Podcasts about tampa st

Maybe we spoke too soon. Dr. Elizabeth Strom, a professor of urban politics and policy at The University of South Florida and an editor at DRays Bay, a Tampa Bay Rays blog on SB Nation, returns to our podcast this week. Two years ago, Episode 143 to be exact, Dr. Strom appeared to discuss what then looked like a solid deal for a new ballpark in St. Petersburg. A lot has happened since - most of it not good for Rays fans, at least Rays fans that want the team to stay in the Tampa/St. Pete area. Dr. Strom spills the tea and brings us up to date in this episode.You can support Hooks & Runs by purchasing books, including books featured in this episode (if any were), through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - www.hooksandruns.com Email: hooksandruns@protonmail.com Hooks & Runs on TwitterCraig on Bluesky (@craigest.bsky.social)Rex (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeriti:Andrew Eckhoff on Tik TokEric on FacebookMusic: "Warrior of Light" by ikolics (via Premium Beat)     This podcast and this episode are copyright Craig Estlinbaum, 2025.    

Get ready for a blast from the past as we welcome Bob Circosta, the original HSN host (Home Shopping Club), to the podcast! With the iconic home of HSN in Tampa/St. Petersburg closing its doors and relocating to West Chester, PA, Bob takes us on a fun, behind-the-scenes journey. He'll share the fascinating origins of the network, the moment they realized they needed a bigger space, how the first hosts were chosen, and what makes legendary talents like Bobbi Ray Carter stand out. Tune in for stories, laughs, and all the juicy details you won't want to miss!

"I'm really interested in seeing the latest and greatest with AI, and it's across the entire operation — not just content, but in the back office, where we can streamline our operation and become more efficient."That's what excites Beasley Media Group CEO Caroline Beasley the most about her attendance at the upcoming Consumer Electronics Show, CES 2025, in Las Vegas.What else is top-of-mind for the leader of a radio station ownership group with properties in markets such as Detroit, Boston, Tampa-St. Petersburg, and Boston?"It would also be irresponsible if I were to go all the way out to CES, with all of the Auto out there, and not look at the latest trends since Auto is one of our largest platforms that we distribute content on," she shares in this InFOCUS Podcast, presented by dot.FM, in a fresh conversation with RBR+TVBR Editor-in-Chief Adam R Jacobson.

Segment 1 – News and Notes1.The Rays will play their 2024 home games at Steinbrenner Field in Tampa. It's hard to say exactly what the hitting and pitching effects will be, but Steinbrenner Field has always benefited offense.a.Will you make draft changes on Rays players based on this information?b.Not to be outdone, the Orioles announced they would move back the left field fences (after cutting the big hole). It should benefit right-handed power.c.Back to Tampa, apparently, their new stadium deal is off – again. I have no idea what this means, but a potential move out of the Tampa/St. Pete area is back on the table.2.Wander Franco got into more trouble. I'm no attorney, but those holding Franco in Dynasty Leagues…it's pass time to give up on him. It would take a miracle to see him play in MLB again.3.Award Predictionsa.AL ROY – Colton Cowser, Luis Gil, and Austin Wellsb.NL ROY – Jackson Chourio, Paul Skenes, and Jackson Merrillc.AL CY Young – Emmanuel Clase, Seth Lugo, and Tarik Skubald.NL CY Young – Chris Sale, Paul Skenes and Zack Wheeler e.AL MVP – Aaron Judge, Bobby Witt Jr., and Juan Sotof.NL MVP – Francisco Lindor, Ketel Marte, and Shohei OhtaniSegment 2 – Fantasy Baseball Questions of the AL Central 1.Detroit Tigersa.Spencer Torkelson is being drafted as the 20th first baseman off the board – after Michael Busch and before Nate Lowe. Are you as high on him at this draft slot as you were last season?b.Javier Baez – over/under 400 ABsi.If a lot less, will they acquire someone or give the job to Trey Sweeney?c.Parker Meadows was my dark horse for AL ROY. Was I a year early?i.2025 stat line: AB, HR, SB, BAd.Jackson Jobe's current ADP is 95. I thought it would be higher. Interested:i.2025 stat line: IP, K's, ERAe.Give me a sleeper in the organization (minor or majors)2.Kansas City Royalsa.Vinnie P. had a nice step-up year in 2024, with 19 home runs and a .264 batting average. He is currently the 12th first baseman off the board. Is that too high, or do you like the spot?i.Over/Under – 25 home runsb.Maikel Garcia did not have the power upswing I thought he would have, and his .281 OBP is problematic. He is going as the 17th third baseman off the board. Is there growth here, or is he just a light-hitting 3B/2B with speed?i.He still hits the ball hard, but there just isn't any leverage with a 49.5% ground ball rate.c.Seth Lugo will get CY Young votes, but nobody is buying it, as his current ADP is 167 (69th pitcher off the board—52nd starter). Would you take him as your number three starter?d.Kyle Wright missed the entire 2024 with shoulder surgery. I haven't seen much of an update, but he's nearly free in drafts (665). Is it worth a gamble in a Draft and Hold League?e.Give me a sleeper in the organization (minor or majors)3.Minnesota Twinsa.The Twins team's talent is excellent. However, it's a problem when your top three players are Buxton, Correa, and Lewis, all of whom can't stay healthy. Do the Twins try to move one or two of them, or cross their fingers and hope they defy the odds and stay healthy?b.2025 stat line for Carlos Correa – AB, HR, BAc.Is Brooks Lee ready for a growth year?i.2025 stat line – AB, HR, SB, and BAii.His current ADP is 431, and while he's only SS eligible on the NFBC, that would make him the 35th-second baseman of the board. Interested?d.Joe Ryan's current ADP is 101. He is the 41st pitcher (30th starter). Would you rather have him as a #2 or #3 starter?e.Give me a sleeper in the organization (minor or majors)Final Questions1.Who wins the AL Central2.Three teams made it to the playoffs in 2024; how many do you see making it in 2025?

It's easy to allow Jesus' love to flow through us when everything is going our way, right? But what about those times when people, circumstances, and just plain ‘ole life is tough? On today's episode, I sit down with Marnie Swedberg, a dynamic mentor, speaker, author, and founder of the world's largest Christian Women's Speaker resource. Marnie shares how we can be a “flow-through” vessel of Jesus' mercy, love, and grace.  Marnie shares her remarkable journey and examines how to seamlessly integrate faith into everyday life, especially when confronted with modern-day challenges. We dive into the transformative practice of "Prayer Breathing," which encourages maintaining a spiritual connection akin to dolphins surfacing for air. We explore how this practice fosters spiritual vitality and resilience, especially during tough times like the back-to-back hurricanes Marnie faced recently at her home in the Tampa/St. Petersburg area. Her personal stories of evacuation and loss showcase the profound impact of relying on spiritual guidance instead of conventional defense mechanisms during life's inevitable storms. Cultivating a consistent connection with God is at the heart of this episode. We introduce the "four R's"—  Recognize, Release, Receive, and Respond—as a practical guide to transitioning from self-reliance to divine dependence. Join us in this heartfelt conversation. I loved it, and I think you will, too! Also, remember to connect with me on social media for additional resources and upcoming speaking events. On Instagram, you'll find me @donnaajones. Xo, Donna   Listen in to learn more.  (03:20) Multifaceted Mentor and Ministry Resource  (08:13) Flow Through Vessel Book Discussion  (12:54) Seeking Divine Guidance Through Dolphin Analogy  (19:25) Navigating Chaos and Toxicity  (23:32) Finding Peace in the Midst  (26:50) The Power of Surrender and Faith (30:37) Developing a Habit to Trust God    Donna's Resources:   Order a copy of my new book -  Healthy Conflict, Peaceful Life: A Biblical Guide to Communicating Thoughts, Feelings, and Opinions with Grace, Truth, and Zero Regret.    It is available anywhere books are sold– here is the link on Amazon.    If you need a helpful resource for someone exploring faith or Christianity or simply want to strengthen your knowledge, you'll want a copy of my book, Seek: A Woman's Guide to Meeting God.   It's a must for seekers, new believers, and those who want to be more confident in their faith.   Connect with Marnie Website - https://www.marnie.com/    Connect with Donna    Instagram: @donnaajones       Website:  www.donnajones.org       Donna's speaking schedule:   https://donnajones.org/events/    

Hurricanes Helene and Milton recently impacted west-central Florida, including the Tampa/ St. Pete metro area. Dr. Jennifer Collins, Professor in the School of Geosciences at the University of South Florida shares insights on the physical and social impacts of these massive storms.

Wednesday on Mornings with Eric and Brigitte WKES station manager, Andrew Leuthold from the Tampa/St. Petersburg area joins us to give an update on how their staff is preparing for this major hurricane Milton that is scheduled to make make landfall in Florida tonight and into early Thursday and how we can pray going forward.See omnystudio.com/listener for privacy information.

Mike Ferguson in the Morning 10-09-24 (6:05am) St, Louis City approves marijuana drive-thru at the Kind Goods Marijuana Dispensary on S. Broadway in South City near Lift for Life Academy. Story here: https://fox2now.com/news/fox-files/city-approves-marijuana-drive-through-near-st-louis-school/   MO Attorney General Andrew Bailey says he will appeal the ruling that struck down part of the restrictions on sex offenders. Story here: https://fox2now.com/news/missouri/missouri-ag-plans-to-appeal-ruling-against-halloween-signs-for-sex-offenders/   (6:20am) Planned Parenthood will close 3 Missouri clinics and expand their telehealth services. Story here: https://missouriindependent.com/2024/10/08/planned-parenthood-consolidation-st-louis-joplin/   (6:35am) Young KC Chiefs fan who got called racist by Deadspin gets the legal go-ahead to sue the media outlet for defamation. Story here: https://www.firstalert4.com/2024/10/08/deadspin-loses-bid-toss-defamation-suit-over-article-accusing-young-chiefs-fan-racism/?tbref=hp   (6:50am) MORNING NEWS DUMP Florida prepares for Hurricane Milton which is scheduled to hit land overnight tonight (Thursday morning), probably near Bradenton and Sarasota, just south of Tampa/St. Pete, between 2am and 4am. More on the storm here: https://www.nbcnews.com/weather/hurricanes/live-blog/hurricane-milton-live-updates-rcna174624 Missourians are ready to step in to help with hurricane relief once Milton rolls through Florida. Elon Musk blasts FEMA and FCC regarding Starlink issues. Story here: https://www.foxbusiness.com/fox-news-tech/elon-musk-slams-fema-helene-response-north-carolina-spacex-starlinks Also story here: https://www.yahoo.com/news/tech/starlink-publicly-disclose-total-network-211838939.html MO AG Andrew Bailey will appeal a federal judge's ruling that struck down part of a sex offender law. Today is the last day to register to vote or update your registration in MO for the Nov. election.Blues kick off their regular season with a 3-2 win over the Kraken in Seattle. Up next: the Sharks in San Jose on Thursday.   NewsTalkSTL website: https://newstalkstl.com/ Rumble: https://rumble.com/c/NewsTalkSTL Twitter/X: https://twitter.com/NewstalkSTL Facebook: https://www.facebook.com/NewsTalkSTL Livestream 24/7: bit.ly/NEWSTALKSTLSTREAMSSee omnystudio.com/listener for privacy information.

Mike Ferguson in the Morning 10-09-24 Phil Kerpen, president of American Commitment and the Committee to Unleash Prosperity, talks about how the elections will affect our taxes.  (https://www.americancommitment.org/) (https://www.americancommitment.org/phil-kerpen/) (@kerpen) (https://committeetounleashprosperity.com/) Sign up for their free daily newsletter here: https://committeetounleashprosperity.com/   (8:20am) MORNING NEWS DUMP Florida prepares for Hurricane Milton which is scheduled to hit land overnight tonight (Thursday morning), probably near Bradenton and Sarasota, just south of Tampa/St. Pete, between 2am and 4am. More on the storm here: https://www.nbcnews.com/weather/hurricanes/live-blog/hurricane-milton-live-updates-rcna174624 Missourians are ready to step in to help with hurricane relief once Milton rolls through Florida. Elon Musk blasts FEMA and FCC regarding Starlink issues. Story here: https://www.foxbusiness.com/fox-news-tech/elon-musk-slams-fema-helene-response-north-carolina-spacex-starlinks Also story here: https://www.yahoo.com/news/tech/starlink-publicly-disclose-total-network-211838939.html MO AG Andrew Bailey will appeal a federal judge's ruling that struck down part of a sex offender law. Today is the last day to register to vote or update your registration in MO for the Nov. election.Blues kick off their regular season with a 3-2 win over the Kraken in Seattle. Up next: the Sharks in San Jose on Thursday.   (8:35am) We discuss story on Afghan man who FBI officials say was plotting an Election Day attack targeting large crowds in the U.S., according to the Justice Department on Tuesday. Story here: https://www.news9.com/story/6705aee51f0cf03ac4af969a/fbi-arrests-afghan-man-living-in-okc-officials-say-he-planned-election-day-attack-in-the-us   (8:50am) Mike shares a funny joke clip from a little kid.      NewsTalkSTL website: https://newstalkstl.com/ Rumble: https://rumble.com/c/NewsTalkSTL Twitter/X: https://twitter.com/NewstalkSTL Facebook: https://www.facebook.com/NewsTalkSTL Livestream 24/7: bit.ly/NEWSTALKSTLSTREAMSSee omnystudio.com/listener for privacy information.

Meteorologist Steve Pellettiere joins us to dissect the menacing Hurricane Milton, a powerful Category 5 storm poised to test Florida's resilience. With maximum sustained winds reaching 180 miles per hour, Steve walks us through the storm's projected trajectory, as it inches closer to the Yucatan Peninsula and the eastern Gulf of Mexico. He stresses the critical importance of following evacuation orders from local officials, highlighting the potential for severe impacts in areas like Tampa-St. Pete. As we explore the National Hurricane Center's forecasting arsenal, Steve illuminates the role of advanced weather models such as the US GFS, which have become indispensable in predicting storm paths.Tune in to gain a comprehensive understanding of Hurricane Milton's expected landfall and subsequent weakening as it moves across Florida. Steve provides insights into the potential tidal surges, high winds, and tornadic activity that could accompany the storm. By demystifying universal time and the intricacies of weather modeling, he offers listeners a rare glimpse into the science behind hurricane forecasting. This episode is a must-listen for anyone seeking to grasp the gravity of Hurricane Milton's threat and the meticulous measures being taken to safeguard public safety.

Brace yourself for the latest on Hurricane Milton as it reclaims its Category 5 fury, presenting a serious threat to Florida's western coast. Join meteorologist Steve Pelletier for a real-time update on this monstrous storm, which has rebounded to maximum intensity after skirting the Yucatan Peninsula. Understand the dynamics of how Milton's brief interaction with land caused a temporary weakening, only to power up again over open waters. We'll uncover the critical elements influencing its path and discuss the heightened risks for the Tampa-St. Pete area, ensuring you stay ahead of any sudden changes.As we anticipate significant impacts from Naples to the Big Bend, Steve offers insights into the complexities of Milton's counterclockwise system. By tuning in, you'll grasp the potential for catastrophic tidal surges and hurricane-force winds that could devastate the coastline. With the National Hurricane Center poised to release new advisories, preparation remains paramount. Keep listening for the latest updates and analyses that could spell the difference between safety and disaster as Milton edges closer to Florida.

Gene is on location in Florida with Next Stage Press playwrights Owen Robertson, Craig Houk, and Doug DeVita discussing Lab Theatre Project and celebrating the World Premiere of FABLE at FreeFall Theatre

Join in for an amazing behind-the-scenes conversation with Jordan Whitley from the Amazon Prime show, Tampa Baes. Jordan, along with several other women, starred in this reality series which follows a group of friends navigating the lesbian scene in Tampa/St. Petersburg. Listen as Jordan shares about balancing her long-distance relationship while filming, keeping her private … Read more "S7. Episode 9: The Reality of Relationships with Jordan Whitley from Tampa Baes"

EVEN MORE about this episode!Join us on this episode of the Ask Julie Ryan Show as we blend spirituality and practicality to address a variety of listener concerns. We start with Christine from Long Beach, California, seeking help for her dog Jax's injured leg. Through an intuitive medical scan, Julie identifies torn ligaments and use stem cell energy for healing, advising Christine to also consult a vet. This segment offers a fascinating look at remote intuitive scanning and healing for pets!Next, Rami from Kansas City shares concerns about her son Zeke's persistent anger, potentially linked to his diet. We discuss the impact of dietary habits on emotional well-being, referencing Dr. Chris Palmer's work on the keto diet's benefits for mental health. Clay then calls about a potential move to the Tampa-St. Petersburg area, sparking a lively discussion about upcoming live events and past locations for the Angelic Attendant Training and LIVE in-person events.We also explore a range of health and wellness topics with various callers, including a healing session for gut health, guidance on brain trauma and dental complications, and the benefits of bioidentical hormones. A touching anecdote about spiritual connections through signs from deceased loved ones, such as dill pickles, underscores the transformative power of these encounters. Tune in as we announce the winner of Julie's Angels and Enlightenment course! Episode Chapters:(0:00:01) - Pet Health Energy Healing(0:05:50) - Guidance on Moving and Personal Growth(0:19:39) - Gut Health(0:27:48) - Hair Loss Issues(0:37:29) - Healing and Spiritual Connections(0:45:56) - Brain Trauma and Dental Complications(0:55:42) - Nature's Role in HealingPlease join Julie next week with your question.Thursdays at 8pm ET, 7pm CT, 5pm PT.https://askjulieryanshow.comAnd, please leave a five-star review and subscribe so you can hear all the new episodes.Sponsors & RecommendationsDisclaimer: This show is for informational purposes only. It is not intended to be medical, psychological, financial or legal advice. Please contact a licensed professional. The Ask Julie Ryan show, Julie Ryan, and all parties involved in producing, recording and distributing it assume no responsibility for listener's actions based on any information heard on this or any Ask Julie Ryan shows or podcasts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ronnie Lane is a longtime talk show host in many markets over his long and illustrious career. For the last decade, he has been a host on “Ronnie and TKras” on WDAE sports radio in Tampa, Florida. Recently, Ronnie announced he was leaving the long-running talk show to take a hosting role in Tampa Bay Rays and Tampa Bay Buccaneers coverage for the station. In this episode, Ronnie explains what led to this decision, and how the role has evolved over the years. He also talked about the ability to discuss the state of the Rays franchise and their stadium woes as well as on-field daily stories. He also explained how in the post-Tom Brady era, Bucs football is at an all-time fever pitch in the city. He also laments that the Tampa Bay Lightning have created an event around their games, and the fan base has taken off just as the population in Tampa/St. Petersburg has grown.

Follow Mike & Shawn on Instagram! Shawn: @shawn_dimartile   Mike: @miketighe_ In this episode of the Real Estate Takeoff podcast, hosts Shawn DiMartile and Mike Tighe review the Marcus and Millichap 2024 Investment Outlook report. They examine the top multifamily markets nationwide and dissect the factors influencing their standings. The hosts investigate the balance between housing affordability and rental rates and its implications on various rental markets. San Diego's market dynamics are spotlighted, offering insights into its notable ranking. The episode wraps up with a conversation on interest rates and their potential repercussions on the real estate landscape. Here's what you can expect from the episode:  The Marcus and Millichap 2024 Investment Outlook report evaluates top multifamily markets nationwide, considering job growth, vacancy rates, construction, housing affordability, and rent trends. Dallas, Fort Worth, San Diego, and Tampa/St. Petersburg emerge as top multifamily markets in the report, driven by robust job growth, low vacancies, and strong rental demand. San Diego's scarcity of new units, coupled with high demand from young professionals and construction obstacles, solidifies its position as a premier multifamily market. The city's pricey housing contributes to rental affordability. Cities like San Diego, Los Angeles, and San Francisco grapple with significant gaps in housing affordability between owning and renting, fueling rental demand and potential rent escalation. Interest rates wield considerable influence in the real estate market. Speculation on rate fluctuations sparks discussions on potential impacts on transaction volume and investor sentiment. Learn more about Mike and Shawn: Shawn: www.investorshawn.com Mike: www.investormike.com Website: www.takeoffcapital.com

Tyler Kapela is a professional fishing charter service that provides clients with the ultimate inshore/near-shore fishing experience. Whether you are an expert in search of a trophy or an absolute beginner Captain Tyler will cater to all of your fishing needs. ⁣ He is a passionate, knowledgeable and experienced master of his craft with a calm, patient and fun loving demeanor with a knack for catching redfish, snook, large trout, inshore grouper, and especially TARPON. ⁣ He dominates the inshore fishing scene near the shores and bays of Tampa/St. Pete area. Specializing in putting his charter clients on large tarpon, snook, and much more, Tyler is a very well-respected captain in the industry. He was also tabbed as host of the Discovery Channel's "Discovering Water" TV Series.

And eighth generation Floridian and family business fixture in Tampa-St. Petersburg for four generations, Liz Dimmitt is fiercely loyal to our community and passionate about the arts. In this episode, TBBJ Editor Alexis Muellner invites the co-founder of Fairgrounds Projects and Dimmitt Chevrolet managing partner to share what drives her, and why the arts are so important to our region. 

Andrea Jin joins The Steebee Weebee Show for the 1st time!!! We talk about: The Sunshine Comedy Festival in Tampa/St. Pete, her growing up in Canada, Combustible Tobacco Cigarettes, some of the comedians she looked up to-like Conan O'Brien, teaching Steebee how to speak Mandarin, how she got into Stand Up Comedy, Lost Chivalry in The Dating World, hypothetical "scenarios"  of catching your partner smell their "butt crust", Size Queens: someone who prefers sexual partners with larger penises , and much much more. Go this week to: www.youtube.com/steebeeweebee to watch. *HEAD TO FACTORMEALS.COM/STEEBEE50 & use code: Steebee50 to get 50% off!!! More: Andrea https://www.instagram.com/andreajin ** Now on iTunes:  https://goo.gl/CdSwyV ** Subscribe: https://goo.gl/d239PO Little Ray promises a Karma Boost if you join our Patreon: https://goo.gl/aiOi7J Or, click here for a one time Karma Boost. https://www.paypal.me/steebeeweebeeshow/2 More Steven: Instagram: https://www.instagram.com/quangou Bandcamp: https://steebeeweebee.bandcamp.com/ Itunes: https://goo.gl/PSooa0 Send stuff to: 1425 N. Cherokee Ave P.O. Box 1391 Los Angeles, CA 90093

In this episode, Carolina Panther attendance woes; the Houston Oilers are back, baby; what are the Kansas City Royals up to; Shohei Ohtani's most unusual opt-out; a game of chicken in Tampa/St. Pete; plus Craig and Rex review the brilliant Sam Pollard documentary, "The League" (2023) about Negro League baseball.Past episodes referenced:46 - A Journey Through the Negro Leagues w/ Larry Lester76 - A Baseball Season When Hitters Reigned Supreme w/ Lee Freedman142 - The 1919 Black Sox w/ Jacob Pomrenke143 - The Rays Are Getting Their New Stadium w/ Dr. Elizabeth Strom 179 - Ohtani is a Dodger and Astros are at the Crossroads -->Join our Discord: https://discord.gg/tT8d3pVUsN-->You can support Hooks & Runs by purchasing books, including the books featured in this episode, through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandrunsHooks & Runs - www.hooksandruns.comHooks & Runs on TikTok -  https://www.tiktok.com/@hooksandrunsHooks & Runs on Twitter - https://twitter.com/thehooksandrunsAndrew Eckhoff on Tik TokLink: https://www.tiktok.com/@hofffestRex von Pohl (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Music: "Warrior of Light" by ikolics (Premium Beat)  

Tampa, Florida Personal Injury Lawyers | Distasio Law Firm | Car Accident Attorneys (https://distasiofirm.com) (813) 259-0022 Tampa Bay's ever-evolving personal injury arena comes to the spotlight in our latest podcast episode featuring the distinguished Scott Distasio. As the founder of the reputed Distasio Law Firm, Scott carves out a unique niche in the Tampa personal injury spectrum, emphasizing the importance of ethical representation. Our deep dive begins with a probing look into the world of medical malpractice in the Tampa Bay area. Scott offers invaluable insights into how medical negligence is less about individual errors and more about the overarching influence of large conglomerates prioritizing the bottom line. But the conversation doesn't stop there. We shift gears to another pressing issue in the Central Florida region: nursing home abuse. The Gulf Coast, from Sarasota to Clearwater, has witnessed a concerning rise in elderly neglect cases. Scott elucidates the alarming trend and highlights how facilities receive more funds for "higher acuity level" patients – those requiring more intensive care such as feeding tubes or movement assistance. One can't discuss nursing homes in today's context without touching on the effects of the COVID-19 pandemic. Our discussion pivots to the pandemic's impact on elderly care in facilities across Hillsborough County and the broader West Florida region. Has the pandemic intensified the neglect? Scott offers his expert take. Recurring offenders is another topic we tackle. Are there nursing homes in the Tampa-St. Petersburg-Clearwater area that continually face accusations? Scott's vast experience lends a voice to this issue, offering both cautionary tales and proactive solutions. Our podcast journey with Scott Distasio paints a comprehensive picture of the personal injury landscape in Tampa and its neighboring areas. From Brandon to Riverview, from medical malpractice intricacies to the legal labyrinths of elderly care in Lakeland, this episode is a must-listen for anyone keen to understand the challenges and nuances of personal injury law in the Suncoast region. Don't miss out! Tune in, gain insights, and stay informed with this enlightening episode on Tampa's personal injury, medical malpractice, and nursing home abuse challenges. https://youtu.be/p-2dAWH4r5c TAMPA (MAIN OFFICE) 1112 Channelside Drive Suite 5 Tampa,  FL  33602 (813) 259-0022 Sponsors: https://TheAttorneyPost.com/groove https://NationalERC.org https://RankWith.news

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, Professor Michael T. Friedman (Univ. of Maryland) is our guest to discuss his book "Mallparks: Baseball Stadiums and the Culture of Consumption" (Cornell Univ. Press 2023).  We analyzed the future of baseball stadiums by looking at the past, from Union Grounds in the 1860's to Fenway Park (1912), Dodger Stadium (1960), Camden Yards (1993) to the newest parks & developments proposed for Las Vegas and Tampa/St. Petersburg. -->Join our Discord: https://discord.gg/tT8d3pVUsN-->You can support Hooks & Runs by purchasing books, including the book featured in this episode, through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandrunsHooks & Runs - www.hooksandruns.comHooks & Runs on TikTok -  https://www.tiktok.com/@hooksandrunsHooks & Runs on Twitter - https://twitter.com/thehooksandrunsAndrew Eckhoff on Tik TokLink: https://www.tiktok.com/@hofffestRex von Pohl (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Music: "Warrior of Light" by ikolics (Premium Beat)   

Want a zero percent interest rate and a paid-off seven-figure property? What about a quick fix and flip that'll net you six figures in profits? Or, maybe buy an office and make nearly half a million dollars while having your own workplace? It's 2023, and the housing market has turned most real estate investors off. Everyone thinks that deals are impossible to find, but funnily enough, we keep hearing stories about real estate investors making massive profits while residential buyers cower in fear. So, where can you find these deals? We've brought back Kim Meredith-Hampton and Victor Steffen from the Tampa/St. Petersburg, Florida, area and the Dallas-Fort Worth, Texas, markets, respectively. Plus, Matthew Nicklin from southern seller's market, Atlanta, Georgia, joins us as we review real deals from all three markets to show you that no matter the housing market cycle, you can STILL make money in real estate (even in 2023!) We'll go over six individual deals, from turnkey medium-term rentals selling at zero percent mortgage rates (with seller financing) to easy, instant cash flow deals with perfect tenants in place. But maybe you're not a buy and hold investor. If so, a couple of flip deals are brought on to show that six-figure profit potential still exists for the right properties. And, we'll deep dive into one of the agent's commercial real estate deals that made nearly half a million dollars in equity alone! In This Episode We Cover: Three hot southern housing markets where you can still find real estate deals  Signs of a stable market and why you want to see faster home sales  Seller financing and how to use it to score a rock-bottom mortgage rate on your next rental  How to use private lending to make a killing without getting your hands dirty on a deal “Office hacking” and turning unused space into cash flow and HUGE equity gains  Paying off your property faster and why having little-to-no cash flow may be worth an earlier retirement  And So Much More! Links from the Show Find an Agent Find a Lender BiggerPockets Youtube Channel BiggerPockets Forums BiggerPockets Pro Membership BiggerPockets Bookstore BiggerPockets Bootcamps BiggerPockets Podcast BiggerPockets Merch BPCON2023 Listen to All Your Favorite BiggerPockets Podcasts in One Place Learn About Real Estate, The Housing Market, and Money Management with The BiggerPockets Podcasts Get More Deals Done with The BiggerPockets Investing Tools Find a BiggerPockets Real Estate Meetup in Your Area David's BiggerPockets Profile David's Instagram David's YouTube Channel Work with David Rob's BiggerPockets Profile Rob's Instagram Rob's TikTok Rob's Twitter Rob's YouTube BiggerPockets Articles on Atlanta BiggerPockets Articles on Dallas BiggerPockets Articles on Tampa Connect with Kim, Matthew, & Victor: Kim's BiggerPockets Profile Kim's Website Matthew's BiggerPockets Profile Matthew's Website Victor's BiggerPockets Profile Victor's Website Click here to listen to the full episode: https://www.biggerpockets.com/blog/real-estate-790 Interested in learning more about today's sponsors or becoming a BiggerPockets partner yourself? Email advertise@biggerpockets.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Khris Johnson is Head Brewer and Co-Owner of Green Bench Brewing based in St. Petersburg, Florida. He's been an active member of the Tampa Bay beer scene for years, working for Cigar City Brewing and Southern Brewing and Winemaking before opening his own brewery in 'St. Pete'.He and host Si Willmore talk about how Khris landed the dream job of brewing beer, his career including founding his own brewery, and the explosion of the craft beer scene in the USA. Khris, born to a black mother and white father, is heavily involved in local community work and believes that bringing people together for a shared passion can help break down social barriers - and this ethos even defined the name of his brewery: the concept of green benches represents a difficult and controversial, yet completely necessary, conversation about the past. Khris shares insights into his innovative brewing techniques and recipe development process, and his role in founding the USF St. Petersburg's Brewing Arts Program, as well as his favourite places to eat in the Tampa/St. Pete area.Series 4 of the JRNY podcast is sponsored by Visit Florida. Hosted on Acast. See acast.com/privacy for more information.

This SHINE podcast episode is on the importance that water plays in all of our lives. Water is a  fundamental resource and life. In this interview, we will speak about why water stewardship is important.  We will address three significant challenges in the quality of water on the planet: Red Tide, Microplastics and PFAs. We speak about how these 3 are interconnected, the dangers of them to our well being, and action steps you can take to reverse the negative impacts at an individual and business level.  This inspiring episode will ignite greater purpose and inspiration to be a water protector.   Episode Links: Greg Koch on LinkedIn: https://www.linkedin.com/in/gregkochsustainability/ Greg Kochs Book SHINE Links: Thank you for listening. Want to build a high trust, innovative, and inclusive culture at work? Sign up for our newsletter and get the free handout and be alerted to more inspiring Shine episodes  Building Trust Free Gift — leadfromlight.net Carley Links: LinkedIn — https://www.linkedin.com/in/carley-hauck/ Consultation Call with Carley — https://carleyhauck.com/contact Book Carley for Speaking — https://carleyhauck.com/speaking Leading from Wholeness Learning & Development — https://carleyhauck.com/learning-and-development Carley's Book — https://carleyhauck.com/SHINEbook Executive Coaching with Carley — https://carleyhauck.com/executive-coaching Environmentally Friendly Products for Water Protection Grove Collaborative Red tide Everything you wanted to know about Red Tide- Scripps Edu Red Tide Affects in Tampa/St Pete Area PFAS CDC Fact Sheet Dark Waters- Documentary on PFAS How Dupont may avoid paying to clean up toxic forever chemicals  Microplastics https://oceanservice.noaa.gov/facts/microplastics.html https://www.nature.com/articles/d41586-021-01143-3   Well Being Resources: Inner Game Meditations — https://carleyhauck.com/meditations Inner Game Leadership Assessment- https://tinyurl.com/igniteyourinnergame   Social:  LinkedIn — https://www.linkedin.com/in/carley-hauck/ IG — https://www.instagram.com/carley.hauck/ Website — https://www.carleyhauck.com Shine Podcast Page — https://carleyhauck.com/podcast   Imperfect Shownotes:   Carley Hauck  0:08   Hi, welcome to the shine podcast. My name is Carley Hauck. I'm your host, this is the fifth season of the shine podcast. I started the shine podcast as a way of doing research for my book on conscious leadership in business. And you will find interviews with scientists, researchers and business leaders on the intersection of conscious inclusive leadership, the recipe for high performing teams and awareness practices. My book debuted in 2021 Shine ignite your inner game of conscious leadership and was voted one of the best books to read in 2022. By mindful magazine, I facilitate two episodes a month of the shine podcast. And before I tell you about the topic for today, please go over to Apple podcasts or your favorite podcast carrier and hit the subscribe button so you don't miss any future episodes. The focus of this season is on the essentials for wellbeing. And that encompasses the intersection of our personal well being the collective well being of our workplace, and how that fosters and nurtures the planet's well being they are all connected. I focus on well being this season, because I really want to crack the code and inspire folks to prioritize their individual well being and therefore that will transcend into the collective and the planet's well being. And I have developed a inner game leadership assessment that I gave out to 100 different leaders last year. And the leadership assessment is based on the framework of the inner game, which is what we're cultivating on the inside to be conscious leaders. And then it shows up on the outside when we've cultivated the certain qualities. And two of the nine leadership competencies that were lowest from the sample of 100 leaders were psychological and physical well being. Therefore, that is why we are focusing on well being and if you're curious about where your strengths and gaps are, around the qualities to become a conscious leader, you can take the assessment and find out your score for free. I recently opened to the assessment tool to the public and the link will be in the show notes. Now onto our episode. Hello, Shine podcast listeners. Thank you so much for joining this season. I am so excited about this conversation with my friend, Greg. Coach. Greg, thank you so much for being here.   Greg Koch  3:06   Thanks for having me, Carley. I really enjoyed the last podcast we did and the relationship that we've maintained the friendship since then. And I'm looking forward to today,   Carley Hauck  3:15   likewise. And for those of you listening, I just want to share that I've only had two folks that have now been on the podcast twice. And so Greg, you're in very good company. Lynne twist, who wrote the foreword for my book, who has a new book that just actually came out that I interviewed her on at the end of last year is the only other person that has been on the shine podcast twice, but for good reason, the fact that you are both repeating, because you're very purposeful leaders, and she is also a very strong climate leader. And so I'm delighted that you both   Greg Koch  3:58   are here, I feel honored.   Carley Hauck  4:02   Well, so with that, please introduce, introduce yourself regarding your current role at IR M. And also, you know, why? The topic of water stewardship and water protection, which we'll be speaking about in various ways today is personally and professionally important to you.   Greg Koch  4:26   Sure. Well, thanks again for having me. My name is Greg couch, and I live in Atlanta, Georgia. And I've spent when I've not been on a plane or somewhere out of the country, which has been quite often throughout my career, I've been based in Atlanta, here in Atlanta, Georgia. I currently work for consultancy called e r m Environmental Resources Management. And my role there as a technical director is in the water and climate space and And primarily what I do is work with clients to translate all the noise around water and climate risks and issues into an assessment of how those issues will impact the business, both negatively and potentially positively. Meaning there are opportunities to, to, to look at as well as risks to try to mitigate. And so what does that look like? Well, it takes all the data that everyone has, but then dives deeper in what information the client would have around their water use or greenhouse gas emissions, what they've experienced in terms of impacts regulations, employee interest, other external stakeholder interest, including investors, NGOs, customers, and consumers. So that nuances all that, that global information and local information, and allows you to come up with scenarios realistic scenarios of what could happen positively or negatively, because of the stress issues. And then let's just focus for the sake of time on the risks versus the opportunities. But when you look at the risks that we quantify, we help the clients quantify a probability of that risk event happening, and then the impact that they would experience if that risk scenario or if that manifested itself. And that assessment of risk, what what would this mean, to me, me in this case would be accompany, but it's the same if you want to take it down to the personal level. Once you translate the issue, into what could happen positively and negatively, to you, your business, what have you, that leads to two things that I find very powerful one is, it leads to ownership, because you're a part of translating the noise into real impacts that you would experience or maybe already are experiencing. So the ownership, right, you're not just accepting the data and saying, Okay, that's an issue, I'm going to do something about it. There's nothing inherently wrong with going from issue to action, but issue to risk and opportunity quantification, in my experience leads to that ownership, but also more impactful actions. So so that's what I do. And in the course of the topics we'll discuss, I can give you some examples of how I've helped clients, and what that actually looks like.   Carley Hauck  7:42   Thank you. So that was a great summary. Why does protecting the water there's no, there's lots of resources in the environment that we can protect. But that seems to be one you've really narrowed in on in your life and in your career, why does what is protecting the water personally matter to you?   Greg Koch  8:06   Well, it should matter to everyone in the same way it matters to me in that it is a fundamental resource life as we know, it does not exist without water, there is no substitute for water. And at the same time, while water is a finite resource, there's a fixed amount of water on Earth that you cannot change over the long term. We can't create or destroy water over the long term. But it's infinitely renewable. So I'll be honest, most of my pre adult life, I took water for granted water was something I played in, I recreated in I saw fall from the sky, you know, experience rainfall, you you have a daily visceral connection with water. So it's always been important, but honestly, I took it for granted. Like I think most people do, and probably that those from the fact that over human history, water has been relatively abundant, and relatively clean, and therefore hasn't posed significant challenges to the majority of civilizations that have come and gone and that currently exist. But all that's changed, certainly since the Industrial Revolution, and even more in the last few decades, particularly from the impacts of climate change, which we talked about in in our previous podcast was very, you know, climate change is the message than water is the messenger. Right? You experience climate change, primarily not through hotter temperatures, but through some change, more intense and more unpredictable water situation. So what was the aha moment for me? It came when I was working for the Coca Cola company. And one of the jobs I had It was addressing wastewater discharge around the world and the company had implemented a standard or requirements say that if you can't discharge your wastewater, your industrial wastewater into a sewer system, if you will, where the government were utility would fully treat that water, then you had to build a wastewater treatment plant yourself, right, so that you weren't discharging, untreated, industrial and sanitary waste. And that was very well adopted. But the standard that is, but it went when I first started assessing the current status. Now, keep in mind, Coca Cola operates, I think, in all but one or two countries in the world and has 1000 Hot plants. And so I really got exposed to the local conditions around water. Initially, it was through the lens of water pollution, but quickly started to appreciate the challenges of drinking water access, reliable, safe, affordable water, being there at the tap when you needed it, or in some close proximity. And all of that was happening at a time where in my life, I had young children, they're 25 and 22. Now, but at the time, they were toddlers, and, you know, preschool or school aged children. And you know, I appreciate it. The the luxury that we have compared to most of the rest of the world, in having that safe water access, and then seeing the impact when that safe drinking water is available, what that does to communities and made me appreciate more the situation that that we have here in Atlanta, but also recognize how dire the situation around water was around the world. And so   Carley Hauck  12:01   I have a more personal recently, which I'll see ya, yes. But you know about Yeah, thank you. Yeah, yeah. That's fascinating. Well, let me just kind of queue up what we're gonna be talking about today for those listening. So So Greg, and I've been noodling and emails in the last few weeks. And we came up with this fabulous conversation to share with you. So we're going to be really reviewing the interconnection between red tide microplastics and PFS. Over the course of the next, you know, 4045 minutes with you all, we're going to talk about what each of these are, how they are negatively impacting the planet's well being locally, globally, but then how that is impacting our well being, because what happens, what the planet is going to be happening with us, you know, we are interconnected. And we are, unfortunately, creating a lot of these problems. So we have the opportunity to shift that, to clean it up, you know, this, this is our home, we need to take care of our home. So so that is really going to be what we will be empowering, and activating and shedding the light on for all of you. And I also thought I would share a little bit about why water protection matters to me. So well. I grew up in Florida, which is not too far from Georgia, they're, you know, they're their neighboring our sister states, we could say. And from a very young age, I just had this kind of inner climate leader. And I was, you know, spending a lot of my childhood in St. Augustine, Florida, which is actually deemed to be one of the oldest cities in the United States. It's apparently where Ponce de Leon founded the fountain of youth. There's old Spanish forts. It's a beautiful, quaint city. And we would go you know, they're from my hometown of Gainesville when I was a kid every summer and multiple times during the year and I was noticing plastic on the beach. And because I was really interested in ocean life, and my father would give money to the World Wildlife Fund or the cetaceans society and so he would get these really cool calendars with all of these beautiful pictures of whales and dolphins and being a curious kid. I'm still a curious kid. Just a little older. I would I would go and look at the calendars and I'd see all these different organisms. missions and I started doing some research and finding out, wow, this humpback whale is endangered and this bottlenose dolphin is also endangered. And the sea turtle that I am fascinated with is really struggling. Why? Well, because we are poaching them, you know, we're polluting the oceans. And so when I was eight, nine years old, I literally was writing letters to the dictator. I guess they were a dictator at that time of Japan. And I said, stop killing the whales. So I adopted a gray. Yeah, I drafted a gray whale for my third grade class was $25. Back then I'm sure it's not much more y'all, you can adopt a gray whale. But it kind of started off, you know, at a young age. And so I've always felt this, frankly, responsibility to take care of the ocean. And there were not trash receptacles on the beaches in Florida. And I'm speaking to this now, because that was about 40 years ago, and I was recently in Florida, during red tide, which we're gonna get into in just a minute. And right before I left, thankfully, the basically the Tampa Bay St. Pete area lifted the restriction of being at the beach, because if you're near Red Tide, which Greg is going to tell us more about, you know, I mean, it can actually create some really adverse consequences, you can't breathe, you know, people get really sick if they go near the water if they go in the water. So all of the, you know, beaches, basically, in the Tampa St. Pete area, we were restricted from going and then the day before I was about to leave, they lifted those restrictions, it was safer, supposedly to go. And so I was walking on the beach with my father and I see a piece of plastic, which I know if I don't pick up a sea turtle is probably going to, at some point in their lifecycle see it, if it goes in the ocean, think it's going to jellyfish and it's going to try to eat it. So that's just an innate reflex of mine pick up trash, if you see it on the beach. And there was no place to throw it away. There's I mean, so Florida, Florida people. Now see you it's been 40 years I was doing this when I was five, I'm getting closer to 45. It does not take a lot of money to put waste receptacles recycle, compost would be great on the beach. Otherwise, it makes it really hard for people to do the right thing. Because most people are not going to pick up trash and carry it to a receptacle. And let's let's just let's just be real, like, you know, people go to the beach, they bring stuff, they bring stuff they don't even intend to leave on the beach. But let's say they have a screaming two year old who came with a little plastic bunny. And she throws the bunny on the beach and the bunny then gets stuck in the sand and they don't bring it back. Anyway, these things happen. Let's just make it easy for people to do the right thing. So this is why the water protection matters to me, because this is our home. I care about the planet, I care about the creatures, and I want to create a legacy for the future, that I'm not going to feel guilty about that I'm not going to regret that I couldn't have done more. And that, frankly, is going to alleviate so much suffering of so many people because we do the right thing right now.   Greg Koch  18:50   Yeah. That's amazing. Thanks for sharing that.   Carley Hauck  18:53   Yeah, thank you, Greg. Well, and I know that the folks that are listening to this have that inner water protectors as well. And so, before this podcast ends, I'm going to leave you all a prompt to really ignite that part of you because we all have that responsibility. And that opportunity. Okay, so without further ado, Greg, I feel like there's a you know, a music or is playing in the background. Can you please illuminate? Let's start with red tide. What is red tide? And why does it matter?   Greg Koch  19:35   Yep. All right. So red tide is a global phenomenon. It can be called different things. But it's a condition where there's a certain micro organism and I'll get into that in a moment. It's an algae, different types of algae, but there's one in particular, that when it grows in abundance, when it grows, period, it per Do says a toxin a neurotoxin, as part of how it metabolizes food, and when shellfish in particular, but other aquatic species as well are exposed to that toxin, it can kill them and or affect their reproductive abilities. And if you eat those fish or shellfish in particular, you could ingest some of that toxin and it would have negative effects for you. It's called Red tide in in Florida and other parts of the world because that bacteria when it grows in maths, it takes on a reddish brown color. And that can actually color the water. And so the phrase red tide is used. There are other versions for it. So it's good that we started with red tide, because it's, it's the only one of these three topics microplastics and P Foss and red tide that occurs naturally, even without humans, but as exacerbated by humans. The other two topics we that's all the on us. Right? So red tide, or versions of it have been in recorded history as far back as the 1500s. So well before the Industrial Revolution well before the type of Population and Development we have today. So we know, in Florida, in other parts of the world, red tide has occurred naturally, these are naturally occurring micro organisms, and they do in particularly in warmer weather, when they are faced with enough nutrients. And I'll talk about the nutrients in a moment. It can cause it's perfect conditions, and they just start growing like crazy. If they are the type of algae that, that that produce this neurotoxin, then you get this, this red tide that happens now a little bit about the micro organisms, they're algae, and when you get a big growth of them, it's called an algal bloom. Right, just a lot of algae. One algae that all of us are familiar with, or most of the listeners should be familiar with is kelp. So seaweed, most forms of seaweed, including kelp are algae. So algae can be really big. If you've been diving off the coast of San Diego, the kelp forests are massive that actually an algae. So they are and I say that just to say that they are naturally occurring. When that algae bloom happens, I already talked about the impact to aquatic species, that neurotoxin and how that could impact you, but that that toxin that's released also becomes airborne. And most people will have trouble breathing. People who have immune compromised, their immune compromised or have asthma are more sensitive for some reason to to, you know, respiratory issues. It can be, it can be very debilitating. I'm not certain about deaths. And could anyone say this person died because of this, but it's certainly a complicating factor. And as you said, when that occurs, advisors go out and say, Okay, we're going to close the beach, you know, we're going to close it, the fishing, and we're going to close it to even people walking on the beach, because of both the dead fish and shellfish that will come up on shore. No one wants to walk around that. The smell of that, of course, but then also that toxin that's in the air that that's going to affect everyone and some people very significantly. So that's what   Carley Hauck  23:48   Yeah, no, thank you. And just to speak to that, you know, I was reading a lot of articles. So I was I was in Florida a couple of weeks ago visiting my parents in the Tampa St. Pete area. And I remember when I was last there, there was also a red tie. And I'm like, why is Why is this still here? And so as I was as I was doing some deeper research, it had been in full bloom essentially with some minor, you know, wanes since December 22. And I just thought this has been going on for over a year. Yeah. And, and as I did more research, like 600 tons of whales and dolphins and turtles and fish are just rotting there. They're dead. I mean, this makes no sense to me. So that was in Part I, I was very angry. And I reached out to Greg and I said what is going on? And he said I was just in Florida too. Yep. So So I guess that'll go to the next piece of it. Why is this happening? And I've done some research, but I'd love to ask.   Greg Koch  25:03   Sure. Well, like I said, it's been documented back to the 1500s. So it happens, it happens all by itself without any human intervention. But, and the science is not conclusive yet. But it is certain about one thing. A couple of things. One, you know, these things naturally exist. And for them to thrive, they need warm temperatures, like climate change, and they need nutrients food, just like you and I, we need magnesium and iron and potassium and you know, all these elements and nutrients, phosphates, nitrates, what have you. Our bodies need them to metabolize, to build cell structures to process food, what have you, it's the same with with any living organism, there's a set of nutrients that are critical. So when you have conditions where you have warmer than normal, or just warm temperatures and lots of food in the form of nutrients, that's right conditions, ideal conditions rather for a red tide to have red tide in quotes. Sometimes it's called the Blue tide. Sometimes it's all the other things, but let's just use red tide. So what role do humans play in either of those two conditions? Well, climate change is conclusively, in part, caused by manmade action. So we're making the world warmer, global warming aspect of climate change. And then we grow a lot of food and apply a lot of the nutrients that these algae love to the land. We do that in agriculture, we do that in our own home gardens, our lawns, our public spaces, to maintain those, for the most part, we apply a lot of fertilizer. And the main things in fertilizer are potassium, and nitrogen, and manganese. And so it is those nutrients that that enable the algae to thrive. So again, not conclusive, but if you triangulate runoff from land, particularly agricultural areas, and then coastal areas with warm, particularly warmer than normal water, body temperatures, you get these blooms. One thing I failed to say earlier, it's not just a title issue in the sense of the ocean, you can have algal blooms in freshwater, particularly in lakes, probably the, for those of your listeners that are familiar with the United States, Lake Erie, every summer, the west end of it, I believe it's the West End, just gets this green pond types gum on it, and, and that too, is it's green. And I'm sure people have been hiking and you know, in the forest and come across a pond and it's just covered in green scum. And that's algae, and conditions were ripe for that algae to to grow. Now, even if it doesn't produce this toxin, it still can have impacts on the environment and therefore humans. So this Algae grows, and it comes to a point where it can't grow anymore, because there's not enough room or enough nutrients or enough oxygen. And so that algae that algal bloom will eventually die. And when it dies, it settles to the bottom where other micro organisms say Oh, buffets open, let's go eat. And they start multiplying like crazy. And in doing that they they grow and they use up a lot of oxygen. So the dissolved oxygen, the amount of oxygen that's in water, for plants and animals to breathe to use is decreased and you get fish kills and other impacts. Probably the most famous one in the United States is in the Gulf of Mexico, at the outfall of the Mississippi River. Every summer there's a dead zone, actually called a dead zone because really everything dies because so much nutrients from all the agricultural practices in the Midwest come down the Mississippi dump all those nutrients in the summer you have warm temperatures and you get this massive algal bloom and once that algal bloom starts dying off, you get accelerated dissolved oxygen content and everything dies a dead zone. That doesn't sound great. So so it happens naturally. But it is pretty clear that higher temperatures from climate change and nutrients, primarily from fertilizer application, untreated sewage, untreated sewage, those types of things are going to exacerbate. Yep.   Carley Hauck  30:09   Thank you. And I was also just gonna share, and it's not cracking down on polluters, right. And also, you and I were having a conversation prior to this one about how do we educate farmers to be more regenerative and their approach, right? I mean, we all know composting is the way we know that regenerative agriculture is the way forward so that we have, we're not ripping up, you know, the soil infrastructure, but we're regenerating it. So it's easier to continue to create a lot of opportunities for food and growth without all of this fertilizer. And it seems like from some of the research that I've been doing around Florida, and I'll leave, we're gonna leave a lot of, you know, very validated links about all of these things in the show notes. But apparently, the sea it was in the clean waterways act of 2020, did not require agricultural interests to reduce phosphorus runoff, and continues to rely on what is effectively a system of voluntary compliance. Well, that is not going to get it done. appealing to people's altruistic motivations. Unfortunately, without I think, certain checks and balances and consequences, is not going to support red tide to diminish. What do you think, Greg?   Greg Koch  31:39   I agree. And, you know, not in defense, but an explanation of farmers. They spend a lot of money buying fertilizer, and they spend time and money applying it to land. And they know that they apply more fertilizer than the plants they're growing can actually absorb. And that cost them money. And when you apply more that the plants can use, that's what becomes runoff either trickles down into groundwater, or it's gonna run off off the surface, and then into rivers, lakes, and eventually into the ocean. The reason they they do that is that when a plant needs a certain nutrient, let's say nitrogen or phosphorus, they want to make sure it's available. Right? So you put more than you need, because you know, someone's going to wash off. And that when that plant in that part of the field is ready for it's there. Now, yes, if you knew at every part of the field, exactly what a plant is needs. During its growth cycle, you could apply that but just think of the technology and the cost of trying to understand that at such a granular level. So it's it's much easier for them to just apply it more liberally, if you will, so that they ensure that the plant is going to have the nutrients it needs. But unfortunately, that's what what ends up in our waterways and whether it causes red tide or not. There. There's other impacts to us, right? You know, the water treatment systems, for instance, for drinking water around Lake Erie, when they are faced with their source of water being covered in this green algal bloom. They have much higher water treatment costs to make that water safe to drink. It's a cyanobacteria that that actually grows from that blue green algae that causes that, that pond scum. So if you say all right, well, that's just temporary. It's in the summer. It's well, what if you live there, you know, beyond the health impacts?   Carley Hauck  33:53   Well, I want to share I want to share just this is coming from an article. This is from a current, you know, citizen that lives in Pinellas County in Florida. So this is her experience in this part of Florida as we know it happens all over the world and all over the country. But she let me just Okay, so this this is coming from a woman Alicia Norris, a mother of 352. She experienced it firsthand. She said I cannot shake off that sickening, nauseous feeling in the summer of 2018. From the stench of dead fish turtles and manatees rotting in reddish brown coastal waters along the shorelines of St. Petersburg and the state's Tampa Bay area. And apparently, you know, it's been getting worse every year, as we know, because, you know, it gets it gets hotter. And just within the last year, Pinellas County Only officials reported collecting 600 tons of dead fish as the red tide peaked.   Greg Koch  35:07   What that does to Yeah, it's deadly life.   Carley Hauck  35:10   Property dolphins, manatees? Yeah,   Greg Koch  35:13   the loss of biodiversity, property values, tourism dollars, you know, that fisheries people, fish or people who go out and catch fish to sell that we eat, you know, all of those are going to be impacted when you have a situation like this.   Carley Hauck  35:31   And then, apparently, in 2001, the leak there is a basically a phospho Algeciras leak, that was discovered in a reservoir pond, that was holding 480 million gallons of toxic wastewater produced from phosphate. So there's apparently a lot of that that is positive, there's 25 Giant, toxic wastewater ponds in Florida. So I'm kind of sharing some of the God I don't want to hear this. But isn't this evoking emotion, emotion is going to get us to do something different. So I want to expose what's here? Because then we get to act on it. So we've kind of addressed what is red tide? How is it negatively impacting us? And now we get into what can we do about it? So and then we'll move similar Lee into PSAs, and microplastics, because they all are connected?   Greg Koch  36:37   They are. So what can you do? I'd say for all of these topics, any topic that's new to you. Do some research, get some facts, as you said, Carly, in the show notes, you're gonna have some links to some reputable this is like no, CDC, right? Go get some facts. And   Carley Hauck  36:57   Greg and I have come up with these resources together, by the way, so they're I'm not just pulling them out of thin air we actually came together on like, okay, let's share these. Yeah.   Greg Koch  37:07   So whatever the topic is climate change, microplastics, red tide, you know, whatever, go get educated, you know, maybe this, this podcast is the first step. But if this interests you, or some emotion that's evoked, we'll do some reading. But beyond that, there's always advocacy that people can do and, you know, become somewhat, you know, cliche ish, but write your representative in Congress, right, your local, but those things matter, right? So do write your local representatives, your your local town, your county, your state, whomever and say, This is my voice, you know, that it's rare that people get to voice their concerns and issues with elected representatives outside of voting for them. Right. But but this is one way. And they have entire staffs, who, whose job it is to feel these questions and summarize and, and so it does have an impact on these people. If they say, you know, 10,000 people in my constituency have written to me about this issue. They're passionate about this issue, I have to say something and perhaps do something, and perhaps doing something is going to be something constructive. So get educated. Right, your representatives, right. But what can you do   Carley Hauck  38:30   on it to plug one other piece to? Yeah, you know, I think it's also really important that we give money and we're supporting the institutions that are doing research on this. So for example, like, the mote aquarium is a research laboratory down in St. Pete, Tampa Bay, Scripps, which is where I am in San Diego, you know, they're they're doing some incredible research around ocean protection and how climate change is impacting the coral reefs to our water to red tide. And so like how do we support these institutions that are creating the education for us?   Greg Koch  39:10   That is, and they're also creating the data, the science that regulators and other people will eventually look to to say, Okay, this defines the situation now I want to do something about it. So excellent. Add.   Carley Hauck  39:25   Yeah. So I know we could talk about this for hours. So I want to move us into woody Which one do you want microplastics PFS?   Greg Koch  39:37   Well, let me let me just want to add one more thing for things that you can do at home right now. Yes. Even if you live in Kansas and not worried about red tide, but one is, think about the fertilizers you're putting on your own lawn in your own flower pots in your in your apartment, whatever the case. There's a huge climate impact producing those fertilizers. And then if incorrectly applied, they can contribute to water quality issues, including red tie. So think about maybe using composting of your food waste and using that as a fertilizer and just be thoughtful about your fertilizer application. The other thing is, if your house or apartment, your home relies on a septic tank, that septic tank should be properly maintained. You know, it's not flush it and forget it, you still have a responsibility as a homeowner to properly maintain that when those aren't properly maintained. They can release a lot of sewage, which has lots of problems, but nutrients are are one of the things that is contained in sewage. So those are two other things that you could do. All right.   Carley Hauck  40:50   I really appreciate that, as well. And you know, the other piece two, and I know you came up with this, but I think it's so important that we pay attention to what are we putting down the septic system, right? Like, are we using environmentally friendly products for cleaning for laundry detergent for you know, washing there's, there's so many options. GROVE collaborative also is a really wonderful company and everything that they provide are really environmentally safe and plastic free, in fact, cleaning and household resources. So I will put a link in the show notes, they are one of my favorite companies.   Greg Koch  41:33   So one other thing I saw, I just learned about yesterday, Amazon platform has a filter that you can I haven't tried it, but someone showed it to me. Right now it's around climate change. Like if a company has set a Paris treaty aligned carbon reduction goal aligned with the 1.5 degree change. Some of your listeners will know what that is. It shows up. So if you're looking at products that you might buy from Amazon, there's a screen there that say, okay, which ones have set a goal of reducing their carbon emissions. And, you know, hopefully over time, other credible certification platforms or organizations would join that. And that way consumers can make an easier informed decision on something that that's not going to be as impactful to the environment.   Carley Hauck  42:32   I love that. Yeah.   Greg Koch  42:35   All right, well, let's go to microplastics. Boy,   Carley Hauck  42:38   I feel like I want to get going from   Greg Koch  42:40   bad to worse.   Carley Hauck  42:42   Take it away from my class six. All right, there we go.   Greg Koch  42:46   We'll talk about a personal evolution on the topic when most of my life, you know, I didn't Well, I don't like seeing litter on the side of the road, you know, wherever on the beach and waterways, just just, you know, out in the field or whatever. But I thought, you know, what harm is it doing? You know, it's just a can or a newspaper. It's just there. And then yes, you read about certain plastics that turtles might think as a jellyfish. And, you know, I just didn't really appreciate it was that big of an issue? It's wasteful. Aesthetically, it's displeasing. But is it really doing harm to the environment? Well, here comes micro plastics. And there's two categories of micro plastics. So they're defined as a piece of plastic that is of a certain size, and that's five nanometers, but it's tiny, tiny, tiny, the two most predominant sources of microplastics. One is intentional, and one is not intentional. Let's start with the intentional one. There's something called microbeads. And you find these microbeads in their tiny little balls of plastic, that are in makeup, are in exfoliating creams are in some toothpaste and are even in some, some foodstuffs. So these are manufactured microplastics that are put into a product, a human use product for some sort of functionality, right, it helps with exfoliation, or taste or texture of a food that you're you're eating whatever the case may be. So that's one and there are many examples of products that have microplastics in them. The other is probably what you're thinking of, it's just a piece of plastic, any kind of plastic that has been disposed that in the environment, particularly in the in the aquatic environment, and particularly in oceans, but it can happen on land it can happen in rivers and lakes. Oceans are just more energetic and dynamic. That those pieces of plastic take take a plastic bottle, soda or Water, whatever it is, it just gets broken down over time. You know, just like water action, breaks down rocks into boulders and then eventually into pebbles and then eventually into sand. So it's the same natural phenomenon that's breaking apart these pieces of plastic. And now, they're really tiny. And they currently are everywhere. You can find them in the Arctic, North Pole, you can find them in the Antarctic, you can find them on the peaks of mountain tops throughout the world. You find them in rivers, lakes, and in particular, they're all over the ocean. They're everywhere. What is the problem with that? The problem is, well, first of all, there's still a lot of science to be done. But what is already known is, you're probably eating them, maybe even inhaling them as you speak. And, and listen, because, as I said, they're so prevalent around the world, they're in everything. So you could just do the the mental thought experiment, say, Well, how can a microplastic and an ocean end up in my body? Well, if a fish or some species, even if it's one that you don't eat, but something you do eat, eat it, right in the food chain, they might mistake the plastic for food, or it just might be attached to something they normally eat. Like say that's a turtle that wants to eat some plant like kelp, or I'm not sure if they eat kelp, but it's got microplastics attached to it, they're just going to ingest it inadvertently. Or they actually think it's food that's usually with bigger pieces of plastic. So inside the body, it's not going to break down, it's going to take 100 to 1000 years for it to break down in your body or other people's body. It is already known to cause reproductive issues in aquatic species. What is the birds and amphibians, lizards, frogs, snakes are also exposed to it, anything that's closer to a water environment is probably going to be ingesting it. And that has problems just for biodiversity overall, but if you eat any of those, or rely on them to do something else for you, then they're being impacted. The human impacts are unknown. Certainly not pleasant to think that you have undigested plastic in your in your gut. But odds are you do. In fact, I would almost guarantee it. But no one's done the science to say, how much microplastic Can I ingest over a lifetime? That's a safe amount. Right? So there's the studies that are done on all kinds of chemicals that are aquatic, or in our case, human.   Carley Hauck  47:57   And I also login another piece to this. And this is also, you know, kind of connecting to what can I do? Right? Yeah, to avoid microplastics. But based on hearing that we have, we all have plastic in our gut. But guess what else has plastic and it's got animals, right? Yeah, fish, because we're depositing so much of our plastic in the ocean, but it's also getting in the soil, it's getting in the water, it's getting in the air. And so Greg and I are both, you know, big plant based advocates, and you will actually have less plastic, if you're eating more fruits and vegetables, you know, a Whole Foods organic plant based diet, and that also will greatly mitigate the effects of climate change through less fossil fuels. And the more that we can actually eat vegetables versus things that are packaged, there will be less plastic, you know, we don't need I mean, it's great that we have beyond me, and we have all these really wonderful opportunities to get these products like just egg who happen, you know, just like Josh Tetrick happens to be a CEO that I have focused on in my book, Josh and I have had heart to hearts, he's like Harley, we wouldn't need to even create, you know, being placed or being sourced offering if people were just eating more beets and vegetables. So anyway, we can minimize our plastic consumption by eating more whole foods plant based and also just by choosing not to buy plastic as much as possible, even though we know it's everywhere.   Greg Koch  49:45   I remember one time being in I used to travel a lot, particularly International. And I remember I think it was in Japan. And in the airport. They were selling bananas in a plastic bag, a sealed plastic bag and I looked Get that and I thought the banana has a rapper, rapper that protects that banana in the forest in the jungle for transportation, everything, but for some reason someone thought, let me put it in a plastic bag before I sell it. It has a nature provided bananas, its own packaging. But it's great. You say that. So what can you do? Again, educate yourself write your representative. But I like to think of what I can do about microplastic as the three C's consume less clean. All right. And don't change as often. All right. It's a it's a weak alliteration. I get   Carley Hauck  50:44   that I love it. One more time.   Greg Koch  50:47   Yeah, no, it's consume, clean and change. break those down for you. Now, I think that's a really weak alliteration. But so the first one you already said it's, you know, buy less things that have plastic in them, or are made of plastic. Right? Particularly. Yeah, particularly single use. Totally plastic. Right. So here, well, you can't see it. You can but your listeners can't. is a plastic water bottle that I got at REI. Rei. Yeah, go Rei. So it's made of plastic. All right, but I'll have this I've had this for 10 years, I'll have it for another 20. Right. And that's better than a one way bottle of water that I just drank. And now I've got to get rid of it. Right. So fortunately, increasingly, you see a lot more consumer goods particularly,   Carley Hauck  51:46   and bring your own Tupperware to the restaurant. I went. So I currently live in San Diego right now. And I went to a place I tried to actually cook and eat the majority of my food from home, but sometimes I'm out and about, and I gotta eat dinner. So I stopped to get a salad. And I knew that I was not going to leave the whole salad. And I said, I don't want you to put it in a TO GO Box. Even though they had a compostable box. I brought my own Tupperware. And the woman behind the counter said, I love that you brought your own Tupperware, why aren't more people are doing that. And I was like, I know. But you just have to think about it and grab it. So bring your own plastic Tupperware. That's how you use it. And for those of you that have been listening, the podcast, you know that I had this experiment where I lived in Costa Rica for three months, and I tried to live as regeneratively as I possibly could. And I brought plastic everywhere. And I recycled even my little plastic baggies. Like I just I really did not want to bring more plastic into this country that does not want it or need it going back.   Greg Koch  53:00   Consumers don't buy things or plastic. Certainly, well, if you can avoid it. One way plus   Carley Hauck  53:08   another piece. This is a plug for the US airlines and international. They, in my opinion, are one of the biggest polluters of single use plastics, we do not need to be using plastics for everybody's water consumption. I've talked to the airline attendants, they hate giving out these plastic cups. So southwest, you know united, what are we doing? It's so easy, there is compostable plastic ware that we can be giving out to our patrons who are going to love the fact that you are being more environmentally responsible. For you, I don't know are the airlines any of Arabs clients? How do we get the airlines your clients?   Greg Koch  53:55   I don't believe any of the airline's our clients. I know we've done some work for some of the airline manufacturers like Boeing and Airbus, but I don't know. But wow, talk about a captive audience and a captive waste stream, right? No one's gonna take any of that waste with them when they leave the plane. So it's entirely up to the airline what to serve, and what to serve it in and what to do with the waste that's left. It's only them right? Because people aren't going to bring their own meal. Most people are water and they're not going to leave their way or take their waste with them.   Carley Hauck  54:30   So I do but I'm meticulous. Bring all my own food. I bring my water bottle and I just want to plug only 7% of what we think gets recycled actually is recycled. So the rest of it it's just going into a landfill and or the ocean.   Greg Koch  54:46   That's the worst part. All right back to what can you do we talked about last   Carley Hauck  54:53   and then we don't have a lot of time left Greg. So we'll have to move into PFA clothing.   Greg Koch  54:58   Let me just do clothing. Yeah, go for it because most clothing has plastic in it. Yeah, nylon, you know all these synthetic fibers. So try not to buy the latest fashions all the time and throw out your other stuff. And believe it or not, because most clothing has plastic in it, your dryer, if you heat dry your clothes, like you wash your dryer at home, it's generating lots of microplastics that will get out into the airborne environment through your dryer vent. So think about that. Particularly with the, you know, the trend to buy all new outfits for every season because it's cheap, and you can have a new outfit and whatnot. But let's move on to P FOSS.   Carley Hauck  55:43   And I'll just plug I know we're sharing a ton of information. But after this interview, I'm going to repeat the what can you do a summary for everybody before you so stay on till the very end of this interview because you're going to be reminded, okay, Greg, take it away. P FOSS.   Greg Koch  56:02   P FOSS?   Carley Hauck  56:03   What a fun name your pays   Greg Koch  56:05   are P Foss, I think it's most commonly referred to as P FOSS. And sorry, my dogs are excited if you hear them in the background. Yeah. Well, it's funny, those dogs have beef. Awesome. And so do you, Carly? So do I, it's everywhere. You know, I talked about microplastics being everywhere. This stuff is really everywhere. I'm everywhere. So what they are is they're they're per and polyfluorinated substances, abbreviated as P FOSS. It's a chemical and manmade chemical. It's a poly or fluoro polymer for anyone who wants to try to understand that. But in the shownotes there'll be some links that explain you most commonly experience P FOSS in Teflon, scotchguard GoreTex. Those are probably the three most trade names that most people are. So stain resistance, water resistance, stick resistance, right? There's more industrial applications and firefighting foams, but because of Scotch cards a brand name, but what I mean to say is stain resistant coatings, which are everywhere. Teflon, everyone's frying pan, and cookwares coated with something nonstick. And then GoreTex is every bit of outdoor equipment. Those things are major sources of peat moss, and so they're everywhere. And because they've been used so ubiquitously. It's in the entire global population. So there was a famous study that one of the manufacturers of P FOSS did, where they, you know, said we're gonna do a random sampling, you know, I don't know 10,000 People and sample their blood and see if there's any P Foss, they stopped after 100 people, because 100% of the 100 people that pee FOSS in them. They're like, it's everywhere. It is everywhere. It's considered a forever chemical, meaning it takes 1000s of years to break down in a natural environment that it's in you you'll never get rid of. There's no way to get P FOSS out of your body. We believe that it has thyroid cause thyroid problems, cancer, reproductive issues, and liver does liver damage, but a lot of the science and that's not just in people that's in other living species, aquatic and terrestrial. And the science is still out of we know if you consumed a bunch of this, it would be detrimental probably deadly. But the tiny concentrations that we all have and are exposed to from our clothes or carpet, whatever our rain jacket. What does that look like? What are the long term health impacts over a lifetime that being exposed? We don't know. But in an abundance of caution regulators around the world in Europe, even in the United States and the Biden administration pointed out put out some recent new rules to say we've we've got to start limiting how much new pee FOSS gets into the environment into the product supply. And we start we have to start cleaning up some of the hotter spots of pee FOSS   Carley Hauck  59:29   just to give a little bit more science. And this is all been found you know through the pf the P FOSS action act of 2021 which was designed to create a national drinking water standard for select P FOSS chemicals. And basically, the lawmakers shared that more than 320 military sites have P FOSS contamination and more than 200 million US residents could be drinking contaminated water now Want to cause cancer, reproductive and developmental issues and weakened immune systems? So there is, you know, this new legislature that it seems like it's being passed finally, through the EPA, because it's been stalled many times to remove three. And I believe there's 600, forever   Greg Koch  1:00:17   600 versions of these.   Carley Hauck  1:00:19   So why are we only reducing three,   Greg Koch  1:00:23   three, go start somewhere. But I can tell you, you know, linking it back to my personal life, you know, the consultancy I worked for, there are places where we go and sample for this, to see, you know, if it's there, we know it's going to be there. But at what concentration, it's incredibly hard thinking about you're trying to sample for something that might be present in the parts per billion or even trillion, but you the person doing the sampling and doing the lab test, have P FOSS in you, it's in all the lab equipment, it's in the sample container, it's in the air, even just sampling for and trying to test it in the lab is very difficult because of how ubiquitous it is. And to be honest, that the three issues red tide microplastics and, and P Foss, this is the one that that worries me the most, not just the three that they're acting on now, but all 600 of them, and they are forever chemicals.   Carley Hauck  1:01:18   And they're not just you know, local to the US. They're global, because they've gone out and all products all over the world. So what can we do? We can? Mice? Yeah, go ahead. Well, I was also gonna say, What are you cooking with y'all? You know, cooking with to get rid of that Teflon, you stainless steel or all clad is another   Greg Koch  1:01:45   something. But I think the number one thing you can do after you sort of scrub your you know, is just be cautious about new products that come out. That sounds too good to be true. I mean, think about it, you know, think about stain resistance, you know, I could spill blueberries on this dress shirt that I have on right now. But because of the stain resistant, it comes right off. So be a little more cautious when a new product comes out, say, oh, it's got all this new function well, is it using a forever chemical? Does it have microbeads or microplastic in it and, you know, get educated about what you're bringing into your home into your body. As you work to try to eliminate the original sources of this Be careful not to buy a new one. Because it's the latest greatest thing. And it does things we I you know, stain resistance, waterproofing, stick resistance, these things make our life easier. But I would trade the convenience that those things offer for, for better health any day of the week.   Carley Hauck  1:02:49   And make sure that you have really good filtered water, like some research on this reverse osmosis is the best to be able to really eliminate PFAs. You know, one of the things that I didn't share in this podcast, but it's also why I felt even more compelled to put more effort in my own life around water protection is when I was living in Costa Rica, Greg knows this. I unfortunately, got hit with parasites three times in three months. And this was due to I love Costa Rica. But if you're near the coast, they don't have great drinking water. And I have no idea what I was picking up. And it's not because I wasn't drinking filtered water, all my teachers, but I was I was eating local produce, because I was trying to stay away from having to cook everything and I didn't want to eat out. Yeah. And that local produce is being you know, grown and unhealthy water. And even though there's parasites and there's PFAs here in the States, I guess my body's like, I know that parasite. You're welcome here. But the parasites in subtropical climates in Costa Rica, my body was not happy. Took a little while to come back into healthy. So I believe that that was for me. And for me to then reach out to Greg and say, Hey, buddy, let's go we gotta talk more. Let's let's amplify our efforts to protect. This was wonderful. The other thing that I just wanted to leave as as resources is, Greg has written a fabulous book with his colleague will sarni I'm gonna leave a link in the show notes, which speaks to some of what we can do from a private and public sector. So even though Greg and I have been saying what can you do individually, this also comes down to what do we do in our business, right? Business has such an opportunity to be a force for good to really I change its operations so that it is aligned with the SDGs. And environmental responsibility and accountability for that matter. And then I'll just plug my own book, my own book shares another pathway, which is, how do we really cultivate that conscious motivation, as an individual to really lead, whether it's at work, whether it's in our communities, whether it's at home, and to see models of other people doing that, to know that, we have the opportunity, we have the responsibility to be the change, and there are going to be lots of resources for your education, for your activation that we will leave in the show notes, and I will come back, if you stay on just a few more minutes, I will summarize all the things that you can do. And, you know, maybe just pick one from each of these categories. And start small. And Greg, thank you, again, give our listeners with,   Greg Koch  1:06:05   I think, not plugging my book, but the underlying premise of the book is about wellbeing. And the book starts off with an obvious realization of more, right, you hear politician, we want more jobs, you know, you're a business person, say we need more profit, more revenue, more volume, right? It's always more more more more and more across business, across government, even in our own lives. People want a bigger house, a nicer car, newer clothes, more jewelry, more, more, more. And in part microplastics, and nutrients and P FOSS are linked to a consumer society. And so the premise is, you know, instead of focusing so much on more, why don't we apply all that energy into well being?   Carley Hauck  1:06:57   And less and simplicity. Yeah, I love it. Okay, thanks. This is so much fun. Yeah. It's so good to talk. Thank you again. Thank you. Thanks. All right. Keep keep rocking it, Greg,   Greg Koch  1:07:14   you to have fun and have fun this weekend. I will. So have fun. You too. Take care.   Carley Hauck  1:07:21   Bye. Well, I am humbled and inspired by that conversation. Greg, thank you so much for willing to noodle on this with me the past couple of weeks, as we, you know, co created what do we want to talk about? How is this going to be in service, for the flourishing of people and planning, and I'm just really delighted to have you in my life and this friendship that keeps deepening. For those of you that want to connect more with Greg, you know, he's doing some fabulous work with companies, and so is his consulting firm. So his LinkedIn handle is in the show notes. He also wrote a fabulous book. And I would encourage you to go there. As I prompted throughout the podcast, there were lots of action steps that Greg and I spoke about. And what I would encourage you to do is, you know, to pick one or two from each of these three sections, red tide, PFA, S and microplastics. So let me summarize a couple for you to really take some action on because we are all leaders, we all have the responsibility and the opportunity to lead and we have to take care of our home and that is planet Earth. If we do not take care of her, we will not flourish. our well being as you heard is being hugely negatively impacted. Because of our actions. We need to clean it up. We need to do better, we can do better. So I hope that these action steps inspire you. Share them with friends with colleagues with your kiddos, what can we do about red tide? Well, as we heard, the more we can mitigate warming of the planet, the better. So we try to abstain from fossil fuels. How do we do that? We don't drive as much you know, you don't have to go to the grocery store to go get that thing every day. Ride your bike more take mass transportation. And also, you know, be mindful of your heating and your cooling and just your energy consumption, limit or even eliminate home fertilizer use that even And, you know pertains to, if you're living in an HOA or you know a residential neighborhood are the landscapers using fertilizer like you have a voice This is what you pay for right? Figure out what are they using? Is there a way to have this be more regenerative pick up pet waste even on your lawn that actually makes a difference, as Greg mentioned, maintain your septic septic system. And really refrain from dumping any pollutants into sewers or storm drains or your laundry you know, so again, like there are so many environmentally friendly products for shampooing and laundry, to cleaning your pets to washing your hands that are biodegradable and healthy. Also see what you can do if you live near streams or water. How can you help clean up the water right so that there isn't trash or pollutants? It was kind of astonishing to me in 21 I was living outside of Asheville, North Carolina and the front prod wherever, which is one of the largest rivers throughout the Mississippi was quite polluted. And it just ran through town people would get really sick in the summer when they go swimming in it and I just think so Why are you swimming in an infected huge river? Why aren't we cleaning this up so we can enjoy it. And the same thing as you heard me talk about in Florida, which is please people that are living in Florida, please to help me get some new legislature so we have composting in Florida so that we have mandated solar on roofs that's going to help mitigate warming and red tide. Okay, I'll stop there. What about microplastics? What can we do about that? Well, it's intuitive, we use less plastics. Bring your own bag, there is no excuse for not having a cloth bag. Bring it when you travel. Bring your own water bottle when you travel when you go on the plane, refill it anything honestly that is transported in a plastic bottle that then has water in it that then you drink from at some point that plastic bottle is being transported in heat. When plastic gets hot. What happens? Well, chemicals from the plastic leach into the water which then you're drinking. So I don't believe that what is in your plastic bottle is cleaner than the tap water. So let's really try to bring our own bottle. There's a ton of incredible filters when you go to the airports now. And you just refill your bottle there. wash your clothes, less often. Air dry clothes, because that's going to mitigate microplastics you don't have to buy new clothes. I love going to consignment stores one that's going to lower fossil fuels because it takes less energy to have to create new clothing when you can actually just use great ones that are still in good shape that were probably way more expensive than what you can get for them now. And buy plastic free cosmetics if you're using cosmetics and don't microwave in plastic containers. We kind of already know that and then again, you can do you know litter cleanup. That's also going to help. What about PFS? PFS is harder because they're in everything. There's over 600 But filtered water is huge. And in doing my research reverse osmosis seems to be the best way to reduce them from your water. We also need to call our legislature or senators or Congress, you know, men, women people, why are we only limiting three when they're 600. And let's go a step further. I would love to encourage you to watch the movie dark water, which came out in 2019 Mark Ruffo and Anne Hathaway Oh yeah, some big stars are in this movie. And they basically exposed Dupont, there is a article in the shownotes where there is some evasion on actually paying the amount needed for all the people that got sick and the ongoing long term effects that they have caused not just the US the world, it's everywhere. And we also want to have less consumption of packaging because that is going to have one microplastics into it. PSAs so there are a lot of wonderful actions that you can get started on. But before we end, I wanted to leave you with a prompt. So let's just take a moment to just go inside, close the eyes. If you're driving, don't do that. And just feel your body. And when you think about this question, notice what arises, feelings sensations. And what do you feel inspired to do? What if you didn't have clean drinking water? What if you didn't have enough water to use for your every day? You know needs? There are a lot of people in the world that don't. How would that impact you?   And what might you do to ensure that you protect it the water for yourself, for your neighbors for your community for life for animals for future generations? How could you live more simply how could you bring your attention towards living in a way that is regenerating? Not over consuming, not destroying.   Water is becoming more scarce and quantity and quality. We can and should expect that there will be a reduction in precipitation due to changing climate. Drought, excessive withdrawals of groundwater from aquifers. Freshwater is diminishing. And we have a finite amount of water, which means we have to protect it. We are water protectors, you are a water protector.   I invite you to take 30 minutes out of your week to reflect on how you want to be a water protector in your life. If you enjoy this episode, please give it a five star rating and share it with friends, colleagues and community who will benefit. Additionally, if you know of someone or you yourself work in the airline industry

My 3rd mix for the month of April 2023. Ol' TS called April the cruelest month, but I think life is "BRUTIFUL" beautiful and brutal. So this mix reflects that. Thank you Tampa/St. Pete for the inspiration. See you at the bucket thing Sunday, Mr. Creosote!

In late September 2022, Hurricane Ian made landfall on southwest Florida. As meteorologists monitored the story, they had predicted it would land further north, in the Tampa / St. Pete area. Thus many residents in Fort Myers and Naples were underprepared for the category four hurricane which devastated the area with 155 mph winds and unrelenting rain and storm surge. Capt. Bill D'Antuono, a lifetime Naples resident, made the tough call to leave his home and head to higher ground. As the storm receded, Bill went into recovery mode, helping his neighbors as he rebuilt his house. About five months later, Bill is just starting to run fishing charters again and he's already seen how the storm changed the bottom topography in the areas where he fishes and dives in the Gulf of Mexico. This is his story.

In this episode, sudden mass shooting puts an end to the 'Stop Asian Hate' movement. Unapologetically American Comedy Tour in Tampa/St.Pete on Feb 9th. Fifth trove of documents discoverd in Delaware mansion.

The Tampa Bay beer scene is among the country's most exciting. I've visited the Tampa - St. Pete region at least once a year for most of my life. It's where my family vacationed during spring breaks and it's where my folks retired. So as I grew up and started getting interested in craft beer, I naturally used my trips to Florida to explore the local Tampa Bay beer scene. I'd sneak away to check out the local bars and liquor stores in search of something interesting. And in the early days, it was pretty bleak. I'd be excited to find Yuengling or Michelob Amber Bock in the local Publix or some dusty craft beer bottles in some seedy convenience store. I was excited when I found Ybor City Brewing Company. But progress was slow. Until it wasn't. Tampa Bay is now one of the country's liveliest places for beer, representing an eclectic array of producers of everything from classic wheat beers and easy drinking IPAs to monster barrel aged stouts. So I'm excited this week to sit down with two gentlemen who possess an impressive trove of information and insights into the Tampa Bay beer scene. Sean Norquist is the executive Director of the Florida Brewers Guild, a role he has had since 2017. He is responsible for growing membership, coordinating events (including the excellent annual conference that I attended a few years back, as well as representing breweries and their interests before the state legislature in Tallahassee. Before taking on that role, he was a beer writer and also helped run Tampa Bay Beer Week.Mark DeNote is a freelance beer writer and communicator who runs Florida Beer News, a site dedicated to the state's emerging craft breweries, thriving breweries, and the craft beer history of Florida. Mark is also the author of two books about Florida craft beer, The Great Florida Craft Beer Guide and Tampa Bay Beer: A Heady History.This Episode is Sponsored by:Pub Culture BeercationsStop living vicariously through other people's social media posts and get out and make some memories of your own! Join Pub Culture Beercations for one of our upcoming tours and start exploring the world one pint at a time with us. Visit PubCultureBeercations.com for more information.For original articles or to read the vast archives or to check out All About Beer.  follow us on Twitter @allaboutbeer and Instagram @allaboutbeer. Support Journalism by visiting our Patreon Page. Host: Andy Crouch Guests: Sean Nordquist, Mark DeNote Sponsor: Pub Culture Beercations Tags: Tampa beer, St. Petersburg beer, Florida Beer, Cigar City Brewing, Tampa Bay Brewing ★ Support this podcast on Patreon ★

Sometimes major cities are so close geographically that it is customary to mention them together. Minneapolis-St. Paul, Dallas-Forth Worth and Tampa-St. Petersburg all share such proximity that they are like one large metropolis. The name of ancient Sardis is a plural noun, representing two neighboring places, one an impregnable fortress on a hill, and one a thriving trade city at the bottom of the hill. Sardis was the capital of the Roman province of Lydia. At the time of the writing of Revelation, the city's glory days had long since passed. The decline of the spiritual condition of the church at Sardis mirrored the city's fallen status. In this passage, the risen Christ calls the church at Sardis to remember, to wake up, and to repent. Jesus' words are gracious, stirring the dying embers of a church whose flame is all but extinguished.

Martha Collins is a longtime land use attorney in the greater Tampa-St. Pete area, who joined us this week in the aftermath of Hurricane Ian. Collins talked with host Chelsea Henderson about preparing for a hurricane, how these type of storms can permanently change a local area/community and how to recover while deciding what to do in the aftermath of the damage left by hurricanes. She touches on the recovery effort in Southwest Florida, the future moving forward with how to protect against hurricanes and so much more. Don't miss this outstanding interview! You can always listen to more episodes of the podcast below at https://republicen.org/podcast.

October 11, 2022 54. We Need to Build Better to Survive Hurricanes with Brock LongThe devastation Hurricane Ian caused in Southwest Florida could just as easily have happened in the Tampa/St. Petersburg area. Former FEMA Administrator & Executive Chairman at Hagerty Consulting Brock Long talks about what people need to do to be better prepared.Here are some important moments with Brock Long from the podcast: At 4:18 Brock talks about why people need to take evacuation orders seriously. At 10:40 Brock answers the question, why do we keep rebuilding to standards that are lower than the disasters that destroyed the community?At 20:56 Brock talks about how Congress needs to change the Stafford Act so communities that build the right way with stronger building codes get rewarded. Currently, local areas have no incentive to insure their infrastructure or build it correctly. Here are some ways to follow and contact or follow Brock Long:Linkedin:  https://www.linkedin.com/in/brock-long-62742a17/ Website: hagertyconsulting.comImportant information from Homeowners Be Aware:We are excited to be listed in Feedspots 40 best Homeowner podcasts : https://podcasts.feedspot.com/homeowner_podcasts/ Here are ways you can follow me on line:Instagram: https://www.instagram.com/homeownersbeaware/ Website: https://homeownersbeaware.com/ LinkedIn: https://www.linkedin.com/in/george-siegal/ If you'd like to reach me for any reason, here's the link to my contact form: https://homeownersbeaware.com/contactHere's the link to the documentary film I'm making Built to Last: Buyer Beware.

Episode 53October 4, 2022 Hurricane Ian, What Do We Learn?Hurricane Ian left a path of destruction across Southwest Florida. Originally the storm was forecast to hit Tampa Florida. If it had, the Tampa/St. Petersburg area would have suffered catastrophic damage. What do we learn from Ian that could make a future hurricane less damaging? Hear what we should be doing from John Scardena and Aris Papadopoulos. Here are some important moments with John and Aris from the podcast: At 6:05  John Scardena talks about what we can do to be better prepared? At 22:58 John has advice for people in Tampa, St. Pete and Clearwater to be better prepared going forward?At 37:32 Aris Papadopoulos talks about what would have happened if Ian had hit Southeast Florida? At 49:53 What advice does Aris have for the places in Florida that dodged the bullet this time from Ian?Here are some ways to follow and contact or follow John Scardena:Linkedin:  https://www.linkedin.com/company/doberman-emergency-management-group/mycompanyFacebook: https://www.facebook.com/DobermanEMGInstagram: https://www.instagram.com/dobermanemg/ Twitter: https://twitter.com/Doberman_EMG Here are some ways to follow and contact or follow Aris Papadopoulos:LinkedIn: https://www.linkedin.com/in/aris-papadopoulos-bb3584141/ Twitter: https://twitter.com/ResilienceAF  Websites: https://www.buildingresilient.com Important information from Homeowners Be Aware:We are excited to be listed in Feedspots 40 best Homeowner podcasts : https://podcasts.feedspot.com/homeowner_podcasts/ Here are ways you can follow me on line:Instagram: https://www.instagram.com/homeownersbeaware/ Website: https://homeownersbeaware.com/ LinkedIn: https://www.linkedin.com/in/george-siegal/ If you'd like to reach me for any reason, here's the link to my contact form: https://homeownersbeaware.com/contactHere's the link to the documentary film I'm making Built to Last: Buyer Beware.

This is a long one, with several awesome humans! Section 4 September Sufferfest Recap and special guest Laura Bradley, of Go! Running Tours Florida.  She shares her experience at Sufferfest, then a little of her personal running journey as well as her awesome job of conducting running tours all over Tampa/St. Pete area.  Then Jamie Saunders, 2nd place overall at the Sufferfest 50k, recaps her race and shares her running story.  1st place male in the 50k, Scott Knapp shares his race experience and running story.  Last but not least, RD Mike Martinez discusses recovery month, Runners4Recovery, and his Sufferfest recap.  IG@laurakbradley @floridarunningtoursRUNNING TOURS IN TAMPA - GO! RUNNING TOURS (gorunningtours.com)This ain't yo Momma's 50k & Trail Marathon - January 29, 2023 (ultrasignup.com)Runners4Recovery | Because We Do Recover (runners4recoveryjax.org)

We kick off with a mention of top stories of the day: Hurricane Ian heading to Tampa/St. Pete; Jack Phillips' Masterpiece Cakeshop case to the CO Court of Appeals Oct. 5. Then - we welcome USAF Maj. Gen. Trulan Eyre, Ret. in studio for the hour. He recently retired from Delta Airlines, and discusses his career, flying Steffan in an F16, his role on 9/11 and much more. The USAFA grad and former Rugby captain previews Friday night at Infinity Park in Glendale - USAF/Navy rugby for free! 8pm Friday night.See omnystudio.com/listener for privacy information.

Beth Rousseau reports on storm preparations in the Tampa/St. Pete area, as Hurricane Ian approaches Florida's gulf coast.

Beth Rousseau reports on VP Harris's visit to the Tampa/St. Pete area today.

Join FOX Weather's Hurricane Specialist Bryan Norcross and Paul Dellegatto, the Chief Meteorologist at WTVT FOX13 in Tampa/St. Petersburg. Bryan and Paul talk about Paul's career, the special challenges of dealing with a hurricane in the very complex and highly populated cities around Tampa Bay, Paul's innovative social media presence, and the legacy of high-level weather coverage at WTVT that dates back to the 1950s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Meet Justin Henderson, Group Talent Acquisition Manager for Enterprise Holdings in the Tampa/St. Pete market. Justin shares his core principles that have led to personal and professional success. They are the 5 C's - Confidence, Communication, Competitiveness, Character & Commitment. Connect with Justin on LinkedIn - JustinHendersonERAC or justin.f.henderson@ehi.com or USF Handshake.

Planet 13 Holdings Inc's David Farris joined Proactive to announce the second location of its planned Florida dispensary network located in the city of Port Richey, a prominent suburb in the rapid-growth Tampa - St. Petersburg - Clearwater region. The company said the location in Port Richey is on a busy retail corridor near a Home Depot and on the way to the popular waterfront destinations from downtown.

Copeland Moore is the 4th generation at La Segunda Bakery, which was started by his great-grandfather in 1915 in Ybor City, near the port in Tampa Bay. It's here where Cubans, Spanish, Germans and Italians all settled together. The city was a huge cigar producer and gave birth to the Cuban Sandwich (but with the addition of Genoa Salami, which you don't find in Miami). This melting pot really influenced the bread, the pastries and the pizza in the area. There are now a half dozen well-known bakeries in the area all offering slightly different versions of scachatta, but the OG is La Segunda. 

We're back in the Grand Central District of St. Petersburg today, getting our Mario Kart on. Right Around the Corner Arcade Brewery is one of the smallest breweries in the Tampa/St. Pete area, but has one of the best brewery experiences. Tons of pinball games, old-school game consoles, and really excellent beer. While my daughter played rather loud games of Skee-Ball in the back, I spoke to co-owner and brewer, Tom Rockhill, about opening a brewery and filling it with lots and lots of games. Plenty of time was spent discussing not only the joys of brewing on a small system along with how the old NES zappers are completely useless these days. Listen in...   Host: David Butler of the Florida Beer Blog Executive Producer: Jaime ("Jemmy") Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guests: Tom Rockhill of Right Around the Corner Arcade Brewery Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know!    FPN:  Check out the other shows on the Florida Podcast Network

We're back in the Grand Central District of St. Petersburg today, getting our Mario Kart on. Right Around the Corner Arcade Brewery is one of the smallest breweries in the Tampa/St. Pete area, but has one of the best brewery experiences. Tons of pinball games, old-school game consoles, and really excellent beer. While my daughter played rather loud games of Skee-Ball in the back, I spoke to co-owner and brewer, Tom Rockhill, about opening a brewery and filling it with lots and lots of games. Plenty of time was spent discussing not only the joys of brewing on a small system along with how the old NES zappers are completely useless these days. Listen in...   Host: David Butler of the Florida Beer Blog Executive Producer: Jaime ("Jemmy") Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Tom Rockhill of Right Around the Corner Arcade Brewery Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit

We kick it off with new music discussing new releases from Fivio Foreign "B.I.B.L.E" (01:44). Coi Leray "Trendsetter" (04:27). Vince Staples "Ramona Park Broke My Heart" (06:00). SYD's "Broken Hearts Club" (09:00). IDK's new single "Taco" produced by Kaytranada (09:51). Doechii's new single & video "Crazy"(11:21). "London" feat. J.Cole by BIA (17:21). Jack Harlow's new single "First Class" (18:51). Full Court Press album by Wiz Khalifa, Big Krit, Girl Talk & Smoke DZA (21:51). Chloe Bailey lets it shine on the new single "Treat Me" (23:45). Kanye dominates the Billboard Nominations (27:47). ATLANTA EP 4 "The Big Payback" review (33:36). New twitter sensation from Netflix "Ultimatum" (44:00). RIP Dwayne Haskins (47:03). Kentaji Brown to Supreme Court Judge (48:36). Will Smith & the Oscars continued... (51:16). Schoolboy Q drops new song "Soccer Dad" and collars with Nike & Tiger Woods (52:34). XXL Freshman guesses (54:11). JT & UZI split? (57:20). Tory arrested (58:25). Upcoming concerts in Tampa/St.Pete (59:05). Black Star exclusive album coming May 3rd (1:01:20). Grammys Recap (01:01:56). music by knxwledge --- Support this podcast: https://anchor.fm/beatsnchill/support

Listen and subscribe at www.JustProWrestlingNews.com I'm Matt Carlins and this is JUST Pro Wrestling News for Wednesday, March 9, 2022. This update is brought to you by the Wrestling Mayhem Show. Check out the new episode right now wherever you get your podcasts. (STINGER: WWE) Dolph Ziggler is the NEW NXT Champion. He won the title in a 3-way main event on last night's Roadblock special. Ziggler's tag team partner Robert Roode got involved late in the match. Roode sidetracked former champ Bron Breakker - opening the door for Ziggler to hit Tommaso Ciampa with a superkick and pin Ciampa to win the title. It is the first singles champion for Ziggler since 2018. Imperium's Marcel Barthel & Fabian Aichner are still the NXT Tag Team Champions…but they now have two clear challengers waiting in the wings. Imperium was set to defend the titles against the Creed Brothers last night. But the Creeds were scratched after they were found laid out in the infamous NXT Parking Lot. MSK stepped in for the Creeds. But during the title match, the Creeds returned, a big brawl ensued and the match was thrown out. The final of the women's Dusty Rhodes Tag Team Classic. It'll be Io Shirai & Kay Lee Ray vs. Dakota Kai & Wendy Choo. Kai & Choo got another upset win last night. They beat Cora Jade & Raquel Gonzalez. Toxic Attraction's Gigi Dolin & Jayce Jane - the NXT Women's Tag Champs - attacked Gonzalez' knee during the match and Kai & Choo were able to take advantage and pin her for the win. In the other semifinal last night, Shirai & KLR beat Kacy Catanzaro & Kayden Carter. Getting back to Cora Jade - she later attacked the NXT Women's Champ Mandy Rose in the Toxic Lounge, where Edris Enofe & Malik Blade were filling in as Rose's attendants. Grayson Waller won a Last Man Standing match against LA Knight…thanks to some help from Sanga. Fallon Henley beat Tiffany Stratton…after interference by Sarray. A-Kid - a former Heritage Cup Champion in NXT UK - will make his NXT debut next week. There will be four qualifying matches to decide the challengers for North American Champ Carmelo Hayes in a ladder match at Stand & Deliver. That starts next week with Cameron Grimes vs. Santos Escobar. “Stone Cold” Steve Austin accepted Kevin Owens' challenge to appear on a special “KO Show” at WrestleMania. It'll happen on Night 1 of Mania on Saturday, April 2nd. (STINGER: AEW) A title match and the fallout from Revolution are set for tonight's Dynamite. Sammy Guevara will defend the TNT Championship against Scorpio Sky. Face of the Revolution Ladder Match winner Wardlow awaits the winner next week. Thunder Rosa will face LEGIT Leyla Hirsch. The winner gets a title shot against AEW Women's Champ Dr. Britt Baker on next week's Dynamite. Also tonight, Chris Jericho will address Eddie Kingston…after Kingston beat Jericho at Revolution. On last night's Dark…Scorpio Sky beat Sonny Kiss…Red Velvet beat Kiera Hogan…Nyla Rose beat Skye Blue…Ruby Soho & AQA teamed up to defeat Diamante & Emi Sakura…The Butcher & The Blade beat Dark Order's Colt Cabana & Alan “5” Angels…Private Party beat Lee Johnson & Brock Anderson…Top Flight beat The Wingmen's Peter Avalon & Ryan Nemeth. (STINGER: Impact) Trey Miguel will defend the X-Division Championship at the Rebellion pay-per-view in a 3-way. Impact announced the match Tuesday but did not reveal Miguel's challengers. The next holder of the vacant NWA Junior Heavyweight Championship will be decided on Night 2 of the Crockett Cup on March 20th. It'll be a 4-way title match: Austin Aries vs. Colby Corino vs. Darius Lockheart vs. Homicide. (STINGER: New Japan) Second-round matches in the New Japan Cup tournament begin Wednesday. FOUR second-round matches are set for Thursday: Hiroshi Tanahashi vs. Bad Luck Fale…Jeff Cobb vs. Satoshi Kojima…Tetsuya Naito vs. Gedo..and YOSHI-HASHI vs. Kosei Fujita. Big Damo - the former Killian Dane in WWE - will make his New Japan debut at the Strong Style Evolved tapings in Tampa/St. Pete on March 20th. That's JUST Pro Wrestling News for ______. Our next update comes your way ____, so be sure to subscribe to this feed. We also thank you in advance for leaving a glowing rating or review.. I'm Matt Carlins. Thank YOU for listening. ~~~Full run down at www.justprowrestlingnews.com ~~~ • • • • • wwe #wrestling #prowrestling #smackdown #wwenetwork #wweraw #romanreigns #ajstyles #NXT #raw #njpw #wwenxt #SethRollins #TNA #johncena #RandyOrton #wrestlemania #ROH #WWF #summerslam #tripleh #aewdynamite #professionalwrestling #aew #allelitewrestling #aewontnt #DeanAmbrose #nxt #KevinOwens #wwesmackdown 

Listen and subscribe at www.JustProWrestlingNews.com I'm Matt Carlins and this is JUST Pro Wrestling News for Wednesday, March 9, 2022. This update is brought to you by the Wrestling Mayhem Show. Check out the new episode right now wherever you get your podcasts. (STINGER: WWE) Dolph Ziggler is the NEW NXT Champion. He won the title in a 3-way main event on last night's Roadblock special. Ziggler's tag team partner Robert Roode got involved late in the match. Roode sidetracked former champ Bron Breakker - opening the door for Ziggler to hit Tommaso Ciampa with a superkick and pin Ciampa to win the title. It is the first singles champion for Ziggler since 2018. Imperium's Marcel Barthel & Fabian Aichner are still the NXT Tag Team Champions…but they now have two clear challengers waiting in the wings. Imperium was set to defend the titles against the Creed Brothers last night. But the Creeds were scratched after they were found laid out in the infamous NXT Parking Lot. MSK stepped in for the Creeds. But during the title match, the Creeds returned, a big brawl ensued and the match was thrown out. The final of the women's Dusty Rhodes Tag Team Classic. It'll be Io Shirai & Kay Lee Ray vs. Dakota Kai & Wendy Choo. Kai & Choo got another upset win last night. They beat Cora Jade & Raquel Gonzalez. Toxic Attraction's Gigi Dolin & Jayce Jane - the NXT Women's Tag Champs - attacked Gonzalez' knee during the match and Kai & Choo were able to take advantage and pin her for the win. In the other semifinal last night, Shirai & KLR beat Kacy Catanzaro & Kayden Carter. Getting back to Cora Jade - she later attacked the NXT Women's Champ Mandy Rose in the Toxic Lounge, where Edris Enofe & Malik Blade were filling in as Rose's attendants. Grayson Waller won a Last Man Standing match against LA Knight…thanks to some help from Sanga. Fallon Henley beat Tiffany Stratton…after interference by Sarray. A-Kid - a former Heritage Cup Champion in NXT UK - will make his NXT debut next week. There will be four qualifying matches to decide the challengers for North American Champ Carmelo Hayes in a ladder match at Stand & Deliver. That starts next week with Cameron Grimes vs. Santos Escobar. “Stone Cold” Steve Austin accepted Kevin Owens' challenge to appear on a special “KO Show” at WrestleMania. It'll happen on Night 1 of Mania on Saturday, April 2nd. (STINGER: AEW) A title match and the fallout from Revolution are set for tonight's Dynamite. Sammy Guevara will defend the TNT Championship against Scorpio Sky. Face of the Revolution Ladder Match winner Wardlow awaits the winner next week. Thunder Rosa will face LEGIT Leyla Hirsch. The winner gets a title shot against AEW Women's Champ Dr. Britt Baker on next week's Dynamite. Also tonight, Chris Jericho will address Eddie Kingston…after Kingston beat Jericho at Revolution. On last night's Dark…Scorpio Sky beat Sonny Kiss…Red Velvet beat Kiera Hogan…Nyla Rose beat Skye Blue…Ruby Soho & AQA teamed up to defeat Diamante & Emi Sakura…The Butcher & The Blade beat Dark Order's Colt Cabana & Alan “5” Angels…Private Party beat Lee Johnson & Brock Anderson…Top Flight beat The Wingmen's Peter Avalon & Ryan Nemeth. (STINGER: Impact) Trey Miguel will defend the X-Division Championship at the Rebellion pay-per-view in a 3-way. Impact announced the match Tuesday but did not reveal Miguel's challengers. The next holder of the vacant NWA Junior Heavyweight Championship will be decided on Night 2 of the Crockett Cup on March 20th. It'll be a 4-way title match: Austin Aries vs. Colby Corino vs. Darius Lockheart vs. Homicide. (STINGER: New Japan) Second-round matches in the New Japan Cup tournament begin Wednesday. FOUR second-round matches are set for Thursday: Hiroshi Tanahashi vs. Bad Luck Fale…Jeff Cobb vs. Satoshi Kojima…Tetsuya Naito vs. Gedo..and YOSHI-HASHI vs. Kosei Fujita. Big Damo - the former Killian Dane in WWE - will make his New Japan debut at the Strong Style Evolved tapings in Tampa/St. Pete on March 20th. That's JUST Pro Wrestling News for ______. Our next update comes your way ____, so be sure to subscribe to this feed. We also thank you in advance for leaving a glowing rating or review.. I'm Matt Carlins. Thank YOU for listening. ~Full run down at www.justprowrestlingnews.com ~ • • • • • wwe #wrestling #prowrestling #smackdown #wwenetwork #wweraw #romanreigns #ajstyles #NXT #raw #njpw #wwenxt #SethRollins #TNA #johncena #RandyOrton #wrestlemania #ROH #WWF #summerslam #tripleh #aewdynamite #professionalwrestling #aew #allelitewrestling #aewontnt #DeanAmbrose #nxt #KevinOwens #wwesmackdown 

In radio news, KITS FM HD2 adops a classic alternative format. Spanish broadcasting systems enters the Tampa St. Petersburg florida market. Iheart updates the sound of radio station WMIA FM in Miami Florida. Finally we will let you know what is happening on the street. This will be followed up by your calls and feedback. Next Jennifer will come along with her call letter and format changes. This will be followed up by a feature on the late Frank Beckman formally of radio station WJR FM. Next we will present a retrospective of the radio career of the late Alton Urwin, who worked in radio throughout the country. Finally we will travel to Annapolis Md, and listen to Bob Waugh at radio station WRNR FM.

-Brady made a long post on both Instagram and Twitter, thanking pretty much everyone except the Patriots organization -He thanked everything about the city of Tampa/St. Pete, the Bucs organization, and more, but nothing about Robert Kraft, Bill Belichick, Boston, or anything -The Patriots put out posts thanking Brady…how would Nebraska fans feel if someone great here for so long just didn't acknowledge the program? Show sponsored by GANA TRUCKING Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Christmas 1968 in the Delaware Valley on WTMR 800khz. Lee Scott, newsman, R Alan Campbell DJ on "the board". ABC Entertainment Network for the Philadelphia area. History: The station began operations in the late 1940s as WKDN. It was originally owned by Ranulf Compton, and was a 1,000-watt, daytime-only station that broadcast middle-of-the-road music. WTMR's power had been increased to 5,000 watts. The call letters became WTMR after the station was sold to Tommy Roberts in 1968. http://www.phillyradioarchives.com/history/wtmr | Campbell was working in the Delaware Valley at WDEL, WTMR and in the late 1960's announcing at WPBS on Domino Lane (Roxborough antenna farm) working with Pat Landon, John Trent and Jack O‘Reilly. He worked for a few years at WFLN at 8200 Ridge Pike when the classical AM and FM station was an affiliate of NBC. He occasionally filled in at other area stations. He moved south for health reasons in the mid 1970s when he joined the radio staff at WFLA-AM-FM-TV (NBC) in the Tampa-St. Petersburg, FL market.

In this Real Estate News Brief for the week ending October 23rd, 2021... the Fed's new rate hike schedule, a new wave of foreclosures, and a rent growth surprise for some single-family homes.Hi, I'm Kathy Fettke and this is Real Estate News for Investors. If you like our podcast, please subscribe and leave us a review.Economic NewsWe begin with economic news from this past week with comments from Fed Chief Jerome Powell. It looks like the timeline for interest rate hikes has been pushed up again. Last month, there was more of a debate as to whether it would happen in 2022 or 2023. Powell indicated that conditions for a rate hike would probably be reached next year. That includes the Fed's goal of maximum employment. The inflation requirement has already been met. That's when inflation remains above 2% for a sustained period of time. Powell also said that now is the time to begin tapering the Fed's bond-buying strategy. Policymakers will discuss a tapering plan next month. Jobless claims fell to a fresh pandemic low last week. There were only 290,000 initial claims for state benefits. Continuing claims also fell. They were down 290,000 to 2.48 million. (2) Millions of jobs are going unfilled, however, which is making it difficult for businesses to meet the demand for goods and services. That's also creating supply chain issues that are driving up prices, and inflation.Home buyers are going full steam ahead to lock in deals before mortgage rates rise any higher. The National Association of Realtors say that existing home sales were up 7% from August to September. That's a seasonally-adjusted annual rate of 6.29 million homes. (3) Part of that increase is due to more inventory, but NAR Chief Economist Lawrence Yun says that inventory was quickly gobbled up. On the other side of the housing supply issue, residential construction was down due to those supply chain issues, and a labor shortage. The government says that September home starts were down 1.6% compared to August, and that permits were down 7.7%. Multi-family permits were down the most. They fell 21% while single-family permits were down just 1%. (4) Despite all the headwinds that builders face, the National Association of Home Builders monthly confidence index shows an increase of four points to a reading of 80. Anything over 50 is positive. Although builders have to keep raising prices, they are encouraged that demand and home sales “remain strong.” (5)Mortgage RatesMortgage rates rose slightly this last week. Freddie Mac says the 30-year fixed-rate mortgage was up four points, to 3.09%. The 15-year was up three points, to 2.33%. (6)In other news making headlines…Foreclosures on the RiseForeclosure filings jumped higher in September, after pandemic-related moratoriums were lifted. ATTOM Data Solutions released its Q3 foreclosure report which shows that foreclosure filings were up 24% compared to August, and 102% from a year ago. (7)Economists have been predicting a spike in foreclosures, but RealtyTrac's Rick Sharga says: “Despite the increased level of foreclosure activity in September, we're still far below historically normal numbers.” He says they are almost 70% lower than they were before the pandemic. And light years away from the number of foreclosures in mid-2009.Foreclosure filings were approaching 600,000 per quarter back then. Currently, there are 45,500 filings for the third quarter of this year.Single-Family Rent GrowthSingle-family rent growth quadrupled in August. CoreLogic says the year-over-year rate of growth was 9.3%, and represents the fastest annual rent growth in 16 years. (8)The single-family category includes both detached and attached units, such as duplexes, triplexes, quadplexes, townhomes, row homes, co-ops, and condos. Rent growth spiked the most for detached homes. Annualized rent growth for attached units was 6.4% while the rent for detached homes rose 11.7%.The city with the highest rent growth was Miami. Rents in Miami were up 21.5%. That pushed Phoenix into second place for the first time in almost three years. Rounding out the top five are Las Vegas, Austin, and Dallas. New Forecast for Top Markets in 2022New forecasts are coming out about next year's hot real estate markets. PwC just released its 2022 Emerging Trends in Real Estate report. The report includes a top-10 list of highly ranked real estate markets for 2022. Several of them are also on our list of recommendations for single-family rentals. Those markets include Tampa/St. Petersburg, Charlotte, Dallas/Fort Worth and Atlanta.PwC is also recommending those cities, and others, for the construction of new homes. If you have been following RealWealth, you know that we have expanded our focus on existing single-family rentals to also include the construction of new rental homes. Our recommended markets include Charlotte, North Carolina; Cincinnati and Dayton, Ohio; Dallas, Texas; Park City, Utah, and several Florida markets.You can find out more by joining RealWealth for free at newsforinvestors.com. As a member, you have access to the Investor Portal where you can view sample property pro formas and connect with our network of resources, including experienced investment counselors, property teams, lenders, 1031 exchange facilitators, attorneys, CPAs and more.That's it for today. Check the show notes for links. And please remember to hit the subscribe button, and leave a review!Thanks for listening. I'm Kathy Fettke.Links:1 -https://www.marketwatch.com/story/feds-powell-says-elevated-inflation-could-last-well-into-next-year-11634917919?mod=economy-politics2 -https://www.marketwatch.com/story/jobless-claims-fall-to-pandemic-low-of-290-000-as-businesses-try-to-avoid-layoffs-due-to-labor-shortage-11634819765?mod=u.s.-economic-calendar3 -https://www.marketwatch.com/story/existing-home-sales-rise-as-some-buyers-are-motived-by-fomo-11634826649?mod=economic-report4 -https://www.marketwatch.com/story/construction-on-new-homes-slows-as-supply-chain-woes-hit-the-housing-market-11634647997?mod=economic-report5 -https://www.marketwatch.com/story/home-builders-grow-more-confident-in-spite-of-continued-supply-chain-headaches-11634565934?mod=economic-report6 -http://www.freddiemac.com/pmms/7 -https://www.attomdata.com/news/market-trends/foreclosures/attom-september-and-q3-2021-u-s-foreclosure-market-report/8 -https://www.corelogic.com/intelligence/single-family-rent-growth-approaches-double-digits/9 -https://fortune.com/2021/10/18/hot-real-estate-markets-2022-outlook-real-estate-buying-a-house/

Air check from 1976 WFLA 970 AM Tampa St Petersburg Florida. Prior to this 'Allan' worked at WBAL in Baltimore as a DJ working with Perry Andrews, Jim West, Paul Shields and Jay Grayson. Then to Philadelphia in the late 1960's announcing at WPBS on Domino Lane (Roxborough antenna farm) working with Pat Landon, John Trent and Jack O‘Reilly. He worked for a few years at Philly's WFLN at 8200 Ridge Pike when the classical AM and FM station was an affiliate of NBC. He occasionally filled in at other area stations. For health reasons he moved to the South in the mid 1970's when he joined the radio team at WFLA-AM-FM-TV in the Tampa-St. Petersburg, FL market.

Jon Ditty is performing at Hulaween 2021. He is one of the ultimate local legends of Tampa/St. Pete.

Genevieve Judge joined the Sarasota Police Department in Florida in May 2013 to serve as the Public Information Officer after nearly 10 years working in TV News as a Multi-Media Journalist (MMJ) and Anchor. As a Florida native, born and raised in Sarasota, Genevieve is responsible for developing, implementing, and evaluating partnerships, community policing communication strategies, and public information campaigns to inform and share with the citizens and visitors in the City of Sarasota as well as journalists working in the Tampa-St. Petersburg-Sarasota media market.  She serves in an on-call role for her agency 24 hours a day, 7 days a week, and manages all social media for the Sarasota Police Department.  She's a one-woman-PIO for her agency and is honored and humbled to work alongside the men and women, both sworn and civilian, of the Sarasota Police Department. Genevieve was honored as the Sarasota Police Department's Civilian Employee of the Year in 2014 and received the 2015 ConnectedCOPS Civilian Award of Excellence for her work singularly demonstrating overall excellence in the use of social media to improve public safety. Genevieve is currently serving as a Representative at Large for the International Association of Chiefs of Police (IACP) PIO Section, is a member of the National Information Officers Association (NIOA), and is a Past President of the Florida Law Enforcement PIO Association (FLEPIOA).  She holds a Bachelor of Science in Communication degree from Endicott College in Beverly, Massachusetts.  Her husband, Jimmy, also serves in law enforcement as a Multi-Media Crime Technician at the Tampa Police Department. Genevieve's e-mail address:  Genevieve.Judge@SarasotaFL.govGenevieve's Twitter:  @GenevieveJudge

We have another jampacked Radio Connection Live for you all to enjoy, First of all, the latest radio news Next, how does it feel to have your name mentioned on the radio? We all had our moments and we will share them with you! Next, we dared to compare to local morning shows in the Tampa St. Petersburg market, and give our thoughts Next, we discuss what it takes to run a format change, there's a lot of bits and pieces to it We also take a listen to some poorly and interesting format changes done over the years! Finally, we took a trip to Gainesville and check out play at them all the hits a low powered top 40 station in the market We will be off next week for the Fourth of July holiday, but hope you'll come back in two weeks as we celebrate Tim's birthday, and celebrate more radio together! Please excuse the dictation fail I meant to say 105.7 play fm Gainesville Florida

Now that it's grillin' season I thought I'd revisit one of my favorite Roker Radio episodes as my old co-host Tyler Cox and I talk with Dr. BBQ! He gives us his tips for all of your Summer grilling, plus his foolproof secret for fall of the bone ribs! I've tried it many times, and it's the bomb! So get ready for a masterclass on grilling, it'll be your go-to! And if you're ever in the Tampa/St. Pete area, make sure you stop by Dr. BBQ The Restaurant! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rokerradio/support

Calling all fans!  Be on the lookout for players involved with elevating the Mets into first place.  Several of the conspirators are known members of the notorious Bench Mob.  The rest of the team is believed to be armed with effective pitching and an increasingly dangerous lineup.  They are reported to have come away with series victories against the Diamondbacks and Orioles at Citi Field and are now thought to be in transit towards the Tampa/St. Pete area disguised in surfer shorts, sandals, sunglasses, and sunscreen.  Tonight, The Metsian Podcast welcomes Anthony Rivera, proprietor of the Subway To Shea Podcast.  On the docket: a seven-game win streak, injuries, stock up/stock down, RatCoon, Khalil Lee, The Dark Knight returns, and a Mets 1977 regular season rewind.  The Metsian Podcast goes LIVE at 8:00 pm (EST); feel free to call with questions and comments at 646-787-1919 or Tweet the show @THEMetsianPod to have them shared on the air.  #LGM