Podcasts about Tequila Sunrise

RIP Bobby Lozoff! The bartender famous for creating the Tequila Sunrise! The Stones and the Eagles loved them!

In this episode, Damian takes us on a nostalgic, neon-lit journey through the "Dark Ages of Cocktails"—a period spanning from the 1970s to the early 2000s when bright colors, sweet mixers, and questionable balance ruled the bar.You'll hear:

Send us a textThis week on Jams 'N' Cocktails, host Brad Brock takes listeners on a journey through music history with a twist—legendary artists and their favorite cocktails! From Frank Sinatra's Rusty Nail to The Rolling Stones' Tequila Sunrise, Brad explores the drinks that fueled some of music's biggest icons.Listeners can expect a mix of storytelling, live music, and hands-on cocktail crafting, as Brad shakes things up behind the bar, testing out these classic concoctions. Plus, he plays a round of "Name That Tune", covers the latest entertainment headlines in The Jordy Files, and delivers a special live performance featuring classic hits.Whether tuning in for the music, the cocktails, or just the fun banter, this episode is packed with great vibes and even better drinks!LinksJNC Officialhttps://www.jncpodcast.comSupport us on Patreonhttps://www.patreon.com/jncpodcast

This week on Jams 'N' Cocktails, host Brad Brock takes listeners on a journey through music history with a twist—legendary artists and their favorite cocktails! From Frank Sinatra's Rusty Nail to The Rolling Stones' Tequila Sunrise, Brad explores the drinks that fueled some of music's biggest icons.Listeners can expect a mix of storytelling, live music, and hands-on cocktail crafting, as Brad shakes things up behind the bar, testing out these classic concoctions. Plus, he plays a round of "Name That Tune", covers the latest entertainment headlines in The Jordy Files, and delivers a special live performance featuring classic hits.Whether tuning in for the music, the cocktails, or just the fun banter, this episode is packed with great vibes and even better drinks!LinksJNC Officialhttps://www.jncpodcast.comSupport us on Patreonhttps://www.patreon.com/jncpodcast

Grab your grenadine, better yet, make your own, and fresh squeeze some oranges. Let's make a Tequila Sunrise! Uncle Brad stumbles through the drink's contested origins, where two towns are locked in a cocktail custody battle—Tijuana and Phoenix both claiming parentage with zero willingness to share visitation rights. Our journey then wobbles north to California, where the undisputed modern version was shaped and became a rock and roll icon. Uncle Brad, who's never met a cocktail history he couldn't overexplain, walks us through two historical recipes while Jules—who believes every drink deserves an identity crisis and mezcal twist—throws convention out the window with her Oaxacan remix. Come for the history lesson, stay for the inevitable debate about which version is superior (spoiler alert: the one in your hand always wins).    Tequila Sunrise  Glass: Highball Glass  Garnish: Cherry and Orange Taco  Directions & Ingredients  In glass add:  Ice  2.0 oz Tequila Blanco  4.0 oz Fresh Orange Juice  0.5 oz of homemade grenadine  Pour grenadine slowly over back of your spoon to let it sink to the bottom  Stir gently from the bottom go give it a sunrise look   Garnish with your cherry and orange taco   Tequila Sunrise Spritz  Glass: Collins Glass  Garnish: Orange slice  Directions & Ingredients  In mixing glass add:  1.5 oz tequila  3 oz fresh orange juice  3 oz sparkling water  2 oz aperol, to top at the end for the sunrise effect  Optional: top with champagne or prosecco  Add ice, tequila, fresh orange juice, and sparkling water to a collins glass and mix together.  Slowly pour in Aperol to see your sunrise effect.  Garnish with an orange slice!   Did someone promise Japanese bitters (Uncle Brad)? They are called, “The Japanese Bitters” (btw this is an unsponsored plug – they are delicious!)   TIP: Favorite pre-made syrups for a bar. Thanks @starrsharkins!   The Art of Drinking IG: @theartofdrinkingpodcast     Jules  IG: @join_jules  TikTok: @join_jules   Website: joinjules.com    Brad   IG: @favorite_uncle_brad    This is a Redd Rock Music Podcast  IG: @reddrockmusic  www.reddrockmusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices

“Time and Again” 30th-anniversary reflections A planet orbiting a red dwarf presents a mystery that Janeway cannot resist, so Voyager makes a pit stop to investigate. She and Tom Paris beam to the surface and discover a timepiece that has stopped working, seemingly indicating the moment that an explosion destroyed all life. Believing there is nothing left to do, they prepare to return to the ship when the world around them suddenly changes. They've jumped back in time one day before the disaster, to a place where a singular color palette rules. In this episode of To The Journey, hosts C Bryan Jones and Matthew Rushing continue our 30th-anniversary retrospective that will take you through all of Star Trek: Voyager, one episode at a time. In this installment, we discuss “Time and Again” and whether another trip to the well of time is the best way to help viewers get to know the series in its third outing. Chapters Intro (00:00:00) Going to the Well Too Many Times? (00:02:20) Budget Constraints (00:11:43) Why Are They There?! (00:16:30) Is the Mandate Clear? (00:21:35) Meeting Fan Expectations (00:27:20) Kes, Tom, and Developing Characters (00:32:57) The Technobabble Crutch (00:42:30) One World, One Outfit (00:44:47) Final Thoughts and Ratings (00:48:38) Closing (00:52:28) Hosts C Bryan Jones and Matthew Rushing Production C Bryan Jones (Editor and Executive Producer) Matthew Rushing (Executive Producer)

It's sweet, it's colorful, and it's got a history wilder than a Rolling Stones tour bus — it's the Tequila Sunrise. And while it might look like a poolside guilty pleasure, behind the gradient glow lies a story of rock ‘n' roll excess, reinvention, and one major identity crisis. Here to explore this storied creation's history is Nikolas Vagenas, bartender and co-owner at Brooklyn's Mr. Melo. Listen on (or read below) to discover Nikolas' Tequila Sunrise recipe — and don't forget to like, review, and subscribe! Nikolas Vagenas' Tequila Sunrise Recipe Ingredients - ½ ounces agave/grenadine mix (1 part water, 1 part agave syrup, 1 part pomegranate molasses) - ½ ounce Luxardo cherry syrup (diluted slightly) - 2 ounces blanco tequila - ¾ ounce acid-adjusted orange juice* - 2 dashes orange bitters - Splash of soda - Garnish: orange slice and Luxardo cherry Directions 1. Build all ingredients in a chilled highball glass in the order listed. 2. Add ice and garnish with an orange slice and Luxardo cherry. 3. Serve, directing guest to stir before drinking. *Acid Adjusted Orange Juice Recipe Ingredients - 34g citric acid - 22g malic acid - 2g tartaric acid - Pinch of salt - 1 quart freshly squeezed orange juice

INTERVIEW: Daily J on new track 'Cheap Tequila Sunrise' by Jack Knowles on Radio One 91FM Dunedin

We reference McFly's 70s rock podcast Tequila Sunrise and Judi Dench's role in the James Bond Franchise (Episodes 217 - 223). Jazzy theme by Iain Farrington. Need more made for TV Movies? Check out 907: Phantom of the Megaplex and 933: Ghostwatch. Next month's theme is February Made Me Shiver, containing all horror films, starting with Unsane (2018).  

Non sono tantissimi i drink a base tequila famosi in tutto il mondo. Certo, ci sono Paloma, Margarita e Tommy's Margarita. In quarta posizione, forse, si piazza poi il Tequila Sunrise. Una miscela poco amata in Messico, dove viene ordinata quasi solo dai turisti, ma che è facile pensare balzerà di nuovo sotto i riflettori, adesso che stanno tornando di moda i cocktail anni ‘90.Apparso per la prima volta nel ricettario IBA nel 1987, è un long drink dissetante che appartiene alla categoria Anytime. Un consiglio per la realizzazione: usate sempre la spremuta fresca d'arancia e magari pure una granatina home made.

Send us a textIn this episode, Lady Petra and SafferMaster discuss impact play in their dynamic over a Tequila Sunrise. The Kinky cocktail Hour is brought to you by Motorbunny, the best saddle style vibrator on the market today. Save $40 on your Motorbunny purchase with the code LADYPETRAPLAYGROUND at Motorbunny.com You can order the TechRing, "Where health meets pleasure" at http://myfirmtech.com using the code "KINKY" to save 15%. Put a ring on it!Listen on Poduramahttps://podurama.comSupport the showListen on Podurama https://podurama.com

"I can't even tell them apart" - Alex Mildenberger on this week's cover versions. Covers by: Tony Christie, Dennis Marsh, Molly Hatchet, Ray Dylan, Lasse Lindholm Band, Steven Kennedy, Nathan Temby Tidal playlist here

Two Strippers help to crew a Belize Sailing CharterBy 2soon2no – Listen to the ► Podcast at Steamy Stories. Another winter in Hoboken!Not as comfortable as Belize, but it's where the work takes you.Sharon and Pam had a plan now. One that was a little more complete than, 'make a lot of money, then stop working'.Two weeks in the sun would make anyone want to relocate south, but running a sail charter, like the one they had crewed, had the advantage of putting a roof over their heads, and bringing in an income. The paradise of the Caribbean is just a bonus!Pam was the first to start working at Charlot's Way 6 years ago, first as a waitress, then as a part time stripper, which always leads to a full time peeler.Sharon came along, when Pam was just learning to strip. As a waitress, Sharon was a disaster, dropping trays all over the place. With her good looks it was only a matter of time before she was forced to make the move, or to find other employment.Soon they were a couple, so Sharon following Pam into the shadowy world of stripping, was inevitable. Then, they found that Sharon was a natural exhibitionist. She loved to peel! She loved to make people horny! She loved sex!Pam suggested a move to The Gingerbread House, were the Stage Manager Carol had insisted that there was no hankie pankie with management, and no prostitution or the sale of drugs. Staying at the old joint, meant blowjobs for management and security, and the constant draw and trouble, created by the other vices.Most Exotic Dancers are lured by, and sustained by the big bucks, but these two ladies were rare gems, they love the sexy job, and the lifestyle that goes with it!"We have more than enough for a down payment for our own Cat, and I don't want to wait," Sharon pouted, as she changed into her stripper outfit.Pam took in her partner's beauty, with a sigh. She was only a year younger, and yet she had the patience and impulse control of a child."It would be ridiculous to throw away money on a new boat, only to have Marny and her daughter, tell us that we've wasted our money! We want to invest, and eventually join them, full time," Pam explained. "Lets chat with them, and maybe visit again, before we do anything that can't be undone!"The night was a good one, with plenty of lustful touches from a cougar that one guy brought with him. They came right through to the Emerald Rooms and asked for Pam and Sharon. She was paying, while he just watched, and sipped his coke.Sylvia was around 45, and carried an extra 25 pounds, but she carried it proud, and high! She had a heavy duty lift-up bra, a modern corset and a fun filled heart.She went home, hot and wet, and they both wondered what she did to quench that thirst. For their part, they had each other.Sunday morning they thought it would be good to call early, so Pam found the number that Marny had given her, as soon as she had the coffee machine working."Seafaring Delight Charters, how can I help you," said a sexy young voice, on speaker phone."Hi, this is Pam Davis, my friend and I sailed with Marny last month," she started."Oh, yes, mom told me about that cruise, you guys gave those customers the trip of a lifetime, please tell me you're calling for a repeat trip," she replied with unguarded delight."Well, Sharon and I are interested in investing in your business, and we would love to come down, fairly soon to talk about it, if you and your mother are interested," Pam responded, hoping that Marny might have mentioned our conversation.There was unintelligible murmurs in the background, then Marny came on."Hi girls, Java says you're interested in working with us, or investing?""Yes we need the sun!" Sharon jumped up and put her two bits in." I think what we need is another week, and a serious sit down with the owners of Seafaring Delight Charters," Pam concluded.We were going back in two weeks! They had a trio of Nurses in for the next 14 days, and they were steady customers, with 8 Nurses from the Chicago and Detroit hospitals rotating in, they crewed as much as 1/3 of their charters.All of the Strippers at any of the Steward House Properties were owners of their own business, not employees, so getting time off was more a matter of letting Carol know their availability. As their financial manager she also advised them about money matters."You can self direct up to $50,000 each from your 401ks for foreign investing, but any further, and you would need to take out a loan or pay the income tax on your pension money," Carol advised. "If you work for five more years, you will be able to retire, but only if your expenses are low, as they would be in Belize."The big man that picked them up at the Belize Airport, wore coveralls, and his hands were rough and stained with grease."Sorry ladies, but my work on engines has made it so that they never come totally clean, until the work is done, which it seldom is," he said, then introduced himself."I'm Java's husband Rob, but you can call me Cujo, everyone does," he announced with a broad smile, as he grabbed the two duffels that sat at their feet. "If you don't mind having a drink with me, I will be able to grab our patrons too, when their flight gets here from Vancouver.The flight had been a bit rough, so getting a drink was a fabulous idea, but Cujo knew a better place than the airport lounge. In minutes they found themselves at an ocean side bar, where the breeze from the water, and the cool drinks, made it feel like paradise. Everything went on Cujo's tab, and they were able to quiz him on the size and scope of the business."My boat is the fastest one around," Rob explained proudly. "If the Cat needs supplies, or someone needs to get to or from the anchorage fast, our 'Flipper' can travel a day's sail, in about 2 hours."We have our own dock, which you have seen, and it's in great shape, but the office is just a shack, and serves more as a storage place than anything else," he continued."The Cat, which you know as Marny's 'Pearl', is fully paid for, and I keep everything working," he proudly explained. It was obviously something that he took great pride in."Our dock is to the North of Belize City, in an area dominated by fishing boats," Cujo reported. "We normally hire my cousin to transport our guests, since the shuttle to the Ferries go the other direction, but today he is having his daughter's birthday, so you got me," he cheerfully finished.We only got through one Tequila Sunrise each, before we had to leave for our next customers, three Canadians from the West Coast.One was actually called 'Jaque', and it was pronounced jock. He was 5ft4 and all of 110 pounds! His two friends were average guys in their late 30's, a little on the 'out of shape' side, but not bad.Pam thought they looked passive enough, that we would be able to chat with Marny on this trip, instead of non-stop sex!Sharon was intrigued with Jaque. "I'm going to have to check your I.D.," she teased him right from the start, while his companions roared with laughter.Jaque just smiled, showing his good nature. "I'll show you plenty, young lady, but it won't be my I.D.," he responded, then thrust his hips out suddenly. "Blam," he shouted, as his friends continued laughing.Sharon laughed even harder, as we piled into the back of Cujo's pickup, where there were fold out benches. Raised rails on the side, made it safe, and airy for the short ride, but it was too windy to talk.On the dock, Cujo would have carried all of the luggage if the guys had let him, but he did insist on carrying the ladies gear."I will have to leave you to stow your own gear ladies and gentlemen," our driver friend proclaimed. "Marny will be here soon, and you're already loaded with provisions. Just make them a drink, and get to know them," he said, to no one in particular."All of the cabins are the same, guys, so pick one, and meet us in the lounge," Pam suggested.They did not take long. With only two women available, they fought their way to be first, up and down the gangways to the cabins, while Sharon found the mixer, and made a giant pitcher of vodka and a mix of orange, pineapple juice, and some fresh mango and ice, all ground together to make a slushy drink that the ladies loved. Jaque was happy to try it, but the other two chose the local pale ale."So, you guys have been here before, right," Pam asked, while wondering what they would expect from the crew."Oh yes, darling," Charlie began. "Our crew last time was Suzie and Cherie, two nurses from Minneapolis. They were veteran sailors, and they really showed us the ropes," he chuckled as the others nodded their heads, indicating that there was plenty of action on that cruise."Nurses, wow, you guys got lucky there, and your sailing skills are probably better than ours," Sharon replied, "We let Marny do most of the sailing while we entertained the guests."Jaque was smarter than he looked, as he reached over and took Sharon's hand."Can I show you something in my cabin," he said, without a twinge to suggest that he wanted anything sexual."Sure," Sharon spouted, as she jumped from the chair.The two scurried down to the forward port side cabin, and the sound of the closing door was followed by Sharon's squeal, as Jaque kicked his sandals off, and he pulled his shirt over his head."Let's see it," Sharon shouted, then the rest was muffled, though there were thuds and bumps.Two minutes later Sharon called out, "Pam, you have got to see this."Chuck and Brian just smiled, as if they expected this to happen, so Pam went to have a look.When Pam got to Jaque's cabin and opened the door, she found the two on the double bed, with Jaque's cock laid out, as if it was a cut of meat.It was not fully erect, but it was a foot long!"Wow, what are we going to do with that!" Pam exclaimed while her two friends behind her just laughed.Sharon got to work on it right away, taking the head in her mouth she gave it a little suck, then ran her tongue all over it."I think you've got this sister, I'll take care of the other two, but don't take all day," and with that she closed the door behind her."Do you guys want to fuck me together, or one at a time," she joyously announced to their delight. Neither one was willing to wait, and Pam had handled two at once, more times than she could remember.The three crossed over to the starboard side, Pam took the initiative by pulling her shirt over her head, revealing her perky C cups just to get the party started.The guys were nearly as fast, but Pam was still first on the bed, leaving her pussy exposed and ready for company!Soon Brian was smooching and playing with Pam's tits, while Charlie was showing some good moves with his tongue work on the clit, while his hand searched for her evasive G spot."Men always want to hit that G spot, like it's a kettle drum," Pam whispered in instruction, "I like a light touch, or a tongue!" she squealed as Chuck's tongue slipped into position. "Oh! This could be fun!" she exclaimed.It was over an hour, before the beds started to empty, and it was only the sound of Marny's voice that got Sharon in motion. She had been sipping a diet cola, impatient to get underway, but understanding that the customer should always cum first!Captain Marny had us in the channel 15 minutes later, as her experienced crew knew where everything was stowed. We motored our way past the stone break wall before we set sail for open water.Pam and Sharon each wore a thong, While Marny wore bikini pants with a white long sleeve top with anti UV properties to protect against the sun.Marny was a good looking 40ish native woman, with a thin athletic body from decades of hard work. Yet she wore a modern, stylish outfit, through which you could clearly see her nipples. Her upturned A cups really looked good, especially when she got excited!The Captain ordered a dose of sun screen for all hands, so we got together on the forward deck and enjoyed the application process, much more than the directions suggested.This was not Marny's first time, seeing Jaque with his giant dong, but she gave the girls a big smile when it first came out."You don't see many like that, do you girls," She shouted, as we all nodded.Brian and Chuck watched, while the two ladies gave their friend a tongue bath. Jaque kept it shaven, and claimed that he was the only Canadian man that shaved his pubes!Everyone laughed at the sight of Jaque, wearing his Speedo, with his cock pointing straight out. The cream was applied there too, but Marny suggested that it would be wise to keep it out of the sun.They were heading for a further anchorage on day one, but the sea was nearly flat, so Marny sent everyone below when it was time to get the dinner started.Sharon asked Brian to help her cut up the veggies, so his job was to hold her steady against the rise and fall of the vessel, while Sharon diced up the vegetables.In spite of wandering hands, she had the salad ready in 10 minutes.Pam and Jaque got the marinated fish, already in tinfoil, with garlic mint and butter and took what they needed to the BBQ on the starboard transom.Marny had us anchored by the time the feast came up on deck, to be eaten buffet style.The evening was spent, with drinking and conversation, as we got to know each other. The ladies explained what life was like as Strippers, at a club not too far from the Statue of Liberty, but they did not reveal their interest in buying into Marny's Charter business.The men insisted that the ladies should show their talents, and a beginner's class in stripping was soon underway.Music was important, so Marny found a station out of Mexico, and the two Professional Dancers gave a lusty dance, complete with the wagging of their pussies in the men's faces. Eventually Brian grabbed a mouth full of Sharon's tit, while she had his dick in her hand. Charlie was all over Pam, while she worried where that giant cock was going.Marny jumped down from her seat at the helm and went straight to our little man with the big prick.Even Marny was an inch taller than Jaque, but it was his famous cock that she was after.She lay him out, and pulled his swim suit to one side, wrapping her hand around it, she brought his full Monty to her mouth, and pushed the mushroom head into her wide open pie hole!When she pushed down, it only traveled 4 inches, where it stopped at her throat, but would go no further. After a few moments of frustration, she started to move her hands to make the filatio as enjoyable for Jaque as she could make it

A woman flies from California to Washington to meet the man she's been having a secret affair with, when the planned rendezvous turns into tragedy. For more information about the podcast, check out https://crimeoffthegrid.com/ Also...We've Got Merch!!   Check us out on Instagram https://www.instagram.com/crimeoffthegridpodcast/ and  (1) Facebook SUPPORT THE SHOW: We would love your support so we can keep the episodes coming! https://www.buymeacoffee.com/cotgSources:https://www.peninsuladailynews.com/crime/man-to-serve-16-years-for-murder/https://www.justice.gov/usao-wdwa/pr/renton-washington-resident-sentenced-16-years-prison-murder-olympic-national-foresthttps://www.sportskeeda.com/pop-culture/dioneth-lopez-s-murder-five-details-explored

This movie has the combined writing staff of Predator and Land Before Time. The final question was a lengthy discussion about favorite songs written for a movie. If you're looking for the time we discussed movie songs BETTER than the movies they were written for, it can be found in episodes 25 - 27 of Tequila Sunrise. Next week a very special guest joins for The Quick and the Dead (1995).

It's Cinco de Mayo and we are back with sone brand new flava in your ear! We are joined by Lo From Wrestling Winedown as she helps us talk about WWE Backlash France, Wrestlemania is finally announced for Las Vegas, The New Elite attacking Kenny Omega, and much more! Raise your glasses up! https://linktr.ee/bgwpodcast Follow and Support Wrestling Winedown | https://t.co/EnAABXzOMN Follow Us: BGW X- bgwpod Insta- bgwpod Scotland X- PoeticScotland Insta- Scotland_Underwood Nolo X- RaleOfTheLeaf Insta- Raleoftheleaf Chaz X- My_man_zo Insta- chaz_zo_b DMac X- DMacTardy Insta- dmactardy --- Support this podcast: https://podcasters.spotify.com/pod/show/blackguywrestlingpod/support

Episode 24: Cinco with Superbird   Introduction: Bob Cutler and guest Thomas Mauriello of Superbird talk tequila in this bonus episode of "Cocktails with Friends" for Cinco de Mayo.  They talk about tequila, tattoos, and the cultural celebration of Cinco de Mayo.   Main Topics Covered: The diverse forms and flavors of tequila from Superbird and Doladira. The creative process and strategy in the tequila industry. Personal anecdotes about tattoos and their connections to personal connections to the art and style of Superbird. Insights into the significance and celebration of Cinco de Mayo in the context of tequila. Key Insights: Depth of Tequila: Uncover the layers of complexity in tequila production and how they influence the final product's taste and character. Innovation in the Field: Learn about the innovative approaches Thomas Mauriello uses to distinguish his tequila in a competitive market. Cultural Appreciation: Gain a deeper understanding of Cinco de Mayo's relevance to tequila culture and its celebration in the U.S. and beyond. This episode is perfect for enthusiasts eager to get a behind-the-scenes look at the tequila industry, enriched with personal stories and professional insights. Episode Index [00:00:00] Introduction to Superbird Discussion of the company's ethos, logo origins from a Ukrainian tattoo artist, and the deep commitment of its founders. [00:00:50] Tequila Season Kickoff: Introduction to guest Thomas and a dive into his busy schedule leading into May, reflecting the start of tequila season. [00:02:00] Digital Speakeasy and Superbird Passion: Bob recalls how he became aware of Thomas during a digital speakeasy event and their shared interests in wrestling, boxing, and tequila. [00:03:20] Superbird's Unique style: Discussion on how Superbird's style, including tattoos and personal commitment, aligns with Thomas's personality. [00:04:00] Product Line and Market Strategy: Introduction of Superbird's product lines, including RTDs (Ready-to-Drink) like Paloma and Tequila Sunrise, and their distinct features like NOM labels on cans. [00:06:15] Regulatory Advantages in Maine: Exploration of the advantages Superbird's canned cocktails have in markets like Maine due to their alcohol by volume (ABV) level. [00:07:25] Superbird by the numbers: Overview of Superbird's availability across 29 markets and the Superbird's strategy in aligning product offerings with consumer interests and regional regulations. [00:08:00] Relaunch and Product Strategy: Thomas discusses the strategy behind Superbird's relaunch and their focus on full-line tequila offerings alongside their canned cocktails. [00:09:00] Tequila Varieties and Innovations: In-depth discussion on Superbird's tequila offerings, including Blanco, Reposado, and Fuego, focusing on their unique production processes and flavor profiles. [00:13:00] Superbird Standing Out: Thomas explains how Superbird stands out with its punk rock style, engaging marketing, and consumer-focused events like tattoo sessions at bars. [00:17:00] Events and Activities: Overview of upcoming events and collaborations, emphasizing Superbird's active engagement in creating unique consumer experiences. [00:20:00] Personal Stories: Thomas shares personal anecdotes about his family's engagement with his work and the personal touch he brings to his professional role.  

Dive into Episode 14 of the Off The Top Podcast with the legendary Rikishi and co-host TMD! This week, we're raising our glasses to WrestleMania excitement, sipping on Tequila Sunrises, and dropping the beat with Rikishi's latest hip-hop venture. From unforgettable Uber rides to exclusive Funko Pop drops, and gearing up for the biggest weekend in wrestling history, join us for a rollercoaster ride of laughs, stories, and insights. Plus, a special nod to the Dynasty's impact on wrestling and music. Don't miss this thrilling episode packed with WrestleMania predictions, behind-the-scenes tales, and the undying spirit of the wrestling dynasty. Tune in now to catch the fever! Website: https://www.rikishifatu.com/ Instagram: @rikishifatu.offthetop TikTok: @RIKISHIOFFTHETOP --- Send in a voice message: https://podcasters.spotify.com/pod/show/rikishioffthetop/message

In this episode, I sit down with Karly Craig, a renowned author, email marketing expert, and co-founder of Tequila Sunrise, a successful 7-figure company she sold at the end of last year. Join us as we delve into the world of email marketing and discuss the pros and cons of this powerful tool. We discuss tips and strategies to help painting business owners make the most of their email campaigns and take their email marketing game to the next level. Download our podcast-exclusive toolkit of templates for your painting company: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.paintergrowth.com/podcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Learn how to grow your painting company NOW: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠go.paintergrowth.com?el=podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ A free business breakthrough session with my team: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠go.paintergrowth.com/schedule?el=podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Free training series on Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@paintergrowthblueprint⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Painter Growth Secrets Facebook group: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/groups/paintergrowt⁠⁠⁠⁠⁠⁠h

Episode 1014 We begin by pouring a Tequila Sunrise out for the charges against three memorabilia collectors charged with stealing old Eagles lyrics, in which the unexpected airing of 6,000 pages of Don Henley's dirty laundry had Manhattan prosecutors realizing last week that they truly could check out anytime they liked. Matt then takes us through Fulton County Judge Scott MacAfee's decision to dismiss 6 of the 41 pending counts against Trump and his goons. Can Trump still be prosecuted for his "perfect phone call" to GA Secretary of State Brad Raffensberger? And what does a guy have to do to solicit someone to violate an oath around here, anyway? We then turn some much-needed light on to Texas's most recent attempt to enforce federal immigration law before finishing up with some good immigration news out of--also Texas?   1. Order on Defendants' Special Demurrers (J. McAfee, 3/13/24) 2. Georgia Code Sec. 15-4-7 (Criminal Solicitation) 3. Georgia Code Sec. 16-10-1 (Violation of Oath by Public Officer) 4. Fulton County indictment of Trump et al (8/14/2023) 5. Judge David Ezra's decision in U.S. v. TX (2/29/24)(granting injunction against SB4) 6. Arizona v. U.S. (2012)(striking down most of AZ SB1070) 7. Judge Drew Tipton's decision in Texas v. DHS (finding no standing for TX to challenge Biden's CHNV parole program)   If you'd like to support the show (and lose the ads!), please pledge at patreon.com/law!

17 & Psych discuss Mexico, Tequila, Urban Legends and magic...

The gang took it to the DANGER ZONE! We reference the time Thor and Laurence discussed movies in which the theme songs are better than the movies they were written for. Coincidentally they both picked Val Kilmer movies, and the conversation can be found at Tequila Sunrise, episodes 25-27. The last topic in VALentines coverage will be The Super (2017).

It's Happy Hour. In this episode our mixologists are honoring the 49ers and their Super Bowl appearance. Matthew is presenting the Purdy in Red because he loves Brock Purdy. It's a sweet and tart Gin cocktail perfect for pre-gaming. Meanwhile Ben is presenting Wishnowski's Boot Punch because obviously. It's an easy drinking rum punch that will keep the party rolling long after the last puppy poops. They also discuss their favorite parts of the Super Bowl and give advice on how to stay chill. Recipes below.Purdy in Red2 oz Gin3/4 oz Ginger Liqueur3/4 oz Cherry Heering Liqueur3/4 oz Lemon Juice1 tsp Simple Syrup (Optional)1-2 Dashes Peychaud's Bitters (Optional)6 Luxardo Cherries for Garnish - one for each Super Bowl after Sunday.Add all ingredients into a shaker with ice. Shake for 10-12 seconds until well-chilled. Double strain into a chilled cocktail glass. Add the cherries on two cocktail picks. Enjoy.Wishnowski's Boot Punch1 part Mango Juice1 part Pineapple Juice1/4 part Lemon Juice1/4 part Lime Juice1/2 part Simple Syrup2 parts RumClub sodaPeychauds's bittersPineapple ChunksMaraschino Cherries (the bright red kind)Combine juices and rum in vessel and stir. Refrigerate until ready to serve. Add pineapple and cherries. Serve in glasses with ice. Top with club soda. Stir gently by pulling spoon from bottom to top of glass. Add 2-3 dashes of Paychaud's bitters to top of glass. (Alternatively put grenadine at bottom of glass before adding ice and punch, as in a Tequila Sunrise.)

We talk about the dizzying highs and devastating lows of our man Kurt Russell and pretty much run out of his movies in the process. We've done them all! Why else would we have 3000 Miles on here? TEQUILA SUNRISE (1988, Robert Towne) BACKDRAFT (1990, Ron Howard) 3000 MILES TO GRACELAND (2001, Demian Lichtenstein)

What do you know? It's Justin, back on the show! They talk about this fucking terrible movie that shouldn't be as bad as it is, but somehow it is. Mel Gibson, Michelle Pfeiffer, Kurt Russell, Raul Julia, a stellar behind the camera team. And it's the most boring movie ever made. Can Justin and Jake make it entertaining? Maybe! --- Support this podcast: https://podcasters.spotify.com/pod/show/cleartintedclassics/support

A fun hour of music and trivia, perfect for all fans of Halloween. This episode is from McFly's (mostly) 70s rock music podcast Tequila Sunrise and is family friendly because Thor isn't present.

In this insightful episode of The Mastermind Mixer, we dive deep with Monica Wisdom, an entrepreneurial force and storytelling strategist. From her early roots in a family pharmacy, Monica's career has blossomed in unexpected, brilliant directions, reflecting her adventurous spirit and multifaceted talents.Highlights:Origin Story: From a second-generation entrepreneur to cosmetology school and beyond, Monica reflects on her initial entrepreneurial spark, inspired by her dad's journey and her own determination.Finding the Tribe: Monica shares her love for the field of cosmetology, finding a community that resonated with her spirit and passion.Harnessing Superpowers: With her knack for listening and her powerful intuition, Monica delves into her mission of helping women entrepreneurs find their voice and get loud.Online Ecosystems: Monica emphasizes the importance of having a cohesive online ecosystem, noting the gaps and challenges that many women entrepreneurs face. Her approach is comprehensive, ensuring her mentees establish a solid foundation before advancing further.The Black Woman Amplified Podcast: Monica gives us a sneak peek into season 3, focusing on engaging the audience in candid, impactful discussions. This season, instead of traditional guest interviews, she's introducing co-hosts to facilitate enriching conversations. Got a question for Monica? She's all ears! Email your queries to blackwomenamplified@gmail.com and hear your concerns addressed on the podcast.Vision Worksheet: For those eager to get a taste of Monica's approach, she's offering a vision worksheet that's available for download - a tool that promises clarity and direction for your entrepreneurial journey.Engaging with Monica: Interested in diving deeper? We've linked all of Monica's social handles and resources in the show notes, ensuring you have direct access to her wisdom and offerings.Endnote: If you enjoyed this episode, catch up on previous seasons of The Mastermind Mixer. Monica's candid revelations and transformative storytelling techniques offer lessons for every entrepreneur, seasoned or just starting. We also discuss her favorite cocktail, the Tequila Sunrise, and how it ties into the essence of our conversation.Until next time, keep those stories alive, and remember - every tale holds the power to connect, inspire, and transform. Cheers!

30+ years worth of stories jammed into 90 minutes. Anyone that knows Ashley knows what impact he has had on the walker breed and competition hunting with Tequila Sunrise & Harry Bawls. You better listen to this one! We end it announcing an upcoming cross that we've stepped back in time 20 years to make and it's all happening this week! It could very well be history in the making!  

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.

Karla Welch is a stylist, costume designer, and founder. She spoke to us from her own Island (Canadian) about what's going on with Scooter Braun, She drives from LA to Canada because of three rottweilers, an Olsen twin's baby clothes, she used to have a paper route, the only people who had pagers were doctors or thirteen-year-olds, her love of F1, She invites Chris to a Tracy Anderson private, when we got shamed into canceled our Soulcycle, Tequila Sunrise with Michelle Pfeiffer, she's an official front of house shawty, her period underwear company got the Walmart account, and how she got discovered at Barney's. instagram.com/karlawelchstylist twitter.com/donetodeath twitter.com/themjeans  Learn more about your ad choices. Visit megaphone.fm/adchoices

00:00 Intro 00:26 Market Overview 04:00 Boys of Summer 06:25 0xdgb Cameras Sell Out 08:21 Sotheby's Auction 10:27 Notable Sales: Pale White Mooncat, 20 WETH; Tequila Sunrise by Grant Yun: 33 ETH; 3 Wise Doges by Sarah Zucker, 7.69 ETH; NorrieHarman- Rebel Monet - the 10th E Street, 3 ETH; i miss the boy and girl who cried and laughed by BongDoe: 1.9 ETH _________ Subscribe to PROOF on YouTube:  https://www.youtube.com/channel/UCOaX0Vu-dWB7bNjFMnbBo2A?sub_confirmation=1 Follow us on other platforms: Proof Podcasts Twitter | http://www.twitter.com/proofpodcasts  Telegram | https://t.me/proofcountdown  NFTstatistics Twitter | http://www.twitter.com/punk9059  Proof Twitter | http://www.twitter.com/proof_xyz NFTstatistics Presentation Deck  https://docs.google.com/presentation/d/1El7x_gWCaNogGK4rCGbt0IgppCiMAGSIBFxxveUQMVc/edit?usp=sharing 

In this episode, multimedia Artist Rick Claussen entertains us with funny stories about his stint in the Army in Germany and meeting his future wife. He'll tell us how a game of chance led to a plasma cutter that he now uses to make bells out of scuba tanks. And lots of other creative art along the way. HIs latest passion? Attaching 3D prints to canvas, pouring acrylic paints on top, then spinning it with an electric drill! Imagine the paint spill! He'll also share his love for a tequila sunrise.Rick's Instagram Art page:  https://www.instagram.com/rixart42/Hope you enjoyed our podcast.Follow us on InstagramFollow us on FacebookTikTokYouTube

We welcome the man who introduced Peter Frampton on Frampton Comes Alive! to talk about Bill Graham, Winterland, Rock and Roll, and the Tequila Sunrise

Stamos, Drama and ping pong! Entourage superfan Anthony aka @entouragequotes joins the pod to discuss E & Scottie squashing the beef, the boys heading off to Vegas with Stamos and of course Drama getting in his own way, again. Enjoy! Follow @entouragequotes on TikTok Follow Oh Yeah, Oh Yeah on TikTokFollow Oh Yeah, Oh Yeah on IGFollow Oh Yeah, Oh Yeah on Twitter Listen to the Oh Yeah, Oh Yeah Spotify playlist

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Pam and Michelle drink Tequila Sunrises and Wine we Drink: 2018 Zenato Ripassa Valpolicella Ripasso Superiore#podcast #videogames #cocktail  Check out the Split Up! podcast. Cannot be Tamed  - YouTubeCheck out PolyMedia Network for more fun content Video Game footage is from game trailers and/or recordings from Pam and Michelle. Movie footage from movies (go figure) Music in the video is from Firewatch and The Norwood SuiteWant to see us on other social media?Twitter Pam - https://twitter.com/Jasyla_Twitter Michelle - https://twitter.com/PeteesPowerHourInstagram Pam - https://www.instagram.com/cannot_be_t...Instagram Michelle - https://www.instagram.com/petee_puff/

Jon opens the second hour talking about tequila, margaritas, climate change, EV's and then we finish the hour chatting with state representative Walter Hudson on a variety of topics as the state legislature continues to be in session in St. Paul.

Michelle Pfeiffer is in a Mel Gibson and Kurt Russell sandwich is in this 80's sleeper action movie. 

Certified Nutritionist and Quantum Health Coach Sarah Kleiner pops in this week and blows our minds with circadian and hormonal health tips. We chat about what's happening with the body when you wake up in the middle of the night for no reason at all, perimenopause, hormonal imbalance, sleep disruption due to LED light, and how a morning dose of direct sunlight is just good for your health! Instagram: www.instagram.com/teamtequilatalks Youtube: Team Tequila Talks Sarah Kleiner: www.instagram.com/sarahkleinerwellness Website: www.sarahkleinerwellness.com YouTube -https://youtube.com/@SarahKleinerWellness Courses - https://sarah-kleiner.mykajabi.com/store (code PODCAST for 10% off any course!)

In this week's episode Dave and Jess get back on the romantic comedy train with Somebody I Used to Know on Amazon Prime, starring Alison Brie and directed by Dave Franco, which the couple pairs with a Tequila Sunrise cocktail.The movie features some laughs, but is it a comedy, or a "shadow of a comedy" as Jess says?  Other topics discussed in this episode include the origins of the Tequila Sunrise cocktail, and a debate on what the official cocktail of their actual hometown Gilbert, AZ would be.  Jess has some strong takes about female characters and their decision making in these movies, and Dave shouts out one of his favorite documentaries, American Movie, which has its movie poster featured in this film.Thanks for listening! We hope you enjoyed the episode. Please take time to rate the show wherever you listen to your podcasts and follow us on Instagram at DateNightInPodcast. We welcome feedback, suggestions, and cocktail recipes at DateNightInPodcast@gmail.com. Our intro song is from Royalty Free Music from Tunetank.comTrack: Summer Vibes by RedNotehttps://tunetank.com/track/865-summer-vibes/

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones they made in between. Today, we chat about one of the most famously beautiful (and talented!) actors of all time: Michelle Pfeiffer! We're honored to have Veronica Fitzpatrick - of Brown University and The Bright Wall/Dark Room Podcast - on to talk Pfeiffer B-Sides Sweet Liberty, Tequila Sunrise, Wolf, and The Deep End of the Ocean. We discuss what makes Michelle so iconic, how hard she had to work to push past being dismissed as just a pretty face, the incredible roles she's turned down in her career, the extreme range she's boasted during her time in the spotlight, and her willingness to take challenging roles. The propensity of Oprah Book Club film adaptations in the late ‘90s/early 2000s (and Michelle's propensity to star in them) is dished on, as is the beautiful lurid-ness of Wolf. Finally, we dig into why Whoopi Goldberg got some much criticism for her role in The Deep End of the Ocean, the interesting filmography of Ulu Grosbard, and Alan Alda's decade of creative decadence. Two podcasts recommended and used for research: The Mixed Reviews Podcast & This Had Oscar Buzz. Please check both of these linked Pfeiffer-focused episodes out! Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. We are also now on Spotify and Stitcher. Enjoy!

Robert Towne writes and directs a glossy film about a heroic coke dealer and his best friends, an LA cop and a Mexican drug lord.Written & Directed by Robert Towne. Starring Mel Gibson, Kurt Russell, Michelle Pfeiffer, Raul Julia, J.T. Walsh, Arliss Howard, Arye Gross & Budd Boetticher How is the world wrong about “Tequila Sunrise”? From Andras: This whole enterprise is pretty wrong and yet, the performances (from Gibson, Julia & Pfieffer) and its amoral drives make it compelling in ways that few films can match. Kurt Russell in particular is in top form. This might be the performance that demands the most of him as an actor.Find all of our episodes at www.theworldiswrongpodcast.comFollow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpodFollow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXagFind all things Andras Jones at https://previouslyyours.com/ The World Is Wrong theme song written, produced and performed by Andras JonesCheck out: The Director's Wall with Bryan Connolly & AJ Gonzalez&The Radio8Ball Show hosted by Andras JonesSee omnystudio.com/listener for privacy information.

We're at it again!!!! This week Nathaniel takes a deeper dive into "Tequila Sunrise" off of Don't Give Up The Ship. They stumble through an explanation of how finding someone attractive doesn't mean you get to put that on them, or think they care. It's a messy explanation of some important and messy ideas. Lune The Band: https://lunetheband.bandcamp.com/ I Don't Speak German: https://idontspeakgerman.libsyn.com/ It Could Happen Here: https://www.iheart.com/podcast/1119-it-could-happen-here-30717896/ Cool People Who Did Cool Stuff: https://www.iheart.com/podcast/1119-cool-people-who-did-cool-96003360/ --- Send in a voice message: https://anchor.fm/lunetheband/message

Craig welcomes the fabulous and fragrant Christeene to talk releasing the balloons, Tickles Pickles, celebrating the butthole, crowdfunding, Vaginal Davis, resourcefulness, the buffet of life, the art of infiltration, classical harp inspiration, Vogue Fabrics, the sweet sounds of “Tequila Sunrise”, Roger Clinton at Farm Aid, Lucha VaVoom, guest list grievances, “3-2-1 Contact”, revisiting “The Road To Freedom”, chicken observation, “Murder She Wrote”, tattoos, trusting your gut, the films of Kristy McNichol, spaghetti salad, Tanya Tucker, “Mama's Family”, celebrity superbugs, the Brown Light, and MORE! Support this show by checking the refreshed benefit tiers and hott new lower prices at https://www.patreon.com/CraigAndFriends Be a Pal, a Friend, a Friend With Benefits or a Best Friend and receive early & uncut ad-free versions of these episodes, exclusive bonus solo episodes, exclusive episodes with Ada & I discussing life as two queer poly partners who are about to be parents, participate in the Movie Clubs before recording and much much more. Get Christeene's new album MIDNITE F*KK TRAIN https://christeene.bandcamp.com/album/midnite-fukk-train-2 Donate to The Colorado Club Q GoFundMe https://www.gofundme.com/c/act/colorado-springs-club-q-shooting Donate to Amnesty International To Aid Ukraine https://tinyurl.com/448f36wu Donate to the Abortion Support Network https://www.asn.org.uk/fundraising/ Protect & Defend Trans Youth Fund https://www.pledge.to/protect-defend-trans-youth-fund#donate Support Black Lives Matter & Black Trans Lives Matter: https://blacklivesmatters.carrd.co https://blacktranslivesmatter.carrd.co Monkeypox Vaccine Info (UK) https://www.gov.uk/government/publications/monkeypox-vaccination-resources/monkeypox-waiting-for-your-vaccination Monkeypox Vaccine Info (USA) https://www.cdc.gov/poxvirus/monkeypox/considerations-for-monkeypox-vaccination.html 198 Get more Christeene! Instagram: https://www.instagram.com/christeene_official/ Twitter: https://twitter.com/fixmydick

I had the pleasure of talking with the co-founder and the CEO of Tequila Sunrise, Karly McFarland. She shared the story behind the name of her agency, how she got started in the email/e-commerce industry, and her goals for her book. Karly also talked about why people seem to have negative associations with email, how to avoid that, and the importance of having email campaigns that aim to provide value and build trust instead of trying to sell something.   --------   Click here to stay in the loop: www.zlatkobijelic.com/links

Double Identity stop by to talk another high budget teenage sci-fi series.Listen to, follow, and support Double Identity Band here:https://www.flowcode.com/page/doubleidentitybandEpisodes 25-27 of the Tequila Sunrise podcast features Thor discussing movie songs that are better than the movies they were created for.Also, a look into the daily (off-air) lives of McFly and Scarlett Witch:M: "What's with the lemon on the counter?"S: "That's from the Pimm's Cup cocktail that we never made a few weeks ago."M: "Then what's Primrose?"S: "Katniss's sister."M: .....S: "From Hunger Games."M: .....S: "The movie we watched last night for the podcast."

The boys are back at it after a slight vacay delay, topics discussed: Brett's Florida vacation, Stay away from Panama City, All the rain in the midwest, Chad's Polaris timeshare, Miscommunications and Chad meets Ted Cruz, Lesbian Bars in Portland, Biden's got Covid, Asthma, and Cancer, How to not get Monkey Pox aka Schlong Covid, Wikipedia changes the definition of a Recession, How were all going be spending our Mega Millions winnings, The Drink of the week brought to you by Blake is the original version of the Tequila Sunrise, What are the top cities people are looking to leave according to Redfin, What are top selling vehicles in the US and in your state, One vacation for the rest of your life and all the extra banter you expect. Drink of the Week: Original Tequila Sunrise: 2oz Tequila, 1oz Creme De Cassis, Club Soda, Fresh Lime Find us on Instagram http://Instagram.com/flyoverboys For any questions for an upcoming pod shoot us a line at flyoverboyspod@gmail.com

In the fourth episode of this special six-part series, host Zach Geballe is joined by Stephanie Teslar and Egor Polonskiy from PATRÒN Tequila's Advocacy and Mixology Team to explore a range of tequila cocktails, from classics like the Paloma and Tequila Sunrise to reinventions like the Oaxacan Old Fashioned or the Tequila Negroni. See acast.com/privacy for privacy and opt-out information.

"Tequila Sunrise" commissioner Rachel C. returns with another '90s movie full of sexy people doing confusing things. This week, it's "The Grifters," a 1990 neo-noir thriller that proves even John Cusack, Anjelica Huston, and Annette Bening have their off days. This movie about con people and the con people who love them led to such classy topics as discount grandmas, boob fingerprints, nostalgia trolls, and the kinds of sexual favors landlords can reasonably expect from tenants attempting to seduce them. "The Grifters," nominated for multiple Academy Awards, also brought us the most unlikely death in Shat history and possible the worst heist since "Safe Men," proving critics love anything that hearkens back to old timey movies.  SUBSCRIBEAndroid: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACTEmail: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCASTDonate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite