Podcasts about Tom Bosley

Do you love romantic dramedies that deal with prescient topics? Do you love watching movie stars who have undeniable chemistry? Do you like movies that take place in pet stores and feature a whole bunch of fish? Then Love with the Proper Stranger (1963) is the movie for you! Check out this unique and timely classic directed by Robert Mulligan starring Natalie Wood, Steve McQueen, Edie Adams, and Tom Bosley in his feature film debut. Host Sara Greenfield and her guest Oriana Nudo chat about all this and more on this week's episode of Talk Classic To Me. -------------------------------------------------------------------Want to become a subscriber? Use the link below to support the show!https://creators.spotify.com/pod/show/sara-greenfield/subscribe

"Joanie Loves Chachi" is an ABC sitcom that aired from 1982-1983. It was a "Happy Days" spin-off that followed Joanie Cunningham and Chachi Arcola to Chicago where they pursued music careers and furthering their relationship. After the initial curiosity wore off, ratings declined rapidly. ABC decided to pull the plug, and both Joanie and Chachi were written back into Happy Days for its final season. "Joanie Loves Chachi" has become something of a punchline in TV history, often cited as an example of a failed spin-off. Will the S1E1 boys disagree? Listen as they deep dive the show's pilot episode, "Chicago". Starting: Erin Moran, Scott Baio, Al Molinaro, Ellen Travolta, Art Metrano, Tom Bosley, & Marion Ross www.S1E1POD.com Instagram & X (Twitter): @S1E1POD

Would you like me to present more of this series?Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

GGACP's celebration of Women's History Month continues with this repost of a 2018 interview with Mrs. C herself, Emmy-nominated actress Marion Ross. In this episode, Marion recalls her early days as a studio contract player, her struggles to find her footing in Hollywood, her curious methods of getting into character and her working relationships with Claudette Colbert, Noel Coward, Kirk Douglas and Charlton Heston. Also, Marion crushes on Clark Gable, confides in Cary Grant, sets sail with Tony Curtis and pays a call on Bogie and Bacall. PLUS: Marlene Dietrich eats lunch! Jose Ferrer makes his move! Ginger Rogers robs the cradle! And Marion remembers colleagues Tom Bosley, Pat Morita and Garry Marshall!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textAnimation enthusiasts and fans of television history are in for a treat as we unpack the animated sitcom "Wait Till Your Father Gets Home," which aired from 1972 to 1974, and is now available on Blu-ray from the Warner Archive. Joined by animation historian Jerry Beck and George Feltenstein from the Warner Archive, we promise a journey through the series' daring exploration of social issues, reminiscent of the era's cultural shifts. Discover how Hanna-Barbera's foray into adult-oriented animation paralleled the success of "All in the Family," breaking new ground in programming strategy. With creative input from Harvey Bullock and R.S. Allen, this lesser-known gem offers a fascinating lens into the evolution of animated sitcoms.The episode doesn't stop at history; we also celebrate the show's unique aesthetic and lasting relevance. Playboy cartoonist Marty Murphy's distinct artistic style brought an adult edge that set the series apart from typical Hanna-Barbera fare. Hear how the sharp writing and humor—highlighted by talents like Tom Bosley and Jack Burns—crafted a show with timeless appeal. Now restored on Blu-ray, "Wait Till Your Father Gets Home" is being rediscovered by new audiences, sparking conversations about its significance and resonance in today's world. Join us in appreciating this animated classic that boldly addressed societal themes through its clever narrative and design.Note: George also details the disc 6 replacement plan and the quality issues some viewers have noticed in season 2 episodes. The email to request a replacement Disk 6 is not yet available.Purchase your copy:WAIT TILL YOUR FATHER GETS HOME (1972-74) The Complete Animated Series Blu-rayAlso available:TOM AND JERRY: The Complete CinemaScope Collection (1954-1958) Blu-rayFRANKENSTEIN JR. AND THE IMPOSSIBLES-The Complete Animated Series (1966-67) Blu-rayDAFFY DUCK'S QUACKBUSTERS (1988) Blu-ray The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Ah, '80s nostalgia. It's one of the few things going for Million Dollar Mystery, a treasure hunt adventure from 1987. Matt & Ashley revisit this fondly-remembered movie from Matt's childhood, in our latest Retro episode. You can click below to listen.

If you wanna be our lover, you have to shower us in compliments. Sara's unlikely, mid-90s interlude with the King of Daytime Telly, Geoff asks what - in 2025 - is the deal with cigars? AND one backstreet podiatrist. COME SEE US LIVE ON 25TH JANUARY to assess Sara's finger or toe, your kink depending: https://www.angelcomedy.co.uk/event-detail/they-like-to-watch-live-25th-jan-the-bill-murray-london-tickets-202501251500/Write to us, fill up that inbox: fuckoff@firecrotchandnormcore.comGIVE US YOUR MONEY! Who else will finance the visits to the backstreet podiatrist: patreon.com/theyliketowatchEdited by darling girl, Annabel Emily Port: Hosted on Acast. See acast.com/privacy for more information.

National Hair day.  Entertainment from 1986.  Model T went on sale, Disney World opened, October begins.  Todays birthdays - Walter Mathau, Jimmy Carter, Tom Bosley, George Peppard, Julie Andrews, Herb Fame, Randy Quaid, Zach Galifianakis, Brie Larson.  Tom Clancy died.Intro - Pour some sugar on me - Def Leppard    https://defleppard.com/Hair from movie soundtrackStuck with you - Huey Lewis & the NewsAlways have always will - Janie FrickeBirthdays - In da club - 50 Cent    https://www.50cent.com/Sound of music - Julie AndrewsShake your groove thing - Peaches & HerbExit - In my dreams - Dokken    https://www.dokken.net/Follow Jeff Stampka at cooolmedia.com or on facebook

Jim remembers his first viewing of the 1969 TV Movie, "Night Gallery," which served as the pilot for the series and starred Roddy McDowall, Ossie Davis, George Macready, Barry Atwater, Joan Crawford Barry Sullivan, Tom Bosley, Byron Morrow, Richard Kiley, Sam Jaffe, George Murdock and featured directors, Boris Sagal, Steven Spielberg, and Barry Shear. The film included three tales of the weird written by Rod Serling, who introduced each segment. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Jim remembers his first viewing of the 1969 TV Movie, “Night Gallery,” which served as the pilot for the series and starred Roddy McDowall, Ossie Davis, George Macready, Barry Atwater, Joan Crawford Barry Sullivan, Tom Bosley, Byron Morrow, Richard Kiley, Sam Jaffe, George Murdock and featured directors, Boris Sagal, Steven Spielberg, and Barry Shear. The […] The post Night Gallery | Episode 421 appeared first on The ESO Network.

It's the ludicrously-belated fifth and final episode of WHAT WOULD WALT HAVE DONE? "MONTH" on Escape From Vault Disney! And to wrap up this batch of episodes on the most awkward time period in Disney history, the randomizer goes all the way back to 1976 to cover an example of Disney's most reliably lucrative (or at least, least reliably un-lucrative) genre at the time, the dumb-as-rocks slapstick-heavy live-action comedy! And what a comedy it was, assembling more exclamation-point-worthy TV stars than a primetime variety special - Ed Asner! Don Knotts! Tim Conway! Tom Bosley! Bob Crane! Dick Van Patten! Dick Butkus! The Guy Who Voiced The Cat From Outer Space! - and then casting them all in a motion picture where the REAL star is a dumb mule who somehow gets drafted as an NFL placekicker through the use of Air Bud logic twenty years before Air Bud. Ah well, at least he's not Harrison Butker. Join Tony Goldmark, Charlie Callahan, Zach Hurst and Cassie Shima as they all get kicked in the head by GUS! Pre-order Stephen Anderson's new book! https://www.indiegogo.com/projects/disney-in-between-the-lost-years-1966-1986  Check out my guests' stuff! CHARLIE CALLAHAN Twitter: https://twitter.com/ThemeSnark  YouTube: https://www.youtube.com/rbgprods    ZACH HURST Podcast: https://rss.com/podcasts/wimdpod  Twitter: https://twitter.com/TheRLKing YouTube: https://www.youtube.com/c/TheVoyages CASSIE SHIMA Instagram: https://www.instagram.com/cassies_island Twitter: https://twitter.com/CassiePrologue  And check out this show on social media! Twitter: https://twitter.com/efvdpodcast Host's Twitter: https://twitter.com/tonygoldmark Facebook Group: https://www.facebook.com/groups/972385353152531 YouTube: https://www.youtube.com/tonygoldmark Hear new episodes AD-FREE and one day early by supporting this show on Patreon: https://www.patreon.com/tonygoldmark

This episode has some fatherly advice! Jason, Jim, and Joseph celebrate some of the greatest dads in TV history.Joseph's Dad still has great advice to share and memorable quotes that Jim can't forget.Jim's Tom Bosley impression is pure Hollywood magic.Jason hedges his bets again to make sure his favorite sitcom gets on the list.Daddy, Daughter Day: An awkward parental rite of passage."Serenity Now!"Cliff Huxtable should have been on the list. (Do you remember Sondra? )What TV Dad scarred Jason from using a razor as a boy?

{Happy Days} / [A Tie That Binds] [As Seen On TV] / I _ NY (I Love New York) New Albums Coming Soon Love , -Ū. I SAID I LOVE YOU! I AMBER HEARD YOU —YEAH, WELL, YOU COURTNEY LOVED HIM! No guilt trips. Brooklyn, I don't give a shit about you blond bitches Ya'll is crooked as fuck Fast walking trying to pass me That's alright; I can write A whole album in 45 minutes So pay attention I should be booking shows I'm stuck at the stove With no furniture No money to blow Blowing bubbles in the tub Wondering how the fuck I'm supposed to run With no protein I'm so hungry Carbohydrates can't harm nobody Less you're a wanna be All my demons skinny as can be And still eating Still scrolling on social media like “Fuck it “ I don't owe nobody nothing I don't want nobody, actually All of these guys find me ugly Just wait till it's me on the Tv I'll have them all Take me to the future again I been in this bed for six days Just going blank slate [Slate Your Name, Please] A monocle, A synagogue, a musical, and a monologue Let's log it all on the podcast and make it a montage, Shall we, or shall we not? SAGAL: CUT. I'm not that dead, man I been praying for him and his family Can't get her name out of my head, that one These are oceans, planets and oceans I can write a whole album In 45 minutes Might need a jacket I die when the wind blows If it gets colder I fit the mold, huh? I'm not worried about a snowman Till it gets frozen Bring the hoes in Dirty dozen donuts Something says “you were chosen” Another stroller I don't even want to go there My life is over I got your number I never ever want to grow here on my Nowhere I'm sober I'm so bare I'm so Bearr [censored] I never wanted the impossible thought form I never wanted to forgot where I come from I never won an award for nothing I don't want no man I don't want no friends I don't want it no more It's a war here I'm no racist, promise I'm just informing ya Compromises and honor rolls Sometimes you take two doses Sometimes you're a bulldozier And hozier don't know shit Satan can't do shit but sit there Cause Ain't nobody in that body Just the lack of where I am is I am is I don't really need nobody Cause soon as I got him He gon want some body That's not me That's the problem Another oracle Another blonde with no Nothing between the thighs, I shot him right between the eyes I been crying and trying days and nights To be right there Be right there He really like a nightmare Yeah. He really like a nightmare Yeah. He really like a nightmare A whole frightening ass— Lights up, Curtains open quiet on stage Hold backstage Quick change I just want to walk into buffalo exchange like Here, take this; I'll take 5 orders or your best chicken, And just wait for this literal genius to be like “Uh—we don't have chicken here” Sorry, I just assumed with buffalo Walked in with nothing, No clothes Just a really old guy holding my hand like “I'll buy this” Thanks, gramps That's my man Thanks lion, That's my Maine. Now, what's my name? Manhattan. Why all the white supremacists mad? They're just like that I spin backwards trying to die Cause I can't catch a white man That's big ass fish I just got my dick stroked, you know This one and that one, he says Swerve, I'm all in my mainstream All in my I can't take it I just had a big ass stroke, you know I been smelling cornbread— Nope, That's the oven I love it Here's my language: Jesus, save us There she is— Another television envious of sentientness You know This is the sweetness of success Without the sweat in it I put a letter out in public to Letterman and Conan Before of course I realized, I just might be writing to dead men And that's what death is Debt That's what death is When Johnny Depp is your best friend And everything and everyone else is indifferent And the dishes have just been Like that In the sink, Like the rest of the trinkets Now let that sink in Or synchronize in synchronized Fuck it (I'll keep drinking/ Thinking) I'll never be a Never be a Whatever this bitch is I never loved him Never loved him Never loved another's husband Never remembered anyway, what the password was When the last world ended My eyes got brown as my skin is I miss him Dinner and wine, then I kissed him In a different dimension Now it's just Not worth mentioning It's so funny. I don't want Nothing no more Not a dog Not a baby That's a death wish I don't want a friend in the world Besides my best friend I only talk to my mother over Divorce papers and turntables I been battling Satan I'm just the saddest thing that ever happened (Finally, a hook in this bitch) I'm just the saddest thing that ever happened Next to Johnny Carson, that is, you know Leno, Subliminal messages And infinite women I'm just the saddest thing that ever happened Since Patrick the predecessor This is just a precursor to Esha The successor The success story starts When starr's shaman curse is over Where will I ever find a four leaf clover Or a lover in Manhattan or new York at all, mom?!? I must be a dead man walking I'm the saddest thing that ever happened I got my name on the dollar bill Now the face of the phases is coming The worst thing that ever happened A dead man walking Green means go The whole world is color coded My heart is swollen And I just want to go home My throne is Not my apartment With the darkness sets in Regrets starts sending me electromagnetic messages I could honest to God Not give a fuck If a bus or a truck Just hit me It's been a year and some months in this city And I have a whole studio But my humor loud is still shitty I love this city But miss decency These immigrants just don't know how to act Too many levels and synchronicities to this thing Too many levels of infinite television figures Way too many people giving me attention Way too many Dollar signs on mattresses, Too many mad maxes and mad hatters Too many beautiful black man ‘s with manners I just wonder why I can't find them attractive Satan holds the door open The world war's starting I don't want no problems, I just blow bubbles, dory, like It was horrible, Touching the face of the sun And then Vanishing like that It's impossible, Now I've got piglets and players And nice hats With sliced cabbage If I back track To mice and men My sandwhich is just as Tight as ever, Last I checked Lesson learned, I said Don't touch that But I pressed the easy button Twice since lunch Fuck I might have fucked up somewhere Getting drunk with the undercover Who doesn't know nothing according To the blowjobs i showed him No man And no friends No dog And no kids No sodom and gamora With long hair I'm the whore of babylon, underling Do you know this? Do you notice me? Coming over with no hair In the clear As if I would still feel the same Like next year I can't hear it It's encouragement Take a long dive Off a short pier! It's the wrong hearing I got no charges out on the open I just won't be starting fires under Bridges As long as there's water running Which I should be, But life's not funny And something haunting me, I got problems with God Probably a prophet, apostle or something With black skin and a hanging stomach I never ever had love again? That does it I'm over this whole world, Fuck it I want another husband Who doesn't have occulars at all, then Dead man walkin I'm dead man walking I'm so sick of talking And motorcycles and hotrods stalking my apartment But nothing I do or say quite matters Like the latest cake album Cause fame does fuck up the Love game And the other ones That's the whole world, now Nothing but monopoly to dumb Gods I'm just sucking my thumb, nodding like Fuck my heart is open I want to throw up, and this whole ass Borough smells like vomit And dog piss! I just want to be be as tall or as small as hot is, But this plot shit Is getting thinner Like I should be but it's getting closer to dinner And this ugly ex husband Keeps costing me money It's fucked up But I don't want nothing but Some fucking vanilla Hagen das! I want a dog, But money is a fuckin problem, All I know is The more I want something The farher away it is all from coming I need alcohol in my stomach And my hearts erupting with love, or something I should probably pick up a Book of Mormon before Sunday Cause my God ain't moving me Up from this apartment You started it I planted the seed, Then they put water on it Gues I'm growing Up Everything sucks Especially my birthday But the worst day Was earth day I'm famous But my net worth And network Ain't working I am way way higher than the fourth floor I'm in 4 4 time In the forth world Wake up, It's the fourth world war Wake up It's the fourth world war Wherefore art thou iPhones ? I don't want them at my shows Turn them off They're turning your mind Psycho Psychosis is this I got flows I slept four hours Been up more Guess what That means Time froze I'm exposing this guy like Fandoms We worshiping icons And idols Lifeless models And guy drones I send cyclones My way My eyes light up I don't like hoes I take midol All night Just to fight bros I get drunk I'm live at 9 Alright tho Alright I'm up all night I spilled my blood Like a tampon Now I'm on Icon Todrick That's hot Alright I put my sweat and tears in it Cause I ain't hearing shit If it's just mustache, man No beard in it? That's weird I'm still here Waiting for Cher to appear Like “Fuck. Did I miss it?” I must be Sonny Or somebody Cause I'm dead Oops Apple tree Johnny Come after me Johnny come lately Or something was up With the other dimensions This suit is is interesting I got a Ron burgundy one I got records for days in my Daisy I got Niggas on niggas on niggas And witches on sticks No brooms They on zoom calls In messy ass rooms Fuck that How can I be your only fan If you don't need a man And the price goes up When I get what I wanted I take screenshots And then I move on Pornhub is still free hun Fucking—dumb bitch You're dumbo; Remember me? No I meant Brooklyn! Just keeping the peace I'm Christopher Columbus But Columbine on columbians I like a genocide Once or twice every Generation Reprogram the Asians To be human again Someone save them Reprogram the masses To react to Something other than Reactions I should redact this All of a sudden, I'm sick to my stomach I've been stuck for days like this Stuck, and just suffering Death wishes, all in these documents Death wishes Death wishes— Things that I've written, but shouldn't have I'm losing you, aren't I? I'm losing myself, really, I might die from this It is a crime to write this I dot my is any cross my t'a Grit my teeth and fingers That my tribe doesn't find this It is ridiculous, It's ridiculous; these documents Death wishes, telepaths And televisions What's the difference in This, And the encryption of it I can't reach out; I know better than even to look I just can't ask…. You're just a page upon my book I was never the one To test the task at hand The safest bet I'll just stay here With a pillow under my head So near the latest terrorist attack Likeness is what it attracts So I can't look back in bed On back to back How bad we bled Or often we bled out What's happened? A head in the clouds And i can't think straight It's a canon camera A keystone cast, A comic drama A cosmic someone Who just went backwards . . . Breaking down the walls It's always Lennon who hold the candle On walks with God, on the other side Of the art of death A long lost lover I never thought of Or just can't think To hold together When it never rains in ever land December's where I left her Hold my hand Or love me harder Don't look twice Or once more after Never close the door The chapter coming next Is love and laughter in never happened Can a happenstance look after A restless toddler Another walk with God, John holds the candle, Dad holds all the cradle to my heart And I want nothing but to run Something something something Something something this way comes —the attack on the heart worked For the sake of the art, it hurts, And it beats like a drum Of course it does Cause Something something something Never comes Sunday's almost over, Over once it comes Another lover, someone's husband Better not to God, The Judge had hung her verdict on the cross How are ‘What have yous' and ‘Who does that's for besides A pungeant conversation starter Just to cover up the odor Of cedar smoke and Dove deodorant, Pesticides And raw Hyde dog chews I thought “Who are you” Far too often Of the cosmos, But, the color of love hit my lungs At the tip of my tongue in a shade of Blue Who is it? Sister, sister Mister brother Doctor, Doctor Teacher, I am you. (So here's what to do with it) Call you up to the 212 My heart won't stop thumping I've had much coffee, Something, just probably lust is Welling up in my safe deposit box All I wanted was just enough evidence To go to heaven with something to show for all this Go for broke, or superstardom Don't you know that all you are is —stardust? I sleep with the lights on Clutching my stones The false shaman Haunts me from another time zone He won't leave me alone Until I throw myself off a roof Or in front a train Trying to drain me of my Brain and free agency Free gateway Read the gallery; So much flattery happened to have had me at Fallacies laughing at everyone else But the flatlined hack I hate being black when I'm fat And I've never had flat where my abs are Or my ass is Who sang the guitar a short song I hope imm wrong for the trophy I'm full grown, but only ¾ cups Of the measurements I'm sure heaven sent To picture infinite in A different integer (Sure.) For certain, it was just words Worth the wordforms to armor with curtains Just to give earth back her Metamorphosis The more I resist, however The more the world wants in It sure hurts so it must hurt more To become what you are but worse In the wake of a war When you wake up a heart That was already broken I put your mantras on bus stops And calmly enforced all the karma coming for The ones who harm me So what for, besides the war, are you working for If circles are drawn into Pentecostals And crosses alter your Munchausen syndrome If god wills it to be so, then it will be so; If God does not, then it must not be. And so it is, and so I am. Amen Make Antigone's monologue into a song I'm old New York Sippin soda through a straw I seen it all, Technology come up, Like the sun does Our side first, Ahead of the times I'm old New York I'm the New York Times These subway ads are fucking wild. The wibway is wild in itself Which is why I guess there's an ad that says “Don't be someone's subway story, Which is why, as a writer, I'm like; No; DO: Do be my subway story— And if it's good enough, You'll be a joke in my comedy routine Or If you're even more lucky, And I find you hilarious, I might just put you in a song I will turn my headphones all the way off To make an audio recording If you being hilarious— Read: obnoxious, Somewhat ghetto, or just slightly off-putting, but like, loud about it. Someone's acting up and it doesn't make me wanna actually slit my wrists, I'm like “Yeah!” Do that PLEASE. Do it LOUDER. But man, the subway is wild sometimes Like, the real jungle. I was on my way to an interview, And the trains were backed up, it was rush hour, so like, the whole train of people was like rushing, like running for the train— And this whole group of people coming off the train that were about to leave were like, in the way— And people were like, running around people, rushing around, it was like total chaos, and this dude in front of me—it was a black dude, he like straight up line backed this dude—luckily not onto the tracks, cause we were all like along that fucking yellow line, between the tracks— Sorry, for those of you dumb enough to actually live in the city and drive and have never seen the subway— There's this yellow line that says : do not cross this line, in front of the tracks— DO NOT CROSS. It everybody does because, you know Mass transit So anyway, We're all walking this line, Like running for this train, And this dude, this subway fucking hero Sees the doors about to close, And fucking linebacks this dude, just HUH, but at the same time moving him safely out of the way There's a poster I straight up stand by, it Jon daily must be a fucking beast. I saw his ad for his show, That shit start watching me like the Mona Lisa. I was like, On God, I walked like 2 more ads, And still felt like his eyes were following me— never turn around, so I pivot— I pivot and change directions, And I go back to look at this poster, You know, To make sure it's — His name is Malakai. Oh—that's it. Don't mistake my kindness work weakness. [ESHA pours nearly an entire bottle of AMSTERDAM coconut vodka down the kitchen sink] No hard stuff. That was for me. not in the house. It's a townhouse. It's my townhouse. I'm not arguing. Yes you are—there's some red wine in the [he's already found it, and is pouring himself a glass] Perfect. Now lastly, Do you have any pants? I have pants; I just don't wear them. Well, wear them. What. For what. My daughter has a key and she stops by sometimes without calling. That sounds awful. You have two of your own daughters. Actually, one; Olivia wants to be Oliver. That's uncomfortable— Actually, it's awesome. I almost like her more now. Glad you're taking it well. That's why the vodka. The wine should do. Hey, let me in. What the fuck do you want? Tales of A Superstar DJ My sexual appetite wa insatiable, and yet–I ddn't really want anybody–not that it mattered, as was for the most part, unavailable, entirely, anyway, closing an open heart before it turned into a bleeding wouldn which could not be mended–of course, the cause of my eventual death. Then, I was doing much more than nothing at all, and still being looked after in some way, and all that I wanted anyway, was love–which no man at all seemd to actually have for me. A woman, I had learned, is not much worth but by her body. Fake smiles, as the live camera rolls Fake smokes, for the folks at home From now on, it's all lights and cameras Too much action, actually Too many fountains [A delivery arrives at the warehouse] VICTOR What's this? PATRICK A pillow top mattress. VICTOR It's big. PATRICK It better be. VICTOR It looks nice: PATRICK Let's open it. he produces a box cutter from his left pocket. [after opening the box, Patrick, Victor, and Sutton stand around the mattress in a triangular formation.] SUTTON This is mad nice. VICTOR Nicer than any bed I've ever owned. PATRICK takes a long draw off of his cigarette PATRICK Really? Hm. [he produces a knife from its holster and tears into the edge of the mattress] VICTOR YOOOOOOOOOOOOOOOOOOOOOO. SUTTON shrugs. PATRICK cuts a deep exposure into the center of the mattress, pulling back the layers of foam, creating a pocket in its center.] PATRICK Perfect. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. From Wikipedia Happy Days is an American television sitcomthat aired first-run on the ABC network from January 15, 1974, to July 19, 1984, with a total of 255 half-hour episodes spanning 11 seasons. Created by Garry Marshall, it was one of the most successful series of the 1970s. The series presented an idealized vision of life in the 1950s and early 1960s Midwestern United States, and it starred Ron Howard as Richie Cunningham, Henry Winkler as his friend Fonzie, and Tom Bosley and Marion Ross as Richie's parents, Howard and Marion Cunningham.[1] Although it opened to mixed reviews from critics, Happy Days became successful and popular over time.[2] {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

{Happy Days} / [A Tie That Binds] [As Seen On TV] / I _ NY (I Love New York) New Albums Coming Soon Love , -Ū. I SAID I LOVE YOU! I AMBER HEARD YOU —YEAH, WELL, YOU COURTNEY LOVED HIM! No guilt trips. Brooklyn, I don't give a shit about you blond bitches Ya'll is crooked as fuck Fast walking trying to pass me That's alright; I can write A whole album in 45 minutes So pay attention I should be booking shows I'm stuck at the stove With no furniture No money to blow Blowing bubbles in the tub Wondering how the fuck I'm supposed to run With no protein I'm so hungry Carbohydrates can't harm nobody Less you're a wanna be All my demons skinny as can be And still eating Still scrolling on social media like “Fuck it “ I don't owe nobody nothing I don't want nobody, actually All of these guys find me ugly Just wait till it's me on the Tv I'll have them all Take me to the future again I been in this bed for six days Just going blank slate [Slate Your Name, Please] A monocle, A synagogue, a musical, and a monologue Let's log it all on the podcast and make it a montage, Shall we, or shall we not? SAGAL: CUT. I'm not that dead, man I been praying for him and his family Can't get her name out of my head, that one These are oceans, planets and oceans I can write a whole album In 45 minutes Might need a jacket I die when the wind blows If it gets colder I fit the mold, huh? I'm not worried about a snowman Till it gets frozen Bring the hoes in Dirty dozen donuts Something says “you were chosen” Another stroller I don't even want to go there My life is over I got your number I never ever want to grow here on my Nowhere I'm sober I'm so bare I'm so Bearr [censored] I never wanted the impossible thought form I never wanted to forgot where I come from I never won an award for nothing I don't want no man I don't want no friends I don't want it no more It's a war here I'm no racist, promise I'm just informing ya Compromises and honor rolls Sometimes you take two doses Sometimes you're a bulldozier And hozier don't know shit Satan can't do shit but sit there Cause Ain't nobody in that body Just the lack of where I am is I am is I don't really need nobody Cause soon as I got him He gon want some body That's not me That's the problem Another oracle Another blonde with no Nothing between the thighs, I shot him right between the eyes I been crying and trying days and nights To be right there Be right there He really like a nightmare Yeah. He really like a nightmare Yeah. He really like a nightmare A whole frightening ass— Lights up, Curtains open quiet on stage Hold backstage Quick change I just want to walk into buffalo exchange like Here, take this; I'll take 5 orders or your best chicken, And just wait for this literal genius to be like “Uh—we don't have chicken here” Sorry, I just assumed with buffalo Walked in with nothing, No clothes Just a really old guy holding my hand like “I'll buy this” Thanks, gramps That's my man Thanks lion, That's my Maine. Now, what's my name? Manhattan. Why all the white supremacists mad? They're just like that I spin backwards trying to die Cause I can't catch a white man That's big ass fish I just got my dick stroked, you know This one and that one, he says Swerve, I'm all in my mainstream All in my I can't take it I just had a big ass stroke, you know I been smelling cornbread— Nope, That's the oven I love it Here's my language: Jesus, save us There she is— Another television envious of sentientness You know This is the sweetness of success Without the sweat in it I put a letter out in public to Letterman and Conan Before of course I realized, I just might be writing to dead men And that's what death is Debt That's what death is When Johnny Depp is your best friend And everything and everyone else is indifferent And the dishes have just been Like that In the sink, Like the rest of the trinkets Now let that sink in Or synchronize in synchronized Fuck it (I'll keep drinking/ Thinking) I'll never be a Never be a Whatever this bitch is I never loved him Never loved him Never loved another's husband Never remembered anyway, what the password was When the last world ended My eyes got brown as my skin is I miss him Dinner and wine, then I kissed him In a different dimension Now it's just Not worth mentioning It's so funny. I don't want Nothing no more Not a dog Not a baby That's a death wish I don't want a friend in the world Besides my best friend I only talk to my mother over Divorce papers and turntables I been battling Satan I'm just the saddest thing that ever happened (Finally, a hook in this bitch) I'm just the saddest thing that ever happened Next to Johnny Carson, that is, you know Leno, Subliminal messages And infinite women I'm just the saddest thing that ever happened Since Patrick the predecessor This is just a precursor to Esha The successor The success story starts When starr's shaman curse is over Where will I ever find a four leaf clover Or a lover in Manhattan or new York at all, mom?!? I must be a dead man walking I'm the saddest thing that ever happened I got my name on the dollar bill Now the face of the phases is coming The worst thing that ever happened A dead man walking Green means go The whole world is color coded My heart is swollen And I just want to go home My throne is Not my apartment With the darkness sets in Regrets starts sending me electromagnetic messages I could honest to God Not give a fuck If a bus or a truck Just hit me It's been a year and some months in this city And I have a whole studio But my humor loud is still shitty I love this city But miss decency These immigrants just don't know how to act Too many levels and synchronicities to this thing Too many levels of infinite television figures Way too many people giving me attention Way too many Dollar signs on mattresses, Too many mad maxes and mad hatters Too many beautiful black man ‘s with manners I just wonder why I can't find them attractive Satan holds the door open The world war's starting I don't want no problems, I just blow bubbles, dory, like It was horrible, Touching the face of the sun And then Vanishing like that It's impossible, Now I've got piglets and players And nice hats With sliced cabbage If I back track To mice and men My sandwhich is just as Tight as ever, Last I checked Lesson learned, I said Don't touch that But I pressed the easy button Twice since lunch Fuck I might have fucked up somewhere Getting drunk with the undercover Who doesn't know nothing according To the blowjobs i showed him No man And no friends No dog And no kids No sodom and gamora With long hair I'm the whore of babylon, underling Do you know this? Do you notice me? Coming over with no hair In the clear As if I would still feel the same Like next year I can't hear it It's encouragement Take a long dive Off a short pier! It's the wrong hearing I got no charges out on the open I just won't be starting fires under Bridges As long as there's water running Which I should be, But life's not funny And something haunting me, I got problems with God Probably a prophet, apostle or something With black skin and a hanging stomach I never ever had love again? That does it I'm over this whole world, Fuck it I want another husband Who doesn't have occulars at all, then Dead man walkin I'm dead man walking I'm so sick of talking And motorcycles and hotrods stalking my apartment But nothing I do or say quite matters Like the latest cake album Cause fame does fuck up the Love game And the other ones That's the whole world, now Nothing but monopoly to dumb Gods I'm just sucking my thumb, nodding like Fuck my heart is open I want to throw up, and this whole ass Borough smells like vomit And dog piss! I just want to be be as tall or as small as hot is, But this plot shit Is getting thinner Like I should be but it's getting closer to dinner And this ugly ex husband Keeps costing me money It's fucked up But I don't want nothing but Some fucking vanilla Hagen das! I want a dog, But money is a fuckin problem, All I know is The more I want something The farher away it is all from coming I need alcohol in my stomach And my hearts erupting with love, or something I should probably pick up a Book of Mormon before Sunday Cause my God ain't moving me Up from this apartment You started it I planted the seed, Then they put water on it Gues I'm growing Up Everything sucks Especially my birthday But the worst day Was earth day I'm famous But my net worth And network Ain't working I am way way higher than the fourth floor I'm in 4 4 time In the forth world Wake up, It's the fourth world war Wake up It's the fourth world war Wherefore art thou iPhones ? I don't want them at my shows Turn them off They're turning your mind Psycho Psychosis is this I got flows I slept four hours Been up more Guess what That means Time froze I'm exposing this guy like Fandoms We worshiping icons And idols Lifeless models And guy drones I send cyclones My way My eyes light up I don't like hoes I take midol All night Just to fight bros I get drunk I'm live at 9 Alright tho Alright I'm up all night I spilled my blood Like a tampon Now I'm on Icon Todrick That's hot Alright I put my sweat and tears in it Cause I ain't hearing shit If it's just mustache, man No beard in it? That's weird I'm still here Waiting for Cher to appear Like “Fuck. Did I miss it?” I must be Sonny Or somebody Cause I'm dead Oops Apple tree Johnny Come after me Johnny come lately Or something was up With the other dimensions This suit is is interesting I got a Ron burgundy one I got records for days in my Daisy I got Niggas on niggas on niggas And witches on sticks No brooms They on zoom calls In messy ass rooms Fuck that How can I be your only fan If you don't need a man And the price goes up When I get what I wanted I take screenshots And then I move on Pornhub is still free hun Fucking—dumb bitch You're dumbo; Remember me? No I meant Brooklyn! Just keeping the peace I'm Christopher Columbus But Columbine on columbians I like a genocide Once or twice every Generation Reprogram the Asians To be human again Someone save them Reprogram the masses To react to Something other than Reactions I should redact this All of a sudden, I'm sick to my stomach I've been stuck for days like this Stuck, and just suffering Death wishes, all in these documents Death wishes Death wishes— Things that I've written, but shouldn't have I'm losing you, aren't I? I'm losing myself, really, I might die from this It is a crime to write this I dot my is any cross my t'a Grit my teeth and fingers That my tribe doesn't find this It is ridiculous, It's ridiculous; these documents Death wishes, telepaths And televisions What's the difference in This, And the encryption of it I can't reach out; I know better than even to look I just can't ask…. You're just a page upon my book I was never the one To test the task at hand The safest bet I'll just stay here With a pillow under my head So near the latest terrorist attack Likeness is what it attracts So I can't look back in bed On back to back How bad we bled Or often we bled out What's happened? A head in the clouds And i can't think straight It's a canon camera A keystone cast, A comic drama A cosmic someone Who just went backwards . . . Breaking down the walls It's always Lennon who hold the candle On walks with God, on the other side Of the art of death A long lost lover I never thought of Or just can't think To hold together When it never rains in ever land December's where I left her Hold my hand Or love me harder Don't look twice Or once more after Never close the door The chapter coming next Is love and laughter in never happened Can a happenstance look after A restless toddler Another walk with God, John holds the candle, Dad holds all the cradle to my heart And I want nothing but to run Something something something Something something this way comes —the attack on the heart worked For the sake of the art, it hurts, And it beats like a drum Of course it does Cause Something something something Never comes Sunday's almost over, Over once it comes Another lover, someone's husband Better not to God, The Judge had hung her verdict on the cross How are ‘What have yous' and ‘Who does that's for besides A pungeant conversation starter Just to cover up the odor Of cedar smoke and Dove deodorant, Pesticides And raw Hyde dog chews I thought “Who are you” Far too often Of the cosmos, But, the color of love hit my lungs At the tip of my tongue in a shade of Blue Who is it? Sister, sister Mister brother Doctor, Doctor Teacher, I am you. (So here's what to do with it) Call you up to the 212 My heart won't stop thumping I've had much coffee, Something, just probably lust is Welling up in my safe deposit box All I wanted was just enough evidence To go to heaven with something to show for all this Go for broke, or superstardom Don't you know that all you are is —stardust? I sleep with the lights on Clutching my stones The false shaman Haunts me from another time zone He won't leave me alone Until I throw myself off a roof Or in front a train Trying to drain me of my Brain and free agency Free gateway Read the gallery; So much flattery happened to have had me at Fallacies laughing at everyone else But the flatlined hack I hate being black when I'm fat And I've never had flat where my abs are Or my ass is Who sang the guitar a short song I hope imm wrong for the trophy I'm full grown, but only ¾ cups Of the measurements I'm sure heaven sent To picture infinite in A different integer (Sure.) For certain, it was just words Worth the wordforms to armor with curtains Just to give earth back her Metamorphosis The more I resist, however The more the world wants in It sure hurts so it must hurt more To become what you are but worse In the wake of a war When you wake up a heart That was already broken I put your mantras on bus stops And calmly enforced all the karma coming for The ones who harm me So what for, besides the war, are you working for If circles are drawn into Pentecostals And crosses alter your Munchausen syndrome If god wills it to be so, then it will be so; If God does not, then it must not be. And so it is, and so I am. Amen Make Antigone's monologue into a song I'm old New York Sippin soda through a straw I seen it all, Technology come up, Like the sun does Our side first, Ahead of the times I'm old New York I'm the New York Times These subway ads are fucking wild. The wibway is wild in itself Which is why I guess there's an ad that says “Don't be someone's subway story, Which is why, as a writer, I'm like; No; DO: Do be my subway story— And if it's good enough, You'll be a joke in my comedy routine Or If you're even more lucky, And I find you hilarious, I might just put you in a song I will turn my headphones all the way off To make an audio recording If you being hilarious— Read: obnoxious, Somewhat ghetto, or just slightly off-putting, but like, loud about it. Someone's acting up and it doesn't make me wanna actually slit my wrists, I'm like “Yeah!” Do that PLEASE. Do it LOUDER. But man, the subway is wild sometimes Like, the real jungle. I was on my way to an interview, And the trains were backed up, it was rush hour, so like, the whole train of people was like rushing, like running for the train— And this whole group of people coming off the train that were about to leave were like, in the way— And people were like, running around people, rushing around, it was like total chaos, and this dude in front of me—it was a black dude, he like straight up line backed this dude—luckily not onto the tracks, cause we were all like along that fucking yellow line, between the tracks— Sorry, for those of you dumb enough to actually live in the city and drive and have never seen the subway— There's this yellow line that says : do not cross this line, in front of the tracks— DO NOT CROSS. It everybody does because, you know Mass transit So anyway, We're all walking this line, Like running for this train, And this dude, this subway fucking hero Sees the doors about to close, And fucking linebacks this dude, just HUH, but at the same time moving him safely out of the way There's a poster I straight up stand by, it Jon daily must be a fucking beast. I saw his ad for his show, That shit start watching me like the Mona Lisa. I was like, On God, I walked like 2 more ads, And still felt like his eyes were following me— never turn around, so I pivot— I pivot and change directions, And I go back to look at this poster, You know, To make sure it's — His name is Malakai. Oh—that's it. Don't mistake my kindness work weakness. [ESHA pours nearly an entire bottle of AMSTERDAM coconut vodka down the kitchen sink] No hard stuff. That was for me. not in the house. It's a townhouse. It's my townhouse. I'm not arguing. Yes you are—there's some red wine in the [he's already found it, and is pouring himself a glass] Perfect. Now lastly, Do you have any pants? I have pants; I just don't wear them. Well, wear them. What. For what. My daughter has a key and she stops by sometimes without calling. That sounds awful. You have two of your own daughters. Actually, one; Olivia wants to be Oliver. That's uncomfortable— Actually, it's awesome. I almost like her more now. Glad you're taking it well. That's why the vodka. The wine should do. Hey, let me in. What the fuck do you want? Tales of A Superstar DJ My sexual appetite wa insatiable, and yet–I ddn't really want anybody–not that it mattered, as was for the most part, unavailable, entirely, anyway, closing an open heart before it turned into a bleeding wouldn which could not be mended–of course, the cause of my eventual death. Then, I was doing much more than nothing at all, and still being looked after in some way, and all that I wanted anyway, was love–which no man at all seemd to actually have for me. A woman, I had learned, is not much worth but by her body. Fake smiles, as the live camera rolls Fake smokes, for the folks at home From now on, it's all lights and cameras Too much action, actually Too many fountains [A delivery arrives at the warehouse] VICTOR What's this? PATRICK A pillow top mattress. VICTOR It's big. PATRICK It better be. VICTOR It looks nice: PATRICK Let's open it. he produces a box cutter from his left pocket. [after opening the box, Patrick, Victor, and Sutton stand around the mattress in a triangular formation.] SUTTON This is mad nice. VICTOR Nicer than any bed I've ever owned. PATRICK takes a long draw off of his cigarette PATRICK Really? Hm. [he produces a knife from its holster and tears into the edge of the mattress] VICTOR YOOOOOOOOOOOOOOOOOOOOOO. SUTTON shrugs. PATRICK cuts a deep exposure into the center of the mattress, pulling back the layers of foam, creating a pocket in its center.] PATRICK Perfect. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. From Wikipedia Happy Days is an American television sitcomthat aired first-run on the ABC network from January 15, 1974, to July 19, 1984, with a total of 255 half-hour episodes spanning 11 seasons. Created by Garry Marshall, it was one of the most successful series of the 1970s. The series presented an idealized vision of life in the 1950s and early 1960s Midwestern United States, and it starred Ron Howard as Richie Cunningham, Henry Winkler as his friend Fonzie, and Tom Bosley and Marion Ross as Richie's parents, Howard and Marion Cunningham.[1] Although it opened to mixed reviews from critics, Happy Days became successful and popular over time.[2] {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

{Happy Days} / [A Tie That Binds] [As Seen On TV] / I _ NY (I Love New York) New Albums Coming Soon Love , -Ū. I SAID I LOVE YOU! I AMBER HEARD YOU —YEAH, WELL, YOU COURTNEY LOVED HIM! No guilt trips. Brooklyn, I don't give a shit about you blond bitches Ya'll is crooked as fuck Fast walking trying to pass me That's alright; I can write A whole album in 45 minutes So pay attention I should be booking shows I'm stuck at the stove With no furniture No money to blow Blowing bubbles in the tub Wondering how the fuck I'm supposed to run With no protein I'm so hungry Carbohydrates can't harm nobody Less you're a wanna be All my demons skinny as can be And still eating Still scrolling on social media like “Fuck it “ I don't owe nobody nothing I don't want nobody, actually All of these guys find me ugly Just wait till it's me on the Tv I'll have them all Take me to the future again I been in this bed for six days Just going blank slate [Slate Your Name, Please] A monocle, A synagogue, a musical, and a monologue Let's log it all on the podcast and make it a montage, Shall we, or shall we not? SAGAL: CUT. I'm not that dead, man I been praying for him and his family Can't get her name out of my head, that one These are oceans, planets and oceans I can write a whole album In 45 minutes Might need a jacket I die when the wind blows If it gets colder I fit the mold, huh? I'm not worried about a snowman Till it gets frozen Bring the hoes in Dirty dozen donuts Something says “you were chosen” Another stroller I don't even want to go there My life is over I got your number I never ever want to grow here on my Nowhere I'm sober I'm so bare I'm so Bearr [censored] I never wanted the impossible thought form I never wanted to forgot where I come from I never won an award for nothing I don't want no man I don't want no friends I don't want it no more It's a war here I'm no racist, promise I'm just informing ya Compromises and honor rolls Sometimes you take two doses Sometimes you're a bulldozier And hozier don't know shit Satan can't do shit but sit there Cause Ain't nobody in that body Just the lack of where I am is I am is I don't really need nobody Cause soon as I got him He gon want some body That's not me That's the problem Another oracle Another blonde with no Nothing between the thighs, I shot him right between the eyes I been crying and trying days and nights To be right there Be right there He really like a nightmare Yeah. He really like a nightmare Yeah. He really like a nightmare A whole frightening ass— Lights up, Curtains open quiet on stage Hold backstage Quick change I just want to walk into buffalo exchange like Here, take this; I'll take 5 orders or your best chicken, And just wait for this literal genius to be like “Uh—we don't have chicken here” Sorry, I just assumed with buffalo Walked in with nothing, No clothes Just a really old guy holding my hand like “I'll buy this” Thanks, gramps That's my man Thanks lion, That's my Maine. Now, what's my name? Manhattan. Why all the white supremacists mad? They're just like that I spin backwards trying to die Cause I can't catch a white man That's big ass fish I just got my dick stroked, you know This one and that one, he says Swerve, I'm all in my mainstream All in my I can't take it I just had a big ass stroke, you know I been smelling cornbread— Nope, That's the oven I love it Here's my language: Jesus, save us There she is— Another television envious of sentientness You know This is the sweetness of success Without the sweat in it I put a letter out in public to Letterman and Conan Before of course I realized, I just might be writing to dead men And that's what death is Debt That's what death is When Johnny Depp is your best friend And everything and everyone else is indifferent And the dishes have just been Like that In the sink, Like the rest of the trinkets Now let that sink in Or synchronize in synchronized Fuck it (I'll keep drinking/ Thinking) I'll never be a Never be a Whatever this bitch is I never loved him Never loved him Never loved another's husband Never remembered anyway, what the password was When the last world ended My eyes got brown as my skin is I miss him Dinner and wine, then I kissed him In a different dimension Now it's just Not worth mentioning It's so funny. I don't want Nothing no more Not a dog Not a baby That's a death wish I don't want a friend in the world Besides my best friend I only talk to my mother over Divorce papers and turntables I been battling Satan I'm just the saddest thing that ever happened (Finally, a hook in this bitch) I'm just the saddest thing that ever happened Next to Johnny Carson, that is, you know Leno, Subliminal messages And infinite women I'm just the saddest thing that ever happened Since Patrick the predecessor This is just a precursor to Esha The successor The success story starts When starr's shaman curse is over Where will I ever find a four leaf clover Or a lover in Manhattan or new York at all, mom?!? I must be a dead man walking I'm the saddest thing that ever happened I got my name on the dollar bill Now the face of the phases is coming The worst thing that ever happened A dead man walking Green means go The whole world is color coded My heart is swollen And I just want to go home My throne is Not my apartment With the darkness sets in Regrets starts sending me electromagnetic messages I could honest to God Not give a fuck If a bus or a truck Just hit me It's been a year and some months in this city And I have a whole studio But my humor loud is still shitty I love this city But miss decency These immigrants just don't know how to act Too many levels and synchronicities to this thing Too many levels of infinite television figures Way too many people giving me attention Way too many Dollar signs on mattresses, Too many mad maxes and mad hatters Too many beautiful black man ‘s with manners I just wonder why I can't find them attractive Satan holds the door open The world war's starting I don't want no problems, I just blow bubbles, dory, like It was horrible, Touching the face of the sun And then Vanishing like that It's impossible, Now I've got piglets and players And nice hats With sliced cabbage If I back track To mice and men My sandwhich is just as Tight as ever, Last I checked Lesson learned, I said Don't touch that But I pressed the easy button Twice since lunch Fuck I might have fucked up somewhere Getting drunk with the undercover Who doesn't know nothing according To the blowjobs i showed him No man And no friends No dog And no kids No sodom and gamora With long hair I'm the whore of babylon, underling Do you know this? Do you notice me? Coming over with no hair In the clear As if I would still feel the same Like next year I can't hear it It's encouragement Take a long dive Off a short pier! It's the wrong hearing I got no charges out on the open I just won't be starting fires under Bridges As long as there's water running Which I should be, But life's not funny And something haunting me, I got problems with God Probably a prophet, apostle or something With black skin and a hanging stomach I never ever had love again? That does it I'm over this whole world, Fuck it I want another husband Who doesn't have occulars at all, then Dead man walkin I'm dead man walking I'm so sick of talking And motorcycles and hotrods stalking my apartment But nothing I do or say quite matters Like the latest cake album Cause fame does fuck up the Love game And the other ones That's the whole world, now Nothing but monopoly to dumb Gods I'm just sucking my thumb, nodding like Fuck my heart is open I want to throw up, and this whole ass Borough smells like vomit And dog piss! I just want to be be as tall or as small as hot is, But this plot shit Is getting thinner Like I should be but it's getting closer to dinner And this ugly ex husband Keeps costing me money It's fucked up But I don't want nothing but Some fucking vanilla Hagen das! I want a dog, But money is a fuckin problem, All I know is The more I want something The farher away it is all from coming I need alcohol in my stomach And my hearts erupting with love, or something I should probably pick up a Book of Mormon before Sunday Cause my God ain't moving me Up from this apartment You started it I planted the seed, Then they put water on it Gues I'm growing Up Everything sucks Especially my birthday But the worst day Was earth day I'm famous But my net worth And network Ain't working I am way way higher than the fourth floor I'm in 4 4 time In the forth world Wake up, It's the fourth world war Wake up It's the fourth world war Wherefore art thou iPhones ? I don't want them at my shows Turn them off They're turning your mind Psycho Psychosis is this I got flows I slept four hours Been up more Guess what That means Time froze I'm exposing this guy like Fandoms We worshiping icons And idols Lifeless models And guy drones I send cyclones My way My eyes light up I don't like hoes I take midol All night Just to fight bros I get drunk I'm live at 9 Alright tho Alright I'm up all night I spilled my blood Like a tampon Now I'm on Icon Todrick That's hot Alright I put my sweat and tears in it Cause I ain't hearing shit If it's just mustache, man No beard in it? That's weird I'm still here Waiting for Cher to appear Like “Fuck. Did I miss it?” I must be Sonny Or somebody Cause I'm dead Oops Apple tree Johnny Come after me Johnny come lately Or something was up With the other dimensions This suit is is interesting I got a Ron burgundy one I got records for days in my Daisy I got Niggas on niggas on niggas And witches on sticks No brooms They on zoom calls In messy ass rooms Fuck that How can I be your only fan If you don't need a man And the price goes up When I get what I wanted I take screenshots And then I move on Pornhub is still free hun Fucking—dumb bitch You're dumbo; Remember me? No I meant Brooklyn! Just keeping the peace I'm Christopher Columbus But Columbine on columbians I like a genocide Once or twice every Generation Reprogram the Asians To be human again Someone save them Reprogram the masses To react to Something other than Reactions I should redact this All of a sudden, I'm sick to my stomach I've been stuck for days like this Stuck, and just suffering Death wishes, all in these documents Death wishes Death wishes— Things that I've written, but shouldn't have I'm losing you, aren't I? I'm losing myself, really, I might die from this It is a crime to write this I dot my is any cross my t'a Grit my teeth and fingers That my tribe doesn't find this It is ridiculous, It's ridiculous; these documents Death wishes, telepaths And televisions What's the difference in This, And the encryption of it I can't reach out; I know better than even to look I just can't ask…. You're just a page upon my book I was never the one To test the task at hand The safest bet I'll just stay here With a pillow under my head So near the latest terrorist attack Likeness is what it attracts So I can't look back in bed On back to back How bad we bled Or often we bled out What's happened? A head in the clouds And i can't think straight It's a canon camera A keystone cast, A comic drama A cosmic someone Who just went backwards . . . Breaking down the walls It's always Lennon who hold the candle On walks with God, on the other side Of the art of death A long lost lover I never thought of Or just can't think To hold together When it never rains in ever land December's where I left her Hold my hand Or love me harder Don't look twice Or once more after Never close the door The chapter coming next Is love and laughter in never happened Can a happenstance look after A restless toddler Another walk with God, John holds the candle, Dad holds all the cradle to my heart And I want nothing but to run Something something something Something something this way comes —the attack on the heart worked For the sake of the art, it hurts, And it beats like a drum Of course it does Cause Something something something Never comes Sunday's almost over, Over once it comes Another lover, someone's husband Better not to God, The Judge had hung her verdict on the cross How are ‘What have yous' and ‘Who does that's for besides A pungeant conversation starter Just to cover up the odor Of cedar smoke and Dove deodorant, Pesticides And raw Hyde dog chews I thought “Who are you” Far too often Of the cosmos, But, the color of love hit my lungs At the tip of my tongue in a shade of Blue Who is it? Sister, sister Mister brother Doctor, Doctor Teacher, I am you. (So here's what to do with it) Call you up to the 212 My heart won't stop thumping I've had much coffee, Something, just probably lust is Welling up in my safe deposit box All I wanted was just enough evidence To go to heaven with something to show for all this Go for broke, or superstardom Don't you know that all you are is —stardust? I sleep with the lights on Clutching my stones The false shaman Haunts me from another time zone He won't leave me alone Until I throw myself off a roof Or in front a train Trying to drain me of my Brain and free agency Free gateway Read the gallery; So much flattery happened to have had me at Fallacies laughing at everyone else But the flatlined hack I hate being black when I'm fat And I've never had flat where my abs are Or my ass is Who sang the guitar a short song I hope imm wrong for the trophy I'm full grown, but only ¾ cups Of the measurements I'm sure heaven sent To picture infinite in A different integer (Sure.) For certain, it was just words Worth the wordforms to armor with curtains Just to give earth back her Metamorphosis The more I resist, however The more the world wants in It sure hurts so it must hurt more To become what you are but worse In the wake of a war When you wake up a heart That was already broken I put your mantras on bus stops And calmly enforced all the karma coming for The ones who harm me So what for, besides the war, are you working for If circles are drawn into Pentecostals And crosses alter your Munchausen syndrome If god wills it to be so, then it will be so; If God does not, then it must not be. And so it is, and so I am. Amen Make Antigone's monologue into a song I'm old New York Sippin soda through a straw I seen it all, Technology come up, Like the sun does Our side first, Ahead of the times I'm old New York I'm the New York Times These subway ads are fucking wild. The wibway is wild in itself Which is why I guess there's an ad that says “Don't be someone's subway story, Which is why, as a writer, I'm like; No; DO: Do be my subway story— And if it's good enough, You'll be a joke in my comedy routine Or If you're even more lucky, And I find you hilarious, I might just put you in a song I will turn my headphones all the way off To make an audio recording If you being hilarious— Read: obnoxious, Somewhat ghetto, or just slightly off-putting, but like, loud about it. Someone's acting up and it doesn't make me wanna actually slit my wrists, I'm like “Yeah!” Do that PLEASE. Do it LOUDER. But man, the subway is wild sometimes Like, the real jungle. I was on my way to an interview, And the trains were backed up, it was rush hour, so like, the whole train of people was like rushing, like running for the train— And this whole group of people coming off the train that were about to leave were like, in the way— And people were like, running around people, rushing around, it was like total chaos, and this dude in front of me—it was a black dude, he like straight up line backed this dude—luckily not onto the tracks, cause we were all like along that fucking yellow line, between the tracks— Sorry, for those of you dumb enough to actually live in the city and drive and have never seen the subway— There's this yellow line that says : do not cross this line, in front of the tracks— DO NOT CROSS. It everybody does because, you know Mass transit So anyway, We're all walking this line, Like running for this train, And this dude, this subway fucking hero Sees the doors about to close, And fucking linebacks this dude, just HUH, but at the same time moving him safely out of the way There's a poster I straight up stand by, it Jon daily must be a fucking beast. I saw his ad for his show, That shit start watching me like the Mona Lisa. I was like, On God, I walked like 2 more ads, And still felt like his eyes were following me— never turn around, so I pivot— I pivot and change directions, And I go back to look at this poster, You know, To make sure it's — His name is Malakai. Oh—that's it. Don't mistake my kindness work weakness. [ESHA pours nearly an entire bottle of AMSTERDAM coconut vodka down the kitchen sink] No hard stuff. That was for me. not in the house. It's a townhouse. It's my townhouse. I'm not arguing. Yes you are—there's some red wine in the [he's already found it, and is pouring himself a glass] Perfect. Now lastly, Do you have any pants? I have pants; I just don't wear them. Well, wear them. What. For what. My daughter has a key and she stops by sometimes without calling. That sounds awful. You have two of your own daughters. Actually, one; Olivia wants to be Oliver. That's uncomfortable— Actually, it's awesome. I almost like her more now. Glad you're taking it well. That's why the vodka. The wine should do. Hey, let me in. What the fuck do you want? Tales of A Superstar DJ My sexual appetite wa insatiable, and yet–I ddn't really want anybody–not that it mattered, as was for the most part, unavailable, entirely, anyway, closing an open heart before it turned into a bleeding wouldn which could not be mended–of course, the cause of my eventual death. Then, I was doing much more than nothing at all, and still being looked after in some way, and all that I wanted anyway, was love–which no man at all seemd to actually have for me. A woman, I had learned, is not much worth but by her body. Fake smiles, as the live camera rolls Fake smokes, for the folks at home From now on, it's all lights and cameras Too much action, actually Too many fountains [A delivery arrives at the warehouse] VICTOR What's this? PATRICK A pillow top mattress. VICTOR It's big. PATRICK It better be. VICTOR It looks nice: PATRICK Let's open it. he produces a box cutter from his left pocket. [after opening the box, Patrick, Victor, and Sutton stand around the mattress in a triangular formation.] SUTTON This is mad nice. VICTOR Nicer than any bed I've ever owned. PATRICK takes a long draw off of his cigarette PATRICK Really? Hm. [he produces a knife from its holster and tears into the edge of the mattress] VICTOR YOOOOOOOOOOOOOOOOOOOOOO. SUTTON shrugs. PATRICK cuts a deep exposure into the center of the mattress, pulling back the layers of foam, creating a pocket in its center.] PATRICK Perfect. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. From Wikipedia Happy Days is an American television sitcomthat aired first-run on the ABC network from January 15, 1974, to July 19, 1984, with a total of 255 half-hour episodes spanning 11 seasons. Created by Garry Marshall, it was one of the most successful series of the 1970s. The series presented an idealized vision of life in the 1950s and early 1960s Midwestern United States, and it starred Ron Howard as Richie Cunningham, Henry Winkler as his friend Fonzie, and Tom Bosley and Marion Ross as Richie's parents, Howard and Marion Cunningham.[1] Although it opened to mixed reviews from critics, Happy Days became successful and popular over time.[2] {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

{Happy Days} / [A Tie That Binds] [As Seen On TV] / I _ NY (I Love New York) New Albums Coming Soon Love , -Ū. I SAID I LOVE YOU! I AMBER HEARD YOU —YEAH, WELL, YOU COURTNEY LOVED HIM! No guilt trips. Brooklyn, I don't give a shit about you blond bitches Ya'll is crooked as fuck Fast walking trying to pass me That's alright; I can write A whole album in 45 minutes So pay attention I should be booking shows I'm stuck at the stove With no furniture No money to blow Blowing bubbles in the tub Wondering how the fuck I'm supposed to run With no protein I'm so hungry Carbohydrates can't harm nobody Less you're a wanna be All my demons skinny as can be And still eating Still scrolling on social media like “Fuck it “ I don't owe nobody nothing I don't want nobody, actually All of these guys find me ugly Just wait till it's me on the Tv I'll have them all Take me to the future again I been in this bed for six days Just going blank slate [Slate Your Name, Please] A monocle, A synagogue, a musical, and a monologue Let's log it all on the podcast and make it a montage, Shall we, or shall we not? SAGAL: CUT. I'm not that dead, man I been praying for him and his family Can't get her name out of my head, that one These are oceans, planets and oceans I can write a whole album In 45 minutes Might need a jacket I die when the wind blows If it gets colder I fit the mold, huh? I'm not worried about a snowman Till it gets frozen Bring the hoes in Dirty dozen donuts Something says “you were chosen” Another stroller I don't even want to go there My life is over I got your number I never ever want to grow here on my Nowhere I'm sober I'm so bare I'm so Bearr [censored] I never wanted the impossible thought form I never wanted to forgot where I come from I never won an award for nothing I don't want no man I don't want no friends I don't want it no more It's a war here I'm no racist, promise I'm just informing ya Compromises and honor rolls Sometimes you take two doses Sometimes you're a bulldozier And hozier don't know shit Satan can't do shit but sit there Cause Ain't nobody in that body Just the lack of where I am is I am is I don't really need nobody Cause soon as I got him He gon want some body That's not me That's the problem Another oracle Another blonde with no Nothing between the thighs, I shot him right between the eyes I been crying and trying days and nights To be right there Be right there He really like a nightmare Yeah. He really like a nightmare Yeah. He really like a nightmare A whole frightening ass— Lights up, Curtains open quiet on stage Hold backstage Quick change I just want to walk into buffalo exchange like Here, take this; I'll take 5 orders or your best chicken, And just wait for this literal genius to be like “Uh—we don't have chicken here” Sorry, I just assumed with buffalo Walked in with nothing, No clothes Just a really old guy holding my hand like “I'll buy this” Thanks, gramps That's my man Thanks lion, That's my Maine. Now, what's my name? Manhattan. Why all the white supremacists mad? They're just like that I spin backwards trying to die Cause I can't catch a white man That's big ass fish I just got my dick stroked, you know This one and that one, he says Swerve, I'm all in my mainstream All in my I can't take it I just had a big ass stroke, you know I been smelling cornbread— Nope, That's the oven I love it Here's my language: Jesus, save us There she is— Another television envious of sentientness You know This is the sweetness of success Without the sweat in it I put a letter out in public to Letterman and Conan Before of course I realized, I just might be writing to dead men And that's what death is Debt That's what death is When Johnny Depp is your best friend And everything and everyone else is indifferent And the dishes have just been Like that In the sink, Like the rest of the trinkets Now let that sink in Or synchronize in synchronized Fuck it (I'll keep drinking/ Thinking) I'll never be a Never be a Whatever this bitch is I never loved him Never loved him Never loved another's husband Never remembered anyway, what the password was When the last world ended My eyes got brown as my skin is I miss him Dinner and wine, then I kissed him In a different dimension Now it's just Not worth mentioning It's so funny. I don't want Nothing no more Not a dog Not a baby That's a death wish I don't want a friend in the world Besides my best friend I only talk to my mother over Divorce papers and turntables I been battling Satan I'm just the saddest thing that ever happened (Finally, a hook in this bitch) I'm just the saddest thing that ever happened Next to Johnny Carson, that is, you know Leno, Subliminal messages And infinite women I'm just the saddest thing that ever happened Since Patrick the predecessor This is just a precursor to Esha The successor The success story starts When starr's shaman curse is over Where will I ever find a four leaf clover Or a lover in Manhattan or new York at all, mom?!? I must be a dead man walking I'm the saddest thing that ever happened I got my name on the dollar bill Now the face of the phases is coming The worst thing that ever happened A dead man walking Green means go The whole world is color coded My heart is swollen And I just want to go home My throne is Not my apartment With the darkness sets in Regrets starts sending me electromagnetic messages I could honest to God Not give a fuck If a bus or a truck Just hit me It's been a year and some months in this city And I have a whole studio But my humor loud is still shitty I love this city But miss decency These immigrants just don't know how to act Too many levels and synchronicities to this thing Too many levels of infinite television figures Way too many people giving me attention Way too many Dollar signs on mattresses, Too many mad maxes and mad hatters Too many beautiful black man ‘s with manners I just wonder why I can't find them attractive Satan holds the door open The world war's starting I don't want no problems, I just blow bubbles, dory, like It was horrible, Touching the face of the sun And then Vanishing like that It's impossible, Now I've got piglets and players And nice hats With sliced cabbage If I back track To mice and men My sandwhich is just as Tight as ever, Last I checked Lesson learned, I said Don't touch that But I pressed the easy button Twice since lunch Fuck I might have fucked up somewhere Getting drunk with the undercover Who doesn't know nothing according To the blowjobs i showed him No man And no friends No dog And no kids No sodom and gamora With long hair I'm the whore of babylon, underling Do you know this? Do you notice me? Coming over with no hair In the clear As if I would still feel the same Like next year I can't hear it It's encouragement Take a long dive Off a short pier! It's the wrong hearing I got no charges out on the open I just won't be starting fires under Bridges As long as there's water running Which I should be, But life's not funny And something haunting me, I got problems with God Probably a prophet, apostle or something With black skin and a hanging stomach I never ever had love again? That does it I'm over this whole world, Fuck it I want another husband Who doesn't have occulars at all, then Dead man walkin I'm dead man walking I'm so sick of talking And motorcycles and hotrods stalking my apartment But nothing I do or say quite matters Like the latest cake album Cause fame does fuck up the Love game And the other ones That's the whole world, now Nothing but monopoly to dumb Gods I'm just sucking my thumb, nodding like Fuck my heart is open I want to throw up, and this whole ass Borough smells like vomit And dog piss! I just want to be be as tall or as small as hot is, But this plot shit Is getting thinner Like I should be but it's getting closer to dinner And this ugly ex husband Keeps costing me money It's fucked up But I don't want nothing but Some fucking vanilla Hagen das! I want a dog, But money is a fuckin problem, All I know is The more I want something The farher away it is all from coming I need alcohol in my stomach And my hearts erupting with love, or something I should probably pick up a Book of Mormon before Sunday Cause my God ain't moving me Up from this apartment You started it I planted the seed, Then they put water on it Gues I'm growing Up Everything sucks Especially my birthday But the worst day Was earth day I'm famous But my net worth And network Ain't working I am way way higher than the fourth floor I'm in 4 4 time In the forth world Wake up, It's the fourth world war Wake up It's the fourth world war Wherefore art thou iPhones ? I don't want them at my shows Turn them off They're turning your mind Psycho Psychosis is this I got flows I slept four hours Been up more Guess what That means Time froze I'm exposing this guy like Fandoms We worshiping icons And idols Lifeless models And guy drones I send cyclones My way My eyes light up I don't like hoes I take midol All night Just to fight bros I get drunk I'm live at 9 Alright tho Alright I'm up all night I spilled my blood Like a tampon Now I'm on Icon Todrick That's hot Alright I put my sweat and tears in it Cause I ain't hearing shit If it's just mustache, man No beard in it? That's weird I'm still here Waiting for Cher to appear Like “Fuck. Did I miss it?” I must be Sonny Or somebody Cause I'm dead Oops Apple tree Johnny Come after me Johnny come lately Or something was up With the other dimensions This suit is is interesting I got a Ron burgundy one I got records for days in my Daisy I got Niggas on niggas on niggas And witches on sticks No brooms They on zoom calls In messy ass rooms Fuck that How can I be your only fan If you don't need a man And the price goes up When I get what I wanted I take screenshots And then I move on Pornhub is still free hun Fucking—dumb bitch You're dumbo; Remember me? No I meant Brooklyn! Just keeping the peace I'm Christopher Columbus But Columbine on columbians I like a genocide Once or twice every Generation Reprogram the Asians To be human again Someone save them Reprogram the masses To react to Something other than Reactions I should redact this All of a sudden, I'm sick to my stomach I've been stuck for days like this Stuck, and just suffering Death wishes, all in these documents Death wishes Death wishes— Things that I've written, but shouldn't have I'm losing you, aren't I? I'm losing myself, really, I might die from this It is a crime to write this I dot my is any cross my t'a Grit my teeth and fingers That my tribe doesn't find this It is ridiculous, It's ridiculous; these documents Death wishes, telepaths And televisions What's the difference in This, And the encryption of it I can't reach out; I know better than even to look I just can't ask…. You're just a page upon my book I was never the one To test the task at hand The safest bet I'll just stay here With a pillow under my head So near the latest terrorist attack Likeness is what it attracts So I can't look back in bed On back to back How bad we bled Or often we bled out What's happened? A head in the clouds And i can't think straight It's a canon camera A keystone cast, A comic drama A cosmic someone Who just went backwards . . . Breaking down the walls It's always Lennon who hold the candle On walks with God, on the other side Of the art of death A long lost lover I never thought of Or just can't think To hold together When it never rains in ever land December's where I left her Hold my hand Or love me harder Don't look twice Or once more after Never close the door The chapter coming next Is love and laughter in never happened Can a happenstance look after A restless toddler Another walk with God, John holds the candle, Dad holds all the cradle to my heart And I want nothing but to run Something something something Something something this way comes —the attack on the heart worked For the sake of the art, it hurts, And it beats like a drum Of course it does Cause Something something something Never comes Sunday's almost over, Over once it comes Another lover, someone's husband Better not to God, The Judge had hung her verdict on the cross How are ‘What have yous' and ‘Who does that's for besides A pungeant conversation starter Just to cover up the odor Of cedar smoke and Dove deodorant, Pesticides And raw Hyde dog chews I thought “Who are you” Far too often Of the cosmos, But, the color of love hit my lungs At the tip of my tongue in a shade of Blue Who is it? Sister, sister Mister brother Doctor, Doctor Teacher, I am you. (So here's what to do with it) Call you up to the 212 My heart won't stop thumping I've had much coffee, Something, just probably lust is Welling up in my safe deposit box All I wanted was just enough evidence To go to heaven with something to show for all this Go for broke, or superstardom Don't you know that all you are is —stardust? I sleep with the lights on Clutching my stones The false shaman Haunts me from another time zone He won't leave me alone Until I throw myself off a roof Or in front a train Trying to drain me of my Brain and free agency Free gateway Read the gallery; So much flattery happened to have had me at Fallacies laughing at everyone else But the flatlined hack I hate being black when I'm fat And I've never had flat where my abs are Or my ass is Who sang the guitar a short song I hope imm wrong for the trophy I'm full grown, but only ¾ cups Of the measurements I'm sure heaven sent To picture infinite in A different integer (Sure.) For certain, it was just words Worth the wordforms to armor with curtains Just to give earth back her Metamorphosis The more I resist, however The more the world wants in It sure hurts so it must hurt more To become what you are but worse In the wake of a war When you wake up a heart That was already broken I put your mantras on bus stops And calmly enforced all the karma coming for The ones who harm me So what for, besides the war, are you working for If circles are drawn into Pentecostals And crosses alter your Munchausen syndrome If god wills it to be so, then it will be so; If God does not, then it must not be. And so it is, and so I am. Amen Make Antigone's monologue into a song I'm old New York Sippin soda through a straw I seen it all, Technology come up, Like the sun does Our side first, Ahead of the times I'm old New York I'm the New York Times These subway ads are fucking wild. The wibway is wild in itself Which is why I guess there's an ad that says “Don't be someone's subway story, Which is why, as a writer, I'm like; No; DO: Do be my subway story— And if it's good enough, You'll be a joke in my comedy routine Or If you're even more lucky, And I find you hilarious, I might just put you in a song I will turn my headphones all the way off To make an audio recording If you being hilarious— Read: obnoxious, Somewhat ghetto, or just slightly off-putting, but like, loud about it. Someone's acting up and it doesn't make me wanna actually slit my wrists, I'm like “Yeah!” Do that PLEASE. Do it LOUDER. But man, the subway is wild sometimes Like, the real jungle. I was on my way to an interview, And the trains were backed up, it was rush hour, so like, the whole train of people was like rushing, like running for the train— And this whole group of people coming off the train that were about to leave were like, in the way— And people were like, running around people, rushing around, it was like total chaos, and this dude in front of me—it was a black dude, he like straight up line backed this dude—luckily not onto the tracks, cause we were all like along that fucking yellow line, between the tracks— Sorry, for those of you dumb enough to actually live in the city and drive and have never seen the subway— There's this yellow line that says : do not cross this line, in front of the tracks— DO NOT CROSS. It everybody does because, you know Mass transit So anyway, We're all walking this line, Like running for this train, And this dude, this subway fucking hero Sees the doors about to close, And fucking linebacks this dude, just HUH, but at the same time moving him safely out of the way There's a poster I straight up stand by, it Jon daily must be a fucking beast. I saw his ad for his show, That shit start watching me like the Mona Lisa. I was like, On God, I walked like 2 more ads, And still felt like his eyes were following me— never turn around, so I pivot— I pivot and change directions, And I go back to look at this poster, You know, To make sure it's — His name is Malakai. Oh—that's it. Don't mistake my kindness work weakness. [ESHA pours nearly an entire bottle of AMSTERDAM coconut vodka down the kitchen sink] No hard stuff. That was for me. not in the house. It's a townhouse. It's my townhouse. I'm not arguing. Yes you are—there's some red wine in the [he's already found it, and is pouring himself a glass] Perfect. Now lastly, Do you have any pants? I have pants; I just don't wear them. Well, wear them. What. For what. My daughter has a key and she stops by sometimes without calling. That sounds awful. You have two of your own daughters. Actually, one; Olivia wants to be Oliver. That's uncomfortable— Actually, it's awesome. I almost like her more now. Glad you're taking it well. That's why the vodka. The wine should do. Hey, let me in. What the fuck do you want? Tales of A Superstar DJ My sexual appetite wa insatiable, and yet–I ddn't really want anybody–not that it mattered, as was for the most part, unavailable, entirely, anyway, closing an open heart before it turned into a bleeding wouldn which could not be mended–of course, the cause of my eventual death. Then, I was doing much more than nothing at all, and still being looked after in some way, and all that I wanted anyway, was love–which no man at all seemd to actually have for me. A woman, I had learned, is not much worth but by her body. Fake smiles, as the live camera rolls Fake smokes, for the folks at home From now on, it's all lights and cameras Too much action, actually Too many fountains [A delivery arrives at the warehouse] VICTOR What's this? PATRICK A pillow top mattress. VICTOR It's big. PATRICK It better be. VICTOR It looks nice: PATRICK Let's open it. he produces a box cutter from his left pocket. [after opening the box, Patrick, Victor, and Sutton stand around the mattress in a triangular formation.] SUTTON This is mad nice. VICTOR Nicer than any bed I've ever owned. PATRICK takes a long draw off of his cigarette PATRICK Really? Hm. [he produces a knife from its holster and tears into the edge of the mattress] VICTOR YOOOOOOOOOOOOOOOOOOOOOO. SUTTON shrugs. PATRICK cuts a deep exposure into the center of the mattress, pulling back the layers of foam, creating a pocket in its center.] PATRICK Perfect. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. From Wikipedia Happy Days is an American television sitcomthat aired first-run on the ABC network from January 15, 1974, to July 19, 1984, with a total of 255 half-hour episodes spanning 11 seasons. Created by Garry Marshall, it was one of the most successful series of the 1970s. The series presented an idealized vision of life in the 1950s and early 1960s Midwestern United States, and it starred Ron Howard as Richie Cunningham, Henry Winkler as his friend Fonzie, and Tom Bosley and Marion Ross as Richie's parents, Howard and Marion Cunningham.[1] Although it opened to mixed reviews from critics, Happy Days became successful and popular over time.[2] {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

The Ultimate Happy Days Interview: Don Most Opens Up About His Time As Ralph and so much more! John talks with Don Most, Ralph from Happy Days about his intense audition process for Happy Days going up against other stars like Robby Benson and then turning down the role! Don also chats about the meteoric rise of the Fonz and the effect on the rest of the cast, how his role of Ralph moved up in the cast after the first season, his deep friendship with Anson Williams, how he came up with the term "Jumping the Shark" and the amazing experience of seeing Robin Williams for the first time on the Happy Days set. Scott Baio directing Don in Charles in Charge, the sad losses of Tom Bosley, Erin Moran, Penny Marshall and Cindy Williams and so many interesting moments! Thanks so much Don! THAT'S CLASSIC! LIVE SHOW at APRONS IN HERMOSA BEACH, CA JUNE 13TH from 6-8pm. My guest will be Erin Murphy "Tabitha" from Bewitched! Email me at THATSCLASSICTV@GMAIL.COM and let me know you are interested in coming. I will forward you the website to reserve your seat as soon as it becomes available. It is going to be a blast! Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

Today on another encore edition of the Rarified Heir Podcast, we are talking to actor/impressionist Jim Meskimen, son of actor Marion Ross. We speak to Jim (and his many guises – he really has an amazing ear for voices) about growing up the child of everyone's favorite TV mum, Mrs. C., Marion Cunningham from the 70s TV juggernaut Happy Days. We also delve into his mother's ‘issues' with her onscreen husband Tom Bosley but you are going to have to read her book, My Days: happy and Otherwise for those juicy details. Our conversation with Jim centers around his years growing up with a single parent mother who struggled to make it in Hollywood after her divorce from Jim's father. But we also talk about the salad days as well – checking out the set of Happy Days and the very homey, family atmosphere that show provided.  What started as a chance meeting with a casting director led his mother to becoming a household name in very little time at all. We also spoke to Jim about his years acting in film and TV and commercials (he was Colonel Sanders after all in numerous KFC ads), his then-recent film Gaslight as well as his ‘breakthrough' on America's Got Talent with his amazing impressions, I mean Jim-pressions. (Ahem). Plus we hear some terrific stories about Rich Little, Phyllis Diller and Clark Gable that you won't want to miss. This is the Rarified Heir Podcast. Another child of a celebrity, interviewed by a child of a celebrity. Take a listen.

It's time to put on your coolest leather jacket and join the Boob Tube Boys in the swingin' 1970s! Err… the 50s rather… whatever, it's a show about Happy DaysThat's right, Happy Days. Not Sad Days, not Favorable Days, not Jocular Days, and certainly not Infuriated Days, it's Happy Days! That's show where Henry Winkler plays a young cool guy who says cool things and hangs out in a public bathroom a bunch. Of course it's not just that, there's also Ron Howard, a different red-headed guy with a big monster face, Scott Baio before all the weird stuff, and Tom Bosley's big floppy face!Today's episode features a cameo from Laverne and Shirley of Laverne and Shirley fame as Fonzie decides to set Ron Howard up on a double date since he's been struggling to get laid recently only wackiness ensues and some minor issues crop up. Happy Days!

Get An Exclusive Look Behind Love American Style With Actress Barbara Minkus! Barbara chats with John about being picked for Love American Style because of Garry Marshall, the producer of Laverne and Shirley, how she and Stuart Margolin from Rockford Files created the six years of vignettes they did on Love American Style and her relationship with Stuart Margolin near the end of his life. Barbara also talks her wonderful experience working with Merv Griffin, her troubling experience with Danny Kaye and working with Tom Bosley from Happy Days. Barbara also tells the story of keeping Gary Burghoff of MASH in show business. Enjoy and thanks Barbara! Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

What's up, dudes? There are a lot of classic Christmas commercials! They've shaped our perception of the Christmas season since we were little. Vinnie Brezinsky from Huey and Bax and Nicholas Pepin of Pop Culture Roulette join me live to watch some lesser known ‘80s Christmas commercials!Cool Spot rides a toy fire truck in a 1988 7Up commercial. Young versions of Sarah Michelle Gellar, Lea Thompson, and Elizabeth Shue regale us with carols in a 1982 Burger King commercial. Oh yeah, McDonald's sued Burger King because of it as well. Meanwhile, Joey is making homemade garland with a needle and thread and Kix cereal. He's snacking too!Artists send holiday wishes to “Blue Christmas” by Elvis in an MTV commercial. The Dillard patriarch cradles his granddaughter in a cozy Christmas scene. Then a choir sings, “Hello, Taco Bell!” in their best Handel impression. A Radio Shack announcer describes an inordinate amount of radio variations and Woolworth shows children playing with toys. Santa sleds on a Norelco razor top while a woman looks through her Hallmark cards and blushes at the one ‘the hunk' sent her. A grandpa helps his grandson fall asleep via phone and AT&T's great service. The Muppets unexpectedly show up with Polaroids as well. Finally an ‘80s robot shills for Toys R Us, Tom Bosley talks tools for Sears, and Pizza Hut reminds us how amazing their pan pizzas are!  Catchy jingles? Check. Cheesy, saccharine messages? Of course. Muppet shenanigans? Definitely! So grab your razor, head to Burger King and enjoy this episode on lesser known ‘80s Christmas commercials!Pop Culture RouletteFB: @PopCultureRouletteTwitter: @popcultrouletteIG: @popcultrouletteCheck us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

B & D watch an infamous episode of the 70's classic sitcom about the 50's, Happy Days, and try to link it to the modern Spanglish classic, Los Espookys. They talk about Hollywood and endings and Hollywood Endings; whether it is nobler to go out on top or suffer the slings and arrows of outrageous fortune; and as usual, The Writers and Actors Strikes.

In their first episode of the second season, Patrick and Tommie discuss how they spent the summer, warm up to the Icelandic Sheepdog, celebrate Jane Addams and Sylvester, pay respect to Jimmy Buffett, applaud the conviction of Proud Boys leader Enrique Tarrio, wag a finger at Supreme Court Justice Samuel Alito, review their summer television viewing, shake their heads at Xman Elon Musk, and name the television show characters that most annoy them.

Go away, soft weak humans! It's time for our annual robot-themed Top 4 1/2 List! And it's also time for our 1987-themed show! So once again we've turned to our pal Chris from Sci-Fi Explosion, because we knew Chris could come up with a magnificent list of 1987 robots. And yikes, he sure did. We have some all-time favorites (a certain Star Trek android debuted that year), some lesser known oddities (yes yes yes, robot french fries), and a poignant tribute to a fallen hero whose faithful robot always knew the secret word. Plus: Greg Hawkes and Eddie Japan are keeping the music of The Cars alive, Kornflake is hunting for bargains, Kevin and Chris are preparing silly things for DragonCon, and Tom Bosley is battling demon plastic wrap. You need Sci Fi Explosion and Chris has it! You need plastic wrap and Bosley has it! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Cosmic Pizza!  

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

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

This week we begin Hagsploitation month with Bette Davis' final film, 1989's "Wicked Stepmother"!  Bette left this masterpiece in less than a week, dental appointment, but we get Colleen Camp and Barbara Carrera duking it out, Bull from Night Court looking like a snack, Tom Bosley, Witch College, a smoking cat, Gary talking about making Henry Cavill a sexual predator, and all the usual bull poop! CARLENE AND KAT ARE BACK BABY!The Wicked Stepmother is free on Youtube! Follow us on Instagram:@Gaspatchojones@Homewreckingwhore@QualityHoegramming@Mullhollanddaze@The_Miseducation_of_DandG_PodCheck Out Our WebsiteIf you love the show check out our Teepublic shop!Right Here Yo!

From February 5, 1979 on CBS Radio this is the first episode of Sears Radio Theater. The Host is Lorne Green and stars John McIntire and Janette Nolan. Announcer is Art Gilmore. Air check from KMOX St. Louis. Sears Radio Theater was a radio drama anthology series which ran weeknightly on CBS Radio in 1979, sponsored by the Sears chain. Often paired with The CBS Radio Mystery Theater during its first season, the program offered a different genre of drama for each day's broadcast.In 1980, the program moved to the Mutual Broadcasting System and became the Mutual Radio Theater. The Mutual series broadcast repeats from the CBS run until September 1980, when a short season of new dramas was presented. Sears continued as a sponsor during the Mutual run.Monday was "Western Night" and was hosted by Lorne Greene. Tuesday was "Comedy Night", hosted by Andy Griffith. Wednesday was "Mystery Night" with Vincent Price as host. Thursday was "Love And Hate Night" with Cicely Tyson doing honors as host. Finally, Friday brought "Adventure Night", first hosted by Richard Widmark and later by Howard Duff and then by Leonard Nimoy.Actors heard on the series included Parley Baer, Mary Jane Croft, Howard Culver, John Dehner, Virginia Gregg, Janet Waldo, Vic Perrin, Hans Conried, Marvin Miller, Elliot Lewis, Jeff Corey, Lesley Woods, Robert Rockwell, Lurene Tuttle, Eve Arden, Keith Andes, Harriet Nelson, Alan Young, Tom Bosley, Marion Ross, Lloyd Bochner, Rick Jason, Frank Campanella, Toni Tennille, Arthur Hill, Dan O'Herlihy, Jesse White and Frank Nelson.It was produced and directed by Fletcher Markle and Elliott Lewis. The theme was composed and conducted by Nelson Riddle.Though less long-lived than NPR's Earplay or the Mystery Theater, it was an ambitious attempt to reinvigorate a neglected field. Like Earplay, it was broadcast in stereo.

It's hard to find a person that has never seen Happy Days. This iconic show which represented life in the '50s is easily regarded as one of the most popular shows of the '70s. Set in Milwaukee, WI we meet Richie Cunningham, an all American boy and join him in his day to day interacting with his friends and family. The show was met with moderate success but by its second season was already seeing a dip in the ratings. To counter this the show's creator, Gary Marshall retooled the format a bit focusing on broad comedy and increasing the role of a minor character, a cool biker who went by the name of "Fonzie". These changes quickly turned Happy Days into the number 1 program by the mid '70s. Fonzie became a pop culture phenomenon and became one of the most merchandised characters in television history. Despite the majority of the show's success coming after the seconds season, is there enough in the show's pilot the warrant a green-light? Listen as the boys do a deep dive on Happy Day's pilot episode, "All The Way". www.S1E1POD.com Starring: Ron Howard, Marion Ross, Anson Williams, Tom Bosley, Henry Winkler, Don Most, Gavan O'Herlihy, Erin Moran, & Kathy O'Dare

Kevin is joined by Amy Baer, veteran producer and studio executive, to discuss her multi-faceted Hollywood career.Amy Baer, Producer & Studio ExecutiveToday we have the pleasure of speaking with Amy Baer, a trailblazer in the entertainment industry. With a diverse background that includes work at major studios, heading an independent development fund, and producing, Amy's expertise is unparalleled. Her impressive track record speaks for itself, with films under her supervision and/or production grossing a staggering $2 billion worldwide. But that's not all, Amy is also a champion for women in the entertainment industry, serving as the board president of Women in Film and the head of Landline Pictures.The audience is all that matters (3:00)Kevin kicks off the podcast by delving into a topic that holds great significance to both him and Amy - the importance of knowing your audience. Amy talks about creating content, any content, and how important it is to know who you are creating that content for.Heading up CBS Films (6:02)Kevin asks Amy what it was like running CBS Films for four years and having the authority to green-light movies. Amy talks about her experience running the studio in a tumultuous time in the entertainment business during an actors' strike, a writers' strike, and an economic downturn. The pair discuss what a tremendous responsibility it is to make the decision to green-light a film and the business factors that go into making that decision.Landline Pictures and the importance of knowing your audience (17:22)Sticking with the theme of knowing an audience, Amy discusses her new production studio, Landline Pictures, where the focus is making movies for older audiences. Kevin talks about the importance of research, and Amy shares the amount of research that went into deciding to make films for this specific audience. Growing up with a famous father and making it on her own (23:22)Kevin asks Amy what it was like growing up with Happy Days' Tom Bosley as a father. Amy shares childhood memories of visiting the set of Happy Days and hanging out with her father's work friends including Ron Howard. The pair discuss nepotism in Hollywood and how Amy made it on her own. Advocating and fighting for women in the entertainment industry (35:55)With her extensive filmmaking experience, and as board president of Women in Film, Amy has a unique perspective on being a working woman in the entertainment industry. Amy discusses her early female mentors and successfully maintaining a work-life balance as a Hollywood executive. Amy stresses the importance of communication and community with other women as something that is needed in the industry.What's next for Amy Baer (43:39)Kevin asks Amy what she is currently working on, and what she is excited about. Amy discusses two new projects at Landline Pictures including Back Nine, a new film starring Renée Zellweger.Host: Kevin GoetzGuest: Amy BaerProducer:  Kari CampanoFor more information about Amy Baer:LinkedIn: https://www.linkedin.com/in/amybaergiddenmedia/Twitter: https://twitter.com/GiddenMediaMRC Film/Landline Pictures: https://www.mrcentertainment.com/newsroom/mrc-film-launches-landline-pictures-with-industry-veteran-amy-baerFor more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678

This podcast delves into the career of Tom Bosley, best known as Mr. Cunningham on Happy Days. This episode is also available as a blog post: http://thewritelife61.com/2021/08/02/tom-bosley-scores-a-home-run-on-any-team/

This podcast delves into the career of Tom Bosley, best known as Mr. Cunningham on Happy Days. This episode is also available as a blog post: http://thewritelife61.com/2021/08/02/tom-bosley-scores-a-home-run-on-any-team/

Welcome to the Instant Trivia podcast episode 551, where we ask the best trivia on the Internet. Round 1. Category: True Story 1: Dr. Jerri Nielsen gives her account of discovering that she had breast cancer while "ice bound" here. the South Pole. 2: "Into Thin Air" is his account of scaling Everest and the tragedy that befell others around him. Jon Krakauer. 3: Wonder what it's like to be a girl from Seattle accused of murder in Italy? Read her "Waiting to be Heard". Amanda Knox. 4: John Steinbeck chronicled his journey across America with his pet poodle in "Travels with" him. Charley. 5: Peter Matthiessen's memoir of hiking in the Himalayas has this title, also a rare feline of that region. The Snow Leopard. Round 2. Category: California Cities 1: The world's largest known almond processing center as well as the governor's mansion are in this city. Sacramento. 2: This city's Moscone Center has over 500,000 square feet of exhibit and meeting space. San Francisco. 3: This city's zoo, located in Balboa Park, is one of the largest in the world. San Diego. 4: Its name comes from the Santa Ana River and the German word for home. Anaheim. 5: This upscale community was founded in 1906 by the Rodeo Land and Water Company. Beverly Hills. Round 3. Category: 4-Letter Verbs 1: According to the title of a 1992 film "White Men Can't" do this. Jump. 2: TV game show host Martindale. Wink. 3: As a noun, it's the rear portion of an aircraft; as a verb, it means to follow and keep under surveillance. tail. 4: As a noun, it's the ridge on the fingerboard of a guitar; as a verb, it means to worry. fret. 5: A housewife might do it to the mantle; a forensic expert would do it to look for fingerprints. Dust. Round 4. Category: Padres 1: Set in Australia, this 1983 miniseries centered on the doomed love of Meggie and Father de Bricassart. The Thorn Birds. 2: He received Best Actor Oscar nominations for 1944 and 1945 for playing the same role: Father Chuck O'Malley. Bing Crosby. 3: This "Happy Days" father later played a crime-solving priest in the "Father Dowling Mysteries". Tom Bosley. 4: On film, Henry II muses, "Will no one rid me of this meddlesome priest?", referring to him. Thomas Becket. 5: Gene Hackman's Rev. Frank Scott leads a band of survivors to safety aboard a capsized ship in this 1972 film. The Poseidon Adventure. Round 5. Category: Adventure Heroes 1: In March 1997 he got a new costume: hot white and blue, no cape and an S like a lightning bolt. Superman. 2: Simon Templar's initials give you an abbreviation for this, his nickname. The Saint. 3: This Dumas hero who left home at age 16 to be a Musketeer was based on a real person. d'Artagnan. 4: Trapped by a cave-in after World War I, gases preserved him and he awoke in the 25th century. Buck Rogers. 5: First names of detective Fenton Hardy's adventurous sons. Frank and Joe. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Plans for a new hotel in Cabot Cove must be put on hold when a skeleton is discovered at the construction site.  Amos and Jessica visit the location to look for clues, but instead find a second body!  Tom Bosley guest stars.

Producer-Director, Jose Escamilla has been editing film and video for over 20 years. Video productions in release nationwide include; L.A. Gang Violence - a documentary about LA Gangs and Donny - The Educational Dinosaur, a cartoon series starring; RUTH BUZZI, RICHARD MOLL, SWOOSIE KURTZ, BRENDA VACCARO, KATHY IRELAND, ED BEGLEY, JR., DR. JOYCE BROTHERS, TOM BOSLEY, CARLOS PALOMINO, and NEL CARTER. In 1985 he put together a world event entitled: ONE MINUTE OF PEACE, where he asked everyone in the world to stop what they were doing all together for "one minute" in honor of Samantha Smith and the children of the world. He performed the title song at The Hollywood Bowl and via satellite world wide and the One Minute of Peace project was underway. He produced, arranged and performed all the background music for TITO GUIZAR in 1990, as he helped Tito make a comeback with his music in an album and home video which Jose produced. Tito has starred in Mari Mar, the latest hot "novella" now airing in Mexico and the US and is now starring in his third soap opera in Mexico at age 88! Tito Guizar, best known as the Mexican Troubadour, making famous such songs as, Alla En El Rancho Grande, Cielito Lindo, Maria Elena, Guadalajara, Jalisco, South of The Border, What a Difference a Day Makes , and many more songs that are standards today all over the world. Jose's work with Tito is an experience that he will never forget. "Tito is the last living legend from Mexico and the Golden Era of Hollywood." Aside from Jose's work with many artists and celebrities, Jose's UFO experiences that occurred at Midway, New Mexico on March 5,1994, have put him on a variety of lectures and television and radio programs talking about the subject. He has appeared on television shows such as The Learning Channel, Geraldo Rivera, Hard Copy, Sightings, Encounters, The Other Side, Inside Edition, the BBC in London, Spanish Language programs, (Sabado Gigante-"EL Y ELLA"), and on many Network News broadcasts, ABC, NBC, CBS NEWS. He has appeared in many UFO related magazines, America On-line, The Internet, CompuServe, Newspapers and radio talk shows. He has lectured at many conventions on the subject including, New Mexico, Arizona, Nevada, Colorado, and Mexico City. His first hand experiences with the phenomena and background in the Entertainment Industry, lend a unique quality in presenting UFOs to the public. - www.skyfishrods.com

Producer-Director, Jose Escamilla has been editing film and video for over 20 years. Video productions in release nationwide include; L.A. Gang Violence - a documentary about LA Gangs and Donny - The Educational Dinosaur, a cartoon series starring; RUTH BUZZI, RICHARD MOLL, SWOOSIE KURTZ, BRENDA VACCARO, KATHY IRELAND, ED BEGLEY, JR., DR. JOYCE BROTHERS, TOM BOSLEY, CARLOS PALOMINO, and NEL CARTER. In 1985 he put together a world event entitled: ONE MINUTE OF PEACE, where he asked everyone in the world to stop what they were doing all together for "one minute" in honor of Samantha Smith and the children of the world. He performed the title song at The Hollywood Bowl and via satellite world wide and the One Minute of Peace project was underway. He produced, arranged and performed all the background music for TITO GUIZAR in 1990, as he helped Tito make a comeback with his music in an album and home video which Jose produced. Tito has starred in Mari Mar, the latest hot "novella" now airing in Mexico and the US and is now starring in his third soap opera in Mexico at age 88! Tito Guizar, best known as the Mexican Troubadour, making famous such songs as, Alla En El Rancho Grande, Cielito Lindo, Maria Elena, Guadalajara, Jalisco, South of The Border, What a Difference a Day Makes , and many more songs that are standards today all over the world. Jose's work with Tito is an experience that he will never forget. "Tito is the last living legend from Mexico and the Golden Era of Hollywood." Aside from Jose's work with many artists and celebrities, Jose's UFO experiences that occurred at Midway, New Mexico on March 5,1994, have put him on a variety of lectures and television and radio programs talking about the subject. He has appeared on television shows such as The Learning Channel, Geraldo Rivera, Hard Copy, Sightings, Encounters, The Other Side, Inside Edition, the BBC in London, Spanish Language programs, (Sabado Gigante-"EL Y ELLA"), and on many Network News broadcasts, ABC, NBC, CBS NEWS. He has appeared in many UFO related magazines, America On-line, The Internet, CompuServe, Newspapers and radio talk shows. He has lectured at many conventions on the subject including, New Mexico, Arizona, Nevada, Colorado, and Mexico City. His first hand experiences with the phenomena and background in the Entertainment Industry, lend a unique quality in presenting UFOs to the public. - www.tblnfilms.comWatch the entire TV episode at - https://youtu.be/ztYQLqfoOzw

Welcome to the Instant Trivia podcast episode 492, where we ask the best trivia on the Internet. Round 1. Category: Independent Films 1: This Coen Brothers tale from 1996 is "A homespun murder story". Fargo. 2: Reverse in told was film Nolan Christopher 2001 this. Memento. 3: Robert Duvall wrote, directed and played a preacher in this 1997 film. The Apostle. 4: Title job of Dante and Randal in a 1994 Kevin Smith film. clerks. 5: An Independent Spirit Award for Best Feature went to this '50s-style melodrama with Julianne Moore and Dennis Quaid. Far from Heaven. Round 2. Category: Neil Down 1: Neil Patrick Harris will always be remembered for playing this title teen on TV. Doogie Howser. 2: He's been inducted into the Rock and Roll Hall of Fame as a solo performer and as a member of Buffalo Springfield. Neil Young. 3: In 1983 a Broadway theater was renamed for this man, the first time a living playwright was so honored. Neil Simon. 4: Neil Tennant is half of this British duo whose '80s hits include "West End Girls". Pet Shop Boys. 5: He had a No. 1 hit with "Laughter In The Rain". Neil Sedaka. Round 3. Category: Skywatch 1: From the ground you only see half of this colorful effect; from a plane it is often seen as a full circle. Rainbow. 2: The winds in this part of a hurricane may be less than 15 miles an hour. Eye. 3: Known to farmers as "white plague", they travel to Earth at up to 100 miles per hour, damaging crops. Hailstones. 4: This is the term for a large group of meteors, or of bees. Swarm. 5: Normally, the trade winds blow in this direction. West. Round 4. Category: Padres 1: Set in Australia, this 1983 miniseries centered on the doomed love of Meggie and Father de Bricassart. The Thorn Birds. 2: He received Best Actor Oscar nominations for 1944 and 1945 for playing the same role: Father Chuck O'Malley. Bing Crosby. 3: This "Happy Days" father later played a crime-solving priest in the "Father Dowling Mysteries". Tom Bosley. 4: On film, Henry II muses, "Will no one rid me of this meddlesome priest?", referring to him. Thomas Becket. 5: Gene Hackman's Rev. Frank Scott leads a band of survivors to safety aboard a capsized ship in this 1972 film. The Poseidon Adventure. Round 5. Category: Hey, Tiger! 1: Name shared by a talking flower in "Through the Looking Glass" and an Indian princess in "Peter Pan". Tiger Lily. 2: In 1973 he won his second Oscar, for his role in "Save the Tiger". Jack Lemmon. 3: This mogul, whose name means "tiger", not "cartoon elephant", established India's Mogul dynasty. Babar. 4: In this comedy "Le Tigre" is one of model Ben Stiller's arsenal of devastating looks. Zoolander. 5: The beastly villain in this classic collection is the tiger Shere Khan. Jungle Book. Thanks for listening! Come back tomorrow for more exciting trivia!

Producer-Director, Jose Escamilla has been editing film and video for over 20 years. Video productions in release nationwide include; L.A. Gang Violence - a documentary about LA Gangs and Donny - The Educational Dinosaur, a cartoon series starring; RUTH BUZZI, RICHARD MOLL, SWOOSIE KURTZ, BRENDA VACCARO, KATHY IRELAND, ED BEGLEY, JR., DR. JOYCE BROTHERS, TOM BOSLEY, CARLOS PALOMINO, and NEL CARTER. In 1985 he put together a world event entitled: ONE MINUTE OF PEACE, where he asked everyone in the world to stop what they were doing all together for "one minute" in honor of Samantha Smith and the children of the world. He performed the title song at The Hollywood Bowl and via satellite world wide and the One Minute of Peace project was underway. He produced, arranged and performed all the background music for TITO GUIZAR in 1990, as he helped Tito make a comeback with his music in an album and home video which Jose produced. Tito has starred in Mari Mar, the latest hot "novella" now airing in Mexico and the US and is now starring in his third soap opera in Mexico at age 88! Tito Guizar, best known as the Mexican Troubadour, making famous such songs as, Alla En El Rancho Grande, Cielito Lindo, Maria Elena, Guadalajara, Jalisco, South of The Border, What a Difference a Day Makes , and many more songs that are standards today all over the world. Jose's work with Tito is an experience that he will never forget. "Tito is the last living legend from Mexico and the Golden Era of Hollywood." Aside from Jose's work with many artists and celebrities, Jose's UFO experiences that occurred at Midway, New Mexico on March 5,1994, have put him on a variety of lectures and television and radio programs talking about the subject. He has appeared on television shows such as The Learning Channel, Geraldo Rivera, Hard Copy, Sightings, Encounters, The Other Side, Inside Edition, the BBC in London, Spanish Language programs, (Sabado Gigante-"EL Y ELLA"), and on many Network News broadcasts, ABC, NBC, CBS NEWS. He has appeared in many UFO related magazines, America On-line, The Internet, CompuServe, Newspapers and radio talk shows. He has lectured at many conventions on the subject including, New Mexico, Arizona, Nevada, Colorado, and Mexico City. His first hand experiences with the phenomena and background in the Entertainment Industry, lend a unique quality in presenting UFOs to the public. - www.tblnfilms.comWatch the entire TV episode at - https://youtu.be/ztYQLqfoOzwFor Your Listening Pleasure for these Lockdown / Stay-At-Home COVID and Variants Times - For all the radio shows available on The 'X' Zone Broadcast Network visit - https://www.spreaker.com/user/xzoneradiotv.Our radio shows archives and programming include: A Different Perspective with Kevin Randle; Alien Cosmic Expo Lecture Series; Alien Worlds Radio Show; America's Soul Doctor with Ken Unger; Back in Control Radio Show with Dr. David Hanscom, MD; Connecting with Coincidence with Dr. Bernard Beitman, MD; Dick Tracy; Dimension X; Exploring Tomorrow Radio Show; Flash Gordon; Imagine More Success Radio Show with Syndee Hendricks and Thomas Hydes; Jet Jungle Radio Show; Journey Into Space; Know the Name with Sharon Lynn Wyeth; Lux Radio Theatre - Classic Old Time Radio; Mission Evolution with Gwilda Wiyaka; Paranormal StakeOut with Larry Lawson; Ray Bradbury - Tales Of The Bizarre; Sci Fi Radio Show; Seek Reality with Roberta Grimes; Space Patrol; Stairway to Heaven with Gwilda Wiyaka; The 'X' Zone Radio Show with Rob McConnell; Two Good To Be True with Justina Marsh and Peter Marsh; and many other!That's The ‘X' Zone Broadcast Network Shows and Archives - https://www.spreaker.com/user/xzoneradiotv

Producer-Director, Jose Escamilla has been editing film and video for over 20 years. Video productions in release nationwide include; L.A. Gang Violence - a documentary about LA Gangs and Donny - The Educational Dinosaur, a cartoon series starring; RUTH BUZZI, RICHARD MOLL, SWOOSIE KURTZ, BRENDA VACCARO, KATHY IRELAND, ED BEGLEY, JR., DR. JOYCE BROTHERS, TOM BOSLEY, CARLOS PALOMINO, and NEL CARTER. In 1985 he put together a world event entitled: ONE MINUTE OF PEACE, where he asked everyone in the world to stop what they were doing all together for "one minute" in honor of Samantha Smith and the children of the world. He performed the title song at The Hollywood Bowl and via satellite world wide and the One Minute of Peace project was underway. He produced, arranged and performed all the background music for TITO GUIZAR in 1990, as he helped Tito make a comeback with his music in an album and home video which Jose produced. Tito has starred in Mari Mar, the latest hot "novella" now airing in Mexico and the US and is now starring in his third soap opera in Mexico at age 88! Tito Guizar, best known as the Mexican Troubadour, making famous such songs as, Alla En El Rancho Grande, Cielito Lindo, Maria Elena, Guadalajara, Jalisco, South of The Border, What a Difference a Day Makes , and many more songs that are standards today all over the world. Jose's work with Tito is an experience that he will never forget. "Tito is the last living legend from Mexico and the Golden Era of Hollywood." Aside from Jose's work with many artists and celebrities, Jose's UFO experiences that occurred at Midway, New Mexico on March 5,1994, have put him on a variety of lectures and television and radio programs talking about the subject. He has appeared on television shows such as The Learning Channel, Geraldo Rivera, Hard Copy, Sightings, Encounters, The Other Side, Inside Edition, the BBC in London, Spanish Language programs, (Sabado Gigante-"EL Y ELLA"), and on many Network News broadcasts, ABC, NBC, CBS NEWS. He has appeared in many UFO related magazines, America On-line, The Internet, CompuServe, Newspapers and radio talk shows. He has lectured at many conventions on the subject including, New Mexico, Arizona, Nevada, Colorado, and Mexico City. His first hand experiences with the phenomena and background in the Entertainment Industry, lend a unique quality in presenting UFOs to the public. - www.tblnfilms.comWatch the entire TV episode at - https://youtu.be/ztYQLqfoOzwFor Your Listening Pleasure for these Lockdown / Stay-At-Home COVID and Variants Times - For all the radio shows available on The 'X' Zone Broadcast Network visit - https://www.spreaker.com/user/xzoneradiotv.Our radio shows archives and programming include: A Different Perspective with Kevin Randle; Alien Cosmic Expo Lecture Series; Alien Worlds Radio Show; America's Soul Doctor with Ken Unger; Back in Control Radio Show with Dr. David Hanscom, MD; Connecting with Coincidence with Dr. Bernard Beitman, MD; Dick Tracy; Dimension X; Exploring Tomorrow Radio Show; Flash Gordon; Imagine More Success Radio Show with Syndee Hendricks and Thomas Hydes; Jet Jungle Radio Show; Journey Into Space; Know the Name with Sharon Lynn Wyeth; Lux Radio Theatre - Classic Old Time Radio; Mission Evolution with Gwilda Wiyaka; Paranormal StakeOut with Larry Lawson; Ray Bradbury - Tales Of The Bizarre; Sci Fi Radio Show; Seek Reality with Roberta Grimes; Space Patrol; Stairway to Heaven with Gwilda Wiyaka; The 'X' Zone Radio Show with Rob McConnell; Two Good To Be True with Justina Marsh and Peter Marsh; and many other!That's The ‘X' Zone Broadcast Network Shows and Archives - https://www.spreaker.com/user/xzoneradiotv

Today, I am so honored to announce my episode with Tony Nominee Jill O'Hara, whose many stage credits include starring in the original productions of Promises, Promises, George M!, and Hair. She shares so many of the stories of her wonderful career, including standing her ground with David Merrick, a funny encounter with Kristin Chenoweth, giving a note to Tom Bosley, the differences between the off-Broadway and Broadway productions of Hair, growing up in a theatrical family, why every copy of The New York Times once had to be taken out of Stockbridge, the song that was cut from Promises, Promises, the new cabaret show she is developing, and so much more.

Welcome to the Instant Trivia podcast episode 441, where we ask the best trivia on the Internet. Round 1. Category: The Crusades 1: Peter the Hermit, like Sancho Panza, rode one of these animals through France rousing the peasants. Donkey. 2: Some orders of these were Teutonic, Templar and of St. John. Knights. 3: This king of England was a leader of the Third Crusade. Richard I (Richard the Lionhearted). 4: Kings Baldwin I and II were Christian rulers of this holy Mideastern city. Jerusalem. 5: During the third Crusade, Saladin, sultan of Egypt and Syria, made this Syrian city his headquarters. Damascus. Round 2. Category: Colleges And Universities 1: The Museum of Art at Bowdoin College in this state has works by Winslow Homer and related memorabilia. Maine. 2: This state university's medical center has campuses in New Orleans and Shreveport. LSU (Louisiana State). 3: Florida Institute of Technology is sometimes called "Countdown College" from its proximity to this site. Cape Canaveral. 4: This college has 3 representatives in the Irish senate. Trinity College. 5: This Low Country's oldest university is the State University of Leiden, founded in 1575. the Netherlands. Round 3. Category: He Was In That? 1: Before playing Cliff on "Cheers", John Ratzenberger appeared as Major Derlin in this second "Star Wars" film. The Empire Strikes Back. 2: In 1961 this future "Jeopardy!" announcer hit the big screen in "Gidget Goes Hawaiian". Johnny Gilbert. 3: Mr. C on "Happy Days", he played the man Natalie Wood's parents want her to marry in "Love with the Proper Stranger". Tom Bosley. 4: This boxing champ played a bartender in "The Hustler", and that's no "Raging Bull". (Jake) LaMotta. 5: Before "Starsky and Hutch", Paul Michael Glaser played Perchik in this movie musical (Hint: Topol got top billing). Fiddler on the Roof. Round 4. Category: The Ocean Blue 1: (VIDEO DAILY DOUBLE):"(Hi, I'm Michael Newman of "Baywatch") It's the Japanese term for seismic sea waves, sometimes 100 feet high, that can bring lots of tsuris". Tsunami. 2: It may go plankton-crustacean-herring-haddock and be only as strong as its weakest link. Food chain. 3: The extension of a land mass to about 500' underwater; it gives way to the Continental Slope. Continental Shelf. 4: The photic zone is the upper ocean layer, with enough sunlight to allow this plant process. Photosynthesis. 5: As you'd expect, they're the 2 most abundant chemical elements in the dissolved solids found in seawater. Sodium and chlorine. Round 5. Category: 1980 1: In "Swanson On Swanson", Gloria claimed she had a love affair with this father of a president. Joseph Kennedy. 2: Pres. Carter signed a bill granting $1.5 billion in loan guarantees to this company. Chrysler. 3: The IRS said the cost of maintaining a cat trained to alert these people to possible dangers is tax deductible. the deaf. 4: FBI agents posed as foreign businessmen in this investigation that implicated 8 congressmen. ABSCAM. 5: Due to their unpopularity the U.S. Mint stopped making them, temporarily, less than a year after their introduction. the Susan B. Anthony dollar coins. Thanks for listening! Come back tomorrow for more exciting trivia!

Today on the Rarified Heir Podcast, we are talking to Jim Meskimen, an actor, impressionist, comedian and oh so much more, who happens to the son of Mrs. C. That's right, he's the son of Happy Days' Marion Cunningham aka Marion Ross. Hailing from Albert Lee, Minneapolis, Marion Ross was drawn to acting at an early age. She even changed her name before high school because she thought it would read better on a theater marquee. In fact, her first love was indeed theater – which she did before, during and after her most famous role as America's mom. But it was television that made her a household name. In a career that spans more than 60 years, Marion Ross is still occasionally does voice overs at ninety -f'ing three years old. Her words, not ours. It was great to learn  from Jim about how a head of household, who happened to be a divorced mother of two was able to make it after quite a few years of struggle in show business. It was purely by chance that she took a bit part in Airport, the 1970 disaster movie, that led to a chance meeting with the head of casting for Happy Days. And although Tom Bosley wasn't particularly nice as Mr. Cunningham (which you can read all about in her autobiography My Days: Happy and Otherwise), a decade-long run on a hit television series was an ideal way to make a living doing what she loved. It's a pleasure to talk to Jim about his mother as well as discussing his own career that launched a successful YouTube channel, iconic commercials playing Colonel Sanders for KFC and Geiko as well as starring in an upcoming Starz production called Gaslight with Julia Roberts and Sean Penn. We talk about his stints on America's Got Talent as well as stories about Rich Little, Phylis Diller and Clark Gable. It's all next on the Rarified Heir Podcast.

Marion Ross was born to act. We all know her as Mrs. C, her dreams began at an early age and her determination to become the actress we all know and love will inspire you!  We discuss the role everyone told her not to take which led to a connection and audition that changed her life forever. The audition was for the role of Marion Cunningham on what was to become a failed pilot for Happy Days. But the success of American Graffiti re-ignited interest in that old pilot and a second pilot was created and Marion was on the path to becoming one of the most beloved TV moms of all time. Marion shares some great stories from the set, Marion talks about her working relationship with Tom Bosley, Chuck, living through Fonziemania, and what it was like being on TV's biggest show. We also discuss Marion's time after Happy Days which included marrying Captain Stubbing on the Love Boat and her Emmy nominated role on Brooklyn Bridge. Marion also has an excellent memoir out called My Days: Happy and Otherwise if you need even more Marion in your life after listening to the interview (and why wouldn't you?). Our Guest, Marion Ross https://www.imdb.com/name/nm0005385/ Book: My Days: Happy and Otherwise Hashtag Fun: Jeff dives into recent trends and reads some of his favorite tweets from trending hashtags. The hashtag featured in this episode is #MomAlwaysToldMe from @WildBunchTagz. Tweets featured on the show are retweeted at @JeffDwoskinShow Social Media: Jeff discusses pushing Instagram stories to FB but not the other way around and why. Follow Jeff Dwoskin: Jeff on Twitter: https://twitter.com/bigmacher The Jeff Dwoskin Show: https://twitter.com/JeffDwoskinShow Podcast website: https://jeffisfunny.com Instagram: https://instagram.com/JeffDwoskinShow Learn more about your ad choices. Visit megaphone.fm/adchoices

Based on a (remarkably inconsistent) series of novels from Frederic Dannay and Manfred Bennington Lee, Ellery Queen was a fourth wall-breaking, fair play mystery show that allowed viewers to join in on the sleuthing. The NBC program revolved around the titular character, a mystery novelist and large adult son, and his irascible police inspector father. The Queens must team up to solve murders in New York City after World War II."The Adventure of the Comic Book Crusader" is the fourth episode of Ellery Queen's first and only season. The episode aired on October 2, 1975, and stars Jim Hutton, David Wayne, Tom Bosley, Lynda Day George, Donald O'Connor, Ken Swofford, Tom Reese, and Arch Johnson.Áine and Kevin sketch out their first foray into mystery box games, the depressing history of comic book giants like Marvel and DC, and Dick Tracy.Follow us on the usual social media suspects:FacebookTwitterInstagramAnd send your comic storyboards to mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Marion Ross joins John and Bob for an amazing look at her early life and career along with behind the scenes stories of "Happy Days." They enjoy stories of her time with stars from Clark Gable to Tony Curtis and her special relationship with Henry Winkler. She also discusses her difficult off-screen relationship with Tom Bosley. Many interesting tidbits you may have never heard before. Enjoy! "That's Classic!" YouTube episodes: https://www.youtube.com/thatsclassictv Listen also on: Apple: https://podcasts.apple.com/us/podcast/thats-classic/id1533742435 Spotify: https://open.spotify.com/show/4mye7taOcWtcasDgwQqxnf Overcast: https://overcast.fm/itunes1533742435/thats-classic Google: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8yZmIxYzZiYy9wb2RjYXN0L3Jzcw== Anchor: https://anchor.fm/john-cato --- Support this podcast: https://anchor.fm/john-cato/support

Adam and Dr. Drew open the show discussing their holiday break experiences watching 'The Love Boat' and how it birthed the 'Battle of the Network Stars'. They also take some calls and discuss the early stages of cancel culture, the safety of getting a Covid vaccine while possibly infected and more. Please Support Our Sponsors: Evite.com/ADS SugarBreak.com/ADS, code ADS Lifelock.com, promo code ADAM Geico.com

Jamie Kaler (Tacoma FD, My Boys) & Jason Gowin (Extreme Paranormal, Hellier) launch the brainchild from their previous respective podcasts "The Dadlands" and "The Dadpocalypse Now Show".  Together they delve into the wild world of fatherhood.On this episode Legendary TV Icon from "Happy Days" Anson Williams comes on to talk about his storied career, the family and inspiration of being on the show, his life in showbiz, and his family legacy of saving lives.  He talks about his life-saving product Alert Drops, and more.Bruce Springsteen drops by the show to talk about his recent arrest in New Jersey.Jason and Jamie welcome Archie from Archie's Scotch Tasting to the show to talk about his latest sampling.Dave Schrader, Carlos Alazraqui, Katie Behm, and Anson join the guys for a parenting roundtable.

Sears Radio Theater was a radio drama anthology series which ran weeknights on CBS Radio in 1979, sponsored by the Sears chain. Often paired with The CBS Radio Mystery Theater during its first season, the program offered a different genre of drama for each evening's broadcast. In January 1980, the program moved from CBS to the Mutual Broadcasting System and was renamed the Mutual Radio Theater. The Mutual series broadcast repeats from the CBS run until September 1980, when a short season of new dramas was presented. Sears continued as a sponsor during the Mutual run. The program turned out to be Mutual's final radio drama series. Mutual continued to broadcast repeats of the program (along with a few previously unaired episodes) until December 1981. Monday was "Western Night" and was hosted by Lorne Greene. Tuesday was "Comedy Night", hosted by Andy Griffith. Wednesday was "Mystery Night" with Vincent Price as host. Thursday was "Love and Hate Night" with Cicely Tyson doing honors as host. Finally, Friday brought "Adventure Night", first hosted by Richard Widmark and later by Howard Duff and finally by Leonard Nimoy. Several actors from the Golden Age of Radio were featured on the series. Among the actors heard were Jim Jordan, Henry Morgan, Daws Butler, June Foray, Parley Baer, Mary Jane Croft, Howard Culver, John Dehner, Joan McCall, Don Diamond, Virginia Gregg, Janet Waldo, Vic Perrin, Hans Conried, Marvin Miller, Elliott Lewis, Jeff Corey, Lesley Woods, Robert Rockwell, Lurene Tuttle, Eve Arden, Keith Andes, Harriet Nelson, Alan Young, Tom Bosley, Marion Ross, Lloyd Bochner, Rick Jason, Frank Campanella, Toni Tennille, Arthur Hill, Dan O'Herlihy, Jesse White and Frank Nelson. Veteran radio actress Peggy Webber was heard on 52 episodes. The program was produced and directed by Fletcher Markle and Elliott Lewis. The theme music was composed and conducted by Nelson Riddle. The program was broadcast in stereo. Though much less long-lived than the CBS Radio Mystery Theater or NPR's Earplay, the series was an ambitious attempt to reinvigorate radio drama.

In 1973, 45 years ago, George Lucas' American Graffiti spawned the hit series Happy Days. Among the original cast members, were Ron Howard (Ritchie), Marion Ross (Mrs C) and Anson Williams' (Potsie - beating out John Travlota for the role) - The following year, Gary Marshall would recast Mr C with Tom Bosley and add characters such as Joanie, Ralph and, of course, The Fonze. Today, Anson Williams is a celebrated and respected director as well as a recognized philanthropist and business man. Williams, was recently honored by Congress, the CA Sate Senate, the City of Los Angeles and the LAPD, Happy Days star, Anson Williams (Potsie Weber), with the support of is Happy Days Cast and numerous other celebrity colleagues, has been joined by first responders across the country to raise awareness right now about the 4 Driving D's -- Distracted, Drugged, Drunk and Drowsy Driving. The latter of which is currently leading the list of casualties in the U.S. today.

The Boys open up the show discussing the Garbage Bag Brand Wars of the late 80's. Tom Bosley – a fallen hero. The Thundercats origin story is discovered which begs the question, was Panthro black? Steve Ausburne is very passionate about the reinvention of the New Kids On the Block when they became NKOTB and got the hard edge that we see today. Casey Williams tells us all about Blue Bloods while Steve breaks out the Old Potrero Straight Rye Whiskey from Anchor Distilling. No Country for Old Men, Law & Order: SVU, The Sopranos, Seinfeld, and Cheers endings are ALL SPOILED so beware! We have an excellent retirement plan for Terrence Trent Darby. Michael Jordan's baseball career vs Don Johnson's musical career. Speaking of Don Johnson, Phillip Michael Thomas is also quite the hit maker. Why you should never do a duet with Jay Z. Steve's favorite Streisand/Gibb duet is broken down. It ought to be illegal… Website = http://www.barrelproofcomedy.com/ Facebook = https://www.facebook.com/barrelproofcomedy   Email = barrelproofcomedy@gmail.com Twitter = @barrelproofpod iTunes https://itunes.apple.com/us/podcast/barrel-proof-comedy-podcast/id1029674204?mt=2