind Advance Fee Scams [Fraud, Risk and Compliance]Chief Executive Officer And Orchestrator Of $10 Million Advance Fee And Alaskan Gold Mine Investment Schemes Sentenced To More Than 20 Years' Imprisonment [DOJ]After Bilking Victims of $10 Million, Serial Swindler Is Sentenced to Nearly 22 Years [NYT]Lengthy Prison Term for Advance Fee Fraudster [FBI]Two Convicted in Multi-Million-Dollar Advance Fee and Alaskan Gold Mine Investment Schemes [FBI]The centuries-old scam still fooling thousands every year [Telegraph]Almost 800 arrested over Nigerian crypto-romance scam [Reuters]Nigeria investigates nearly 800 suspects arrested in massive cybercrime raid [VOA]EFCC bursts syndicate run by foreigners in Lagos operating crypto investment, romance scam [Ripples Nigeria]We're Not a Bank in Kansas Anymore [OMF]363: Enforcers [This American Life]
Peggy is dubbed a "genius" after taking an on-line test from the Texas Institute of Intelligence, which leads her into a series of confidence schemes. Directors Boo Hwan LimKyoung Hee LimKlay Hall Writers Mike JudgeGreg DanielsEtan Cohen Stars Mike JudgeKathy NajimyPamela Adlon Learn more about your ad choices. Visit megaphone.fm/adchoices
This week G-Baby and the Usual Suspect Steve once again dive deep into the murky waters of cinema and surface with insights sharper than a dorsal fin as we cover The Spanish Prisoner from 1997 - a rather interesting PG entry in David Mamet's filmography that unfolds like a meticulously orchestrated symphony that'll keep you guessing, but does it hit the right notes? Join us as we discuss comedy gold by way of Ye, Steve enlightening G-Baby on "The D.E.N.N.I.S. System" and how it dovetails into this picture, the prospect of getting shanghai'ed in a foreign country, and alliteration notwithstanding, the downright diabolically discordant dialogue of this film. The porpoises, midnight companions and keen observers, once again find themselves plunged into the depths of the silver screen. With the finesse of skilled mariners they attempt to glide through the intricate currents of this high-stakes confidence game - a mesmerizing spectacle that unfolds like an underwater chess match, where every move ripples with strategic intent and the waves of suspense lap at the shores of mystery. For any Bone Thugs fans out there, on Crossroads is it "and I miss my Uncle Charles Jones" or "Charles y'all"? Let's wax this buffaloed porpoise. https://linktr.ee/waxtheporpoise #dennissystem #spanishprisoner #longcon #davidmamet #waxit Follow us on twitter / X & instagram and leave us a rating/review on Apple Podcasts or wherever you listen, let us know how we're doing and thank you!
Today's Mystery:Sam tries to help a retired teacher who lost $1,000 to an old con game.Original Radio Broadcast Date: March 9, 1951Originated from HollywoodStarred Steven Dunne as Sam Spade, Lurene Tuttle as Effie, Ed Mack, Verna Felton, Lou Merrill, Tony Barrett, Shirley Mitchell, Nester Paiva, Jerry HausnerSupport the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4607052/advertisement
Today's Mystery:Sam tries to help a retired teacher who lost $1,000 to an old con game.Original Radio Broadcast Date: March 9, 1951Originated from HollywoodStarred Steven Dunne as Sam Spade, Lurene Tuttle as Effie, Ed Mack, Verna Felton, Lou Merrill, Tony Barrett, Shirley Mitchell, Nester Paiva, Jerry HausnerSupport the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectivesThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5571712/advertisement
Tomorrow is rain make-upfield day!Land Rush Dayshttps://en.wikipedia.org/wiki/Land_Rush_of_1889Oklahomans are weird…Field trips MUST be educational in natureAll of Arkansas is under constructionAaron is actually staying!Wilson's Creek: https://www.nps.gov/wicr/index.htm Pea Ridge: https://www.nps.gov/peri/index.htmBrandon's in a vault!No casual civil war enthusiastsWho has a cannon?Oklahoma is getting $600 mil: https://okcfox.com/news/local/oklahoma-education-plan-2023-paid-maternity-leave-teacher-pay-raises-literacy-program-school-districts-redbud-fund-school-choice-security-upgrades-kevin-stitt-greg-treat-ryan-walters-mark-mcbride-teachers-house-senateCollin's hiring woesSuspiciously angular pondFast French Facts…Unfortunate side of dog rescue Summer reading list!Hot takes with Brandon…Fantasy novel book covers are trashGeneric text with object in the centerRandom film review corner…The Spanish Prisoner: https://www.imdb.com/title/tt0120176/Summer Reading BOOK CHALLENGE EXTRAVAGANZA!!!!Aaron's honeymoon - Charleston, Atlanta, etc!Check out our other episodes: ohbrotherpodcast.comFollow us on InstagramCheck us out on Youtube
We celebrate Ben Gazzara - sort of. First up is "Saint Jack" (1979), a wonderful Peter Bogdanovich film that seems to be written for Gazzara. The story of an American wanting nothing more than to open a brothel in Singapore. We loved this film and agree that it is as underrated as they come. Our second feature is not really a Ben Gazzara film, but he's in it for a brief time. David Mamet's "The Spanish Prisoner" (1997) is another con-artist yarn that is boring, miscast and extremely predictable. Next, chess films with "Fresh" (1994) and "Critical Thinking" (2020).Have your own recommendations? Contact the show:24theroadshow@gmail.com
The Spanish Prisoner is a film that keeps the audience on it's toes. Written and directed by David Mamet and released in 1997 is largely set in New York City. The synopsis as curated from IMDB.com states “An employee of a corporation with a lucrative secret process is tempted to betray it. But there's more to it than that.” This one confused us a bit. It stars Campbell Scott, Ben Gazzara, Steve Martin and Rebecca Pidgeon. Guess the Monthly Theme for 2023 Contest The Rules: Throughout the month you may guess the theme as many times as you want to. At the end of the month we will announce the theme and the winners. Winners receive: A shout out in the episode A shout out on social media Your name posted on the website with number of wins Each month one winner will get a video message from Mike and get to select a film for the podcast in 2024 ***At the end of the year every winner will get their name added to the pot to win a $100 Amazon gift card.*** Movie Quote: “Some of us have our secrets, and some of us have our reasons, Maggie.” - Milo Dean Timecodes: 00:00 - Introduction :18 - The Film stats 2:00 - The Pickup Line 2:32 - Talking about the process 3:32 - Confusion that this is a heist film 9:23 - Casting Steve Martin as the villain 15:51 - Head Trauma 15:57 - Smoochie, Smoochie, Smoochie 16:30 - Driving Review 17:31 -To the Numbers To guess the theme of this month's films you can call or text us at 971-245-4148 or email to christi@dodgemediaproductions.com You can guess as many times as you would like. Special thanks to Melissa Villagrana our social media posts. Next week's film will be Wonderful World (2009) Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Give us a call at 971-245-4148 or email at christi@dodgemediaproductions.com
Teenage Killers as our theme. "The Boys Next Door" (1985) is the story about two outcasts who take a deadly road trip the day after they graduate from high school. The two leads, played by Maxwell Caulfield and Charlie Sheen, are good in a predictable story that doesn't carry the punch our second film has. Gus Van Sant's "Elephant" (2003) is based school shootings at Columbine. An unusual film to say the least, it takes it's time to set everything up for a terrifying ending, but that's what makes it so good. Next time, Ben Gazzara is our theme with "Saint Jack" (1979) and "The Spanish Prisoner" (1997). Have your own recommendations? Contact the show:24theroadshow@gmail.com
Happy Gilmore, a film from 1996 written by Tim Herligy and Adam Sandler. Directed by Dennis Dugan who is known for also directing Big Daddy and You Don't Mess with the Zohan. It stars Adam Sandler, Christopher McDonald, and Julie Bowen, along side an ensemble cast telling the story of a hockey player with a strong slap shot and parlays those skills on the golf course in an attempt to win a monetary prize to save his grandmother's house. Guess the Monthly Theme for 2023 Contest The Rules: Throughout the month you may guess the theme as many times as you want to. At the end of the month we will announce the theme and the winners. Winners receive: A shout out in the episode A shout out on social media Your name posted on the website with number of wins Each month one winner will get a video message from Mike and get to select a film for the podcast in 2024 ***At the end of the year every winner will get their name added to the pot to win a $100 Amazon gift card.*** Movie Quote: Happy Gilmore: [to Shooter] It ain't over, McGavin. The way I see it... we've only just begun. Timecodes: 00:00 - Announce March's Winner 1:25 - Introduction 1:34 - Promoting April's Hints 2:08 - Mike saying he can be bribed 2:26 - The film stats 4:32 The Pickup Line 4:43 - Adam Sandler films 6:49 - How did they do that shot? 7:37 - A Dutch Tilt 8:30 - Casting 9:28 - Mike's brush with greatness 11:04 - Let's talk about Little People 13:29 - Head Trauma 14:50 - Smoochie, Smoochie, Smoochie 15:51 - Driving Review 17:02 - To the Numbers Links From the Show: Sorry that I couldn't find how they filmed the first long shot Dutch Angle Head Trauma: Happy's dad takes a slapshot in the melon Twice and the last time fatally Happy beats the crap out of the coaches and the entire hockey team Happy sends the IRS agent through the front door Happy's drive hits the neighbor in the head and then the next hits the wife in the head Happy takes baseballs in the head Happy punches the heckler on the first green Happy head-butts the alligator Happy's drive hits a fisherman in the head Happy punches Bob Barker and then head-butts him Happy gets run over by the jackass heckler's VW Bug O.S. head trauma to Shooter after he steals the gold jacket Happy's famous last shot To guess the theme of this month's films you can call or text us at 971-245-4148 or email to christi@dodgemediaproductions.com You can guess as many times as you would like. Special thanks to Melissa Villagrana our social media posts. Next week's film will be The Spanish Prisoner (1997) Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Give us a call at 971-245-4148 or email at christi@dodgemediaproductions.com
It's always an interesting experience to see a movie.written and directed by the same person - especially when that person is someone as unique as David Mamet. Sometimes the watering down or smoothing out can be a benefit. Other times it can dilute the vision that the writer has in mind. Today we discuss The Spanish Prisoner - written and directed by David Mamet - and discuss these items and more. Theme: Stylized Dialog
The Mikes are taking a look at a David Mamet film that DOES NOT have swearing in it! That's right, Mike Field and Mike Butler are discussing the 1998 Myster-Thriller The Spanish Prisoner.Listen in as the Mikes talk about Steve Martin playing his first serious on-screen role, the strange dialogue in Mamet films, the lack of mystery in this mystery film, and all the outside forces stacked against this film that made it forgotten.So, grab your popcorn and soda, please notice the exits to the left and right of you and settle down for Forgotten Cinema. 00:00 - Introduction01:46 - Film Summary02:29 - Film Facts07:53 - Film Discussion35:15 - Critic Reviews38:16 - Who Are You Recommending This To?39:52 - Why It's Forgotten42:10 - Where to Find Us
Ponzi Schemes, 3 Card Monte, & Flim Flam Men – The Business of Con Artists BRT S04 EP02 (165) 1-15-2023 What We Learned This Week Famous Cons - Ponzi Scheme, Brooklyn Bridge, 3 Card Monte, Spanish Prisoner, Landlord, False Good Samaritan, Fiddle Game…. Psychology of the Scam & The Mark (Victim) – preying on people's trust, greed & politeness Magic - Art of Miss-direction & Deception, & how 3 Card Monte works Con Artists in Movies - The Sting, Wolf of Wall St, Ocean's 11, Grifters, American Hustle, Hustler, Dirty Rotten Scoundrels, Boiler Room.... Guest: Eric Almassy LinkedIn: https://www.linkedin.com/in/eric-almassy-4b10097 Eric is a regional sales director, & also a part time Actor Notes: Seg 1 – What is a Con? What is a Confidence Man? Examples of cons – Spanish Prisoner, ponzi scheme, landlord, False Good Samaritan, 3 card monte Famous Cons – Ponzi Scheme, Brooklyn Bridge, Madoff, FTX Crypto Sell Brooklyn Bridge – George C Parker https://history.howstuffworks.com/historical-figures/conman-sold-brooklyn-bridge.htm Parker was so good at his job that he managed to "sell" the Statue of Liberty, Madison Square Garden, Ulysses S. Grant's tomb, and the Metropolitan Museum of Art, as well as four lots in City Hall Park for $25,000. But he couldn't avoid getting caught, and he went to jail several times for larceny, forgery, and impersonating a police officer. False Good Samaritan There might not be any simpler or more ancient con than the so-called “false Good Samaritan”. It usually involves a team of two con men working in tandem, and the victim is usually a lone person walking a city street at night. The first con man approaches the person and mugs them, stealing their wallet or purse and taking off down the street. The second con man, posing as a passerby, will give chase to the mugger, tackle them, and get back the wallet. The mugger, of course, always manages to escape during the fray. The false Good Samaritan will then return the wallet or purse to the mark, who will have been witness to the entire performance. The hope is that the grateful victim will repay the con man for his help with some kind of cash reward, which they can then split with the mugger later on. When sold correctly and performed on the right kind of person, this con is capable of earning the grifters even more money than they would have ever gotten from just keeping the stolen wallet. Spanish Prisoner / Nigerian Prince Ever gotten one of those junk e-mails from a person claiming to be a Nigerian Princess in need of quick cash? If so, then you're familiar with the Spanish Prisoner, which is a classic form of “advance fee fraud” that attempts to trick unsuspecting marks by promising them a big payday down the road. The scam dates all the way back to the early 1900s, when it was often used against wealthy businessmen. This is how it would go down: after gaining his mark's trust, a con man would intimate that he was in correspondence with the family of a fabulously wealthy person of high social class who was being imprisoned in Spain for a crime they didn't commit. Fearing scandal, the prisoner has not released his name or case to the public, and is relying on private means to generate the money to secure his release. With this in mind, the mark would be told that any money he contributed to help in the cause would be paid back with huge interest down the road. In some variations, it would even be implied that the person would get to marry the Spanish Prisoner's beautiful daughter. Naturally, any money the victim gave would inevitably disappear, and when possible the con man would even try and get his victim to contribute more cash by telling them that a daring rescue attempt needed to be funded. Ponzi Scheme / Pyramid Scheme If current events have proven anything, it's that there is no more potentially profitable con game than the Ponzi scheme. The trick dates back hundreds of years, but it was popularized by Charles Ponzi, an Italian immigrant to the U.S. who swindled investors out of millions in the early 1900s before being arrested. The modern Ponzi scheme is a form of investment fraud in which a fake or corrupt stockbroker uses the money of his new investors to pay the imaginary returns of his old ones. Initial investments with the fake broker might yield enormous returns for the people being conned, but in reality their money has not been invested in anything–the con man has simply been putting it all into a bank account. Any time someone wants to withdraw money, or if he has to pay the returns of his old investors, the con man simply uses the money he's gotten from new investors to do it. Nothing is actually being invested, won, or lost in the market. The con man is simply giving that impression so that people keep handing over more and more cash. Because it can only grow so far, any Ponzi scheme is destined to eventually collapse under its own weight, so the con man usually pulls a disappearing act after collecting enough money, leaving the investors with nothing but the fake returns they received to keep them involved in the swindle. Undoubtedly the most famous recent example involved Bernard Madoff, a New York financier who engineered a Ponzi scheme estimated to be in the neighborhood of $65 billion. Madoff was eventually caught and sentenced to 150 years in prison, but not before pulling of what is essentially the biggest con game of all time. Three Card Monte One of the classic short cons, three-card monte is a card game that uses sleight of hand and trickery to swindle victims out of small amounts of cash. It's one of the oldest cons around, and dates back to “the shell game,” a similar scheme that was popular during the Middle Ages. The game itself is deceivingly simple. Three cards are placed faced down on a flat surface, usually two black jacks and a red queen. The dealer shows the players the red queen, and then proceeds to thoroughly shuffle the cards to make it difficult to tell where it is. Players then bet on whether they can pick the queen out of the three cards. It sounds easy enough, but the game is more or less impossible to beat, because a good dealer can use sleight of hand to switch the cards at will, and can easily decide who wins or loses. In more sophisticated set ups, the whole game is a fake, and the other supposed “players” are in on the con. One of these conspirators will approach the mark and pretend to give them inside information on how to beat the game, enticing them to make a larger bet. Since street gambling is quite clearly illegal, any time a victim begins to suspect the game might be a cheat, the con men simply pretend to see the police coming, pack up their game, and make a break for it. Wire Game Made famous by the movie The Sting, the wire game was a complex fraud that required a large group of con men to work in concert in order to pull it off. The group of grifters would open up a fake “wire store,' which is a kind of bookie where bets could be placed on horse races. A victim, usually a man of considerable wealth, would then be brought in and given some fake insider information that a particular horse was a sure thing to win the race. If the con men sold the mark well enough, the hope was that they would place a huge bet with the fake bookie at the wire store. From here, the con can go any number of ways, but in the most popular version some sort of mistake occurs, or confusion over the outcome of the race (which, of course, never actually took place) leads to the bet being declared a loss for the hapless victim. Embarrassing Check The embarrassing check con is a well-known means of legally getting money from victims by playing off of their innate feelings of shame. The con men open a fake business with an overtly explicit title that supposedly sells sex toys or other pornographic material, but buyers are told that any purchases they make will be routed through a separate company with a much more innocuous name. After taking orders and collecting payments, the company then sends out letters explaining that a shipping error or some other issue has made it impossible for them to deliver on their product. They enclose a legitimate check refund, only this time the highly graphic name of the company is clearly emblazoned on the check, the idea of course being that a certain percentage of the customers will be too ashamed or embarrassed to ever cash it. Fiddle Game / Ring Game Many of the best cons work because of the inherent greed of the person being tricked, and the fiddle game is one of the best examples. It requires two con men to work, and is designed to take place in a restaurant. One of the con men poses as an old man eating dinner. When he gets his bill, the man approaches the owner and explains that he forgot his wallet back at his hotel. He promises to go get it, and as collateral leaves behind an old fiddle or violin, explaining that he is a traveling musician and that it is his sole source of income. After the old man leaves, a second con man who has been sitting nearby approaches the owner and asks to see the fiddle, saying that he is a dealer in rare instruments. After inspecting the fiddle, the man pronounces it a highly rare and valuable piece of work, worth thousands of dollars. He then pretends to be in a hurry and leaves, but not before giving the mark his card and telling him to call if the man is interested in selling. The old man will return shortly thereafter with the money for his meal. If the con men have sold the trick well enough, the victim, believing that he will be able to sell it to the fake instrument dealer for a huge profit, will attempt to buy the fiddle off of the old man for a few hundred dollars. Of course, the number on the card will prove to be a fake, and the victim will inevitably be left with a worthless violin. Landlord Sometimes real estate can be more valuable than gold. That's the premise of the Landlord Scam, in which a con artist assumes control of a vacant or abandoned home, and then advertises the property for an especially attractive price point. The unsuspecting victim rents the property from the con artist, who collects a security deposit as well as the first and last months' rent, and then disappears. In some cases, the con artist may even rent the same property to multiple victims, leading to mass confusion (and a couple of fistfights) on moving day. https://www.toptenz.net/top-10-con-games.php Top 10 Con Games Explained By EVAN ANDREWS September 16, 2009 / Updated:March 26, 2019 Famous Con Artists: Charles Ponzi - https://en.wikipedia.org/wiki/Charles_Ponzi Bernie Madoff - https://en.wikipedia.org/wiki/Bernie_Madoff SBF – FTX Crypto / Alameda - https://en.wikipedia.org/wiki/Sam_Bankman-Fried Seg. 2 – Psychology of a Con Why do people fall for cons? What con artists prey on, psych traits of victims More examples of cons, and how mark plays into it Grifters: The 7 Psychological Principles That Con Artists Use Distraction – Attention is like spotlight, which means when it's pointing in one direction it pretty much ignores everything else. Except people don't realise how little information coming in from the outside world we actually process.Naturally you don't notice what you don't notice, plus the mind is designed to fill in the gaps for us. But con artists do know and almost every con uses some kind of distraction. The classic example is ‘Three-card Monte‘ sometimes called ‘Find the Lady', a rigged card game in which the aim is to find one card out of three after the grifter shuffles them around. At the heart of this hustle is the orchestration of a crowd of onlookers who the mark (that's you and me) thinks are all fellow punters, but who are actually in on the game.- aka: polite mugging Social Compliance - The classic study showing how compliant we are, especially when told to do things by an authority figure, is known as the Milgram experiment. Grifters know all about this and happily exploit our automatic deference to authority figures. People will hand over credit cards to people they think are waiters, car keys to people they think are car park attendants Herd Principle - People are sheep: they can't help following each other. The classic study, known as the Asch conformity experiment was conducted by Solomon Asch in the 1950s showing that people will deny evidence from their own eyes to fit in with others. In the Three-card Monte con, the crowd of shills around the game creates the herd for the mark to follow. Online there are all kinds of tricks people can use to make others think there is a herd when actually there is only one person. The practice of ‘astroturfing' means creating multiple online identities to fake grass-roots support for a politician.In peer-to-peer networks the multiple identities created by people trying to influence them are known as Sybils. Whether online or offline, though, group psychology exerts an enormous influence over us. Exploit other's dishonesty - Fear is the mind-killer. Con artists know that people are fearful and play on this fact. Some cons involve selling goods to marks that are used for illegal purposes.Marks are discouraged from reporting the scam because they would be implicating themselves and the grifter wins both ways. Deception - People are easily tricked, even when they think they are being careful. Grifters take advantage of the fact that most people go along with their expectations of what will happen in any given situation. If the grifter's behaviour fits the situation then people will accept what they say. Leverage need or greed - Once grifters know what people want, even if it doesn't exist, they are in a position to manipulate them. They will play on people's desperation; unfortunately the more desperate people are, the easier they are to con. Time Pressure - Classic studies of how people make decisions under time pressure demonstrates what grifters already know: when there's no time to think people rely on short cuts and emotional responses to a situation. https://www.spring.org.uk/2022/07/grifters-con-artists-7.php Grifters: The 7 Psychological Principles That Con Artists Use Message from Dr Jeremy Dean Seg. 3 – 3 Card Monte, Magic, and the Art of Deception Hustler, people in crowd are in on the con, there to distract you Art of the con, look and act, all in to sell it Miss-direction, follow the card and how magic works The mark is looking at the wrong thing Magic – good looking assistant is miss-direction That's the Trick There's a scene in the movie The Prestige when the 2 young apprentice magicians go to see an older magician to learn his ‘Trick'. When the older magician is on stage he's doing amazing feats of strength. Then they get a watch him after the show get into a carriage, he seems like a crippled feeble old man who needs help. One magician says the other magician – ‘This is the Trick. This is the performance. This is why no one can detect his method. Total devotion to his art. Lot of self sacrifice.' The ‘Trick' is off stage, he's always acting like a crippled old man. It's simple, not easy. We often look for something that's not there, the big secret, when it's actually just in front of our faces. Always more simple than we think. We're looking for the big trick, how to get rich in a moment. When the actual trick, is doing the work daily, weekly, monthly, for years. You hone the craft, measure your progress, and adjust over time. Respect the craft, as there is no overnight success. https://brt-show.libsyn.com/this-is-the-trick-the-one-thing-to-exit-strategy-to-moneyball-business-lessons-from-movies-best-of-business-part-2-brt-s03-ep43-142-9-4-2022 Seg. 4 – Cons in Movies The Sting – wire game, and gambling, hustle The Hustler – pool movie with gambling Wolf of Wall Street – pump and dump scheme with stocks or investments Also in Boiler Room (based on Wolf of Wall St) Oceans 11 The Cons/Hustles/Scams in "Ocean's 11" - What do the names mean? bkkshadow (70)in #film • 2016 A Boesky, a Jim Brown, a Miss Daisy, 2 Jethro's, a Leon Spinks & an Ella Fitzgerald. https://steemit.com/film/@bkkshadow/the-cons-hustles-scams-in-ocean-s-11-what-do-the-names-mean The Grifters In grifting, there are two types of scams: The Long Con & The Short Con. The names refer to the amount of time they take to correctly pull off, which is, ideally, a direct corollary to how lucrative the payout at the end is for the con-man (or woman). Let's talk about the lies. This movie is lousy with ‘em. Obviously the assorted grifters are lying as a profession. That's lying to other people, and that's a given. On top of that, they're lying to each other. https://www.moviejawn.com/home/2017/5/2/the-grifters More: American Hustle, Trading Places, Dirty Rotten Scoundrels, Focus, Matchstick Men, A Fish Called Wanda, Talented Mr. Ripley, Paper Moon, Bowfinger, Brothers Bloom, Now You See me, Nightmare Alley, I Care A Lot https://movieweb.com/con-artist-movies/ Here Are Some of the Best Movies About Con Artists There's something captivating about tales depicting suave and slick con artists who manage to execute calculating and thrilling schemes. BY RACHEL JOHNSON JUL 29, 2022 BRT Sales / Marketing: https://brt-show.libsyn.com/category/Sales-Marketing-Networking-HR BRT Hollywood: HERE BRT Business: HERE Investing Topic: https://brt-show.libsyn.com/category/investing More - BRT Best of: https://brt-show.libsyn.com/category/Best+Of Thanks for Listening. Please Subscribe to the BRT Podcast. Business Roundtable with Matt Battaglia The show where Entrepreneurs, High Level Executives, Business Owners, and Investors come to share insight and ideas about the future of business. BRT 2.0 looks at the new trends in business, and how classic industries are evolving. Common Topics Discussed: Business, Entrepreneurship, Investing, Stocks, Cannabis, Tech, Blockchain / Crypto, Real Estate, Legal, Sales, Charity, and more… BRT Podcast Home Page: https://brt-show.libsyn.com/ ‘Best Of' BRT Podcast: Click Here BRT Podcast on Google: Click Here BRT Podcast on Spotify: Click Here More Info: https://www.economicknight.com/podcast-brt-home/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/ Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. All information provided is for educational and entertainment purposes. Nothing said on this program should be considered advice or recommendations in: business, legal, real estate, crypto, tax accounting, investment, etc. Always seek the advice of a professional in all business ventures, including but not limited to: investments, tax, loans, legal, accounting, real estate, crypto, contracts, sales, marketing, other business arrangements, etc.
Let's talk about yoga. Let's talk about the practice behind the familiar, physical movement. That deeper, spiritual resonance heavily informed Rebecca Pidgeon's latest record, Parts of Speech Pieces of Sound. In fact, the tracks that populate the album were each influenced by different chakras and their corresponding deities. It's a concept album of sorts, one deeply tied to daily practice under the instruction of Prashant Iyengar. Though focused on her music career, Pidgeon is best known as an actress, best known for appearing in films like The Spanish Prisoner and State ad Main. Hosted on Acast. See acast.com/privacy for more information.
Rebecca Pidgeon was born in Cambridge, MA and raised primarily in Edinburgh, Scotland, gravitating towards music as a child. Mom and Dad introduced her to the likes of James Taylor, while she eventually discovered both Kate Bush and The Sex Pistols on her own. She fronted the band Ruby Blue for three records before relocating to the United States where she launched her solo career. Fan favorite albums followed including The Raven (1994), The New York Girls' Club (1996), The Four Marys (1998), Tough On Crime (2000), and Behind the Velvet Curtain (2008), four songs appearing in the critically acclaimed film Red Belt. The ensuing decade saw her release Slingshot (2011), Blue Dress On (2013), Bad Poetry (2014), and Sudden Exposure to Light (2019). Praising the latter, American Songwriter affirmed, “She's the real deal,” and Glide Magazine noted, “Pidgeon's prolific work as a songwriter and vocalist is akin to the self-immersion she undertakes for her mesmerizing performances on camera.” In addition, she has captivated audiences on-screen as a much sought-after film and television actress. Among dozens of credits, she has appeared in celebrated classics such as The Spanish Prisoner (1997), State and Main (2000), and Heist (2001) opposite the likes of Gene Hackman, William H. Macy, Sarah Jessica Parker, and Philip Seymour Hoffman. Additionally, she has appeared in blockbusters a la Red(2010) and NETFLIX's Bird Box (2018), to name a few. Parts of Speech Pieces of Sound, however, is the best way to get to truly know Rebecca. “This is a very special record to me; with its connection to yoga, this does bring everything full circle for me.” Rebecca's info http://rebeccapidgeonmusic.com https://www.facebook.com/rebeccapidgeonmusic https://www.instagram.com/rebeccapidgeon UCuLq5dzPwlVw4FzeUdysVMg 7da523apYjG6oJePP5MZwG
This week is another special twofer! Imagine being brought into one of the biggest bands in the world at 23 years old to replace the face of the band. That's the lion's den bassist Jason Scheff strode into and remained for the next 31 years. Jason recently left the band to take care of some family matters and now has a new album with his new supergroup Generation Radio that is a total blast It's an album inspired by the magic of 80s rock radio and will surely put a smile on your face. Jason dispels a lot of myths in this conversation. Get ready to have your mind changed on a few things. Then we hear from singer, songwriter and actress Rebecca Pidgeon. Rebecca has had memorable roles in many of her husband David Mamet's movies like The Spanish Prisoner and State and Main as well as many others, but she's also had a long career as a singer. Her new album, Parts of Speech Pieces of Sound, was inspired by her yoga practice which is in keeping with her diverse interest in music as almost all of her albums feel different in theme and tone. She's a totally unique artist with an interesting story to tell. www.facebook.com/GenerationRadioBand www.rebeccapidgeonmusic.com www.patreon.com/thehustlepod
“Our 300th Episode With Rebecca Pidgeon!" Born in the U.S. to British parents when her dad was a visiting professor at MIT, Rebecca Pidgeon's family soon moved to Scotland where she immersed herself in the Arts. While at the Royal Academy of Dramatic Arts in London she fronted the folk pop outfit Ruby Blue who put out a couple of great records before PIdgeon left the band and Europe to pursue a career in acting. In the US she hit the stage and the screen, appearing onstage in numerous plays and on the screen in films like The Dawning, The Spanish Prisoner, Heist and State and Main. In spite of her busy acting schedule, Pidgeon put out ten perfect albums starting with her marvelous 1994 debut The Raven. That was followed by albums like Tough On Crime, Behind The Velvet Curtain, Bad Poetry and her brand new one Parts Of Speech, Pieces Of Sound. Filled with sweeping melodies, lush vocals and poetic finesse, Pidgeon's new one is one of 2022's best albums,Informed by her yoga practice, the songs on Parts of Speech, Pieces Of Sound are focused, still and rich, Pidgeon's voice a sweeping and dreamy instrument of true hypnotic beauty. Instagram: @rebeccapidgeon www.stereoembersmagazine.com www.bombshellradio.com www.alexgreenonline.com Stereo Embers: Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com
This week Jonny and Mark discuss episodes 113 and 114 of "King of the Hill" "The Bluegrass is Always Greener" and "The Substitute Spanish Prisoner".
Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. Brought to you by The Publicity Works Agency specializing in authors & musicians Remember We shine only when We make you shine! Call us today at 941-567-6193 for a free PR evaluation! Rebecca Pidgeon was born in Cambridge, MA and raised primarily in Edinburgh, Scotland, gravitating towards music as a child. Mom and Dad introduced her to the likes of James Taylor, while she eventually discovered both Kate Bush and The Sex Pistols on her own. She fronted the band Ruby Blue for three records before relocating to the United States where she launched her solo career. Fan favorite albums followed including The Raven (1994), The New York Girls' Club (1996), The Four Marys (1998), Tough On Crime (2000), and Behind the Velvet Curtain (2008), four songs appearing in the critically acclaimed film Red Belt. The ensuing decade saw her release Slingshot (2011), Blue Dress On (2013), Bad Poetry (2014), and Sudden Exposure to Light (2019). Praising the latter, American Songwriter affirmed, “She's the real deal,” and Glide Magazine noted, “Pidgeon's prolific work as a songwriter and vocalist is akin to the self-immersion she undertakes for her mesmerizing performances on camera.” In addition, she has captivated audiences on-screen as a much sought-after film and television actress. Among dozens of credits, she has appeared in celebrated classics such as The Spanish Prisoner (1997), State and Main (2000), and Heist (2001) opposite the likes of Gene Hackman, William H. Macy, Sarah Jessica Parker, and Philip Seymour Hoffman. Additionally, she has appeared in blockbusters a la Red (2010) and NETFLIX's Bird Box (2018), to name a few. Please welcome Singer, Storyteller, Songwriter, Musician, and Actress Rebecca Pidgeon to Interviewing the Legends … PURCHASE THE NEW RELEASE 'PARTS OF SPEECH PIECES OF SOUND' BY REBECCA PIDGEON Rebecca Pidgeon — Official Website of Rebecca Pidgeon (rebeccapidgeonmusic.com) Parts of Speech Pieces of Sound is being released on CD, digital download and via streaming platforms on Toy Canteen Records, September 24th. The music, performed by Rebecca on multiple instruments, along with Perdomo (bass, guitar, keys], Andy Studer (strings), Matt Tecu (drums), and Satnam Ramgotra (tablas), shares aesthetic space with the ambitious, elaborate, cinematic work that made Kate Bush an icon, tempered with the hypnotic, atmospheric dream scaping that artists like Weyes Blood and FKA Twigs have drawn from Enya. FOR MORE INFORMATION ABOUT REBECCA PIDGEON VISIT www.rebeccapidgeonmusic.com Official website www.instagram.com/rebeccapidgeon/?hl=en Instagram www.facebook.com/rebeccapidgeonmusic Facebook https://twitter.com/rebeccapidgeon?lang=en Twitter https://open.spotify.com/artist/7da523apYjG6oJePP5MZwG Spotify Discography The Raven (Chesky, 1994) The New York Girls' Club (Chesky, 1996) The Four Marys (Chesky, 1998) Tough on Crime (Fuel 2000, 2005) Behind the Velvet Curtain (Great American Music, 2008) Slingshot (Toy Canteen, 2011) Blue Dress On (Toy Canteen, 2013) Bad Poetry (Toy Canteen, 2014) Sudden Exposure to Light (Toy Canteen, 2019) With Ruby Blue Glances Askances (Red Flame, 1987) Down From Above (Fontana, 1990) Broken Water (Red Flame 1992) As guest Luciana Souza, Tide (Verve, 2009) Madeleine Peyroux, Bare Bones (Rounder, 2009) Chris Connelly, Decibels from Heart (Cleopatra, 2015) Film Roles Year Title Role Notes 1988 The Dawning Nancy Gulliver 1991 Uncle Vanya Sonya Homicide Miss Klein 1997 The Spanish Prisoner Susan Ricci 1999 The Winslow Boy Catherine Winslow 2000 Catastrophe The Director's Assistant State and Main Ann 2001 Heist Fran Moore 2002 Advice and Dissent Ellen Goldman 2005 Shopgirl Christie Richards Edmond Wife 2006 Provoked Miriam Taylor 2007 Jesse Stone: Sea Change Leeann Lewis 2008 Redbelt Zena Frank How to Be Mother Cat City Victoria Compton 2009 The Lodger Dr. Jessica Westmin 2010 Red Cynthia Wilkes Two Painters Announcer Short 2013 Come Back to Sorrento 2014 Two-Bit Waltz Anita 2016 Allegiant Sarah 2018 Bird Box Lydia Television Year Title Role Notes 1987 Bust Sarah 2 episodes 1988 Campaign Sally Byfleet 1989 Screen One: She's Been Away Young Lillian Episode: "She's Been Away" 1992 The Water Engine Connie TV movie 2004–2005 The Shield Joanna Faulks 3 episodes 2006 In Justice Charlotte Conti 3 episodes 2006–2009 The Unit Charlotte Ryan 14 episodes 2007 Jesse Stone: Sea Change Leeann Lewis TV movie 2010 Glenn Martin, DDS Unknown Episode: "Jackie of All Trades" Voice 2013 Phil Spector Dr. Fallon TV movie Support us!
Chris and Jeremy have found some things to recommend to you!1) Small Recommends:Paycheck (2:16)The Alpinist (7:00)Billie Eilish: Don't Smile (11:54)Clueless (14:19) 2) The Big Recommend: The Spanish Prisoner (18:11)3) Surprise Double Feature: ???????? (40:40) 4) Questions from You! (45:57)If you'd like to join the LIVE conversation each week, become a member of the SinClub at Patreon.com/cinemasins!Thanks to lorangeproductions.com for the theme song!Advertising Inquiries: https://redcircle.com/brands
Scottish American singer, songwriter, actress, and YOGA GODDESS, there isn't much she isn't able to talk about. She has an incredible voice, delivering powerful enlightenment all around whatever she was experiencing in that moment of the space time continuoum. She has been making music since the early 90s, when she was accidentally discovered while studying theater at the royal academy. She has acted in classic films "The Spanish Prisoner" and "RED", to top my list as two of my faves. She has a wealth of knowledge and understanding about her influences, and a general wit that is everpresent in her music. Imagine Kate Bush going ice skating with Tom Waits, sort of. Her new album "Parts of Speech Pieces of Sound", came about as the lockdown was winding down, and her thoughts got the best of her. instagram website spotify youtube facebook twitter #rebeccapidgeon #scottishsingers #thespanishprisoner #rebeccapidgeonmusic #yoga #tomwaits #katebush #twinpeaks #davidlynch #magnoliafilm #paulthomasanderson #artpop
In light of some recent public snafus, Nico and Adam lean into the controversy by discussing the filmography of David Mamet. The movies: House of Games (14:04), Homicide (27:41), Glengarry Glen Ross (37:26), The Spanish Prisoner (51:58) and State and Main (1:02:24). Chat with the TMT Community on Discord! For More TMT Shenanigans: toomanythoughtsmedia.com Twitter: @funnynicotweets, @someadamhall, @TMT_Media E-mail: toomanythoughtsmedia@gmail.com Subscribe and Rate on Apple Podcasts!
Long before the infamous Nigerian prince e-mail scam, there was the “Spanish prisoner” mail scam. Usually, the scam would consist of a letter from someone claiming to be a prisoner in Madrid. The letter would say a large sum of money was available for helping the prisoner. In 1906, The Fargo Forum and Daily Republican reported that a man in Grand Forks received one of these scams – and he almost gave in.
This week, Steve and Gabe keep one hand on their wallets and their guards up as they wade deep into the world of heists, cons, flim-flams, bamboozles, and confidence men - tackling the best heists, grifters, and capers of the film world! What constitutes a "con-film"? What other genre films pull a con on the audience by being Heist films in disguise? Which ones are our favorites? Tune in! Discover The Sting, The Spanish Prisoner, and other rollicking examples of the criminal element at work.
This week, I was thrilled to welcome Washington City Paper film critic Noah Gittell back to the podcast for the first time since he joined me for an epic discussion last May on '90s duality in the films "Zero Effect" and "Fight Club." A reporter at BBC Talk Movies and a guest lecturer at Smithsonian Associates, Noah is also a freelance contributor at such notable outlets as The Atlantic, The Ringer, The Guardian, Polygon, and The Economist.In this fast-paced contemplative episode, he joins me to take a closer look at one of the most creatively fertile periods in the life of our favorite wild and crazy guy - Steve Martin. A comedian, actor, writer, director, producer, musician, magician, and Mensa level genius, Steve Martin is a man who has worn a number of hats throughout his fifty-plus year career but for the purposes of our conversation, we decided to zero in on Martin in the mid to late 1980s as he began embracing his career as an actor.From his supporting turn as a sadistic dentist in "Little Shop of Horrors" to his great ensemble studio comedies "Three Amigos!" and "Dirty Rotten Scoundrels" to his surprisingly sweet, sexy, and sophisticated "Cyrano de Bergerac" adaptation "Roxanne," in this 52-minute discussion, Noah and I evaluate all sides of the Martin persona from the fully absurd to the downright horny.One of the world's most beloved entertainers you've heard discussed on Watch With Jen in past installments on David Mamet (for "The Spanish Prisoner"), Physical Media - Part 3 (for a new edition of "Planes, Trains, and Automobiles"), and '90s Romcoms (for "Father of the Bride") while this is our first episode dedicated to the actor, it's safe to say, it won't be our last.Originally Posted on Patreon (3/8/22) here: https://www.patreon.com/posts/63509809Logo: KateGabrielle.comTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive
Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
The Creative Process · Seasons 1 2 3 · Arts, Culture & Society
"When I look at a film, I normally think what is missing from that, and that's what I'm trying to bring. I'm trying to find something that I think isn't there and that I could bring that would make it more interesting, make it more cinematic, more dramatic."Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
Ready for some twists, some turns and some very overheated dialogue? We're watching the David Mamet film THE SPANISH PRISIONER. We also discuss BRIGHT STAR and THE LAST DUEL. Donate to the cause at Patreon.com/Quality. Follow James on Twitter @kislingtwits and on Instagram @kislingwhatsit or on gildedterror.blogspot.com. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!
Our theme for this episode is the con movie, and why not? Join us for a discussion of Il bidone, The Sting, The Spanish Prisoner, Nine Queens, Confidence, and The Brothers Bloom.
Happy November Toasties! In episode 109 Dennis goes old school with his reviews of the Harrison Ford and Kelly McGillis classic Witness and then discovers The Spanish Prisoner starring Steve Martin. Movie Toaster Adam reviews the hot new releases of Ron's Gone Wrong, The French Dispatch, and Last Night in Soho. Dennis and Adam let the cat out of the bag with a tidy scoop of the latest cast details in the new Garfield movie coming soon. Pop the lasagna in the oven, warm up the mountain dew and Stay Toasty!
The Adventures of Sam Spade, Detective was a radio series based loosely on the private detective character Sam Spade, created by writer Dashiell Hammett for The Maltese Falcon. The show ran for 13 episodes on ABC in 1946, for 157 episodes on CBS in 1946–1949, and finally for 51 episodes on NBC in 1949–1951. The series starred Howard Duff (and later, Steve Dunne) as Sam Spade and Lurene Tuttle as his secretary Effie, and took a considerably more tongue-in-cheek approach to the character than the novel or movie. The announcer was Dick Joy. The series was largely overseen by producer/director William Spier. In 1947, scriptwriters Jason James and Bob Tallman received an Edgar Award for Best Radio Drama from the Mystery Writers of America. Before the series, Sam Spade had been played in radio adaptations of The Maltese Falcon by both Edward G. Robinson (in a 1943 Lux Radio Theater production) and by Humphrey Bogart (in a 1941 Academy Award Theater production), both on CBS. Dashiell Hammett's name was removed from the series in the late 1940s because he was being investigated for involvement with the Communist Party. Later, when Howard Duff's name appeared in the Red Channels book, he was not invited to play the role when the series made the switch to NBC in 1950.
We all we have our pet favorite books for children. Some were the ones we loved when we ourselves were kids. Others are the ones we enjoy reading to our own children. And a few are the ones we enjoy hearing our children read when they're learning how. This book falls into that final category. And part of the reason I love it is how weird it is. Take a trip back in time with us to 1959 where Ball Boy and Stalker Sally go on a series of misadventures as his ball attempts to destroy itself in a myriad number of ways. Show Notes: We mention that SLJ did an article about this podcast and lo and behold it's online as well. Visible here: https://www.slj.com/?detailStory=celebrate-the-200-episode-of-fuse-8-n-kate This is the famous poster created by Fritz Siebel that won the contest that was judged by Eleanor Roosevelt. As we mention on the show, it apparently makes an appearance in The Spanish Prisoner: https://blogs.slj.com/afuse8production/files/2021/09/SomeoneTalked.jpg And here is what may arguably be Fritz's most famous creation to this day: Mr. Clean! https://blogs.slj.com/afuse8production/files/2021/09/MrClean.png Mind you, this marks the moment I went down the Mr. Clean rabbit hole. Wowzah. That is a weird rabbit hole to find yourself down. https://www.youtube.com/watch?v=rGihrE8uxeA&feature=emb_logo Kate Recommends: Dug Days - https://disneyplusoriginals.disney.com/show/dug-days Betsy Recommends: Stuff the British Stole - https://www.abc.net.au/radionational/programs/stuff-the-british-stole/ For the full Show Notes please visit: https://blogs.slj.com/afuse8production/2021/09/13/fuse-8-n-kate-stop-that-ball-by-mike-mcclintock-ill-fritz-siebel/
In this week's #armchairproducers, our #chainmovie is the seemingly forgotten Steve Martin movie, The Spanish Prisoner #spanishprisoner. George chooses David Mamet as the link for next movie, Hannibal #hannibal. The Producers watched Army of Darkness #armyofdarkness. Lastly the pair review Love Death and Robots Volume 2. Elsewhere, Travis went to A Quiet Place: Part 2 #aquietplace2. George meanwhile reviews the delightful Love & Monsters #love&monsters.There's also a little chat about the Eternals trailer.Chain Movie: 00:40:00Eternals Trailer: 00:47:00Army of the Dead: 01:18:00”Sponsor Bit”: 01:24:00Love Death and Robots Volume 2: 01:54:00Love & Monsters: 01:35:00A Quiet Place 2: 02:15:—
In this week's #armchairproducers, our #chainmovie is the seemingly forgotten Steve Martin movie, The Spanish Prisoner #spanishprisoner. George chooses David Mamet as the link for next movie, Hannibal #hannibal. The Producers watched Army of Darkness #armyofdarkness. Lastly the pair review Love Death and Robots Volume 2. Elsewhere, Travis went to A Quiet Place: Part 2 #aquietplace2. George meanwhile reviews the delightful Love & Monsters #love&monsters.There's also a little chat about the Eternals trailer.Chain Movie: 00:40:00Eternals Trailer: 00:47:00Army of the Dead: 01:18:00”Sponsor Bit”: 01:24:00Love Death and Robots Volume 2: 01:54:00Love & Monsters: 01:35:00A Quiet Place 2: 02:15:—
In this week's #armchairproducers, our #chainmovie is the seemingly forgotten Steve Martin movie, The Spanish Prisoner #spanishprisoner. George chooses David Mamet as the link for next movie, Hannibal #hannibal. The Producers watched Army of Darkness #armyofdarkness. Lastly the pair review Love Death and Robots Volume 2. Elsewhere, Travis went to A Quiet Place: Part 2 #aquietplace2. George meanwhile reviews the delightful Love & Monsters #love&monsters.There's also a little chat about the Eternals trailer.Chain Movie: 00:40:00Eternals Trailer: 00:47:00Army of the Dead: 01:18:00”Sponsor Bit”: 01:24:00Love Death and Robots Volume 2: 01:54:00Love & Monsters: 01:35:00A Quiet Place 2: 02:15:—
In this week's #armchairproducers, our #chainmovie is the Steve Martin classic, L.A. Story. Travis has already chosen the next link... Steve Martin... All will be revealed. Elsewhere, Travis took in "one of the best movies of the year" Judas and the Black Messiah. George took on The Woman in the Window on @Netflix.Next week, Travis and George will be talking about Volume 2 of #lovesexandrobots and the #chainmovie The Spanish Prisoner.Chain Movie: 00:52:00”Sponsor Bit”: 00:55:00Judas and the Black Messiah: 01:—:—The Woman in the Window: 01:35:00Getting The Boots In — Son of Sam 01:—:—
Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este decimocuarto episodio, nos ocupamos de Edmond (2005) de ¿Stuart Gordon? ¿David Mamet? y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas otras: Re-Animator (1985), Re-Sonator (From Beyond, 1986), Robot Jox (1989) y Space Truckers (1996) de Stuart Gordon, El sabor del té (Cha no Aji, 2004) de Katsuhito Ishii, Tarnation (2003) de Jonathan Caouette, Después de hora (After Hours, 1985) de Martin Scorsese, Casa de juegos (House of Games, 1987), Spartan (2004), Redbelt (2008), Phil Spector (2013) y Cuéntame tu historia (State and Main, 2000) de David Mamet, American Buffalo (1986) de Michael Corrente, El último golpe (Heist, 2001) y Prisionero del peligro (The Spanish Prisoner, 1997) de David Mamet, Los intocables (The Untouchables, 1997) de Brian De Palma, Mentiras que matan (Wag the God, 1997) de Berry Levinson, El precio de la ambición (Glengarry Glenn Ross, 1992) de James Foley, ¿Te acuerdas de anoche? (About Last Night, 1986) de Edward Zwick, Hoffa (1992) de Danny DeVito, Fargo (1996) de Joel y Ethan Coen , Magnolia (1999) y Noches de placer (Boogie Nights, 1997) de Paul Thomas Anderson, Criaturas salvajes (Wild Things, 1998) y Henry, retrato de un asesino (Henry: Portrait of a Serial Killer, 1986) de John McNaughton, Tiburón (Jaws, 1975) de Steven Spielberg, El amanecer de los muertos (Dawn of the Dead, 1978) de George A Romero, Muerto de miedo (Braindead, 1992) de Peter Jackson, Perros de la calle (Reservoir Dogs, 1992) de Quentin Tarantino, American Pimp (1999) de los hermanos Hughes, The Mack (1973) de Michael Campus, Superfly (1972) de Gordon Parks Jr., Maníaco (Maniac, 1980) de William Lustig, Atracción peculiar (1988) de Enrique Carreras, A sangre fría (In Cold Blood, 1967) de Albert Brooks, Hermosa venganza (Promising Young Woman, 2020) de Emerald Fennell, Joker (2019) de Todd Phillips, Nueve reinas (2000) de Fabián Bielinsky, Ambiciones peligrosas (The Grifters, 1990) de Stephen Frears y City on Fire (Lung foo fung wan, 1987) de Ringo Lam... ... por si justo te dio paja anotar, y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.
Show Notes:Elissa Redmiles:https://www.cs.umd.edu/~eredmiles/Papers Mentioned in this Episode.Redmiles, E. M., Kross, S., & Mazurek, M. L. (2016, October). How i learned to be secure: a census-representative survey of security advice sources and behavior. In Proceedings of the 2016 ACM SIGSAC Conference on Computer and Communications Security (pp. 666-677).https://dl.acm.org/doi/abs/10.1145/2976749.2978307Redmiles, E. M., Kross, S., & Mazurek, M. L. (2017, May). Where is the digital divide? a survey of security, privacy, and socioeconomics. In Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems (pp. 931-936).https://dl.acm.org/doi/abs/10.1145/3025453.3025673Redmiles, E. M., Warford, N., Jayanti, A., Koneru, A., Kross, S., Morales, M., ... & Mazurek, M. L. (2020). A comprehensive quality evaluation of security and privacy advice on the web. In 29th {USENIX} Security Symposium ({USENIX} Security 20) (pp. 89-108).https://www.usenix.org/conference/usenixsecurity20/presentation/redmilesRedmiles, E. M., Mazurek, M. L., & Dickerson, J. P. (2018, June). Dancing pigs or externalities? measuring the rationality of security decisions. In Proceedings of the 2018 ACM Conference on Economics and Computation (pp. 215-232).https://dl.acm.org/doi/abs/10.1145/3219166.3219185Redmiles, E. M. (2019). Quality and Inequity in Digital Security Education (Doctoral dissertation).https://drum.lib.umd.edu/handle/1903/25404The Evening statesman., March 20, 1906, Page TWOhttps://chroniclingamerica.loc.gov/lccn/sn88085421/1906-03-20/ed-1/seq-2/#date1=1777&index=4&rows=20&words=Prisoner+prisoner+Spanish&searchType=basic&sequence=0&state=&date2=1963&proxtext=Spanish+Prisoner&y=0&x=0&dateFilterType=yearRange&page=1This scam was about Spanish prisoner fraud, which is an old form of advance fee fraud. You can see an example of one from 1903 that is being sold from an action house here:https://www.pbagalleries.com/images/lot/1209/12090_0.jpgProbably the first record of these is in a New York Times articles titled "AN OLD SWINDLE REVIVED", from Dec. 26, 1878 Read more here:https://www.atlasobscura.com/articles/the-9-lives-of-the-spanish-prisoner-the-treasure-dangling-scam-that-wont-die This episodes music samples old traffic safety videos found at the Prelinger Archives available at archive.org.
This week, my good friend (and official friend of the show), the talented screenwriter and Edgar award-winning author Jordan Harper returns to the podcast to share his wit and wisdom with us once again. In this episode, which runs roughly the length of STATE & MAIN and SPARTAN, we discuss the enviable filmography and singular critical theories of the Pulitzer Prize winning raconteur David Mamet. (Note: this episode contains spoilers, especially with regard to THE SPANISH PRISONER, HEIST, and SPARTAN, so please proceed with caution).Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive.Originally Posted on Patreon (1/29/21) here: https://www.patreon.com/posts/46830352
Maurice, born in France before World War II, began his career as an apprentice sound editor on the Maysles’ brothers’ classic documentary, Salesman, and as sound assistant for Gimme Shelter. For over 40 years, he has been sought out by the leading filmmakers of his generation for his artistry, creative intuition, and meticulous editing direction. His collaborators have included: Brian DePalma, Francis Ford Coppola, Bob Fosse, Sydney Lumet, David Mamet, Martin Scorsese, Paul Schrader, Bruce Weber, and Jan Kadar, just a few of the many award-winning filmmakers who have relied on his understanding of sound. His best known work on feature films includes: Apocalypse Now, Carlito’s Way, The Godfather, Chicago, The Cider House Rules, Desperately Seeking Susan, Heist, Reds, Scarface, The Spanish Prisoner, The Taking of Pelham One Two Three, and The Winslow Boy, a few of 112 film credits.
Scott Campbell and Steve Martin star in this 1990's con game. Will the boys like it? Listen to find out!
A new episodeSupport this podcast at — https://redcircle.com/the-adventures-of-sam-spade/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
A new episode Support this podcast at — https://redcircle.com/the-adventures-of-sam-spade/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy
https://youtu.be/qPnk57P2dhM Recorded on: January 9, 2020 Ben Hunt, the co-founder of Second Foundation Partners, joins the show. Topics: Bitcoin, central banks, boom bust cycles, and how they all relate to his small family farm Twitter @epsilontheory SHOW TRANSCRIPT (edited) Albert Lu: From the NXT Studios in Southern California, this is the Power & Market Report. I'm your host Albert Lu. My guest today is Ben Hunt. He's the co-founder of Second Foundation Partners, the publisher of Epsilon Theory, an online source for financial market commentary. Ben, this is your first time on the Power & Market Report. Thanks very much for joining me today. How are you? Ben Hunt: It's great to be here. Thanks for having me. AL: Ben we met, sort of briefly, a little over a year ago at the New Orleans conference, when I was moderating a panel that you participated in with Peter Schiff and Mike Larson. I thought your ideas were very interesting. Unfortunately, we were sharing the time, of course, with other people. I didn't get a chance to delve deeper, so I was hoping to take this opportunity to delve deeper into your thoughts and maybe how they've changed in the last year and a half for my own edification. I want to say, as we start, that I wasn't familiar with your work prior to New Orleans, so in preparation for that panel I did do a little homework and came across your interview with Grant Williams of Real Vision. I'm a big fan of Grant and what he and Raoul are doing over there, and I thought it was just a splendid interview, really nice. Maybe share with the viewers first what you do, but also your background as what you called, I think, a dilettante farmer. Get into that a little bit. BA: That's me. That's me. You know, I've done a lot of different things in my life. You know, my wife says I can't keep a job. So that’s what’s been the, I'll say, the strand that goes through all of them — trying to be … I'm a puzzle solver. I like to figure out puzzles. And, you know, I started as an academic. I got my PhD in political science, of all oxymorons. And because they're trying to figure out the puzzle of, you know — how do countries interact with each other, right, or how do voters, as in sort of the behavior of crowds, how does that work? And, for ten years I was in academia — I was a professor. And, you know, the issues I wrote on — the research I did was trying to figure out how are crowds, in this case, voting crowds, how are they impacted by the words we hear, the stories we are told, right, the narratives as I like to describe them? The problem, of course, with academia, is that the puzzles you're trying to solve, you’re locked in your little garret, and you're publishing it, maybe, to a very small audience. And so, I always was interested in a much larger puzzle, which is the puzzle of markets, the game of markets. So, I had the opportunity to leave academia, first with starting a software company. We did well with that — sold that. Then I got into the investment world, first from venture capital, some private equity, but finally into public markets, I say the biggest game of them all. And, trying to understand that puzzle, ran a hedge fund for seven or eight years. We got that up to about a billion dollars and never lost money for clients, and still very proud of that. Had a tremendous year in 2008. But from March of 2009 onwards, it was like you went to the switch on the wall and you flipped off the lights. Returns really flat-lined. They say we never lost money, but the investment world really changed. I can point to the date in March of 2009 when I'll say, not just, the Federal Reserve, but central banks all over the world, took this very interventionist policy, I think probably smartly, rightly in March of 2009. But what do you see both in our recent past, but also in every time when you have these emergency government actions, they always become permanent government policy. And, that's certainly what we've endured over the last decade in markets. It's what we endured in my hedge fund, where the fundamentals didn't seem to matter anymore. And, they say, didn't seem to matter — they really didn't matter anymore. So, you know, we gave all the money back to our clients and I decided I'd really take some time off to try to figure this out. You know, what does matter today, in either of managing other people's money or investing our own money? And, that's why I started writing Epsilon Theory. I'll get back to, and we tell what that means: Epsilon Theory. But, the whole idea of Epsilon Theory is that, it's not alpha and beta — it's not looking at the fundamentals of this or the, in terms of beta, the overall market of that. What is really driving both our political, but also our investment games today, I think, is that first research puzzle of mine, the use of narratives — the way that we, as a crowd of in this case investors, respond in systematic ways to what we are told, whether it's called forward guidance from central banks, whether it's Trump tweets, whether it's Cramer on CNBC, you know? We’re immersed in this ocean of messages and stories and narratives to a degree that, you know, I don't think has ever existed. And so, that's the puzzle I'm trying to figure out. That's the puzzle that I write about. It's to focus, not on the fundamentals, but actually on the narratives, because I really believe, more and more, that's the answer for figuring out the game of markets. That's what I do. That's what I do, Albert. AL: I think, and tell me whether or not you agree with this, Ben, but the reason that narratives have become so important, and I do agree with you on that point, is because the Federal Reserve and the federal government — you know, together controlling fiscal and monetary policy — wield so much power, and they are accountable in some sense to public opinion, and public opinion is swayed by narrative. So, you don't have independent investors — you have one big investor in the Federal Reserve that can buy trillions and trillions of securities. And then, you have a taxing authority that can tax and spend on things. And they just make too big of a splash, so you have to respect that. Do you agree with that? BH: Well, I do, Albert. But I would go even farther frankly, because it's not just, what I'll call, the mechanistic impact of, in the case, central banks buying securities — you know, adding to their balance sheet by buying financial assets. Yes, that has an impact right. It is the tide that lifts all boats. It is the avowed purpose of large-scale asset purchases. But, what I think is even more important today than the mechanistic impact of the actual purchasing of securities is, what I'll call, what we would call in game theory, the common knowledge game — the role of words, of forward guidance, of what they call in the Federal Reserve: communication policy. And, I say this not in some tinfoil hat conspiracy notion, but I often talk about how Ben Bernanke, in his last speech as Fed chair — it's interesting what people say in their last speech right? You know, George Washington talks about the dangers of entangling alliances. In his farewell speech, Dwight Eisenhower talked about beware the military-industrial complex — I mean Dwight Eisenhower for God's sake is warning about a military-industrial complex? Well, Ben Bernanke kind of had a similar moment in his very last speech as Fed chair. And, it’s a wonderful talk. He says, well you know I’ve been here for eight years. First four years, all right, seem to be steady she goes, right? Those last four years, because the last four-year term started and it’s been quite a doozy, right? And he said, well, the first thing we did in response to the great financial crisis, we used the toolkit that the central bankers have always had, right? We took interest rates, short-term interest rates, down to zero. We didn't know at the time we could have negative interest rates, we just took it down to zero. And, that's what we thought we could do. It wasn't working for us, so he came up with a second set of tools: the quantitative easing or the large-scale asset purchases. And, Bernanke says: look, I think QE1 was really successful. Yeah, speaking myself, Ben Hunt, I agree. I think you won, actually saved the world. I think that's what central banks are supposed to do, right? They are supposed to provide that emergency liquidity, that emergency shot of adrenaline when the heart of the global market economy stops beating. But, like I say, the problem is that emergency government action always becomes permanent government policy. And, that's certainly what’s happened. Today, we now have a permanent IV-drip of adrenaline in the form of these large-scale asset purchases. And, the crazy thing is Bernanke agrees with this. In his last speech he says, you know, frankly QE2 I thought was kind of a wash, you know had some puts and takes. I don't think it really did anything. I think he goes on to say QE3, what we did after that, you know the twist and QE-infinity whatever you want to call it, Ben Bernanke, the outgoing chair of the Federal Reserve, says I think these were counterproductive. Imagine that, right? Yeah, he says, I don't think it had a real-world impact. Certainly, it had the impact of inflating financial asset prices, but it wasn't accomplishing what we thought we could in the real economy. But then he goes on to say that, well in his words, fortunately, my view not so fortunately, he says they had a third toolkit, and this third toolkit was what they call, [what] the Federal Reserve calls, communication policy. It's expressed in this notion of forward guidance. And, it is, as Bernanke says, the intentional use of our words to try to change investor behavior — to use our words, not because we really believe the words but, because we think the words will have an impact, or an effect, in changing investor behavior — you know, what we might call lying in other circumstances. And, this is why we have a calendar, where we send out — every governor of the Fed goes out with its calendar of the interviews they're going to give and the talks they're going to make. It's all coordinated. It's all coordinated. This didn't exist before, but it is absolutely an intentional, and very effective way, at changing investor behavior. I'll tell you it's something that politicians have known forever. But now, everyone is in on the act. Everyone now uses their words and carefully constructs their messages, because they want to have an impact with their words alone. So, this [is] what you see from CEOs, whether it's Marc Benioff or Mark Zuckerberg right? This [is] what you see from central bankers, whether it's our own Fed leaders, whether it's Mario Draghi or whoever is running a central bank. Everyone knows now this [is] how it works — that you can use your words. And, there's a pattern for how the words are used. And, that's what we're trying to measure in the research company that I set up. How are these words used? How do they have an impact on us? Because, we're hardwired to respond to this stuff, and that's what I think has an impact, even more than what you correctly point out is, what I call, the mechanistic impact of buying stuff. AL: That's very interesting. I actually agree with you in the sense that they've just invented this new tool. It's related to the tools that existed before that, just translated through time. The forward guidance and the expectations actually become the policy, and then the follow through, or lack of follow through on that, becomes a backward revision. So, I agree with that. And, the markets are behaving the way they would if you did that with your children — if you promised a trip to Disneyland [and] then later you said you weren't going to do it. They would throw a tantrum. BH: Children and markets are very effective, and they're very effective at learning how to turn your words against you. AL: That's exactly right. I actually don't come down hard on my kids when they try to do that to me, because that's preparation for the real world — to manipulate situations like that. So, that's very interesting, and the way you write, because I have sort of dipped my foot in Epsilon Theory, I can see why it's so popular because it's very well written, it's very clever and, if you read carefully, it's a tad bit rebellious, which we love. You talk a lot about, at least on the interview with Grant Williams, you talked a lot about your farm and the animals. I really enjoyed that. I have a friend who is in a similar situation as you — has a career in engineering but has a farm which doesn't produce a lot, but is a legitimate, authentic working farm. He also has these analogies and I want to ask you if the links that you see — between the farm, ecosystems, animals, biology and markets — are you just seeing them because that's what you're immersed in? I mean, you know, human beings are programmed to recognize faces, we’re just sort of evolved and hardwired to recognize faces, so we see faces in the clouds, in food, in the dirt, the beach and the ocean. Have you become soft-wired to see analogies and connections to farms in markets? BH: Well it's the word you used just a second ago Albert. Used that word “authentic.” What I love about my dilettante farm, our animals are pets. I mean I like animals that pay the rent, like the bees, like the chickens. But our sheep, we shear them and we use the wool, but they're basically pets. This not a working farm. This, for me personally, is trying to get back to a world, of your word, authenticity, because there is a realness to the real world that is so distant. And, I think it's such a healthy corrective to the world of artifice that we live in today — playing the game of markets. I think that distance, that gulf, between the world of artifice — the world of words and stories and narratives — and the real world of fundamentals has grown so dramatically over the last decade, again, intentionally so, in every aspect of markets. So, for me, not just a respite, but the reconnecting with a world of cycles — the seasons, a world of Earth, a world of real life where, yes, you must eat, you must drink, [provide] fresh water for the animals. You can't tell them a story, right? No, they'll die. It is that authenticity, of even a dilettante playing at being a farmer, that I find is just enormously, intrinsically rewarding. So, you ask about the stories? My effort is to try to communicate to a broader audience these stories of the real, to bring into sharp contrast the stories of artifice — this world of artifice that I think we live in more and more in our market existence, our existence as investors. So yes, I intentionally look for, and identify, patterns in nature that I can then write at to draw contrast with our world and markets. I do that intentionally because I do find that these stories of the real of the farm and of animals are so powerful and evocative to people, like you and me who otherwise spend all their time in markets. I think we all know that something is wrong, right? I'll use this phrase or this great line from one of these spaghetti westerns of Clint Eastwood, Outlaw Josey Wales, where, pardon my language here, where his character says, “Don’t piss down my back and tell me it's raining." I feel like we live in that world, that world of people telling us stories in our market existence. And, that's why I find it so powerful to bring forward stories of the real — of animal behavior, of farm behavior — and it immediately throws our market world into such sharp contrast. It immediately gives a point of purchase for someone to read the article [and] say: What? This market world is not real. It is what I like to call fiat world, where opinions are presented as fact, where we're told the way the world works in sharp contrast to what we see with our own eyes. So, yes, Albert it's all that. I do intentionally look for these connections precisely because I find them so powerful in bringing into sharp relief this world of artifice that we're immersed in, and markets. AL: Ben, I want to try out an analogy of my own on you, and then we'll move on to some, maybe, practical discussions on the markets. When you're going through your farm, you say you talk about how each of the animals sort of pull their weight in a sense — they produce. My friend who has the farm is very proud of that fact as well. Everyone has a role, and if you don't, if you don't have a role, then you better watch out because an axe may be coming. You talk about the chickens, the sheep and so on and so forth. They all pay their way. They produce eggs, wool. In a sense they're producing earnings and dividends. And, when you talk about the suspension of reality that happens in the public markets, but it really happens in the private markets, when you talk about WeWork and Theranos and companies like that, these, to use the phrasing that you used on the farm, these are pet stocks. They're not working stocks, they're pets. And, your daughters may have had some role in classifying so many of those animals as pets. Why are we tolerant of that in investment markets? Why are we willing to put up with so many pet stocks? BH: You know, it's always the byproduct, Albert, of the hothouse environment that one lives in. At the end of a nine-year bull run, you are looking for stories, for entertainment, because your survival is not at stake. I mean, we've got a couple of goats on the farm all right. Goats do nothing. They are a pleasure. They're a joy. Goats are fun. They are, they're dancing around. I like to think of it like mobile art. They're a luxury. They're a luxury, right? And so, I love my goats. I can't imagine not having the goats, but they're absolute luxury. And this, what always happens in markets at, again, the end of a long bull market is that we find our pleasure, we find our art, in these crazy stories like WeWork. It's how humans are wired. Then again, you expect this. This is what I try to write about, and what’s really driven me, in all my, kind of, figuring out games and puzzles — whether it was in academia or software or markets. It's how we, as a human animal — forget about the farm animals let's talk about the human animal — how the human animal is hardwired, and, as you say, softwired, to respond to stories, whether it's the story of the gamboling goat or whether it's the story of WeWork. These are the stories that, I think, if we continue to bring them to our own attention — you know we're not immune to the any of this stuff, not all of us — we can be more resistant to that — by remembering these stories and remembering that what we think is only natural is, frankly, a creation by somebody who understands how we are wired as a human animal. AL: Ben, I don't know if it was the panel that we did together in 2018, but I distinctly remember asking for predictions as to when the bull market would end, and possibly end in a recession or a depression. And, before I received the responses, I joked that everyone always says two or three years away. And, sure enough, the answers were all two or three years away. I had the same folks on the same panel this year, and I was thinking, well I mean it's got to be one or two now, right? I mean, it's a year later. It's the same guys. And I thought, one? I count myself in that group as well. I've been concerned about this for a long time. I thought the hallmark would be something like WeWork getting shut out of public markets, and those valuations coming down. The closer you get to the end, the more ridiculous the story is that we're being asked to buy into. That was truly a ridiculous story, and it was shot down. Do you agree with me? I mean, is this sort of the first sign that this, at least this chapter of the story, is over? BH: So George Soros, you know whatever you think of George Soros, he's a great investor, right? And, he has this wonderful line. Somebody was asking him about, I don't think this was about when he and [Stanley] Druckenmiller were making one of their fortunes on shorting the pound, I think another currency. But somebody asked him to talk about what he was doing. And so, he started explaining what was going on and how he’s positioned. And, somebody (the reporter) said, “Why are you predicting that? Why do you think that's going to happen?” I’d duplicate the accent if I could, but I can't do my old Hungarian accent very well. Soros said, "Young man, you know I'm not predicting — I'm observing." I'm not predicting I'm observing. And, that's really stuck with me a lot. And, the way it's stuck with me is that, I think, when you think of things in terms of a game, and here I’m using game theory in that rigorous sense, it does not lend itself to a prediction. That's why I always hate this kind of exercise we feel like we're forced to go through: to predict something. What I can do, though, because I am focused on observing changes, and directions, the narrative, you know — I might want to try to pretend to predict when does this break, but what I can, I think, tell you is what we have to observe before it can break, before the story breaks. What I mean by the story breaking is basically an Emperor's New Clothes moment, which you're right we kind of did with WeWork, right? It was like: Wait, community adjusted EBITDA? What? Wait, you paid the guy ninety million dollars to get the name “We”? It was an Emperor's New Clothes moment. That is absolutely a hallmark of the story breaking. But, that WeWork story broke, but that was the company looking to go public. You didn't have public investors, and WeWork, who suffered the brunt. The brunt, was shouldered mostly by Masayoshi Son. You see, Son and SoftBank, you know I'm not going to cry for them and they're not, I think, suffering from this, right? The lessons of that, I don't think, are really realized in the form of SoftBank. They're going to keep on doing this, you know, forever. What we have to see is those sorts of Emperor’s New Clothes moments, not on a single company that's looking to go public like WeWork, we have to see that same sort of breaking of a story around one of our big institutions, like the Fed, like the ECB, like we saw in 2008 when the story broke about Wall Street banks. By the story breaking, I don't mean about being revealed. I mean about the confidence, the narrative that these guys were large and in charge, that story broke. It fell to pieces. We've got to see the same thing happen. It's kind of [an] Emperor's New Clothes moment, with a little girl and the crowd says: Hey wait, WeWork, that doesn't make any sense. But instead, it has to be that statement: Hey wait, Jerome [Powell], that doesn't make any sense what you're talking about, what the Fed is doing. That's when it changes, right? I can't predict when that's going to change, but that's what, when you observe that, that is when it will change. AL: That would be a serious development, though, right? Ben, you started this discussion by saying that you supported the Fed’s intervention with QE1. If the story would change and it were to be revealed that the Fed had no clothes, that they're no longer sufficient [as the] lender of last resort. That can't be something that you would want to see, is it? BH: Look, I very much believe that what the Fed did in March of 2009 was exactly what you want a central bank to do, because we really were on the verge of the entire system breaking down. What I think has developed in the decade since then is not a risk of the system breaking down again. Instead, I think it's the risk of the system overtaking — you know, use Star Trek, becoming the Borg and enveloping everything — so that there is no more market, so that capital markets have been transformed into a political utility. That's as much of a tragedy as the markets collapsing. I'd like to think there is something in between those two extremes. I'd like to think that we can have a functioning, break glass in case of emergency, central bank that, when that emergency occurs, as it did when Lehman was taken out in the street and shot, when the entire global financial system is on the verge of being ruined, you break that glass in case of emergency and you take those emergency actions. But I don't think that our choice has to be defined in either, well you've either got that or you've got this Borg-like central bank and Wall Street edifice that eliminates price discovery, eliminates the role of fundamentals and, again, transforms markets into this political utility. I think we can find something in the middle. And that's what I'm hoping for and, what I'm suggesting is happening, when you have that Emperor's New Clothes moment with what central banks are doing today. And, I think I know what that story might be. AL: I could argue that the banks were turned into utilities the minute Paulson said to Bank of America, you got to buy these guys, and Bernanke said to these other guys, you can't pay dividends unless we stress test you. I mean that essentially took the market forces out of banking. And, if we’re to go back [to a market system] you would have to concede that some of them would fail and other ones prosper and pay dividends and have rising stock prices. Correct? BH: I'm with you a thousand percent. What I'm saying, though, is this has been a process, right? It's a process that, look, I get it, if the choice is between Wall Street doesn't exist anymore and we're going to have this intervention, okay, I can get that trade off. What I can't get, again, is transforming emergency action into permanent government policy. And, that's what we've had. So, I’m hopeful enough to think that we can at least not exist at either extreme, because I do think that we have absolutely evolved into this extreme, where again Borg like you know, there is no more price discovery. There is no more role for fundamentals. It's all story. It's all story. And, I think that can be diminished, undermined. I hope, I think, I want to believe, right, without going back to collapse of asset prices and the end of the system as we know it. I think the longer we go on like this, the longer we go on without an Emperor's New Clothes moment, then the more painful the fall from these heights will be. Okay, none of this is going to happen organically, or on its own right. We saw that in December of 2018, or Q4 of 2018, where, oh my god, where we're raising interest rates to, checks notes, 2.5 percent. Oh my god, the world can't handle that. And so, we saw Powell and the rest totally turn on a dime and cave in to what are political pressures. And, you know, we saw what happened this past year, in 2019. So, it's not going to come from inside. It's going to have to come from the outside. And, the way it's going to happen is in a breaking of the story. And, I think what breaks that story, I really do, I think it's inflation, because I think it's coming. I think it's coming because of another thing you mentioned, Albert — which is not just what central banks are doing, in terms of their asset prices and what was happening in terms of the government in terms of its control over fiscal policy — I think that inflation is coming into the real economy, not just in the financial world as we've seen with central banks buying, and I think inflation is coming. Frankly, I think is already here, and I think that's what breaks the story of central bank control. AL: I want to shift the discussion now to an article you wrote about Facebook and Bitcoin. You titled it, The Spanish Prisoner. I thought that was very interesting and I’m actually again, I'm on the same page with you on that. I'll take it one step further, but basically, you're saying that Libra was designed to co-opt Bitcoin. Libra is the cryptocurrency currently being promoted by Facebook. Can you just go over the thinking behind that? BH: Sure, absolutely. I'm a fan of the, I'll call it, the positive energy that comes from Bitcoin true believers and the crypto-community more generally. I share so much of the sentiment, so much of the animus that directs that community, which is to say, look [at] our current monetary policy, it's being used against us, not for us. So, I understand the interest in finding and developing this alternative to fiat currencies, and in the form of Bitcoin, or crypto, or the like. I think there are real issues with that because I don't think the government, any government, will ever willingly give up its ability to control money. I think that's why governments exist — to control money, taxes that come from that, the seigniorage that comes from the printing of money, the control of taxation. So, it's the political risk around cryptocurrencies and Bitcoin that leads me not to be a big participant. But I get it and I share, again, the energy and the sentiment that underlies so much of crypto and Bitcoin. What I think Bitcoin, the real power of it, and much of crypto, is, if [it's] not censorship proof, it is censorship resistant. That's a phrase you hear a lot of times when you talk about Bitcoin or cryptocurrencies. What that means is that, because it has this underlying distributed ledger technology, Bitcoin being one of those powerful and elegant distributed ledger technologies, the record, the history of that Bitcoin, or that coin that is censorship resistant, [is] you can't, easily at least, a government can't, come in and control it. It's censorship resistant, if not censorship proof. What I thought we would see — I think Libra is just the first of these attempts to co-opt censorship resistant coins like Bitcoin. I think Libra is intentionally set up to be a censorship-embracing coin. The idea behind Libra is not that it is somehow in opposition to a government or separate from a governmental sphere of control and censorship. No, Libra embraces the idea that it is compliant with the government. So look, maybe it won't be Libra. Facebook's got its own public relations issues, but beyond Libra there will be others, other coins, other cryptocurrencies, that are promoted specifically by corporations, not in a resistant way to the government, but in a [collaborative], cooperative way. That's what I mean about how, in my view, Libra and these censorship-embracing coins are trying to co-opt the idea of Bitcoin in crypto, but do[ing it] in a way that's non-threatening to government. Hence my point of view — [it] loses all of its appeal. AL: Exactly. It seems to strip Bitcoin of its most desirable features and saddles us with some of the worst features of the cryptocurrency. BH: Absolutely. It becomes, it becomes an electronic fiat currency, which is where governments want to go. They don't want cash money. They don't want paper money floating around to be in existence. The whole effort is to continue to exercise control. I'll call it soft control using their words or, if we can't have that, well let's have currency being represented just as digital zeros and ones. It's all part and parcel, I think, but the same impetus. And again, I get it, right? But, [that] doesn't mean that I have to go along with it. I find by talking about it, relating it in stories that connect with people and their real-world experiences, I find that's the most effective way for me at least to try to ring the bell and bring people's attention. AL: I appreciate your conclusion — that is, that real, authentic, Bitcoin sort of becomes analogous to gold. It becomes gold, basically, which is what people said it was going to do, at least [what] proponents said it was going to do. But gold hasn't solved our problems. As much as I like gold, and advocate gold, and hold gold, it hasn't solved the world's monetary problems because it's just not in high enough circulation. And, your conclusion is that Bitcoin is going to become one of these commodity currencies over time. Is that true? BH: Yes, and frankly I like Bitcoin as a trade, in the same way that I like gold as a trade. I have, I'll say, real concerns with making it a core investment because of the political risk that I associate with Bitcoin. But, Igiven my view that I think inflation in the real economy is coming, frankly, I think it's already here. Right? But I think that the narrative around inflation is going to grow. I think that's extremely threatening to the prevailing central bank narrative: that we've got your back, market. We got this under control. I think that once the genie of inflation is out of the bottle in the real economy, it's very difficult to put back under control. You really think the Fed is going to raise interest rates from here, when in Q4 of 2018 they tried to raise interest rates 2.5% and they were basically taken out in the street and shot? The Fed says, oh we have all these tools to control inflation. Give me a break. They do not. They do not. Politically, they cannot. So, as a trade, I like gold a lot here. I like, God help me, I like Bitcoin a lot here, but it is — particularly when it comes to the political risk associated — a place where governments have enormous control, just enormous control. So, that political risk keeps me from having it as, I'll call it, a core, lifetime holding. But, it's absolutely something that I think is very attractive right here as a trade. AL: I understand almost everything you said there. I definitely understand Bitcoin as a trade. I understand gold as a trade in some circumstances. But, why not gold as a store of wealth? That’s sort of its traditional use. BH: Yeah, and I think gold can have use as a store of wealth. I think, I want to talk for me personally again, my store of wealth is in the land, in the farm. I find it, for me personally, that's where I want to try to store my wealth. I have a very broad conception of what real assets mean. Real assets can include intellectual property. I prefer real assets to have some sort of cash flows associated with them. I like that, but I'm not opposed, or I don't disagree, with any of these conceptions of real assets. What I am opposed to, to the degree that I cannot be immersed in it, is that world of artifice, that world of narratives and story. So, what I'm increasing, what I want in my investments, I'm just speaking for me, is I want to be closer to the real. In public markets, what does that mean? It means getting closer to real companies that still offer real fractional ownership share in real cash flows — harder to find in public markets today. That's the same thing I want in private markets. That's the same thing I want in my own life. So, I look for that notion of storing value and real assets. For me, it's tied up more with land. It's tied up more with knowledge — intellectual property. But I get it. I'm not opposed to [gold]. It's just, for me, that's how I like to express. AL: I’ve got two follow-up questions. Unfortunately, we have to get going because you're running out of time. One of your conclusions was that Bitcoin was going to become more like gold. And, one of the things that involves is, sort of, the stigma associated with gold, or the stigma we attach [to] the type of person that would invest in gold. That's the type of person that's going to invest in Bitcoin. Is the stigma part of the reason that you don't see gold the same way as you see other assets or is there some political risk associated with gold that you don't see associated with other assets? Why do you put gold in a different category? BH: Well I think gold has this, you call it, stigma. I would describe it as the intentional narrative that is created by government to stigmatize gold. And you saw the same thing around Bitcoin. When Bitcoin started to grow in popularity — oh Bitcoin, that's used by terrorists; you must be for the terrorists if you're engaged with Bitcoin. We all saw this stuff. And so, what I'm trying to do is, again trying to, observe rather than try to predict. What I'm observing is the government has a powerful vested interest in trying to control the adoption of gold as an alternative store of value, as an alternative currency, as a cryptocurrency. And, they certainly have an incentive to try to control digital cryptocurrency, like a bitcoin. I think of it as a trade in that, look their efforts to control that are limited, right? I think that, having seen with our own eyes its value in an inflationary environment, yeah, I think I'd like to own some right now, again as a trade, but for me to devote my wealth, my family's wealth, my children's well-being to something that I think is always going to be under this sort of assault — I'd rather find other ways I think are less risky of the government, through soft methods or hard methods, coming after me or that store of wealth. That's where I come out on this. AL: This all makes sense. I would expect to hear a former professor with a family, at a certain point in life, talking very conservatively like this. But you also ran a hedge fund, so there is a speculator in you. I want to close the interview just by asking you about some of the ideas you have for the next year on where people might look for returns. You talk about safer, cash-flowing types of assets. You know Netflix was the stock of the decade in the public markets. And, we know what it does with cash — it just burns it. But the return was phenomenal. So, if not those types of companies, where would you look for out-sized returns in 2020? BH: So look, I've been levered long personally because when the rules change it's going to be a political utility. That’s what you want to be, so we've had this past ten years. For me, personally, it’s levered long and to go with this flow. So, what I'm talking about in terms of narratives and the story breaking, it’s not because I want to fight the Fed, it's because I don't. I want to be able to observe and react to how the world is changing. I think we're on the cusp of a change from a 40-year deflationary cycle into the beginning of an inflationary cycle and everyone's investment playbook from the 1970s needs to be dusted off. Most people don't have that playbook. I wasn't a professional investor in the 1970s, but I can read and I could try to understand what works. That's what I think. That's the playbook I think we need to dust [it] off. I will say this: When you're talking about an inflationary environment, the worst place to be is in fixed income. We got to get that right. What you're looking for are companies that have pricing power. It's like they say, in fast food what are the three most important things? Location. In an inflationary environment, the three most important things are pricing power, pricing power, pricing power. I think that fundamentals will matter again in an inflationary environment because I don't think that the Federal Reserve has the tools really to combat that genie once that gets out of the bottle. And so, in the way that fundamentals matter again for looking at individual companies, you need to look at pricing power. Your multiples are going to suffer as interest rates go up. That's just a mechanistic issue — that high multiples mean that you're pulling forward growth from the future and into today. So, I think that high-flying profitless, cash burning unicorns are under a lot of threat and a lot of pressure in an inflationary environment. I think that the companies that [possess pricing power], whether they're commodity focused, or their story has some sort of percent perceived pricing power alongside it, I think that's where you want to be. I say I'm not predicting but I am observing. I think that's going to be the story of 2020. This inflation in the real world — which we've been told ad nauseam over the last decade, “oh there is no inflation, there's no inflation." That isn’t true. There absolutely is. And, once we get the spending, that's going to come out of whoever is elected in 2020, well that's when I think that inflation genie gets out of the bottle of the real economy. And, that's what I think changes everything in terms of the story for the game of markets. AL: You didn't say this, Ben, but it sounds like a good argument for gold, silver, commodity currencies and non-US dollar denominated assets. BH: It is actually, absolutely with the exception of the non-USD currencies, because what we're talking about here, this not just a US phenomenon — it's a global phenomenon. I think, in terms of currencies, the US is always going to be that best house in a bad neighborhood. So, I don't have a prediction on where the dollar goes, up or down, because I think that's the hardest thing to predict. What I can predict is that, in a global inflationary environment, everything you mentioned in terms of that traditional playbook, I think it's going to be a playbook worth holding on to in 2020 and beyond. AL: So, you are at EpsilonTheory.com and on Twitter @EpsilonTheory BH: The website, Twitter is free to read. We publish a lot and I appreciate you introducing me to your audience. AL: Thank you very much, Ben. Definitely go to his website and check out that Real Vision interview. It was very enjoyable. Ben, I’ve kept you on long, so thank you very much for joining us and I hope we can do it again sometime soon. BH: Be my pleasure. Thanks again.
Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
"When I look at a film, I normally think what is missing from that, and that's what I'm trying to bring. I'm trying to find something that I think isn't there and that I could bring that would make it more interesting, make it more cinematic, more dramatic."Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.
Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli. www.creativeprocess.info
"When I look at a film, I normally think what is missing from that, and that's what I'm trying to bring. I'm trying to find something that I think isn't there and that I could bring that would make it more interesting, make it more cinematic, more dramatic."Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
Carter Burwell is an Academy Award nominated composer of film soundtracks. He has had a long working relationship with filmmakers the Coen brothers, scoring every film they have made, as well as all of Spike Jonze's films. His credits include Miller's Crossing, Barton Fink, True Grit, Carol, Three Billboards Outside Ebbing Missouri, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Being John Malkovich, Before Night Falls, Adaptation, Before The Devil Knows You're Dead, Burn After Reading, Where The Wild Things Are, Twilight, The Kids Are All Right, Seven Psychopaths, Anomalisa, and a number of scores for dance and theater. In his varied career, he has been a computer scientist and award-winning film animator. Burwell lives in Amagansett with his wife, the artist Christine Sciulli.www.creativeprocess.info
What do the Spanish Prisoner, the Baltimore Stockbroker, the Grandma's Knuckle, and the High Five Living Room have in common? That's right, they are all words written in the sentence previous to this one! Also, they're all massive con jobs that have shaped how some people view the world. Join Q and J as they recap their many adventures at O-Con Expo 2019 and talk the best cosplay, Fiver shoutouts, their new status as Con Artists, and celebrity encounters. After talking Omaha, J and Q sneak their way to a conversation about the Top 5 Best Con Artist Movies of All Time! We talk classics like The Sting all the way to this Summer's The Hustle. What will make the cut and which con jobs get pulled early. Put on your most convincing fake mustaches, grab your bank blueprints, and let's pull a job together.
Wherein we entertain tales of treasure and avarice. Men Dig in Richmond Yard And Carry Away – What? (the question-mark, perhaps) Sun News-Pictorial, 27 March 1936, p. 4 (copied from microfilm at State Library Victoria) Children Spy on Mysterious Digging Operations (News (Adelaide), 30 March 1936, p. 3) https://trove.nla.gov.au/newspaper/page/11034096 One of the Spanish Prisoner letters found by historian Robert Whitaker in the British National Archives. Purportedly written by one Luis Ramos, it was received in 1905 to Paul Webb, a London shopkeeper. Take a closer look and read Whitaker’s article, Proto-Spam: Spanish Prisoners and Confidence Games, and see more examples here, from the archives of Plymouth Libraries. Warning issued by the Spanish Government in 1908 – National Archives (UK): HO 45-10500-120541 The hunt at Queenscliff for Benito Benita’s treasure – if only it were that easy. (Herald, 24 March 1954, p. 3). Read the full account here Mr Don Nicholson with his favourite spade (Herald, 8 April 1954, p. 12) See more photos of his treasure-digging venture here Three Women Dig for Treasure Charter – Lillian Nicholson and her sisters continue the search (Herald, 20 December 1954, p. 5) See it on the page here Got the treasure bug? Find links to stories about the fabulous Wiberg’s Gold here and also here
Tim has served as the Production Designer, Art Director or Set Designer for more than forty feature films or television shows. His Art Direction projects include The Silence of the Lambs, A League of Their Own, Philadelphia, Quiz Show, Sleepers, and Beloved. Tim's production design includes The Spanish Prisoner, One Last Dance, A Gentleman's Game, Borderland, and The Mighty Macs. Tim has also worked extensively in television, including on Hack, Trooper, Kidnapped, Parenthood, Prime Suspect, The Following, Divorce for HBO, and more recently Bloodline for Netflix. Tim's more recent feature film projects include Lee Daniels' epic family drama The Butler and the Oscar-winning best picture Green Book, a tale of an unlikely friendship, directed by Peter Farrelly.
This Month's Theme: Career Curiosities: This month, Paul and Corey chose singular films from the careers of two singular actors. This Episode's Focus: The Spanish Prisoner (1997); Steve Martin
In this special episode, the podcast team discusses the 1997 movie, The Spanish Prisoner. SPOILER ALERT: we will discuss key plot points, so watch the movie before listening if you don't want it spoiled!
WE DISCUSS DAVID MAMET'S THE SPANISH PRISONER WITH OUR RETURNING GUEST WOJO. THE FILM STARS CAMPBELL SCOTT, REBECCA PIDGEON, AND STEVE MARTIN IN A NON COMEDIC ROLL AS A BAD GUY. JOIN AS WE TRY TO FIGURE OUT WHAT IS GOING ON WITH THE CON.
The producer of our podcast, Doug Adams, had his iCloud account hacked, and he joins us to explain what happened, and how he resolved the issue. We talk about what to do if this happens to you. And we tell you everything you need to know to not be a victim of phishing. Your Apple ID and phone number are now being used for iMessage on a new Mac. screenshot https://www.intego.com/mac-security-blog/wp-content/uploads/2018/01/alert.png iMessage hack floods Apple users with Chinese texts (Mashable) (http://mashable.com/2016/10/19/apple-imessage-hack/#gFGPoNGo4iqs) haveibeenpwned.com (https://haveibeenpwned.com) Clever Phishing Scam Targets Your Apple ID and Password If you think your Apple ID has been compromised (https://support.apple.com/HT204145) Intego Mac Podcast, Episode 5: Two-Factor Authentication Phishing Dangers in Business and How to Avoid Getting Hooked HMRC issues Christmas warning about iTunes gift card scam (https://www.gov.uk/government/news/hmrc-issues-christmas-warning-about-itunes-gift-card-scam) The Spanish Prisoner scam (Wikipedia) (https://en.wikipedia.org/wiki/Spanish_Prisoner) Hello You have 7 messages View Mario Romero, Support spam scam screenshot https://www.intego.com/mac-security-blog/wp-content/uploads/2018/01/phishing-email.jpg Get 50% off Intego's Mac Premium Bundle X9 with the code PODCAST19. Download now and try it for free at intego.com.
Sweetheart scams and the booming cyber-fraud industry are fueled by the human drive to trust people.
Sweetheart scams and the booming cyber-fraud industry are fueled by the human drive to trust people.
Steve Cooper talks with comic Jonathan Katz. Jonathan is best known for his Emmy and Peabody Award winning lead role in the animated hit series Dr. Katz, Professional Therapist. He has done Late Night with David Letterman, The Tonight Show with Johnny Carson twice, Leno twice and Conan 7 times. He has had animated roles in many shows including Home Movies, Bob's Burgers, Adventure Time and Explosion Bus and has appeared in movies such as Daddy Day Care, State and Main, The Spanish Prisoner, Things Change and Are We Done Yet and also created Raisng Dad which aired on the WB network. He recently returned to his most popular character in Dr. Katz: The Audio Files which was just released on Amazon and the Audible channel.
Oscar Hartzell, born to humble beginnings, would go on to craft one of the most elaborate and successful mail fraud cons of all time. Pirates, lost treasure, the Wild West — it's the Spanish Prisoner, with a very English twist.
Bill's alleged sweetness starts this episode off. Blake is a 2 shave a day guy. Matt is a self proclaimed evolutionary step and Dave Moss is his spirit animal. The TSA lady in The Spanish Prisoner gives Bill the icky feelings. The fellas agree that passive aggressive responses to movie studio notes would not make for good scenes. Where have you gone Great Space Coaster? "Tell her I'll call her from the road" might be the saddest sentence in existence. David Paymer is Hollywood in a nut-shell. Bill's continued attempts to engage celebrities and referees alike now have Matt permanently cringed. What one gummie can do, another can do. How does a guy miss a Spacey in the audience? Foley is so dole-y with the visual clues. Dave says "Don't do as Dave does, do as Dave says." The boys discuss hospitals being bad news. Shout out to the guys who have signed on to bust Matt out of the hospital. Bill ruins our day, yet another episode and maybe the entire podcast, this time with an enormous bummer of a personal story. Thanks for sharing, Bill!
02:42 - What it was like to win the Audience Award for "Almost There" in South Korea. https://www.kartemquin.com/films/almost-there 08:57 - Jake and Laura are on their third year of making their documentary. 09:48 - How did the team go about putting "Almost There" out into the world? 17:46 - Screening of "Almost There" at Pierogi Fest. http://www.pierogifest.net 23:23 - Troubling/messy correspondence and boundaries. 26:07 - "Stevie." https://www.kartemquin.com/films/stevie 28:18 - How Dan decided to be a filmmaker. Ordinary People http://www.imdb.com/title/tt0081283/ Grey Gardens http://www.imdb.com/title/tt0073076/ Hoop Dreams http://www.kartemquin.com/films/Hoop-dreams Roger and Me http://www.imdb.com/title/tt0098213/ American Movie http://www.imdb.com/title/tt0181288/ 32:09 - How did Dan end up working with Martin Scorsese? 37:18 - Coming to Chicago and why Dan prefers documentaries. 42:02 - "The Spanish Prisoner" and working with John Sayles. http://www.imdb.com/title/tt0120176/ 46:30 - Karen Kusama. http://www.imdb.com/name/nm0476201/ 47:28 - Sarah Green. http://www.imdb.com/name/nm0338320/ 51:20 - Kickstarter experience for "Almost There." https://www.kickstarter.com/projects/almostthereproject/almost-there-a-coming-of-old-age-story 55:29 - VHX https://www.vhx.tv 1:00:27 - Getting an interview they'd been trying to get for three years. 1:01:29 - Promotion time: You can find "Almost There" on Hulu and on DVD. http://www.hulu.com/watch/898404 https://www.kartemquin.com/products/k1602/almost-there-special-edition-pre-order-dvd Follow us on Twitter or Facebook Intro and Outro Music: "Are You Famous, Yet? (Remix).” Written By: B. Packard and L. Scruggs. Performed By: B. Packard, N. Reyna, J. Scruggs, L. Scruggs.
In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Carter Burwell about his work on the film: Carol, Mr. Holmes, Anomalisa, Legend and Hail, Caesar! Carter Burwell has composed the music for more than 80 feature films, including Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Velvet Goldmine, The General’s Daughter, Three Kings, Being John Malkovich, O Brother, Where Art Thou? (BAFTA Nominee for Film Music), Before Night Falls, A Knight’s Tale, The Rookie, Adaptation, Intolerable Cruelty, The Ladykillers, No Country for Old Men, In Bruges, Burn After Reading, Twilight, Where the Wild Things Are (Golden Globe Nominee for Best Original Score), A Serious Man, The Blind Side, The Kids Are All Right, True Grit, Twilight: Breaking Dawn – Part 1 & 2, and The Fifth Estate. Burwell most recently wrote the music for the mystery drama MR. HOLMES starring Ian McKellen directed by Bill Condon, the true crime thriller Legend directed by Brian Helgeland opening October 2. Carol marks Burwell’s third collaboration with Todd Haynes having previously worked together on VELVET GOLDMINE and HBO’s mini-series MILDRED PIERCE starring Kate Winslet in which Burwell was nominated for two Emmy Awards, winning for his work in the category of Outstanding Music Composition for a Miniseries, Movie or Special (Original Dramatic Score). Other upcoming film projects for Burwell include Charlie Kaufman’s first-stop motion film Anomalisa, the ocean thriller The Finest Hours starring Chris Pine and Casey Affleck directed by Craig Gillespie, the Nicole Kidman-Jason Bateman drama The Family Fang, and Hail, Caesar! written and directed by Ethan and Joel Coen. His theater work includes the chamber opera The Celestial Alphabet Event and the Mabou Mines productions Mother and Lucia’s Chapters of Coming Forth by Day. In 2005 he developed a concert work for text and music titled Theater of the New Ear, presented in New York, London and Los Angeles. The text, by Joel and Ethan Coen and Charlie Kaufman, was performed by a dozen actors including Meryl Streep, Steve Buscemi, Philip Seymour Hoffman, Hope Davis, Peter Dinklage, and Jennifer Jason Leigh. The music was performed by the 8-member Parabola Ensemble, conducted by Mr. Burwell. Burwell’s dance compositions include the pieces The Return of Lot's Wife, choreographed by Sara Pearson and Patrik Widrig, and RABL, choreographed by Patrice Regnier. He has performed around the world with his own ensembles as well as others, such as The Harmonic Choir. His writing includes the essay "Music at Six: Scoring the News Then and Now," published in the inaugural issue of Esopus magazine in 2003 and reprinted in Harper's Magazine in 2004, and the essay “No Country For Old Music” in the 2013 Oxford Handbook of New Audiovisual Aesthetics. Burwell has taught and lectured at The Sundance Institute, New York University, Columbia University, and Harvard University.
David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter
David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter
David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)
David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)
Join John Pavlich and me as we delve into the innermost psyche of Christopher Nolan and pull out dead wives, survivor guilt, selfishness, and a creaky elevator. We analyze how many acts the film really has, the cinematography of the Avengers, and whether or not Hans Zimmer is the right man for to score the film. We compare the film to other Nolan films, other Di Caprio films, Dreamscape, Ghostbusters, The Matrix, The Dirty Dozen, The Guns of Navarone, heist films, The Spanish Prisoner, Ocean's 11, Reservoir Dogs, and A Nightmare on Elm Street. We compare Christopher Nolan to Woody Allen, the Coen Brothers, Stanley Kubrick, and Michael Bay. I complain that Ellen Page doesn't have enough to do. I rewrite the film and give it to M Night Shyamalan to direct. John pitches an Ariadne-Arthur TV show and tries to cast Joseph Gordon-Levitt as the new Spider-Man.
Have You Seen..? The question to start all movie discussions. This week, Tom & Kieran talk about The Spanish Prisoner & The Descendants, plus the return of Customer Feedback and a French accent that would’ve been rejected by Allo Allo…
419 Scams are known by many names: Nigerian letter scams, the Spanish Prisoner scam, or the Russian confidence game. This episode we look at the 419 scam and give you tips to protect yourself from becoming another victim.
Sam Spade: The Spanish Prisoner Caper
© 2020-2025 Ivy Podcast Discovery LLC
