Podcasts about sweet sweetback

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Finale Podcast: One Champion RemainsThe 1971 film finale podcast brings the Taste Buds' most ambitious bracket season to its definitive conclusion. Ryan, Mike, and Greg have debated, dismissed, and championed their way through a remarkable field — and now eight films remain. In this episode, four Elite Eight matchups collapse into a single champion, and five major awards close out the season before the final verdict arrives.Furthermore, this finale caps a season that has included some of the most provocative, challenging, and enduring films ever made. From Stanley Kubrick's A Clockwork Orange to William Friedkin's The French Connection, the 1971 bracket has consistently rewarded listeners willing to sit with difficult, boundary-pushing work. The season also covered Straw Dogs, Sweet Sweetback's Baadasssss Song, and Dirty Harry — each one generating strong arguments before falling short of the Elite Eight.Additionally, five competitive award categories — Best Sex, Best Violence, Musical Moment, Best Actor, and Best Actress — draw nominees from across the full season. Consequently, this episode stands as the richest and most content-dense installment of the year.ContentsThe Elite Eight MatchupsThe 1971 AwardsWhy the 1971 Film Finale Podcast Still MattersRelated EpisodesFAQThe Elite Eight MatchupsEight films enter. One leaves as the 1971 champion. The Taste Buds structured the Elite Eight around four head-to-head matchups, and each one forces a different kind of critical argument.A Clockwork Orange vs. The DevilsTwo of the year's most transgressive films meet in the first matchup. A Clockwork Orange arrived as a season-long frontrunner — a Kubrick film operating at the height of his formal powers, one that the Taste Buds covered in depth on their dedicated episode. Ken Russell's The Devils, meanwhile, delivers a fever dream of religious hysteria and state violence that stands as one of the most divisive films the Taste Buds have discussed all season. Moreover, this matchup poses a pointed question: which film earns its provocation more honestly? Both demand something from the viewer. However, only one advances.Harold and Maude vs. McCabe and Mrs. MillerHarold and Maude represents the season's most warmly beloved film — a dark comedy about love, death, and radical living that generated some of the most enthusiastic podcast discussion of the year. By contrast, Robert Altman's McCabe and Mrs. Miller offers a revisionist Western suffused with melancholy and moral exhaustion, its beauty inseparable from its grief. Both films carry passionate advocates among the Taste Buds. Consequently, this matchup ranks among the tightest and most personal bracket debates of the entire season. Above all, it asks whether warmth or ache makes the stronger lasting impression.Wanda vs. The ConformistBarbara Loden's Wanda — a micro-budget American independent masterwork — faces Bernardo Bertolucci's The Conformist, a visually ravishing Italian political drama. Notably, both films center on characters adrift in systems designed to diminish them. Nevertheless, they arrive at very different emotional endpoints: Wanda drifts, the Conformist spirals. The Taste Buds' arguments in this matchup reveal as much about their own critical values as about the films themselves. In practice, this is the bracket's most purely cinephile debate.The French Connection vs. The Last Picture ShowThe bracket's most commercially dominant film — The French Connection, winner of five Academy Awards including Best Picture — faces Peter Bogdanovich's elegiac The Last Picture Show. In practice, this matchup pits Hollywood's muscular genre filmmaking against its more introspective New Wave ambitions. As a result, the debate cuts to the heart of what 1971 cinema actually achieved. Gene Hackman's Popeye Doyle and the dusty streets of Anarene, Texas, represent two entirely different ideas of what a great film should do — and the Taste Buds have strong opinions on which idea wins.The 1971 AwardsBefore the bracket champion is named, the Taste Buds present five awards covering the full sweep of the season. This Movie of the Year 1971 podcast segment features each host nominating the moments they found most memorable, daring, or essential — and the resulting field spans an extraordinary range of films and tones.Best SexThe nominees range from the tender to the violent to the surreal, drawing from three different films and three distinct registers of human sexuality.Jacy and Abilene — The Last Picture ShowThe Pool Party — The Last Picture ShowThe Rape of Christ — The DevilsThe Sex Duel with the Biker Gang — Sweet Sweetback's Baadasssss SongYoung Sweetback and the Sex Worker — Sweet Sweetback's Baadasssss SongBest ViolenceThe nominees span the full tonal range of 1971 action filmmaking — from Dirty Harry's iconic bank robbery standoff to the slow, aching finality of McCabe dying alone in the snow.The Car Chase — The French ConnectionHarry Foils a Bank Robbery — Dirty HarryThe Kid Kills the Cowboy — McCabe and Mrs. MillerThe Ludovico Technique — A Clockwork OrangeMcCabe Dies Alone in the Snow — McCabe and Mrs. MillerMusical MomentThe nominees here demonstrate just how varied 1971's soundtrack was — Cat Stevens, Beethoven, and Gene Wilder all make the shortlist.Maude Sings "If You Want to Sing Out, Sing Out" — Harold and MaudeOpening Funeral March — A Clockwork Orange"Pure Imagination" — Willy Wonka and the Chocolate Factory"Singin' in the Rain" — A Clockwork OrangeThe Tango — The ConformistBest Actor The five nominees represent the full range of 1971 male performance — from Hackman's coiled rage to Wilder's heartbreaking wonder. Additionally, this category generated some of the most contested debates in the entire 1971 film podcast season.Warren Beatty — McCabe and Mrs. MillerGene Hackman — The French ConnectionOliver Reed — The DevilsJean-Louis Trintignant — The ConformistGene Wilder —

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

Movie of the Year: 1971Sweet Sweetback's Baadasssss SongThe Sweet Sweetback's Baadasssss Song PodcastThe Sweet Sweetback's Baadasssss Song podcast brings Ryan, Mike, and Greg to one of 1971's most radical and uncompromising films. Melvin Van Peebles wrote, directed, produced, scored, edited, and starred in this landmark independent work — entirely outside the Hollywood system. The result is a film unlike any other in the bracket. Above all, it challenges every assumption about who gets to make movies, and why.This week, the Taste Buds dig into three major threads: the film as a revolutionary political act, its polarizing form and style, and its complex treatment of sex and gender. Furthermore, they induct a film into the PopFilter Hall of Fame and take on Recast the Podcast. It is a wide-ranging, debate-heavy episode from first minute to last. The Movie of the Year 1971 bracket has produced bold conversations — and this one may be the boldest yet.About the FilmSweet Sweetback's Baadasssss Song follows Sweetback (Van Peebles), a Black sex-show performer raised in a brothel. When police use him as a convenient patsy, he fights back — killing two racist cops and becoming a fugitive. He runs south toward the Mexican border. Along the way, the Black community shelters him. Bikers, revolutionaries, and sex workers cross his path. Consequently, the film becomes less a conventional chase narrative and more an odyssey of Black survival and defiance.Van Peebles privately funded the film after walking away from a studio deal at Columbia Pictures. He served as one-man auteur across every department. The film opened in just two theaters in March 1971 — Detroit and Atlanta. Nevertheless, it broke box office records on opening night and went on to gross over $15 million. The MPAA assigned it an X rating. Van Peebles turned that into the defiant tagline: "Rated X by an all-white jury." The Black Panther Party declared it required viewing for all members.Learn more at the Wikipedia entry for Sweet Sweetback's Baadasssss Song and the IMDb listing. The Criterion Collection has released a definitive edition of the film — explore it at Criterion.com. The American Film Institute has also recognized the film's landmark status — read the AFI Movie Club entry here.A Movie Revolution: Van Peebles and the Politics of IndependenceVan Peebles did not simply make a film — he staged a full act of defiance. Studio backing, the ratings system, and traditional distribution were all refused outright. Moreover, he financed part of the production by borrowing $50,000 from Bill Cosby, keeping total creative control throughout. The result was a film the industry could not co-opt, contain, or dismiss. For listeners of any Melvin Van Peebles podcast or documentary, the story of how this film got made is as remarkable as the film itself.The release strategy was equally radical. Van Peebles released the soundtrack before the film — an unusual move at the time — to build word-of-mouth in Black communities without spending money on traditional advertising. The score featured a very young Earth, Wind & Fire. By contrast, Hollywood in 1971 was still releasing social-problem films that sought respectability over truth. Sweetback rejected that approach entirely. Notably, its commercial success proved that Black-led, Black-financed films could find a massive audience without white institutional gatekeepers.Ryan, Mike, and Greg debate what Van Peebles' revolution actually accomplished. Was it the birth of a genuinely new Black cinema? Or did it also open the door for the blaxploitation genre — a category Hollywood quickly co-opted and stripped of its radical politics? Additionally, the Taste Buds ask whether the DIY model Van Peebles pioneered holds lessons for independent filmmakers working today. As a blaxploitation film podcast discussion, this episode goes deeper than genre classification — it asks what political filmmaking actually costs.Form, Style, and Watchability: A Sweet Sweetback's Baadasssss Song Podcast Deep DiveThe film's style is not subtle. Van Peebles employs jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design throughout. These choices feel closer to Jean-Luc Godard than to anything playing at an American theater in 1971. However, they also produce a film that polarizes audiences to this day. The Sweet Sweetback's Baadasssss Song podcast tackles this polarization head-on.Some viewers find the style exhilarating — a sustained howl of rage rendered in pure cinematic form. Others find the loose structure and repetitive sequences frustrating. The Taste Buds confront this tension directly. Furthermore, they ask whether "watchability" is even the right standard for a film that never set out to be comfortable or conventional.The soundtrack adds another dimension entirely. Van Peebles composed and performed the score himself, with Earth, Wind & Fire providing the instrumental backing. The music pulses through the film like a second heartbeat. Consequently, sound and image work together to create a sensory experience unlike any other 1971 film in the bracket. Ryan, Mike, and Greg weigh in on whether Van Peebles' formal choices ultimately serve the film's political goals — or occasionally work against them.Sex, Gender, and ControversySweetback's sexuality is central to the film's identity. His sexual power is his primary weapon and his means of survival. Van Peebles frames this as a form of liberation — a radical Black body asserting itself against a system designed to destroy it. However, the film's treatment of women and of queer characters draws sharp criticism from contemporary audiences.Women in the film exist largely in relation to Sweetback's desires. The film includes graphic sexual content, some of it deeply uncomfortable by any modern standard. Moreover, the film's portrayal of lesbian characters is explicitly homophobic. The Taste Buds wrestle with how to hold these contradictions honestly. A film can be genuinely revolutionary and genuinely problematic at the same time. In fact, Sweet Sweetback's Baadasssss Song may be the most complex example of that tension in the entire 1971 bracket.Additionally, the film's opening sequence — depicting a child's sexual initiation — has unsettled audiences for over fifty years. Van Peebles cast his own son Mario in the role. That decision raises serious ethical questions that Ryan, Mike, and Greg do not avoid. Ultimately, the conversation around sex and gender in this film is not a comfortable one — and that discomfort is precisely what makes it essential. This is one of the most challenging discussions in the 1971 film podcast series to date.PopFilter Hall of FameEach season of Movie of the Year, the Taste Buds set aside the bracket to recognize films that define an era. The PopFilter Hall of Fame is not about winning a head-to-head matchup. It honors the films that changed cinema itself — the ones that opened doors, broke rules, and made everything that came after possible.The Hall of Fame carries special weight in this episode. Sweet Sweetback's Baadasssss Song raises the question of what "greatness" means for films that operate outside mainstream critical frameworks. A film does not need to be comfortable, polished, or widely loved to be important. The Hall of Fame exists precisely to honor that distinction. This week, the hosts make their cases for a 1971 inductee. Tune in to hear which film earns the honor — and whether all three Taste Buds can agree on the pick.Recast the PodcastIn Recast the Podcast, Ryan, Mike, and Greg take on one of cinema's great thought experiments. They choose a film and rebuild the cast from scratch — drawing on actors from any era, any genre, any corner of film history. Each host makes their picks. Then the debate begins.Sweet Sweetback's Baadasssss Song presents a unique challenge for Recast the Podcast. The film was defined by Van Peebles' decision to cast himself. Sweetback's blank-faced, nearly wordless presence was a deliberate choice — not a performance in the conventional sense, but a statement. Who could step into that role today? Who has the gravity, the physicality, and the political weight to carry the film's central conceit? The Taste Buds bring their full range of cinematic knowledge to the question. Listen in to hear their picks, the reasoning behind each choice, and where the three hosts inevitably disagree.Why Sweet Sweetback's Baadasssss Song Still MattersSweet Sweetback's Baadasssss Song was never meant to be easy. Van Peebles built it as a provocation — a film that demanded a response. More than fifty years later, it still gets one. The film's influence runs through Spike Lee, John Singleton, Ava DuVernay, and virtually every Black filmmaker who followed. However, its importance is not only historical. The questions it raises about representation, power, and who controls the means of production are still urgent today.Furthermore, the film's DIY model anticipated the independent film movement by decades. Van Peebles proved that a filmmaker could retain complete creative control, bypass the studio system entirely, and still reach an enormous audience. That lesson has...

No episódio de hoje, o Tiago convidou o João Neto e o Marc Tinoco para conversarem sobre os filmes que deram o pontapé inicial no movimento que ficou conhecido como Blaxploitation, em especial dois filmes: Rififi no Harlem, de 1970 e Sweet Sweetback's Baadasssss Song, de 1971.Siga o João Neto no Instagram no Letterboxde no twitterSiga a página do Cineratus no instagrame no tiktokSiga o Marc no BlueskyVisite o site Cultura pop a Rigor Visite o canal do Cultura pop a Rigor no youtubeSiga o Tiago no blueskye no letterboxd.Visite o canal do Ponto Cego no youtube.

Mario Van Peebles is a consummate filmmaking Renaissance man. He is a writer, producer actor and director who originally broke out as an actor in Clint Eastwood's Heart Break Ridge. His directorial debut was the gangster classic New Jack City. He has written and directed and starred in countless projects for film and television since, including Badasssss! about his maverick father's game-changing film Sweet Sweetback's Badasssss Song! His latest is as director and executive producer on the upcoming Netflix crime thriller series Nemesis. 

Episode 248 is our annual, Black History Month show. We look at a couple of VERY different, but equally badass lead actors who are fed up with the man and push back...hard! We start off with the legendary "Sweet Sweetback's Baadasssss Song" from 1971. The brainchild of multi-hyphenate Melvin Van Peebles, it follows the eponymous character around as he settles some hash, and avoids arrest, with help from the community. It's brave, shocking, psychadelic stuff. It does have some questionable material in spots, but you can't deny the artistic impact of the message. We follow that with 1972's "Trouble Man", starring the incredible Robert Hooks as "Mister T", who is settling scores in the neighborhood and runs afoul of a wealthy criminal overlord. It drips with coolness and is really well made and we can not recommend it highly enough.Send us your thoughts on the show and recommendations for future episodes to flickersfrom@yahoo.com or flickersfrom@gmail.com. You can also reach us on Facebook, Instagram, Letterboxd. YouTube.

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “The Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 2:“The Jerry Springer Show” (Burt Dubrow, 1991-2018)“Roots” (David L. Wolper, 1977)“Gone With the Wind” (Victor Fleming, 1939)“Alien” (Ridley Scott, 1979)“Mandingo” (Richard Fleischer, 1975)“Sweet Sweetback's Baadasssss Song” (Melvin Van Peebles, 1971)“Battlestar Galactica” (Glen A. Larson, 1978-1979)“Star Trek” (Gene Roddenberry, 1966-1969), including S1 E26 “Errand of Mercy”“Jo Jo Dancer, Your Life Is Calling” (Richard Pryor, 1986)“Pretty Baby” (Louis Malle, 1978)“Conan the Barbarian” (John Milius, 1982)“Song of the South” (Harve Foster and Wilfred Jackson, 1946)“Ilsa, She Wolf of the SS” (Don Edmonds, 1975)“M*A*S*H” (Larry Gelbart, 1972-1983)“Ran” (Akira Kurosawa, 1985)“Django Unchained” (Quentin Tarantino, 2012)“12 Years a Slave (Steve McQueen, 2013)“Bring Me the Head of Alfredo Garcia” (Sam Peckinpah, 1974)“Private Property” (Leslie Stevens, 1960)“Ride the High Country” (Sam Peckinpah, 1962)“Stripes” (Ivan Reitman, 1981)“Blazing Saddles” (Mel Brooks, 1974)“The Bad News Bears” (Michael Ritchie, 1976)“Sparkle” (Sam O'Steen, 1976)“All the President's Men” (Alan J. Pakula, 1976)“Family Plot” (Alfred Hitchcock, 1976)“Grizzly” (William Girdler, 1976)“Jaws” (Steven Spielberg, 1975)“Embryo” (Ralph Nelson, 1976)“Leadbelly” (Gordon Parks, 1976)“Silent Movie” (Mel Brooks, 1976)“Logan's Run” (Michael Anderson, 1976)“The Omen” (Richard Donner, 1976)“The Outlaw Josey Wales” (Clint Eastwood, 1976)“The Bingo Long Traveling All-Stars & Motor Kings” (John Badham, 1976)“The Shootist” (Don Siegel, 1976)“Bugsy Malone” (Alan Parker, 1976)“The Birth of a Nation” (Nate Parker, 2016)“Birth of a Nation” (D.W. Griffith, 1915)Audio quotation in GATEWAY CINEMA, Episode 2:“Drum” (Steve Carver, 1976), including the song “Tell My Story” composed by Charlie Smalls“The Jerry Springer Show” (Burt Dubrow, 1991-2018), https://www.youtube.com/watch?v=dize77oSCPE“Anvil of Crom”, composed by Basil Poledouris for “Conan the Barbarian” (John Milius, 1982)“Zip-a-Dee-Doo-Dah”, composed by Allie Wrubel and Ray Gilbert for “Song of the South” (Harve Foster and Wilfred Jackson, 1946)“Stripes” (Ivan Reitman, 1981)

In the thirty-first episode of Season 11: The Son of Cult Flicks, Kyle is joined by filmmaker Daniel Lopez and cinephile Alejandro Etcheagaray to discuss the mixture of avant-garde formalism, black nationalist attitude, and revolutionary politics that created the explosive and rebellious statement of black power, autonomy, and survival in Melvin Van Peebles' radical Sweet Sweetback's Baadasssss Song (1971).

It was an absolute joy to welcome actor, director, producer and writer Mario van Peebles to The Cinematologists Podcast. In London to show his new film Outlaw Posse as part of the Black Rodeo season at the BFI, I was able to talk with him and his son Mandela, who also stars in the film, about his lifelong interest in Westerns, particularly in the often cliched, often forgotten role of African American's in the Western mythos. Outlaw Posse is more of a companion piece than a sequel to his 1993 film Posse; this new work mines similar territory with its generic rawness infused with social commentary but with a kinetic direction that embraces spectacle. The conversation also covers the van Peebles' legacy; Mario's father Melvin one of the true blaxploitation pioneers, director of the now recognised classic Sweet Sweetback's Baadass Song; Mario's own journey in the industry, from his big break in Clint Eastwood's Heartbreak Ridge to his own seminal work as director of New Jack City. Neil and I discuss how wonderfully open and insightful Mario and Mandela were in the interview and further explore his perhaps under-appreciated body of work. We discuss the influence of New Jack City thinking about how that film triggered the New Black Cinema movement and influenced the aesthetics of 80s and 90s filmmaking in its wake. _________ For extra bonus content, including extended interviews, bonus podcast and our monthly newsletter consider joining our Patreon community: www.patreon.com/cinematoloigists   _________ You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In this episode of Kermode on Film, Mark is joined by Mario Van Peebles and Mandela Van Peebles, to talk about their film Outlaw Posse, shown as part of the BFI season Black Rodeo: A History of the African American Western. And he talks to Bernard MacMahon and Allison McGourty, the director and producer of the high grossing new documentary Becoming Led Zeppelin.Sit back and enjoy Part 1 of this MK3D show recorded live at the BFI Southbank on Monday 10 February 2025.In Part 2, Mark is joined by a star of stage and screen Fiona Shaw, and composer, musician and superstar Warren Ellis.Thanks for listening, and remember, keep watching the skies.———————The opening title sequence of Kermode on Film uses quotes from:- Mary Poppins, directed by Robert Stevenson and distributed by Walt Disney Motion Pictures – quote featuring Julie Andrews.- Nope, written, directed and produced by Jordan Peele, and distributed by Universal Studios – quote featuring Keke Palmer.- Withnail & I, written and directed by Bruce Robinson, and distributed by HandMade Films – quote featuring Richard E Grant.- The Exorcist, written by William Peter Blatty and directed by William Friedkin, distributed by Warner Brothers – quote featuring Ellen Burstyn and Linda Blair.We love these films. We urge you to seek them out, and watch them, again and again.They are masterpieces!Kermode on Film is an HLA Agency production.Cover photo by Julie Edwards.This episode was edited by Alex Archbold Jones.© HLA AgencyHosted on Acast. See acast.com/privacy for more information.#MarkKermode #MK3D #KermodeOnFilm #BFI #BFISouthbank #MarioVanPeebles #MandelaVanPeebles #OutlawPosse #GhandiFilm #AliFilm #MalcolmX #MohammedAli #LedZeppelin #BecomingLedZeppelin #AllisonMcGourty #BernardMacMahon #SafetyLast #HaroldLloyd Films and TV series mentioned in this episode:Hosted on Acast. See acast.com/privacy for more information.Films mentioned in this podcast:VertigoJeanne Dielman 23 Quai du Commerce 1080 BruxellesOutlaw PossePosseBaadasssss! (2003)Sweet Sweetback's Baadasssss Song (1971)Gandhi (1982)Ali (2001)Becoming Led ZeppelinAmerican EpicSafety LastNapoleon (1927)Napoleon (2024)People and bands mentioned in this episode:Chantal AckermanMario Van PeeblesMandela Van PeeblesMelvyn Van PeeblesJohnny CashWhoopi GoldbergBernard MacMahonAllison McGourtyRobert RedfordRobert PlantJimmy PageJohn Paul JonesJohn BonhamCarter FamilyPink FloydThe WhoCarl DavisGaylord CarterAbel Gance Hosted on Acast. See acast.com/privacy for more information.

"Come on feet." This week we're talking some blaxploitation with our guest mister X from Geek Juice Media. First up is the influential blaxploitation film Sweet Sweetback's Baadasssss Song.

This week, we have another brand new "In Conversation" episode with Daresha Kyi, an award-winning director and producer! In this episode, we chat with Daresha about her filmmaking journey. She shares experiences and lessons learned from her various projects as well as invaluable advice for aspiring filmmakers. (01:12) Check out Daresha's list of impactful films: Ganja & Hess, Quilombo, Black Orpheus, Sweet Sweetback's Baadasssss Song, Lars and the Real Girl, The Godfather Part II, Harold and Maude, Cinema Paradiso, Life Is Beautiful, The Spirit of the Beehive, My Life as a Dog, Benny & Joon, Being There, American Beauty, and Chinatown As well as Daresha's Mount Rushmore of filmmakers: Federico Fellini, Ava DuVernay, Martin Scorsese, and Pedro Almodóvar We are available on all podcasting platforms but please follow, rate, and review us on Apple Podcasts and Spotify apps. We greatly appreciate the support! Follow us on social media: IG: @recappinpodcast Twitter: @recappinpodcast FB: ReCappin' with Delora and Ashley Contact us: Email: recappinpodcast@gmail.com

This is part of a series about movies from 1971. ***Referenced media:“The Muppet Show” (Jim Henson, 1976-1981)“The Benny Hill Show” (Benny Hill, 1955-1989)“Saturday Night Live” (Lorne Michaels, 1975-now)“The Critic” (Al Jean and Mike Reiss, 1994-1995)“The Simpsons” (Matt Groening, 1989-now)“Manhattan” (Woody Allen, 1979)“Monty Python's Flying Circus” (Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, 1969-1974)“The Wild Bunch” (Sam Peckinpah, 1969)“Straw Dogs” (Sam Peckinpah, 1971)“A Clockwork Orange” (Stanley Kubrick, 1971)“Wide World of Sports” (Edgar Scherick, 1961-1997)“Battleship Potemkin” (Sergei Eisenstein, 1925)“THX 1138” (George Lucas, 1971)“Summer of '42” (Robert Mulligan, 1971)“Sweet Sweetback's Baadasssss Song” (Melvin Van Peebles, 1971)“The Big Doll House” (Jack Hill, 1971)“Jaws” (Steven Spielberg, 1975)“The Andromeda Strain” (Robert Wise, 1971)“Billy Jack” (T.C. Frank, 1971)“Plaza Suite” (Arthur Hiller, 1971)“Johnny Got His Gun” (Dalton Trumbo, 1971)“Escape from the Planet of the Apes” (Don Taylor, 1971)“Pink Narcissus” (James Bidgood, 1971)“The Beguiled” (Don Siegel, 1971)“McCabe & Mrs. Miller” (Robert Altman, 1971)Audio quotation:“Bananas” (Woody Allen, 1971)“Fog Horn SOUND EFFECT - Nebelhorn SOUNDS”, https://www.youtube.com/watch?v=1z1xvXDdjMU“The Stranger Song” by Leonard Cohen from McCabe & Mrs. Miller (Robert Altman, 1971), https://www.youtube.com/watch?v=VzcNu016Cbo 

This is part of a series about movies from 1971. ***Referenced media:“The Big Doll House” (Jack Hill, 1971)“Jurassic Park” (Steven Spielberg, 1993)“The X-Files” (Chris Carter, 1993-2002, 2016-2018)“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (Stanley Kubrick, 1964)“Wag the Dog” (Barry Levinson, 1997)“Natural Born Killers” (Oliver Stone, 1994)“Citizen Kane” (Orson Welles, 1941)“Magnificent Ambersons” (Orson Welles, 1942)“It's All True” (Orson Welles, 1941-1942)“The Sound of Music” (Robert Wise, 1965)“West Side Story” (Robert Wise and Jerome Robbins, 1961)“The Day the Earth Stood Still” (Robert Wise, 1951)“Airport” (George Seaton, 1970)“Stunt Rock” (Brian Trenchard-Smith, 1978)“Star Wars: Episode IV – A New Hope” (George Lucas, 1977)“Plato's Stepchildren” (David Alexander, 1968), November 22, 1968, Episode 10 of Season three of “Star Trek” (Gene Roddenberry, 1966-1969)“The Thing from Another World” (Christian Nyby, 1951)“Wanda” (Barbara Loden, 1971)“Get Carter” (Mike Hodges, 1971)“THX 1138” (George Lucas, 1971)“Summer of '42” (Robert Mulligan, 1971)“Sweet Sweetback's Baadasssss Song” (Melvin Van Peebles, 1971)Audio quotation:“The Andromeda Strain” (Robert Wise, 1971)Theme from “The X-Files” (Chris Carter, 1993-2002, 2016-2018), written by Mark Snow, https://www.youtube.com/watch?v=v4-GcS1UQyg“RUMSFELD / KNOWNS” https://www.youtube.com/watch?v=REWeBzGuzCc

In a series we are calling Criminally Forgotten, we pluck out discarded, overlooked or misunderstood gems from the past.  In this episode, we unearth a relic from the archives, Bill Gunn's 1973 art/horror/vampire movie Ganja & Hess . Gunn, a literate, smart, cultured person who came from the Theatre and the literary arts was tasked with replicating the immense success of the iconic African-American vampire film, Blacula (1972).  What he produced instead was a complete departure from the tropes of the vampire genre, creating a meditative, artistic, dream like movie that utilizes what some critics have called, "Haptic visualization".  The writer Donato Totaro describes Haptic cinema as; "... unlike Western ocularcentrism, which values sight as the greatest epistemological sense, intercultural cinema embraces the proximal senses (smell, taste, touch) as a means for embodying knowledge and cultivating memory” (Donato Totaro, Canadian Journal of Film Studies) Ganja & Hess has been cited as an important film in the African-American canon, as it dispels stereotypes of Blaxploitation and African-American culture promoting an art house, experimental style more notable in Foreign cinema at the time.  Join Azed and Tom as they discuss this unique horror film...just in time for Halloween!! "If Shaft is Barry White and Melvin Van Peebles's Sweet Sweetback's Baadasssss Song is the Sex Pistols, then Ganja & Hess is John Cage". Jaime N. Christley, Slant Magazine

"Moteur… ça tourne… action !!!" San Francisco, 1968. Devant la caméra de Peter Yates, Steve McQueen et la musique de Lalo Schifrin. Bullitt ! Un flic, un homme politique, un truand, un assassinat et la plus célèbre course poursuite de l'histoire du cinéma ! Aux antipodes de la B.O. millimétrée de Bullitt, celle outrageusement poisseuse, sexy et bordélique de Sweet Sweetback's Baadassss Song de Melvin Van Peelbes en 1971.

This episode is from my other podcast The Bend but it's really what Somebody's Watching is about! Thanks again to horror specialist Dr. Alexandra Heller-Nicholas and film professor Professor Peter Lehman for their time, it was an honor to be able to chat with them. Enjoy! A Selection of Peter Lehman's Work: Running Scared: Masculinity and the Representation of the Male Body Masculinity: Bodies, Movies, Culture Pornography: Film and Culture Peter Lehman's Arizona State University Profile A Selection of Alexandra Heller-Nicholas' Work: Rape-Revenge Films: A Critical Study 1000 Women In Horror, 1895-2018 The Giallo Canvas: Art, Excess and Horror Cinema Alexandra Heller-Nicholas' Website Watching Rape, the book Alexandra mentions Wesley Morris' NY Times article on Black male sexuality Films mentioned: The Virgin Spring (1960) Drive, He Said (1971) Sweet Sweetback's Baadasssss Song (1971) Last House on the Left (1972) I Spit On Your Grave (1978) Sweet Savage (1979) A Room with a View (1985) Drifting Into Chaos (1989) The Pillow Book (1996) Traps (1998) Baise Moi (2000) Django Unchained (2012) PVT Chat (2020) Zola (2020) Minx (2022-) Kevin Bacon's penis PSA

Melvin flips Hollywood the middle-finger setting out to make his own independent movie, at a time when it was considered borderline impossible. What followed was one of the wildest stories in film history as Sweet Sweetback's Baadasssss Song survives on-set madness and impossible odds to become one of the most successful films of the decade.Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:'Sweet Sweetback's Baadasssss Song' by Melvin Van Peebles (1971)'2008 Interview with Red Bull Music Academy': https://www.redbullmusicacademy.com/lectures/melvin-van-peebles-dont-write-a-check-your-ass-cant-cash'Unstoppable: Melvin Van Peebles, Gordon Parks, and Ossie Davis in Conversation': https://www.youtube.com/watch?v=AHuW5bxVamg'Interview with Olumide Productions': https://www.youtube.com/watch?v=xRn9nr5qXOgMarlon Brando Eulogy for Bobby Hutton: https://www.youtube.com/watch?v=1g05Sb9CcnEInterview with Reelin In the Years: https://www.youtube.com/watch?v=B48FJ03-tkUVisionary Project: https://www.youtube.com/watch?v=TeRJLgAbW-4&list=PLCwE4GdJdVRLS1R8f9-G8hihJQKmePpCW&t=116s'How To Eat Your Watermelon in White Company (And Enjoy It)' (2005) Dir. Joe Angio'SUBVERTING HOLLYWOOD FROM THE INSIDE OUT' by Racquel Gates: https://www.jstor.org/stable/10.1525/fq.2014.68.1.9 Hosted on Acast. See acast.com/privacy for more information.

Sometimes the cinematic vanity project (a film that is usually some combo of a single person writing, directing, producing and acting in a film) can be an artistic vision that's a masterpiece that stands the test of time. A good example would be Orson Welles' "Citizen Kane". Most times, however, vanity projects are created by total outsiders who have the money but no talent, but their drive and their delusions push the project through, for better or for worse. This time out Lee has put together a playlist covering some notable, and in some cases just unknown, vanity projects. This will no doubt be a thread picked up in future episodes, as there's a ton of these to cover. --World's Greatest Sinner from "The World's Greatest Sinner" (1962) --Frank Zappa --Come on Feet from "Sweet Sweetback's Baadasssss Song" (1971) --Melvin Van Peebles --Schlock Boogie from "Schlock" (1973) -- Ian Kranitz & Albin Konopka --Rage from "Stone" (1974) --Billy Green --I'll Be With You In Apple Blossom Time & Open Your Heart from "Massacre Mafia Style" (1974) --Duke Mitchell --Enuff is Enuff from "One Down, Two to Go" (1982) --Rodney Franklin --To Survive; Girl Crazy & Take it Off from "The Life and Loves of a Male Stripper" (1987) --Rafael Bethencort --Shimmy Slide from "Champagne and Bullets" (1993) --John De Hart --The Ninja from "New York Ninja" (2021) --Voyag3r Opening and closing music: Summertime Killer from "Summertime Killer" by Luis Bacalov, and Santa Maria from "Raiders of Atlantis" by Oliver Onions.

     In which our intrepid trio delve into what some see as the very first blaxploitation film and wonder what the heck Melvin van Peebles was thinking. Captivating and bewildering at the same time!  Yay/Nay (3:44) Call Northside 777 • The Birds • Titanic • The Whale • Infinity Pool •  Main Review (16:44)  Outro/B-Roll (48:02)  Email: firsttimewatchers@gmail.com Twitter: @1sttimewatchers Back Catalogue: firsttimewatchers.podbean.com Donate: Patreon.com/firsttimewatchers Buy stuff: zazzle.com/firsttimewatchers Member: largeassmovieblogs.com/

On today's episode of our daily NYFF60 edition, director Elvis Mitchell and executive producer Steven Soderbergh discuss Is That Black Enough For You?!?, a Spotlight selection of this year's festival, with NYFF Executive Director Eugene Hernandez. American film critic Elvis Mitchell's kaleidoscopic documentary creates a definitive narrative of the Black revolution in 1970s cinema, from genre films to social realism, from the making of new superstars to the craft of rising auteurs. With Is That Black Enough for You?!? (the title referencing a recurring line from Ossie Davis's 1970 benchmark Cotton Comes to Harlem), Mitchell takes a personal and panoramic approach, expressing his own experiences as a viewer while detailing the cinematic and political histories that led to this extraordinary flowering of a newly ascendant Black heroism. The Learning Tree, Watermelon Man, Shaft, Sweet Sweetback's Baadasssss Song, Cool Breeze, Sounder, Super Fly, Coffy, The Spook Who Sat by the Door, Claudine, Uptown Saturday Night, Cornbread, Earl and Me, Killer of Sheep, and dozens more are analyzed with Mitchell's customary verve and perspicacity. This is a work of painstaking scholarship that's also thoroughly entertaining, an essential archival document and testament to a period of American film history unlikely to be repeated. Featuring interviews with Margaret Avery, Harry Belafonte, Charles Burnett, Laurence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Suzanne de Passe, Glynn Turman, Billy Dee Williams, Zendaya, and more. A Netflix release. To learn more and get tickets for this year's NYFF, taking place through October 16 in all five boroughs of NYC, visit filmlinc.org/tix.

And now for something completely different. I sat down with film professor Prof. Peter Lehman and horror scholar Dr. Alexandra Heller-Nicholas to discuss male nudity in cinema. We discuss our connections with the topic, the phallus vs the penis, rape revenge, the pitfalls of “respectable cinema,” the prosthetic penis and a lot more. I'm so glad and grateful that I had a chance to talk to these bona fide experts about a topic that I have been wondering about for a very long time. I hope you take something away from this unusual film exploration. A Selection of Peter Lehman's Work: Running Scared: Masculinity and the Representation of the Male Body Masculinity: Bodies, Movies, Culture Pornography: Film and Culture Peter Lehman's Arizona State University Profile A Selection of Alexandra Heller-Nicholas' Work: Rape-Revenge Films: A Critical Study 1000 Women In Horror, 1895-2018 The Giallo Canvas: Art, Excess and Horror Cinema Alexandra Heller-Nicholas' Website Watching Rape, the book Alexandra mentions Wesley Morris' NY Times article on Black male sexuality Films mentioned: The Virgin Spring (1960) Drive, He Said (1971) Sweet Sweetback's Baadasssss Song (1971) Last House on the Left (1972) I Spit On Your Grave (1978) Sweet Savage (1979) A Room With A View (1985) Drifting Into Chaos (1989) The Pillow Book (1996) Traps (1998) Baise Moi (2000) Irreversibel (2002) Django Unchained (2012) Promising Young Woman (2020) PVT Chat (2020) Zola (2020) Minx (2022-) Kevin Bacon's penis PSA Lastly, thank you to Karolin Schnoor for all the support and for making the brilliant illustration!

Ian and Pat break out their turtlenecks and leather trenchcoats to review Gordon Parks' seminal Blaxploitation epic, Shaft!Richard Roundtree stars as the Black private dick who's a sex machine to all the chicks. It's 1971 in New York City, and John Shaft has been hired to find the kidnapped daughter of a Harlem gangster. He winds up on the wrong side of the police, the Mafia, and a crew of militants all battling to control the streets of the Big Apple.The guys continue their exploration of 70s Black cinema with a (pretty much) first-time viewing of Parks' swagger-heavy procedural--comparing it to Melvin Van Peebles' Sweet Sweetback's Baadasssss Song (which came out the same year), and questioning whether or not this film belongs in the genre with which it is most heavily associated.Shaft was recently given the deluxe treatment by The Criterion Collection, which has made the film available on 4K UHD and Blu-ray.Show Links:Watch the Shaft (1971) trailer.Keep up with Pat at HollywoodChicago.com.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

This is the fourth part of an eight-part series about American movie ratings. Part 1 focused on Prano Baily-Bond's “Censor”. Part 2 focused on Mike Nichols's “Who's Afraid of Virginia Woolf?”. Part 3 focused on Brian DePalma's “Greetings”.Future episodes will focus on Steven Spielberg's “Indiana Jones and the Temple of Doom” (1984), Garry Marshall's “The Flamingo Kid” (1984), John McNaughton's “Henry: Portrait of a Serial Killer” (1986), and Philip Kaufmans's “Henry & June” (1990).***Referenced media:“Marty” (Delbert Mann, 1955)“Star Wars Holiday Special” (Steve Binder, 1978)“The Dirty Dozen” (Robert Aldrich, 1967)“Sweet Sweetback's Baadasssss Song” (Melvin Van Peebles, 1971)“Shaft” (Gordon Parks, 1971)“Superfly” (Gordon Parks, Jr., 1972)“M*A*S*H” (Robert Altman, 1970)“The French Connection” (William Friedkin, 1971)“Black Sunday” (John Frankenheimer, 1977)“Bonnie and Clyde” (Arthur Penn, 1967)“Julia” (Hal Kanter, 1968-1971)“Rocky” (John G. Avildsen, 1976)“Bamse” (Arne Mattsson, 1968)“The Night of the Assassin” (Adriano Bolzoni, 1970)“Coogan's Bluff” (Don Siegel, 1968)“Bullitt” (Peter Yates, 1968)“Ice Station Zebra” (John Sturges, 1968)“Hellfighters” (Andrew V. McLaglen, 1968)“Where Eagles Dare” (Brian G. Hutton, 1968)“Hell in the Pacific” (John Boorman, 1968)”“Assignment to Kill” (Sheldon Reynolds, 1968)“Riot” (Buzz Kulik, 1969)

Are you tired of the Man trying to keep you down? Ready to take matters into your own hands? Or maybe some other body part? Well Beau has just the pick for you: Sweet Sweetback's Baadasssss Song (Dir. Melvin Van Peebles). Coming AttractionIn the Heat of the Night (Norman Jewison) Episode GuideSweet Sweetback's Baadasssss Song discussion - 8:37Trivia - 44:11 Join the Club!LetterboxdInstagramMCFC Film Spreadsheet

This is the third part of an eight-part series about American movie ratings. Part 1 focused on Prano Baily-Bond's "Censor". Part 2 focused on Mike Nichols's "Who's Afraid of Virginia Woolf?".Future episodes will focus on Gordon Flemyng's "The Split" (1968), Steven Spielberg's "Indiana Jones and the Temple of Doom" (1984), Garry Marshall's "The Flamingo Kid" (1984), John McNaughton's "Henry: Portrait of a Serial Killer" (1986), and Philip Kaufmans's "Henry & June" (1990).***Referenced media:"Who's Afraid of Virgina Woolf?" (Mike Nichols, 1966)"Red Dawn" (John Milius, 1984)"This Savage Land" (Vincent McEveety, 1969)"Assignment to Kill" (Sheldon Reynolds, 1968)"Payment in Blood" (Enzo G. Castellari, 1968)"Birds in Peru" (Romain Gary, 1968)"Planet of the Apes" (Franklin J. Schaffner, 1968)"2001: A Space Odyssey" (Stanley Kubrick, 1968)"Night of the Living Dead" (George A. Romero, 1968)"Barbarella" (Roger Vadim, 1968)"The Girl on a Motorcycle" (Jack Cardiff, 1968)"Head" (Bob Rafelson, 1968)"Yellow Submarine" (George Dunning, 1968)"Faces" (John Cassavetes, 1968)"The Great Silence" (Sergio Corbucci, 1968)"Sympathy for the Devil" (Jean-Luc Godard, 1968)"Candy" (Christian Marquand, 1968)"The Night They Raided Minsky's" (William Friedkin, 1968)"The Wrecking Crew" (Phil Karlson, 1968)"Once Upon a Time in Hollywood" (Quentin Tarantino, 2019)"Three in the Attic" (Richard Wilson, 1968)"Pumping Iron" (George Butler and Robert Fiore, 1977)"Blowup" (Michelangelo Antonioni, 1966)"Mean Streets" (Martin Scorsese, 1973)"Hi, Mom!" (Brian DePalma, 1970)"C.H.U.D. II: Bud the C.H.U.D." (David Irving, 1989)"Phantom of the Paradise" (Brian DePalma, 1974)"Shadows" (John Cassavetes, 1959)"Fritz the Cat" (Ralph Bakshi, 1972)"Beverly Hills Cop II" (Tony Scott, 1987)"Breathless" (Jean-Luc Godard, 1960)"Laugh-In" (George Schlatter, 1968-1973)"Saturday Night Live" (Lorne Michaels, 1975-now)"Deep Throat" (Gerard Damiano, 1972)"Behind the Green Door" (Artie Mitchell and Jim Mitchell, 1972)"Midnight Cowboy" (John Schlesinger, 1969)"Superfly" (Gordon Parks, Jr., 1972)"Across 110th Street" (Barry Shear, 1972)"Sweet Sweetback's Baadasssss Song" (Melvin Van Peebles, 1971)

From a terrible person, to a groundbreaking 70's film, this is REVIEWS! Thanks for listening! Email us at boothwindow@gmail.com and/or follow us on social media @throughtheboothwindowpodcast @theobveeus and @caitlinstow

It's Casual Friday! Sam hosts Heather Digby Parton, contributing writer at Salon.com and proprietor of the blog Hullabaloo to round up the week in news. Then Sam is joined by Jason Myles, co-host of the This Is Revolution podcast. First, Sam covers the confirmation that Ginni Thomas was conspiring with John Eastman, Trump's Coup Lawyer, and Assange's extradition being approved. Digby and Sam then get right into the updates from Yesterday's 1/6 hearing, from Donald Trump calling his Vice President the “P-word” (hint: it's not “Pence” or “President”), and debate who Trump's next right-hand man will be, especially as the god squad votes are among the most important in his control of the Republican party. Next, Sam and Digby have some discourse on the discourse around 1/6, exploring the contrast between US coverage of the hearings (or really, the lack thereof) and the coverage abroad, getting deep into the US political establishment's obsession with legitimizing the right as a party with integrity, and contrasting them with “magas” and “ultra-magas,” despite the central involvement of active Senators, Congresspeople, and spouses of Supreme Court Justices, with everyone participating, from Grassley to Graham, completely aware of the illegality of what they were planning. Diving deeper into yesterday's focus on Mike Pence, Digby and Sam analyze why someone who supposedly was against this, kept asking people for advice and debating strategy with the MAIN strategizers of the insurrection, before walking through the role of Michael Ludwig in legitimizing the “bipartisan” nature of the committee, and exploring the future of Republican insurrection attempts as they shift to more localized corruption and grassroots bigotry. Then, Sam is joined by Jason Myles as they dive into his recent video essay exploring the progression of Black cinema and the role it played both in Hollywood as a whole and the greater American and African American cultures, starting in the 1960s, with the new left of Maverick filmmakers making independent films and a push for more Black power contrasted with the actual rise of Blaxploitation movies, with movies like Sweet Sweetback and others practically saving Hollywoods bottom line, despite going completely against the general Black intelligentsia. Jason then dives into the next stages, as the ‘90s came back around to independent films (once again due to falling profits) making these “hood films” on the defective young black man, diving into the infection of neoliberalisms' focus on “cultural” shortcomings and ignoring the classism and racism that were the actual issues of the time, and how these stereotypical and exploitative films pushed Black power away from the political realm and into, exclusively, the cultural realm. They wrap up their interview by looking at the modern era of Black cinema, the contrasts between films like Black Panther and Moonlight, and the need to return Black power to a political concept. And in the Fun Half: Tulsi dances around Sean Hannity's stupidity, Jesse Watterboard has an idea to get to the bottom of the SCOTUS leak, and DeSantis celebrates the ancestry of Apartheid heir Elon Musk. Ted Cruz takes shots at Disney's queer agenda, as he points to the integrity of regimes that are rejecting the upcoming “Lightyear” film, such as China and the UAE. Meghan Kelly returns to the media as she calls out her former employers for discussing the fact that trans kids who are rejected by their families frequently resort to suicide, plus, your IMs! Check out Digby's blog Hullaballoo here: https://digbysblog.net/ Check out This Is Revolution here: https://www.thisisrevolutionpodcast.com/ Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the AMQuickie newsletter here:  https://madmimi.com/signups/170390/join Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Check out today's sponsors: sunsetlakecbd is a majority employee owned farm in Vermont, producing 100% pesticide free CBD products. Great company, great product and fans of the show! Use code Leftisbest and get 20% off at http://www.sunsetlakecbd.com. And now Sunset Lake CBD has donated $2500 to the Nurses strike fund, and we encourage MR listeners to help if they can. Here's a link to where folks can donate: https://forms.massnurses.org/we-stand-with-st-vincents-nurses/ Shopify: Scaling your business is a journey of endless possibility. Shopify is here to help, with tools and resources that make it easy for any business to succeed from down the street to around the globe. Shopify powers over 1.7 million businesses - from first-sale to full-scale. Shopify gives entrepreneurs the resources once reserved for big business - so upstarts, start-ups, and established businesses alike can sell everywhere, synchronize online and in-person sales, and effortlessly stay informed. Go to https://www.shopify.com/free-trial?utm_campaign=paid_audio_-_podcast_-_amer_-_united_states_-_all_-_experimential_-_english_-_awareness&utm_source=podcast&utm_medium=audio&utm_term=majority, for a FREE fourteen-day trial and get full access to Shopify's entire suite of features! Support the St. Vincent Nurses today! https://action.massnurses.org/we-stand-with-st-vincents-nurses/ Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Subscribe to Matt's other show Literary Hangover on Patreon! https://www.patreon.com/literaryhangover Check out The Nomiki Show on YouTube. https://www.patreon.com/thenomikishow Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out The Letterhack's upcoming Kickstarter project for his new graphic novel! https://www.kickstarter.com/projects/milagrocomic/milagro-heroe-de-las-calles Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ Subscribe to AM Quickie writer Corey Pein's podcast News from Nowhere. https://www.patreon.com/newsfromnowhere  Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop The Majority Report with Sam Seder - https://majorityreportradio.com/

The show is (finally) back to celebrate the life, work, and legacy of Renaissance man Melvin Van Peebles (1932-2021), a well-travelled director, songwriter, actor, playwright, and novelist who played an integral role in breaking the color barrier for Black filmmakers in Hollywood during the late 60s-early 70s and helmed the groundbreaking and provocative independent hit Sweet Sweetback's Baadasssss Song, among many other triumphs. Join us as we attempt to do his many lives and oeuvre justice by covering his start as a feature filmmaker in France, his role in spawning the blaxploitation film era of the early 70s, and how he paved the way for both independent and Black directors, all without being beholden to the studio system. Listen, like, subscribe, and feel free to leave comments, ratings, or reviews on Spotify, Apple Podcasts/iTunes, Google Podcasts, Tune In, and iHeart Radio. Kisses many.

Hans and Menelek talk about yet another mass shooting and the lack of police response. This somehow leads to a conversation about Sweet Sweetback's Baadasssss Song. Oh, and Boots Riley. Sorry, boots.

This week we've gathered a team of podcasters, each with a very specific set of skills. Can they pull off the job? It's a GGS heist episode with discussion of a few episodes of The Magicians, Leverage, & the movie Heat. Squirrels/other things we've watched Old Enough, Roar, Outer Range, Abbott Elementary, Bridgerton, The Standups (Janelle James), Ronny Chieng: Speakeasy, Sweet Sweetback's Baadassss Song, We Crashed, Slow Horses, Tokyo Vice, Julia, Better Call Saul, The heist (25:30): The Magicians (Nx - 207 & 505/506)Leverage (AmzP)Heat, White CollarNext time: The Walking Dead hate-watch vs escape-watch-Original music by Garrett ThompsonFollow us on Instagram @GeekGirlSoupContinue the conversation on FacebookListen to Cort's podcast with Brad at PureFandom.comCheck out Susan's movie stats on Letterboxd Email your questions and comments to GeekGirlSoup@gmail.comGeek on!

This week on the podcast I read DuVay Knox's "The Pussy Detective" (link to buy at Clash Books website below). It put me in the mind of Slick Rick's "Indian Girl (An Adult Story)", Ishamel Reed, and "Sweet Sweetback's Baadasssss Song." Keep Reading. Order the book here: https://www.clashbooks.com/new-products-2/duvay-knox-the-pussy-detective-preorder Slick Rick: https://www.youtube.com/watch?v=t1845asfVXk Subscribe to the podcast: https://podcasts.apple.com/us/podcast/the-most-dangerous-thing-in-america/id1551126578 https://open.spotify.com/show/5xky9xGXgdh0bTcUx1yNEf?si=c1b3769405b64615 https://soundcloud.com/bobby-wilson-588095918 Music from TheKeepRunning: https://soundcloud.com/user-861419594 To read my writings: https://bobbywwilsonjr.com/publications Also, follow me on Twitter: https://twitter.com/chewingbones

I don't have a funny edit to a famous quote for this one, I think this was just a really good episode of our show. Next week we will be back to talk about Cure with our very first guest, Em of Abnormal Mapping fame! You can follow Niamh on twitter @FoxmomNia and listen to faer other podcast, Ghost Divers, by going to exportaud.io/ghostdivers. You can follow Autumn on twitter by going to @Autumnal_Coffee and listen to all of their podcasts by going to exportaud.io. You can see how we rated this stairwell and all the other stairwells by going to exportaud.io/stairwellquality You can also get listen to this podcast a week early by giving us a dollar on the patreon!!! Find out more at https://ornate-stairwells.pinecast.co

Welcome to the overstuffed Ornate Stairwells / Ghost Divers crossover event! Niamh watched Ghost in the Shell (1995) and recorded a Stairwells episode about it with Autumn, then a few days later recorded a Ghost Divers episode about it with Connor. Then fae stitched both conversations together. It's a whole lot of Niamh and a whole lot of Ghost in the Shell. It's also, hopefully, two interestingly different but connected looks at the same work. Next week Niamh and Autumn will be back to talk about Sweet Sweetback's Baadasssss Song. Don't forget that Ghost Divers will be recording the Question Bucket for Ghost in the Shell 2: Innocence soon. The deadline to write into our Question Bucket for this series is March 11, 2022. You can write into ghostdiverspod@gmail and follow us on Twitter! ///////Credits for Ornate Stairwells (00:00:00): You can follow Niamh on twitter @FoxmomNia and listen to faer other podcast, Ghost Divers, by going to exportaud.io/ghostdivers You can follow Autumn on twitter by going to @Autumnal_Coffee and listen to all of their podcasts by going to exportaud.io. You can see how we rated this stairwell and all the other stairwells by going to exportaud.io/stairwellquality ///////Credits for Ghost Divers (02:24:24): The Show: @ghostdiverspod Niamh: @FoxmomNia Connor: @rabbleais Niamh's mediamh pile: @mediamh_pile Export Audio Network: exportaud.io Ghost Divers: exportaud.io/ghostdivers Ornate Stairwells: exportaud.io/ornatestairwells Work Cited in Ghost Divers: “Ghost in the Shell: the Major's Body (1)” by Claire Napier (full series: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10) Content Warnings for this Discussion: Depression, suicide, body horror, dyadism, sexism You can also get listen to Ornate Stairwells (and could've listened to this episode of Ghost Divers) a week early by giving us a dollar on the patreon!!! Find out more at https://ornate-stairwells.pinecast.co

Welcome to the overstuffed Ornate Stairwells / Ghost Divers crossover event! Niamh watched Ghost in the Shell (1995) and recorded a Stairwells episode about it with Autumn, then a few days later recorded a Ghost Divers episode about it with Connor. Then fae stitched both conversations together. It's a whole lot of Niamh and a whole lot of Ghost in the Shell. It's also, hopefully, two interestingly different but connected looks at the same work. Next week Niamh and Autumn will be back to talk about Sweet Sweetback's Baadasssss Song. Don't forget that Ghost Divers will be recording the Question Bucket for Ghost in the Shell 2: Innocence soon. The deadline to write into our Question Bucket for this series is March 11, 2022. You can write into ghostdiverspod@gmail and follow us on Twitter! ///////Credits for Ornate Stairwells (00:00:00): You can follow Niamh on twitter @FoxmomNia and listen to faer other podcast, Ghost Divers, by going to exportaud.io/ghostdivers You can follow Autumn on twitter by going to @Autumnal_Coffee and listen to all of their podcasts by going to exportaud.io. You can see how we rated this stairwell and all the other stairwells by going to exportaud.io/stairwellquality ///////Credits for Ghost Divers (02:24:24): The Show: @ghostdiverspod Niamh: @FoxmomNia Connor: @rabbleais Niamh's mediamh pile: @mediamh_pile Export Audio Network: exportaud.io Ghost Divers: exportaud.io/ghostdivers Ornate Stairwells: exportaud.io/ornatestairwells Work Cited in Ghost Divers: “Ghost in the Shell: the Major's Body (1)” by Claire Napier (full series: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10) Content Warnings for this Discussion: Depression, suicide, body horror, dyadism, sexism You can also get listen to Ornate Stairwells (and could've listened to this episode of Ghost Divers) a week early by giving us a dollar on the patreon!!! Find out more at https://ghost-divers.pinecast.co

We are back! We took a week off because of various mental health and physical health crises, but all is well, everyone is on the mend and feeling better. And on the other side of it we bring you a slightly unusual episode: we had watched Boyz n the Hood like 3 days before when we were originally supposed to record, so the movie is not as fresh in our minds as we normally like it to be. But 1. we LOVED the movie and 2. we had a really good time recording this episode and I think it'll be a lot of fun to listen to Next week we will be back with an even more unusual episode: we're gonna do a crossover with Niamh's other show, Ghost Divers, as we talk about Ghost In The Shell (1995)! It'll be a blast! It's one of Niamh's favorites, and while I hated it last time I saw it, I have a sneaking suspicion it'd be my shit this time. I should also note that we were originally supposed to cover Sweet Sweetback's Badassss Song next, but missing a week threw off the schedule and we will circle back after GITS. As always go to exportaud.io/stairwellquality to see the schedule! You can follow Niamh on twitter @FoxmomNia and listen to faer other podcast, Ghost Divers, by going to exportaud.io/ghostdivers You can follow Autumn on twitter by going to @Autumnal_Coffee and listen to all of their podcasts by going to exportaud.io. You can see how we rated this stairwell and all the other stairwells by going to exportaud.io/stairwellquality You can also get listen to this podcast a week early by giving us a dollar on the patreon!!! Find out more at https://ornate-stairwells.pinecast.co

On this edition of Parallax Views, Thaddeuss Russell and Kamasi Hill of Renegade University join Parallax Views to discuss the course their teaching for RU on 1970s Blaxploitation cinema from Superfly and Shaft to Sweet Sweetback's Badass Song, Cleopatra Jones, and Foxy Brown starring the Queen of Blaxploitation herself Pam Grier. We discuss the significance of this kind of cinema, how Thad and Kamasi became interested in the genre; the idea of black working class culture vs. black middle class culture; sexuality in black cinema; masculinity in blaxploitation; drugs dealing, and crime in blaxploitation, blaxploitation's influence on pop culture and hip hop culture; the music of blaxploitation cinema and its influence on sampling in hip hop; the problem of stereotypes and blaxploitation cinema; Civil Rights leadership and the NAACP's deriding of blaxploitation film; Rudy Ray Moore and Dolemite; the history of hip hop, the projects, and the way blaxploitation can change our perspective on cinema; blaxploitation and the meaning of freedom; Sidney Poitier and the portrayal of African Americans in cinema before the 70s; Bill Cosby; Melvin van Peebles; and much more! You can sign up for the Renegade University course on Blaxploitation here!

Drink every time Dale says something generic like he's talking to someone he doesn't know. "WHAT A PLEASURE" five times in an episode. Anyway, this movie rules, you need to watch it. Sweet Sweetback's Baadasssss Song! Welcome to Bat & Spider. On this show we strive to talk about low-rent horror movies for your pleasure and ours. Please join in as we laugh and swoon along to these terrible treasures of low budget yore. Join our DISCORD Get your Bat & Spider STICKERS here Get a sweet new Bat & Spider t-shirt here! All sale proceeds go to The Movement For Black Lives. Technical Adviser: Slim of 70mm Theme song composed and performed by Tobey Forsman of Whipsong Music. Follow Bat & Spider on Instagram Follow Chuck and Dale on Letterboxd. Bat & Spider Watchlist Send us an email: batandspiderpod@gmail.com. Leave us a voice message: (315) 544-0966 Artwork by Charles Forsman batandspider.com Bat & Spider is a TAPEDECK podcast.

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Van Peebles, Melvin/Earth, Wind & Fire. “Sweetback Losing His Cherry.” Sweet Sweetback's Baadasssss Song (soundtrack). Stax Records, 1971. 2CD. LP. Cornell, Chris. “Seasons.” Singles: Original Motion Picture Soundtrack. Epic Soundtrax, 1992. CD. LP. Moranis, Rick & Thomas, Dave. “I Didn't Do It, You Knob.” Strange Brew (soundtrack), Anthem 1983. CD. LP. Moranis, Rick & Thomas, Dave. “I Did It, You Knob.” Strange Brew (soundtrack), Anthem 1983. CD. LP. Moranis, Rick & Thomas, Dave. “I Did It Again, You Knob.” Strange Brew (soundtrack), Anthem 1983. CD. LP. Maytals, The. “Sweet and Dandy.” The Harder They Come (soundtrack). Island Records, 1971. Vinyl. LP. Skoidats, The. “R'aggro.” A Cure For What Ales You. Moon Records, 2000. CD. LP. Blake, Norman. “You Are My Sunshine.” O Brother, Where Art Thou? (soundtrack). Lost Highway/Mercury, 2000. CD. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Y: The Last Man is an FX on Hulu television series (whatever that means) based on the DC comics series. It stars Diane Lane as President Jennifer Brown and Ben Schnetzer as Yorick Brown, the last living person with a Y chromosome. And: Gabby Petito and Brian Laundrie were (at least aspiring) #vanlife influencers. Tragedy, and our culture around this particular sort of tragedy, has turned them into pop culture figures of an entirely different kind. Some other stuff that happened this week, give or take: Melvin Van Peebles, Godfather of Black Cinema, Dies at 89 He directed ‘Watermelon Man,’ did everything on ‘Sweet Sweetback’s Baadasssss Song’ and wrote a pair of Broadway musicals. Beloved ‘Sex And The City’ Actor Willie Garson Dies At 57 Chris Rock says he has COVID-19, urges vaccination The Song That Never Ends: Why Earth, Wind & Fire’s ‘September’ Sustains The Man Behind Those Annual ‘Sept. 21’ Videos Has Made His Last Masterpiece Not Enough Has Changed Since Sanford and Son The unwritten rules of Black TV James Corden Is Getting Called Out For Making An Ageist Joke About BTS Fans And…Yikes When will celebs learn not to come for the fandoms?! Johnny Depp Says Cancel Culture Is “So Far Out Of Hand” & “No One Is Safe”, Asks People To “Stand Up” Against “Injustice” The Emmys Underlined the Paradox of Too Much TV The people handing out the awards were a diverse lot. The ones receiving them, much less so. Japanese school students sent a message in a bottle. 37 years later, it washed up in Hawaii No sign of £4.8m golden toilet stolen from Blenheim Palace, two years on World’s first 108-key concert grand piano built by Australia’s only piano maker Netflix now owns the screen rights to Roald Dahl’s entire catalog The acquisition of the Roald Dahl Story Company follows three years of partnership Eddie Murphy Signs Three-Picture & First-Look Film Deal With Amazon Studios Reading a Novel Set Entirely in Slack In “Several People Are Typing,” Calvin Kasulke takes office agony to its outer limits. Elon Musk and Grimes break up after three years together GUESTS: Raquel Benedict - Claims to be the most dangerous woman in speculative fiction; hosts the Rite Gud podcast Brian Slattery - Arts editor for the New Haven Independent and a producer at WNHH radio Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

we had a full house. Devon Grice, John Brown, Selfsays, Sean Uppercut, and Rufio Jones. we laugh for way too long about the Skype background, we talk about nature, supermarkets, Back to the Future, Parliament Funkadelic, waterfalls, Lansing, Selfsays being a Highlander, Hondo Carpenter, Ted Nugent, The Warriors movie, Sweet Sweetback's Badass Song, Mario Van Peebles, kids and cussin', and more. https://www.youtube.com/channel/UC_Yeo6VvF1MXCrP_XTBIC4g/videos https://instagram.com/icyplunder https://instagram.com/postfauvist https://twitter.com/postfauvist. https://selfsays.bandcamp.com https://tahntahn.bandcamp.com https://instagram.com/selfsays https://rufiojones.bandcamp.com https://detroitcyd.bandcamp.com https://illingsworks.bandcamp.com the live video podcast happens on twitch.tv/illingsworth at 7:30 PM EST every thursday. it usually includes https://twitter.com/furdgecakes https://twitter.com/seanuppercut & https://twitter.com/rufiojones https://twitter.com/_selfsays Broadcasted live on Twitch -- Watch live at https://www.twitch.tv/illingsworth archived video episode https://youtu.be/8n9tqb8zkyg --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/illingsworth/message Support this podcast: https://anchor.fm/illingsworth/support

The 2020 National Film Registry list Suspense (1913) Kid Auto Races at Venice (1914) Bread (1918) The Battle of the Century (1927) With Car and Camera Around the World (1929) Cabin in the Sky (1943) Outrage (1950) The Man with the Golden Arm (1955) Lilies of the Field (1963) A Clockwork Orange (1971) Sweet Sweetback's Baadasssss Song (1971) Wattstax (1973) Grease (1978) The Blues Brothers (1980) Losing Ground (1982) Illusions (1982) The Joy Luck Club (1993) The Devil Never Sleeps (1994) Buena Vista Social Club (1999) The Ground (1993-2001) Shrek (2001) Mauna Kea: Temple Under Siege (2006) The Hurt Locker (2008) The Dark Knight (2008) Freedom Riders (2010) Find out more at https://registry-a-podcast.pinecast.co

Spike Lee's Da 5 Bloods is the movie of June 2020, and sets the table (25:30) for Av and Sam to consider the most impactful movies ever made about racist police brutality – starting with 1971's Sweet Sweetback's Baadasssss Song all the way through the half-dozen movies released in the last few years. See here for the complete list of 21 movies. Also see here the minute-and-a-half short film that Spike Lee released on Twitter called 3 Brothers — Radio Raheem, Eric Garner, and George Floyd. Outré: What's Going On, Marvin Gaye | Da 5 Bloods OST (1971 and 2020) - For why Spike chose this song, see here.

Rahim and Anton are on a quarantine break debating the Blaxploitation genre and its impact on films today. Listen to the debate they have on Superfly and The Mack. Which of these two films were more popular? What impact did the music/the soundtrack play in the success of Blaxploitation films? Finally, find out what shows the fellas are currently watching. If you're a fan of Shaft, Sweet Sweetback's BadAss Song, Foxy Brown, The Mack, Superfly and Dolemite then this episode is for you. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ill-hio-productions/support

We discuss Melvin van Peebles 1971 groundbreaking film about revolution and sticking it to The Man.

Season 2 Bonus Episode (originally released on August 09, 2018) On this special bonus episode of SLPS Michael sits down to talk about a couple recent blu-ray pick-ups. First off he'll be discussing the Vinegar Syndrome release of SWEET SWEETBACK'S BAADASSSSS SONG (Melvin Van Peebles, 1971), the Mill Creek Entertainment release of HARD TIMES (Walter Hill, 1975) and then two Criterion Collection releases: DAZED AND CONFUSED (Richard Linklater, 1993) and THE LURE (Agnieszka Smoczynska, 2015). Big thanks for our sponsors! Vinegar Syndrome (www.vinegarsyndrome.com) Millcreek Entertainment (www.millcreekent.com) As always, please rate, review, and subscribe. Be sure to check out our Patreon at www.patreon.com/shamelistpictureshow Edited by: Michael Viers Produced by: Nick Richards & Michael Viers Theme Music by: The Directionals Opening Narration by: Zach McClain Credits Music by: Ten-Speed Logo Design by: Amanda Viers

Season 2 Bonus Episode (originally released on August 09, 2018) On this special bonus episode… The post The Shame List Picture Show – BONUS – Sweet Sweetback's Baadasssss Releases! appeared first on Cinepunx.

Welcome to the Music Box podcast where we talk about all things Music Box Theatre in Chicago. This week's show features: Drake Newnum– Lounge Manager Kyle Cubr– Operations Manager Ryan Oestreich– General Manager Currently playing: 3:23 The King– Through August 9th 4:17 Three Identical Strangers– Through August 9th 5:41 Review Stephen King Festival This week's SHOWS: 11:30 The Captain– Opening Friday August 3rd 16:53 The Mist in B&W– Fri & Sat at Midnight 19:44 Sweet Sweetback's Baadasssss Song– Fri & Sat at Midnight 21:16 Curtiz Matinee: Flamingo Road– Saturday and Sunday at 11:30am 22:06 Rudy- Monday at 7pm with Michael Phillips and the real life Rudy (Daniel Ruettiger) Advance Notice ticket sales: 24:20 70mm Film Festival– September 14– 27th This Old Theater: 39:10 Concessions and Bar Confessions 57:51 QUICK REVIEW of the movies coming up As always please rate our podcast and feel free to email us your comments or questions. www.musicboxtheatre.com

Os historiadores “C. A.” e “Beraba” recebem uma turminha do barulho que arruma altas confusões pela primeira vez na televisão… Ops! C. A. e Beraba receberam Augusto Carvalho, Artur Lopes, Rodolfo Neto e Victor Moraes para discutir  sobre as múltiplas relações entre a história e a cultura pop! NO EPISÓDIO: Descubra como a história pode dialogar com a cultura pop (cinema, HQ, games, etc.), entenda que Michael Bay pode explodir coisas na tela que você nem imaginou, compreenda os diversos interesses que a cultura pop pode despertar nos historiadores, surpreenda-se ao descobrir como é possível estudar o Batman em uma dissertação de mestrado e, sobretudo, divirta-se, pois este programa fecha o ano de 2016 e inicia o de 2017 de forma leve e descontraída. Arte da Capa Publicidade Ajude nosso projeto crescer cada vez mais. Seja nossa Madrinha ou Padrinho. www.padrim.com.br/fronteirasnotempo   MENCIONADO NO EPISÓDIO Textos do Victor Moraes: https://revistamoviement.net/@victormoraes_78353 1UpBrasil – Canal do Augusto Carvalho no Youtube Para ver no Youtube Cafezinho | Brasil Contemporâneo | Entrevista com o historiador Carlos Fico Cafezinho | História e Cinema | Entrevista com o historiador Alexandre Valim Alguns Filmes que mencionamos no Episódio (em ordem alfabética) Bad Boys 2 – Micheal Bay Interview (2003) Cap. America (filme de 1990) Sweet Sweetback's Baadasssss Song The cinema of Michael Mann Trailer Bad Boys (1995) Trailer Shaft (1971) Trailer Shaft (2000) Trailer Sweet Sweetback's Baadasssss Song Para jogar e se divertir Trailer de Sid Meier's Civilization IV: Beyond the Sword MENCIONADO NA LEITURA DE E-MAIL FrontCast Canal do Prof. André Azevedo da Fonseca Podcast Tricô de Pais  Portal Deviante (casa do Scicast e do Contrafactual) Sabaton – Smoke Snakes Charges mencionadas pelo Willian Spengler (comentário de voz) Link do Dossiê “História, Imagens e Ciência”: http://www.uel.br/revistas/uel/index.php/dominiosdaimagem/issue/view/1302/showToc SILVA, Cesar Agenor Fernandes da. Representações, vulgarização e imagética científicas na imprensa da corte fluminense do século XIX. Domínios da Imagem, Londrina, v. 10, n. 19, p. 40-75, jul./dez. 2016. Disponível em: http://www.uel.br/revistas/uel/index.php/dominiosdaimagem/article/view/27957/20144 Redes Sociais Twitter, Facebook, Youtube, Google+ Contato WhatsApp: 13 99204-0533 E-mail: fronteirasnotempo@gmail.com Expediente Produção Geral e Hosts: C. A e Beraba, Vitrine:  Augusto Carvalho, Edição: Talk'nCast Material Complementar BERNADET, Jean-Claude & RAMOS, Alcides Freire. Cinema e história do Brasil. São Paulo: Contexto, 1988. BERNADET, Jean-Claude. O que é cinema. São Paulo: Brasiliense, 2004. BURKE, P. Testemunha ocular: o uso das imagens como evidência histórica. São Paulo: Ed. Unesp, 2017. FERRO, M. Cinema e história. Rio de Janeiro: Paz e Terra, 2012. FREITAS, Enio de. História e cinema: encontro do conhecimento em sala de aula. São Paulo: Cultura Acadêmica, 2012. Disponível gratuitamente: https://repositorio.unesp.br/bitstream/handle/11449/109250/ISBN9788579833694.pdf?sequence=1 MASCARELLO, Fernando. O dragão da cosmética da fome contra o grande público: uma análise do elitismo da crítica da cosmética da fome e de suas relações com a Universidade. Intexto, Porto Alegre: UFRGS, v. 2, n. 11, p. 1-14 julho/dezembro, 2004. http://seer.ufrgs.br/index.php/intexto/article/view/4076 NÓVOA, J. BARROS, J. D. CAMARA, A. S (et. al). Cinema-História: teoria e representações sociais no cinema. NÓVOA, Jorge; FRESSATO, Soleni Biscouto; FEIGELSON, Kristian (orgs.). Cinematógrafo: um olhar sobre a história. Salvador: EDUFBA; São Paulo: UNESP, 2009 PUNTONI, P. BOLOGNESI, L. Meus heróis não viraram estátua. São Paulo: Ática, 2001. Revista Brasileira de História da Mídia – http://www.ojs.ufpi.br/index.php/rbhm SCHWARTZ, Rosana. Mídia e História: Registros, documentos e fontes. http://www.ufrgs.br/alcar/jornal-alcar-no-2-maio-de-2012/Midia%20e%20Historia.pdf P.s.: Parabéns Artur Lopes pelo ingresso no mestrado em História na UFSCSee omnystudio.com/listener for privacy information.