Podcasts about Up Where We Belong

El amigo secreto y Máximo Pradera se atreven con los primeros acordes de una de las canciones de Joe Cocker más recordadas. Al ritmo de "Up Where We Belong (An Officer And A Gentleman)" empezamos la mañana.

Las versiones musicales del amigo secreto de Javier del Pino y (un poco menos) de Rafa Panadero.

Dans cet épisode, Ombline Roche nous fait découvrir l'incroyable parcours de Jennifer Warnes, une chanteuse américaine dotée d'une voix d'ange. Connue pour ses collaborations avec des légendes comme Leonard Cohen, Joe Cocker et Bob Dylan, Jennifer Warnes a également marqué l'histoire du cinéma en interprétant des chansons inoubliables pour des films cultes comme Dirty Dancing et Officier et Gentleman. Retour sur la carrière d'une artiste aux multiples facettes, qui a su s'imposer dans des univers musicaux très différents.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week, with the Academy Awards coming up, all of the songs featured have won the Oscar for Best Original Song. On today's episode, Andy Atherton is watching, “Up Where We Belong'” by Joe Cocker & Jennifer Warnes from 1981.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=bjrOcrisGyI

A Navy Aviation Officer Candidate with a bad attitude (Richard Gere) must learn to be a team player or risk his chance to make a better life for himself.  Co-starring Debra Winger, Louis Gossett Jr., David Keith, Robert Loggia, Lisa Eilbacher, Harold Sylvester and David Caruso.  Directed by Taylor Hackford and features the hit song "Up Where We Belong" performed by Joe Cocker and Jennifer Warnes.

1.  Last One On My Mind (Moto Blanco Club Mix) - Beverley Knight 2.  Rolling In The Deep (Rosario & Cappo House Mix) - Aretha Franklin3.  Kiss Me (Paul Woolford Remix) - Dermot Kennedy4.  Why Can't We See (Earth n Days Extended Rework) - Earth n Days, Blind Truth 5.  Shadows (Extended) - Kungs & Carlita6.  Living Without You (Extended) - David Guetta, Sigala, Sam Ryder 7.  This Love (Extended Mix) - Laura van Dam8.  Run (Dave Aude Extended) - Wyn Starks 9.  Sunshine On A Rainy Day (Extended Mix) - Rathbone Place 10  Stargazing (Extended Mix) - Nicky Romero, Leo Stannard, Monocule 11. My Heart is Refusing Me (Amarillo & Finer Remix Long Version) - Loreen12. Get To You (Ali Bakgor Extended Remix) - Paul Oakenfold, Lizzy Land 13. Rebirth (Extended_Mix) - Tinlicker, Hero Baldwin

ICYMI: Hour Three of ‘Later, with Mo'Kelly' Presents – Thoughts on Beyonce being snubbed at the 58th CMA Awards, receiving zero nominations for her Country album release “Cowboy Carter” AND Late Night TV series like ‘The Tonight Show Starring Jimmy Fallon' and ‘The Late Night Show with Stephen Colbert' scaling back from five nights a week to four…PLUS – Mo' marks the passing of Oscar-winning lyricist Will Jennings; best known for iconic hits like “My Heart Will Go On” and “Up Where We Belong,” who has died at the age of 80 - on KFI AM 640…Live everywhere on the iHeartRadio app

MUSICIn the wake of Thursday's announcement that Linkin Park have a new singer, drummer, single, album and tour, singer Cedric Bixler-Zavala of The Mars Volta posted on social media a reminder that new vocalist Emily Armstrong had gone to court in support of now-convicted rapist actor Danny Masterson, who is serving a 30-years-to-life prison sentence.Linkin Park guitarist Brad Delson has announced he'll be sitting out the band's tour in support of From Zero. On Instagram, he posted, "I've always felt deeply connected to and proud of our live performances. Over the years I've realized I thrive most when I'm actively working with my bandmates behind the scenes––in the studio, collaborating on our new music, and helping build our live show." Tickets to Linkin Park's September 11th gig at LA's Kia Forum sold out in less than one hour. Oasis management might regret giving Liam Gallagher control of his Twitter/X account again. Kendrick Lamar will headline the 2025 Apple Music Super Bowl 59 Halftime Show on Feb. 9, 2025, in New Orleans, Louisiana.Patti Scialfa, Bruce Springsteen's wife of 33 years and bandmate for over 40, has revealed that she's had a rare form of blood cancer know as multiple myeloma since 2018. The news came out during the premiere showing of the film Road Diary: Bruce Springsteen and the E Street Band at the Toronto International Film Festival (TIFF) on Sunday. Scialfa finally talks about her diagnosis and how its affected her ability to tour with the band in the documentary.There's yet another Jimi Hendrix documentary in the works. Jimi, which is authorized by the Hendrix estate, will cover the launch of his career and be directed by Bao Nguyen, who helmed the Emmy-nominated Netflix doc The Greatest Night in Pop about the recording of "We Are the World."QUICK HITS:RIP: Lyricist and Songwriters Hall of Fame member Will Jennings died in his home in Tyler, Texas Friday at the age of 80. Jennings won two Best Original Song Oscars — in 1983 for "Up Where We Belong" and in 1997 for "My Heart Will Go On." He also co-wrote "Tears in Heaven" with Eric Clapton and collaborated with Steve Winwood on his four solo albums from 1980 to 1990, including the number-one singles "Higher Love" and "Roll With It."RIP: Bassist Herbie Flowers passed away. He played the iconic bass line in Lou Reed's "Walk on the Wild Side", which was repurposed for the song "Can I Kick It" by A Tribe Called Quest. TVRIP: YouTube subscribers to firearms expert Paul Harrell learned that he died at 58 from pancreatic cancer - from Harrell himself. MOVING ON INTO MOVIE NEWS:Beetlejuice Beetlejuice grossed a huge $110 million in its opening weekend – giving it a $10 million dollar revenue, since it cost $100 million to produce. AND FINALLY – you will need to wait a little longer for Grand Theft Auto 6ComicBook.com says we won't be playing 'Grand Theft Auto 6' next year.  AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC In the wake of Thursday's announcement that Linkin Park have a new singer, drummer, single, album and tour, singer Cedric Bixler-Zavala of The Mars Volta posted on social media a reminder that new vocalist Emily Armstrong had gone to court in support of now-convicted rapist actor Danny Masterson, who is serving a 30-years-to-life prison sentence. Linkin Park guitarist Brad Delson has announced he'll be sitting out the band's tour in support of From Zero. On Instagram, he posted, "I've always felt deeply connected to and proud of our live performances. Over the years I've realized I thrive most when I'm actively working with my bandmates behind the scenes––in the studio, collaborating on our new music, and helping build our live show."  Tickets to Linkin Park's September 11th gig at LA's Kia Forum sold out in less than one hour.  Oasis management might regret giving Liam Gallagher control of his Twitter/X account again.  Kendrick Lamar will headline the 2025 Apple Music Super Bowl 59 Halftime Show on Feb. 9, 2025, in New Orleans, Louisiana. Patti Scialfa, Bruce Springsteen's wife of 33 years and bandmate for over 40, has revealed that she's had a rare form of blood cancer know as multiple myeloma since 2018. The news came out during the premiere showing of the film Road Diary: Bruce Springsteen and the E Street Band at the Toronto International Film Festival (TIFF) on Sunday. Scialfa finally talks about her diagnosis and how its affected her ability to tour with the band in the documentary. There's yet another Jimi Hendrix documentary in the works. Jimi, which is authorized by the Hendrix estate, will cover the launch of his career and be directed by Bao Nguyen, who helmed the Emmy-nominated Netflix doc The Greatest Night in Pop about the recording of "We Are the World." QUICK HITS: RIP: Lyricist and Songwriters Hall of Fame member Will Jennings died in his home in Tyler, Texas Friday at the age of 80. Jennings won two Best Original Song Oscars — in 1983 for "Up Where We Belong" and in 1997 for "My Heart Will Go On." He also co-wrote "Tears in Heaven" with Eric Clapton and collaborated with Steve Winwood on his four solo albums from 1980 to 1990, including the number-one singles "Higher Love" and "Roll With It." RIP: Bassist Herbie Flowers passed away. He played the iconic bass line in Lou Reed's "Walk on the Wild Side", which was repurposed for the song "Can I Kick It" by A Tribe Called Quest.  TV RIP: YouTube subscribers to firearms expert Paul Harrell learned that he died at 58 from pancreatic cancer - from Harrell himself.  MOVING ON INTO MOVIE NEWS: Beetlejuice Beetlejuice grossed a huge $110 million in its opening weekend – giving it a $10 million dollar revenue, since it cost $100 million to produce.  AND FINALLY – you will need to wait a little longer for Grand Theft Auto 6 ComicBook.com says we won't be playing 'Grand Theft Auto 6' next year.   AND THAT IS YOUR CRAP ON CELEBRITIES! Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit megaphone.fm/adchoices

WEEKLY WISDOM & INSIGHTS 09/04/24 SPIRITUALLY GUIDED TRANSFORMATION & EMPOWERMENT

While duets have a long history in popular music, they exploded in popularity during the 1980s. Many were heart-wrenching romantic ballads of lust and loss, others were bombastic declarations of friendship and independence. But if you were a top-tier musical artist of the decade, chances are you had at least one smash hit you shared with another music icon. And now the Great Pop Culture Debate wants to look back at these shared successes as we debate the Best 1980s Duet! Songs discussed include “Islands in the Stream,” “Up Where We Belong,” “(I've Had) The Time of My Life,” “Ebony and Ivory,” “Almost Paradise,” “Guilty,” “Endless Love,” “Sisters Are Doing It For Themselves,” “Somewhere Out There,” “After All,” “On My Own,” “Easy Lover,” and more. Join host Eric Rezsnyak and GPCD panelists Derek Mekita, Jonny Minogue, and Kate Racculia as they discuss 16 of the most gloriously 80s ballads ever recorded. Play along at home by finding the listener bracket here. Make a copy for yourself, fill it out, and see if your picks match up with ours! For more exclusive content, including a warm-up in which we discuss the 80s duets we were bummed didn't make the bracket, become a Patreon supporter of the podcast today. RELATED CONTENT Best Song of 1985 Best 80s Movie Soundtrack Best Phil Collins Song Best Cher Song Best Barbra Streisand Song Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panel: Derek Mekita, Jonny Minogue, Kate Racculia Producer: Bob Erlenback Editor: Eric Rezsnyak #80smusic #1980smusic #1980s #80sduets #duets #duetsongs Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to belong? How do we ensure people feel at home in the AFLW community as the game continues to grow? From Beyonce to global sporting examples, Emma, Lucy and Julia are joined by special guests Dr Kasey Symonds, Rana Hussain, Kirby Bentley and Shaun Harvey to discuss how we foster a sense of belonging, and why it matters.With thanks to the AFL Players Association.You can follow The Outer Sanctum on Twitter, Instagram and Facebook. Email us at theoutersanctumpodcast@outlook.com The Outer Sanctum is recorded on the lands of the Wurundjeri people of the Kulin nation. We acknowledge the Traditional Owners and Custodians of the lands on which we work, live, learn and play, and pay our respects to Indigenous Elders past and present. We recognise that sovereignty has never been ceded – that this always was and always will be Aboriginal land. Hosted on Acast. See acast.com/privacy for more information.

Today we go back to 1982 to hear a song that dominated the airwaves and was a number 1 hit. This song reminds us that Jesus wants to lift us up so that we don't fall into the trap of horizontal living.

1.  In The Name Of Love (Extended Dave Aude) - Andy Bell-Crystal-Waters-Greg-Gould-Plumb-Sarah-Potenza-Wyn-Starks-Zee-Machine 2.  EVERYTHING SHE WANTS ( LUCA DEBONAIRE OMERTA MIX) - Wham3.  That's The Way Love Is [Soul Avengerz Remix] - Ten City4.  Lotta Love (LA Rush Club Mix) - Rozalla 5.  Don't Leave Me This Way (Dr Packer Remix - Extended) - Thelma Houston 6.  Together In Electric Dreams (Butch le Butch One Player Rework) - Philip Oakey & Giorgio Moroder7.  Rolling In The Deep (Rosario & Cappo House Mix) - Aretha Franklin 8.  Last One On My Mind (Moto Blanco Club Mix)  - Beverley Knight 9.  Sunshine (My Girl) (Ultimix by Stacy Mier) - Wuki10. Need You Now (Extended Dave Aude Remix) - Dave Audé & Sarah Potenza11. Say Don't Go (Liam Pfeifer Remix) - Taylor Swift

Zack Mayo (Richard Gere) decide di arruolarsi in Marina, ma i metodi del suo istruttore mettono a dura prova le nuove reclute, mentre l'amore è dietro l'angolo. La colonna sonora di questo film è “Up Where We Belong”, con la voce di Joe Coker, che oggi avrebbe compiuto 80 anni.See omnystudio.com/listener for privacy information.

1.  Your love (extended mix) - Hayyoo2.  Love Is An Act Of Courage ( Extended Mix )  - Ana Criado & Costa3.  Coming home (extended vintage culture remix) - ARTBAT ft John Martin 4.  Wonderful Life (Extended Mix)  - Tina Cousins 5.  Lighthouse (Original Mix) - Jakko, Steerner Vs. Klauss & Turino feat. Paul Aiden 6.  Overdrive (vip mix extended) - Ofenbach ft. Norma Jean Martine 7.  Twilight Tonight (Original Mix) - ARTY8.  Dopamine (Extended Mix) - Disco Fries 9.  Rule The World (Everybody) (Ultimix By Stacy Mier) - Tiesto, Tears For 10. Fears, Niko X Swae & Gudfella11. Crazy love (extended mix) - Above & Beyond ft Zoe Johnston12. Shiver (Extended Mix) - John Summit & Hayla13. Nothing To Lose - Tinlicker, Circa Waves

Garrett Chaffin-Quiray and Ed Rosa visit where the eagles cry, on a mountain high, far from the world we know, where the clear winds blow.***Referenced media:“Police Academy” (Hugh Wilson, 1984)“Top Gun” (Tony Scott, 1986)“Entertainment Tonight” (Al Masini, 1981-now)“Conan the Barbarian” (John Milius, 1982)“The Road Warrior” (George Miller, 1981)“Annie” (John Huston, 1982)“Rocky III” (Sylvester Stallone, 1982)“Star Trek II: The Wrath of Khan” (Nicholas Meyer, 1982)“Poltergeist” (Tobe Hooper, 1982)“E.T. the Extra-Terrestrial” (Steven Spielberg, 1982)“Blade Runner” (Ridley Scott, 1982)“The Thing” (John Carpenter, 1982)“Tron” (Steven Lisberger, 1982)“The Best Little Whorehouse in Texas” (Colin Higgins, 1982)“Fast Times at Ridgemont High” (Amy Heckerling, 1982)“First Blood” (Ted Kotcheff, 1982)“Sophie's Choice” (Alan J. Pakula, 1982)“Gandhi” (Richard Attenborough, 1982)“The Verdict” (Sidney Lumet, 1982)“Tootsie” (Sydney Pollack, 1982)“The Hunger Games” (Gary Ross, 2012)“The Deer Hunter” (Michael Cimino, 1978)“Coming Home” (Hal Ashby, 1978)“Rolling Thunder” (John Flynn, 1977)“Sgt. Bilko” (Jonathan Lynn, 1996)“Police Academy 2: Their First Assignment” (Jerry Paris, 1985)“Full Metal Jacket” (Stanley Kubrick, 1987)“Dirty Dancing” (Emile Ardolino, 1987)“Heartbreak Ridge” (Clint Eastwood, 1986)Audio quotation:“Police Academy” (Hugh Wilson, 1984), including “Police Academy March”, written by Robert Folk, https://www.youtube.com/watch?v=jRxgXzk_L0s“An Officer and a Gentleman” (Taylor Hackford, 1982), including “Up Where We Belong”, written by Jack Nitzsche, Buffy Sainte-Marie, and Will Jennings“Full Metal Jacket” (Stanley Kubrick, 1987), including “Full Metal Jacket”, written by Abigail Mead and Nigel Goulding, https://www.youtube.com/watch?v=wNVFpNA2B30&list=PLOKfQ2dxS6KLVZ1ZFLfvDqRL_77BkHabU“Dirty Dancing” (Emile Ardolino, 1987), including “(I've Had) The Time of My Life”, written by John DeNicola, Donald Markowitz, and Franke Previte, https://www.youtube.com/watch?v=o3NndBTqC3Y“Heartbreak Ridge” (Clint Eastwood, 1986), including “Heartbreak Ridge Intro Music”, written by Lennie Neihaus, https://www.youtube.com/watch?v=1hh1k1vmQrM

Joe Cocker is one of the most dynamic singing stars to emerge from the Twentieth Century, and was one of the most unique, creative, and mem-orable rockers around. With distinctively huge hits like, "With a Little Help from My Friends," "You Are So Beautiful," and his Number One duet with Jennifer Warnes, "Up Where We Belong," Cocker is a one-of-a-kind legend. Although he was relatively unknown in 1969 when he took the stage of the Woodstock Music Festival, he quickly rose to fame for his trademark on- stage choreography and anguished blues singing. His album, "Mad Dogs & Englishmen" cemented his international stardom. Though he was a Grammy Award winner, Cocker's life was not always on an uphill track. He suffered from low self-esteem and bouts of depression. It wasn't until later in his life that he met the love of his life, Pam, who helped him put his personal life back on track before his death in 2014. Cocker's life was one of attaining goals, making disastrous mistakes, and ultimately finding happiness and redemption in the eleventh hour. In Joe Cocker: With a LOT of Help from His Friends, every aspect of Joe's amazing life and career is examined and explained.

TW: gun violence Stress is at an all-time high at Degrassi with exams approaching, and course selections due for next term. Meanwhile, Mia has to make a difficult choice: her education or her modeling career. Also, Sav's parents want him to study engineering in college; however, Sav is more interested in pursuing a music career but isn't sure how to get his parents to support him. And Holly J.'s art teacher thinks she doesn't have what it takes to make the grade. Later, Blue asks Holly J. to the winter dance in a very romantic way. The problem is Holly J. has a thing for her co-worker, Spinner. Meanwhile, K.C. and Clare are still tense with each other, following Clare's discovery of K.C.'s secret, dark past. Mia begins to wonder what would've happened if Darcy had stayed at Degrassi and suspects she is only Peter's rebound girl. email us at degrassijrhigh@gmail.com Connect with us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Find The Unofficial DTNG Playlist on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Joe Cocker is one of the most dynamic singing stars to emerge from the Twentieth Century, and was one of the most unique, creative, and mem-orable rockers around. With distinctively huge hits like, "With a Little Help from My Friends," "You Are So Beautiful," and his Number One duet with Jennifer Warnes, "Up Where We Belong," Cocker is a one-of-a-kind legend. Although he was relatively unknown in 1969 when he took the stage of the Woodstock Music Festival, he quickly rose to fame for his trademark on- stage choreography and anguished blues singing. His album, "Mad Dogs & Englishmen" cemented his international stardom. Though he was a Grammy Award winner, Cocker's life was not always on an uphill track. He suffered from low self-esteem and bouts of depression. It wasn't until later in his life that he met the love of his life, Pam, who helped him put his personal life back on track before his death in 2014. Cocker's life was one of attaining goals, making disastrous mistakes, and ultimately finding happiness and redemption in the eleventh hour. In Joe Cocker: With a LOT of Help from His Friends, every aspect of Joe's amazing life and career is examined and explained.

1.  Sky (Extended Mix) - KC Lights2.  Dream On Me (Roger Sanchez Extended Remix) - Ella Henderson & Roger Sanchez3.  Hey (I Miss You) (Extended Mix) - Armin van Buuren, Simon Ward4.  Make Me Feel (Extended Mix) - Oliver Smith5.  Another Rainbow (Dirty Disco Rainbow Remix) - Mike Izon6.  Castles - Punctual & World's First Cinema7.  Tattoo (Ray Isaac Extended Remix) - Loreen8.  It's Euphoric (Georgia Remix) (feat Years & Years) - Georgia 9.  No Such Thing (Dave Audé Extended) - Sara Bareilles 10. Most People (SUPER-Hi Extended Remix) - R3HAB (and Lukas Graham)11. Wish You The Best (Danny Dove Remix) - Lewis Capaldi12. Hold On To My Love (Extended Mix) - John Newman

LOVE LIFT US UP Are you willing to put your life on the line and be the best of the best for your country? Or do you just want to put on a nice white naval suit? Either is fine, as we are talking all things An Officer and a Gentleman starring Richard Gere, Debra Winger and Louis Gossett Jr. Music wise, Jennifer Warnes and Joe Cocker combine for the anthemic love song "Up Where We Belong". Alex is keeping the magic alive, Ben wants a new addition to his Arrow video collection and Dietrich is going to get Barbie brunch. Find us on Twitter, Instagram and Threads: @TSFTMpod Like, share and submarine. Did you enjoy the episode? Then please consider leaving a 5 star review wherever you get your podcasts. It means a great deal to us and makes it easier for other potential listeners to find us.  Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTM Thank you! Timestamps:01:45 - What Have We Been Watching06:17 - History09:46 - Movie Discussion18:15 - Critical Reception & Performances24:30 - The Famous Final Scene28:49 - "Up Where We Belong" Discussion44:23 - Top 550:11 - Movie or Song?

We all agree Mia should have dropped out of Degrassi.

1.  Gotta Move On (Sgt Slick's Melbourne ReCut Extended Mix) - The Sponges 2.  Padam Padam (Liam Pfeifer Mix) - Kylie Minogue 3.  Round & Round (Block & Crown Remix) - Allegra 4.  Do It Till You Burn (Club Mix) - Maickel Telussa, Hardcopy 5.  Express Yourself (Original Mix) - Mark Lower6.  Startin something (nu disco mix) - Block & Crown Feat Lissat 7.  I Wrote A Song (Joylon Petch Extended Mix) - Mae Muller8.  Freedom (Extended Mix) - Sanich 9.  In My World (Extended Mix) - Michael Gray F. Tatiana Owens10. Young Hearts Run Free (Original Mix) - Manuel Grandi 11. I Can't Stand the Rain (Russ Rich & Andy Allder Club Mix) - Debby Holiday, Russ Rich12. Earth Song (What About Us) (Club Mix) - Kathy Brown, Revival, Phebe Edwards, Greg Gould, Anelisa Lamola, GeO Gospel Choir 13. Smalltown Boy (Block&Crown& Paul Parsons 2021 Nudisco Mix) - Block & Crown, Daniel Goodheart

1.  Superhuman (OCULA Extended Remix) - Tritonal, Codeko2.  Floating (Extended Mix) - VJS, BetweenUs 3.  In Your Arms (For An Angel) (Robin Schulz VIP Extended Mix) - Topic (and Robin Schulz, Nico Santos & Paul van Dyk)4.  The Air I Breathe (Kryder Extended Remix) - Richard Durand, Christina Novelli 125.9 5.  So Good To Me (Extended Mix) - ARTY 6.  Sail Away (Extended Mix) - Sam Supplier 7.  5000 Miles (Extended Mix) - Ashley Wallbridge, Bodine 8.  You're Still Home (Extended Mix) - BlackCode, Larce, Robin Vane 9.  Lose You (Nicky Romero Extended Remix) - Afrojack (and James Arthur) 10. Love You Forever (Extended Mix) - Nicky Romero, Stadiumx, Sam Martin 11. About You (Steve Smart & WestFunk Extended Mix) - Shane Filan 12. MY HEART IS REFUSING ME (BENNY BENASSI EXTENDED MIX) - LOREEN 13. Rely On Me (Extended Mix) - Sigala x Gabry Ponte and Alex Gaudino 14. You were loved (extended) - Gryffin & OneRepublic

1.  Strangers (Nora En Pure Extended Remix) - Dom Dolla, Mansionair 2.  Rhythm (Of The Night) (Extended Mix) - Something Good3.  Here (The Magician Remix) - Tom Grennan 4.  I Can't Wait (Extended Mix) - Tiesto, Solardo, Poppy Baskcomb5.  Stargazing (Extended Mix) - Nicky Romero, Leo Stannard, Monocule6.  Live In The Sky (Steve Brian Extended Remix) - Tritonal, Eric Lumiere 7.  Waiting For You (Extended Mix) - Yotto, Anabel Englund 8.  Always Here (Extended Mix) - Nash & Pepper, UDO 9.  Sky (Extended Mix) - KC Lights 10. So_Good_To_Me_(Extended_Mix) - ARTY11. Run Wild (Extended Mix) - Ruben De Ronde, Michael Jo 12. Parallel Lines (Enzo Bennet Remix) - ATTLAS 13. Borderline (CraigWelsh Extended) - Tove Lo

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

1.  Easy On Me (Henry Himself Remix) - Adele2.  Wings (Extended Mix) - Protoculture, Alina Renae, Nicholas Gunn 3.  Clearest Blue (Thomas Datt Remix) - CHVRCHES4.  Spaceship (Dave Aude AstralPlan Extended0 - LeAnn Rimes 5.  Night Like This (Extended Mix) - Steff, Shiralee Coleman 6.  29 Box (Cahill & DTAG Remix) - Lyra 7.  Shine On (Club Mix) - Fragma 8.  Love Again (Extended Mix) - Chaney 9.  Living Without You (Extended) - David Guetta, Sigala, Sam Ryder10. Nothing But A Heartache (Extended) - Flirtations, Tobtok, Oliver Nelson 11. Lionheart (Extended) - Joel Corry, Tom Grennan12. Lose You (Nicky Romero Extended Remix) - Afrojack (and James Arthur)

1.  Freedom (Extended Mix) - Sanich2.  Take Me Home (Extended Mix)  - Notelle, Kormak 3.  Givin Up (Extended Mix) - Mark Knight, Mason 4.  Don't Start Now (Dom Dolla Remix) - Dua Lipa5.  By Your Side (Dom Dolla Remix) - Calvin Harris, Tom Grennan 6.  Escape (John Summit Extended Remix) - Kaskade (and deadmau5 presents Kx5 feat Hayla) 7.  Soul (R3HAB Extended Remix) - Lee Brice (and Blanco Brown)8.  I'll Be The One (Extended Mix)  - Disco Killerz, GATTUSO 9.  Just Another Day (Stonebridge Anthem Extended) - Nelson Rego 10. Serenity (Cahill & DTAG Extended Mix) - Shab 11. I Am I (StoneBridge Extended Mix) - Wild Whispers 12. Not Giving Up (Cahill Club Mix) - 128.0 13. Leave It All Behind (Chad Jack Remix) - Jason Walker

1.  How You Doing (Original Mix) - Ordonez 2.  SPACE MAN (Sam Feldt Extended Mix) - Sam Ryder3.  Feel (Until Dawn Club Mix) - Susie Vanner4.  Neon Moon (Dave Aude Extended Club) - Cody Belew5.  AFTER ALL(DJ-FORCE 2011 REMIX)  - DELERIUM FEAT JAEL6.  RAIN (DAN TEMPO REMIX) - BEN PLATT7.  Run To You (Original Mix) - Luca Debonaire, Chris Marina8.  Touch (Until Dawn Club Mix) - St. Lucia9.  Escape (John Summit Extended Remix)  - Kaskade (and deadmau5 presents Kx5 feat Hayla)10. Power (Extended Mix) - Maur, Solardo11. Easy On Me (Henry Himself Remix) - Adele12. Guardian Angel (Until Dawn Club Mix) - Nathassia13. The Drive Home - Chicane

OG driver, Stephanie, shares her experience Lyfting in the very beginning of rideshare. During the days of the pink mustache, when everyone asked "WHAT do you do??". She loved the serendipity of her driving days, a little bit of magic and a lot of bartender-style therapy. She shares her best rides, i.e. the ones that led to dates, and advice for how to not be a terrible passenger.    Original air date: April 6, 2020

Where do you start with a legend like Buffy Sainte-Marie? Maybe you go back to New York in the ‘60s, where she played alongside the likes of Bob Dylan and Joni Mitchell. Or maybe you're more familiar with her Oscar-winning song Up Where We Belong. Or maybe you were a kid in the ‘70s who saw Buffy breastfeed her son on Sesame Street (a first in television history). So again, where do you start with a legend like Buffy Sainte-Marie? Tom was able to sit down with her for a rare career chat and he decided to start at the beginning — in Saskatchewan, the place she was born. Buffy is the focus of a new CBC podcast, aptly called Buffy, which unpacks her music and impact on popular culture over the last five decades. Listen to Buffy talk about what it's like when your music gets banned in the United States, why winning an Oscar doesn't necessarily mean you can quit your day job and why — even at 81 years old — you can still be as creative as you were when you were a kid.

1.  Love Vision (Extended Mix) - John Course, Sgt Slick2.  Paradise (Michael Gray Remix) - Jasper Street Co. 3.  Tell Me Why (Extended Mix) - Elektrik Disko 4.  All Eyes On You (Original Mix) - Mark Lower 5.  Givin Up (Extended Mix) - Mark Knight, Mason 6.  Don't Start Now (Dom Dolla Remix) - Dua Lipa 7.  By Your Side (Dom Dolla Remix) - Calvin Harris, Tom Grennan 8.  Gorgeous Feat. Confidence Man (Mighty Mouse Remix) - Yuksek9.  Want You To Know (Dirty Disco & Matt Consola Space City Remix) - Cactushead (and Dorian Wood) 10. We Rise (Extended Mix) - Anelisa Lamola, Carly Wilford 11. Never Ending Story (Kleber Giurizatto Remix) - Limahl

In our season finale, Patty & Acid crown the official Stalking Spurs BB of the Season and wrap up the absolutely bonkers year that was. Also: we check in on South Korea's love for their Golden Boy, Dier and Doherty's fandom of F1 and BennyBoo's engagement to Emily.Let's get socialThe Golden BootThe Congrats: Dele, BennyBoo, PEH, Gollini, Harry The Speech The Tearz The Interviews: BBC, Sports Illustrated, The Spurs Express, SkySports The South Korean coverage: commentating, homecoming, receiving the Cheongnyeong Medal - which is a HUGE deal Journey to Top 4The season in a tweet Posts from Ledley, Jamie, Conte, BennyBoo Season Break Check-inWelcome Ivan Eriksen come back Maybe even Dele too!! New kit With a surprise detail Red Bull racing welcomes Eric and Matt Benny Boo and Emily Caplan get hitched BB of the SeasonCutie Romero Jan's squad and happy campers The return of Ayla Eriksen's kidsTito Sonny with his niblings and more, if you can take it Tito Sonny with no neck Salvi Sanchez and Miguel and Pedro MouraPEH with his viking kids The Kane kids, unmaskedHugo and Guilianna Thank you to Pietro Lazatin for our music. Follow us on Twitter and on Instagram @StalkingSpurs

Welcome to the Instant Trivia podcast episode 490, where we ask the best trivia on the Internet. Round 1. Category: Going Bananas 1: Recipes for this cake-like loaf call for 2 or 3 ripe bananas, mashed. Banana bread. 2: This term for the leading comedian in a show originated in a burlesque routine involving bananas. Top banana. 3: A traditional banana daiquiri contains the light type of this liquor. Rum. 4: While singing with The Tarriers, Alan Arkin had a hit with this song one month before Harry Belafonte. "The Banana-Boat Song". 5: The documentary film subtitled "Bananas Is My Business" profiles this movie star of the '30s and '40s. Carmen Miranda. Round 2. Category: Old Hickory 1: With no $7 bill, seventh president Andrew Jackson is honored on this currency denomination. $20 bill. 2: In 1787 Jackson set up his office to practice this in McLeansville, North Carolina. Law. 3: On June 6, 1833 Jackson became the first sitting president to take a ride on one of these. Train. 4: Waightstill Avery in 1787 and Charles Dickinson in 1806 are 2 of about 100 men Jackson faced in these. Duels. 5: This 6th president wouldn't attend Jackson's inauguration or his honorary degree ceremony at Harvard. John Quincy Adams. Round 3. Category: 2-Word Capitals 1: This Asian capital was built between 1912 and '29 and designed by the British architect Lutyens. New Delhi. 2: The name of this capital of El Salvador is similar to the name of the country. San Salvador. 3: Of the capitals of South Africa, it's the only one that fits the category. Cape Town. 4: Do you know the way to this capital of Costa Rica?. San José. 5: This Ethiopian capital whose name means "new flower" was founded by Emperor Menelik II in 1887. Addis Ababa. Round 4. Category: Warner Bros. 1: In May 1999 her Warners talk show was hit with a $2.5 million judgment after one guest killed another. Jenny Jones. 2: You can tour the Warner Bros. lot online, or in person in this San Fernando Valley city. Burbank. 3: Former mortuary entrepreneur Steve Ross negotiated Warners' 1989 merger with this publisher. Time. 4: Movies found their voice in this 1927 Warner Bros. film. The Jazz Singer. 5: He outlasted his brothers Sam, Albert and Harry in the company, finally selling out in 1967. Jack Warner. Round 5. Category: Famous Joes And Josephs 1: 1 of the 3 heavyweight boxing champs to fit this category. Joe Frazier, Joe Louis and "Jersey Joe" Walcott. 2: This Delaware senator chairs the Senate Judiciary Committee. Joseph Biden. 3: This world leader's real name was Joseph Vissarionovich Dzhugashvili. Joseph Stalin. 4: In 1982 this British singer paired with Jennifer Warnes in the No. 1 hit "Up Where We Belong". Joe Cocker. 5: Late charismatic scholar seen on a PBS series in 1988 conversing with Bill Moyers on "The Power Of Myth". Joseph Campbell. Thanks for listening! Come back tomorrow for more exciting trivia!

We take the all-time greatest bassists for a ride. And classic segments!

1.  Elevating Love (Dave Aude Extended) - Nicole Markson 2.  The Reason (Extended) - Harry Diamond 3.  Diamonds (MESZCA Extended Vocal) - Lola Audreys 4.  Sugar Sugar (David Kust Candy Remix) - The Archies 5.  Bad Habits (Joel Corry Extended Remix) - Ed Sheeran 6.  This Is Our Time( Dave Aude Extended) - Nick Clow 7.  House On Fire (Ryan Riddler Remix) - Ryan Cabrera 8.  You Bring Me Joy (Steve Smart & WestFunk Extended Mix) - Amelia Lily 9.  Stop the Show (Anske Extended Remix) - Jovani, John Duff 10. Call It Love (StoneBridge Extended Anthem Mix) - Dina Layzis (and Artem Tenkeli) 11. Heartbreak (extended mix) - M'Black 12. Hard To Love (Tommy B Remix) - Da Buzz

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER We've watched all the movies, seen all the nominations, formed our opinions, and now it's finally here. And after steeping deeply in the year that was 1982, we can say, for sure, that this was a really great year for movies. Heck, one of the biggest movies of the year isn't anywhere in our archives because it's such a classic we'd already seen it. But with all these movies, who will be the big winner? Will Gandhi sweep the nominations? Will The Verdict make a big splash? And will our four hosts sing a song so terrible we might as well just not had a ceremony this year? We discuss the 55th Academy Awards this week on Macintosh & Maud Haven't Seen What?! Plus, a review of a gaggle of new Oscar movies, and The Batman. We'll let you guess which might be our favorite. You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the telecast of the 55th Academy Awards Ceremony, broadcast by ABC on April 11, 1983. Excerpt from “Flying” taken from the motion picture score of E.T. The Extra-Terrestrial, written and composed by John Williams. © 1982 MCA Records Inc. Excerpt from “Up Where We Belong” taken from the soundtrack for An Officer and A Gentleman, performed by Joe Cocker and Jennifer Warnes. ℗ 1982 Island Records. Out of print, but the song is everywhere. Excerpt from “Something in the Way” written by Kurt Cobain and performed by Nirvana. © 1991 Virgin Songs, Inc/The End Of Music; ©℗ 1991 The David Geffen Company.

Calum and Chris are joined by podcaster Eoin Daly to discuss the 1982 nominees for Best Actor in a Supporting Role, which were Charles Durning (The Best Little Whorehouse in Texas), Louis Gossett Jr. (An Officer and a Gentleman), John Lithgow (The World According to Garp), James Mason (The Verdict), and Robert Preston (Victor/Victoria). The Best Little Whorehouse in Texas: 02:53 - 17:11 The World According to Garp: 17:11 - 29:55 The Verdict: 29:55 - 51:38 Victor/Victoria: 51:38 - 1:06:42 An Officer and a Gentleman: 1:06:42 - 1:19:57 Conclusions/Ranking: 1:19:57 - 1:31:16 Intro Music: Joe Cocker & Jennifer Warnes, "Up Where We Belong" (from An Officer and a Gentleman) Exit music: Charles Durning, "The Sidestep" (from The Best Little Whorehouse in Texas)

Hey Broomheads, we're back and the ages and grade numbers of these kids is just proving more confusing by the week! Holly J, Sav, and Mia are at a crossroads with what to do with the rest of their lives. At sixteen. Crossroads…   Timestamps: [0:27] Intro [22:44] Episode Title [37:06] A Story  [51:33] B Story [1:01:43] C Story [1:13:13] Wrap Up   Find us online! Patreon: DEEEMP Email: everyepisodever@gmail.com Instagram: @sparklespazz28 Facebook: DEEEM Podcast Facebook group: Dope Monkeys and Broomheads

1.  Running In The Night (Josep & Kane Extended Mix) - FM-84, Ollie Wride 2.  All Of You (Original mix) - Guineve, GAR 3.  Love Is Love (Extended Mix)  - Sue McLaren, Farius 4.  Risk It All (Just Kiddin VIP Mix) - Ella Henderson x House Gospel Choir 5.  Thinking About It (Extended Mix) - Vito Trix 6.  Break The Chain (7th Heaven Remix) - Nick Jay (feat Silke) 7.  Life, Love & Happiness (Paul Goodyear Fire Island Full Length Mix) - Brian Kennedy, Stereolove 8.  Growing Wings (Offer Nissim Remix) - Lara Fabian 9.  All I Know So Far (Until Dawn Extended Mix) - Pink 10. Elise (Extended Mix) - Gareth Emery 

1.  Lasting Lover (Extended) - Sigala, James Arthur 2.  Love Is Love (Extended Mix) - Sue McLaren, Farius 3.  Rising Love ft. Mike Taylor (Hit The Bass Remix) - Arno Cost & Norman Doray 4.  Thinking About It (Extended Mix) - Vito Trix 5.  Sunbeams (Original Mix) - Mark Digital 6.  Proud (7th Heaven Club Mix) - Conleth Kane 7.  Almost Home (Club Mix) - Above & Beyond, Justine Suissa 8.  Hurricanes (Samee Remix) - Gregory Esayan, Richard J Aarden 9.  Everywhere I Go (Extended Mix) - ALPHA 9 10. Won't Let You Go (LTN Remix) - Herself 11. Lift Me Up (Brixxtone Remix) - Smilee

Joe Cocker, Jennifer Warnes, and who knows.

1.  You've Done Enough (Extended Mix) - Gorgon City, Drama 2.  Stranger To Your Love (Extended Mix) - Ilan Bluestone, Ellen Smith 3.  Evermore (russ rich and andy allder evermore dance floor remix) - Taylor Swift 4.  Cold Light (Extended Mix) - Leo Stannard, KC Lights5.  I Run (Extended Mix) - Kate Miles, Synyx 6.  Look At Me Now (Extended Mix)- Ilan Bluestone, Giuseppe de Luca 7.  Love Like Stars (Cahill Club Mix) - Ben Montague 8.  The Last Stand (Digital Sixable Vocal Remix) - Koda 9.  Wouldn't Change A Thing feat. Jennifer Rene (Retrobyte Remix) - Tenishia, Kirsty Hawkshaw10. Hurt Me (Extended_Mix) - Ehrling, Wilhelm 11. Love Bizzare (Murph & Petch Extended Remix) - Wildfire (feat Amber Ferraro)

1. We Are (Extended Mix) - Nick Martin, Sam Martin 2. Everything's Gonna Be Alright (Extended Mix) - Mark Knight, Beverley Knight, London Community Gospel Choir 3. Funky Monday (Original Mix) - Cheesecake Boys 4. The Worship (Mark Knight Extended Remix) - Diana Miro, AVIRA 5. Save a Prayer (Exotic Mix) - DJ Jon 6. Take Me Away (12 Inch Mix) - Stonebridge feat. Therese 7. What I Do (Until Dawn Club Mix) - Shab 8. Coming Home (StoneBridge Extended Epic Mix) - Shayne Ward, Sash! 9. YoDream (DAN ROS Extended Remix) - Abel Di Catarina, DAN:ROS 10. I'll Show You Loving (Bassmonkeys Extended_Mix) - Bassmonkeys feat Natasha Anderson 11. This is Me Trying (Russ RIch and Andy Allder Shiniest Wheels Remix) - Taylor Swift 12. If You Want To (Shanghai Surprize Club Remix) - Emily Istrate

Shownotes POP 110 – Up where belong Bete folgendes Gebet um Jesus Christus bewusst zum Herrn Deines Lebens zu machen: Herr Jesus, ich glaube, dass Du Gottes Sohn bist. Ich glaube, dass Du auch für meine Sünden und Fehler am Kreuz gestorben bist. Darum bitte ich Dich: Vergib mir alle meine Lebensschuld. Ich entscheide mich, Dir, Jesus, nachzufolgen. Von heute ... Read More

1. Voyager (Extended Mix) - Robin Embrace, Propulsive 2. Fake Friends (Disciples Remix) - PS1, Alex Hosking 3. Cardigan (Russ Rich and Andy Allder Tech House Remix) - Taylor Swift 4. If I Could Throw My Arms Around The World (Dave Audé Extended) - LeAnn Rimes 5. Light Of Love (Cutmore Extended Mix) - Duke 6. What I Do (Until Dawn Club Mix) - Shab 7. Time to Go (Original Mix) - Bee Hunter 8. Everything Is Alright (Original Floor Mix) - Linda Sundblad, Rasmus Faber 9. Daises (Marc Stout Extended Remix) - Katy Perry 10. Coming Home (StoneBridge Extended Epic Mix) - Shayne Ward, Sash! 11. Voyage (Original Mix) - Karl Blue 12. Elise (Extended Mix) - Gareth Emery 13. World Of Change (Costiro Remix) - Sonique

Jon, Don and Doug are joined by Julian Villafuerte, who wrote a talent and retention report for Windsor last year, to talk about the Public First council report on economic diversification for Windsor.

1. Interstellar_(Italoconnection_Remix) - Albert Neve 2. April Lies (Original Mix) - Secret Garden 3. Automatic (The_Aston Shuffle Extended Remix) - Tensnake, Fiora 4. Someone To Love You (Dubvision Extended) - Tritonal (feat Brooke Williams) 5. All For You (dj-vartan techcrasher remix) - Alexander Orue, Scotty Boy & Melody Smith 6. Lonely (Extended Mix) - Joel Corry 7. Daises (Marc Stout Extended Remix) - Katy Perry 8. Lonely Ones (Dave Aude Mainstream Club Mix) - Paul Oakenfold (feat Tawiah) 9. Don't You Need Somebody (Cahill Club Mix) - RedOne (feat Enrique Iglesias, R. City, Serayah, Shaggy) 10. 5 Dollars (Nathan Jain Remix) - Christine and The Queens 11. There's Nothing Holdin' Me Back (Juloboy Remix) - Shawn Mendes 12. You Say (DiPap Remix Extended Edit) - Lauren Daigle

1. Let's Love (Robin Schulz Extended) - David Guetta (and Sia) 2. Good Love (Extended Love Version) - Estela Martin, Taito Tikaro 3. Lovefool (twocolors Remix Extended) - twocolors 4. Please Remember (Dave Audé Extended) - LeAnn Rimes 5. Hope (The Tracy Young Hopeful Extended Mix) - Cyndi Lauper 6. Let The Music Guide You (Original Mix) - Mark Picchiotti 7. Holding Hands (Bee Hunter Remix) - Axxound 8. Best of Me (Original Mix) - ARTBAT, Sailor & I 9. For So Long (Bee Hunter Remix) - Amr Darwish, Marwan [EG], SpArk [EG] 10. Sunbeams (Original Mix) - Mark Digital

In 1966 the first episode of Gene Roddenberry's Star Trek launched a franchise still going strong over fifty years later.  Sequels, movies, toys, fan films - there’s just no end to Star Trek’s bright, progressive, optimistic future where Earth has transcended national and international politics. Something architecture fans may have missed, and we certainly did, is that Star Trek adapted midcentury Modern furniture for the set design, from the Bridge to the Conference Room, to the alien buildings on the planets they landed on. Today we meet authors Dan Chavkin and Brian McGuire about their new book:  Star Trek - Designing the Final Frontier - The Untold Story of How Midcentury Modern Decor Shaped Our View of the Future.  Later on, legendary singer Jennifer Warnes, who you’ve loved for I’ve Had the Time of my Life, Right Time of the Night, Up Where We Belong, and a vast treasure of songs with and by Leonard Cohen. 

Grouss Gefiller, grouss Skepsis an um Enn e grousse Succès. En Duo, deen am Ufank kee sollt sinn an e Sänger, deen iwwerhaapt keng Loscht hat.

1. The World Can Wait (Rafael Osmo x Spectral Trance Remix) - Paul Oakenfold, Spectral, Rafael Osmo, Luis Fonsi 2. We Can Change (Matt Consola Leo Frappier Swishcraft Anthem Remix) - Svrcina, Craig C & Paco G 3. Together We Are (Liom Remix) - Arty ft. Chris James 4. Every Moment (Russ Rich & Andy Allder Club) - Matt Consola (and Aaron Altemose feat Brenda Reed) 5. This moment (Extended Mix) - Yinon Yahel & Kapler 6. Someone To Love You (Dubvision Extended) - Tritonal (feat Brooke Williams) 7. What The Future Holds (Cahill Club Mix) - Steps 8. Smoke (Dave Aude Club Mix) - Plumb 9. Wings (Myon & Shane 54 Summer Of Love Mix) - Tom Swoon, Taylr Renee 10 Make It Happen (Nicolas Haelg Remix) - Gareth Emery, Lawson 11. Paradise In You (Young Bombs Remix) - Radical Something

1. Interstellar_(Italoconnection_Remix) - Albert Neve 2. April Lies (Original Mix) - Secret Garden 3. Automatic (The_Aston Shuffle Extended Remix) - Tensnake, Fiora 4. Someone To Love You (Dubvision Extended) - Tritonal (feat Brooke Williams) 5. All For You (dj-vartan techcrasher remix) - Alexander Orue, Scotty Boy & Melody Smith 6. Lonely (Extended Mix) - Joel Corry 7. Daises (Marc Stout Extended Remix) - Katy Perry 8. Lonely Ones (Dave Aude Mainstream Club Mix) - Paul Oakenfold (feat Tawiah) 9. Don't You Need Somebody (Cahill Club Mix) - RedOne (feat Enrique Iglesias, R. City, Serayah, Shaggy) 10. 5 Dollars (Nathan Jain Remix) - Christine and The Queens 11. There's Nothing Holdin' Me Back (Juloboy Remix) - Shawn Mendes 12. You Say (DiPap Remix Extended Edit) - Lauren Daigle

Countdown #274. For this week's Countdown, the guys are talking the most uplifting film scenes ever made ... and struggling to agree on what "uplifting" means while doing it. Do you feel uplifted by a victory against the odds? Or do you feel that way when listening to Joe Cocker and Jennifer Warners sing "Up Where We Belong?" Yep, with that as the baseline argument for the week, you can be assured this Ep is packed with the usual good natured banter and potty mouthed humour, as The Countdown continues ...   Hit up the CC Radio Network that The Countdown is a proud part of and follow the headers to the other great shows. Want to gain access to all manner of additional Countdown content? Head on over to the show's Patreon to see what you're missing! Join The Countdown Podcast Listener Community on Facebook so you can interact more directly with Paul and Wayne and vote in the weekly poll for who has the best list!

1. The World Is Ours (Bimbo Jones Vocal Club Mix).mp3 MYAH G 2. Drunk On You (StoneBridge Epic Extended Remix) - Betty Reed 3. Your Silent Face (Chicco Secci Extended Remix) - Robbie Rivera, New Order 4. Together (Cedric Gervais Remix) - Dido, R Plus 5. Is It Love 1001 (Grum Extended Mix) - Above & Beyond 6. Fantasy (Disco Fries Extended Mix) - Sofi Tukker 7. Side By Side (Original Extended) - Chris Arnott 8. Alice's Door (DRYM Extended Mix) - Sleepthief, Zoe Johnston 9. OMG (MOTI Extended) - Gryffin (and Carly Rae Jepsen) 10. See The Sky (Joel Corry Extended) - Anabel Englund 11. Afterglow (Kryder Extended Mix) - Grum, Natalie Shay 12. Physical (Country Club Martini Crew Extended Remix) - Dua Lipa

Episode 64 is here! Welcome to all our listeners from all points on the compass!Kari and Joe discuss some fun facts from the recent top 2,500 song countdown from 1982 to 1991 on the https://thefoxoldies.com . They review why The Talking Heads made it big on MTV, the genesis of Aretha's Zooming, discuss how Vanessa Williams missed out on a hit song, why a song was written for a tennis legend to learn some guitar licks, and how a song from 1984 became the subject of a TikTok meme. Next, it is Just a Bit Outside; the segment which delves into songs which just missed the Top 40. Your hosts discuss a classic Parrotheads anthem and a song from Jennifer Warnes which wasn't "Up Where We Belong" or "I've Had the Time of My Life".Be sure to check out our Facebook at http://www.facebook.com/HRT80s for fun video clips, additional posts, and listener polls!As always, be kind to yourself, be kind to others, and thanks for listening.

From the producers who brought you "Up Where We Belong" comes another harrowing tale of a popular musician being asked to write a love ballad for a new movie. This go-around, current Genesis frontman and potential jerk Phil Collins rises to the task and pulls out an old tune he wrote about his divorce. 

Welcome to episode 37 of Chattin Flicks - the Movie and TV Podcast. For this week's episode we talk about some of the movies and TV programmes that give us a boost during these tough times. We talk about those easy to watch films that lift our moods and keep our spirits up. We mention underdogs and sports dims as we as musicals and minis. Carl, Lee, Richard and James also have another 'Fact! or Fiction?'. Follow us @ChattinFlicks on all major social media outlets and podcasting services. Send any comments or questions to ChattinFlicks@hotmail.com, use #ChattinFlicks

Remember how fun going places was? We talk to an OG Lyft driver about her experience providing an essential service: transportation + bartender-style therapy.

1. Loneliest Night (Andre Steffens Edit) - Giuseppe Ottaviani, Tricia McTeague 2. Who I Am (Toy Armada Club Mix) - Ray Isaac 3. We Are the Night (Dave Audé Remix) - Steve Grand 4. What The World Needs Now Is Love (Dave Aude Club Remix) - Broadway For Orlando 5. Love Falls Over Me (Bobby Blanco & Dim Jim Remix) - Tamia 6. Perfect (Luca Debonaire Remix) - Katherine Ellis, Testone, Luca Debonaire 7. Windmills In My Mind (Moto Blanco Club Mix) - Susie Vanner 8. Don't Start Now (Handbag House 'Bruises' Remix) - Dua Lipa 9. Wild Girl (Paul Woolford Remix) - KITO 10. Dance Our Tears Away (Extended) - John De Sohn 11. Dance In The Dark (Cedric Gervais Remix) - Au/Ra 12. Faith (David Michael Remix) - Galantis (and Dolly Parton feat Mr. Probz) 13. Someone You Loved (Future Humans Remix) - Lewis Capaldi

Buffy Sainte-Marie is a singer-songwriter known for her powerful protest songs and touching love songs. She started out in the 1960s, and was blacklisted by two presidential administrations, so much of her legacy has been hidden. Her songs have been covered by dozens of artists including Elvis, Joe Cocker, Barbara Streisand, and the Indigo Girls, to name a few. She was the first indigenous person to receive an Academy Award, as well as a Golden Globe in 1983 for the song, "Up Where We Belong." And hark! It's Valentine's Day this week, and so for the love of music, folk artists, and Buffy, Rose's mom, Gail Reid, moonlights on this episode. Gail explains Buffy's songs and plays a little guitar...and Rose gets her mom to chat with Buffy on the phone! For a list of all the songs featured in this epsiode, visit www.thewomenpod.com. If you enjoyed this episode, share with a friend, or rate & review us! @TheWomenPod @BuffySteMarie Learn more about your ad choices. Visit megaphone.fm/adchoices

To help celebrate New Years eve I have selected some of my favourite tunes from my Up Where We Belong series from this year. And, to kick off 2020 I threw in a couple of new tunes you may hear in future mixes. 1. Never Be the Same (Alpha 9 Extended) - Tritonal (feat Rosie Darling) 2. Running Back To You (Rick Cross Main Mix) - Bright Light Bright Light (feat Elton John) 3. I Remember (Toy Armada & DJ GRIND Remix) - Betty Who 4. Sunny Day (Vocal Mix) - Earth n Days 5. 7 Billion (Dave Aude Extended) - OBB 6. Come Together (Extended Mix) - Tom Staar, Matt Hope 7. See The End (Nora En Pure Club Mix) - Above & Beyond, Seven Lions, Opposite The Other 8. Lover (The DJ Mike D Mixshow) - Taylor Swift 9. You (Benji of Sweden, Andre Steffens edit) - Robin Stjernberg 10. Dancing On My Own (Nathan Thomson & Micky Quinn Bootleg) - Calum Scott 11. Chasing Cars (Insido Remix) - Snow Patrol 12. We Found Love (Extended Mix) - Nora En Pure, Ashibah 13. Sound Of My Youth (F9 Club Mix) - Jamie Hannah 14. Yours (Wideboys Club Mix) - Ella Henderson 15. Extraordinary Being (Hi Im Claude Remix) - Emeli Sande

1. All About Us (Soulshaker Remix)- Allegra 2. Castles (Until Dawn Club Mix) - Freya Ridings 3. I Don't Wanna Live Forever (Cosmic Dawn Remix) - Zayn (and Taylor Swift) 4. I Found Me (Adam Turner Extended Remix) - President Street 5. Who I Am (Toy Armada Club Mix) - Ray Isaac 6. Roots (James Anthony Extended Remix) - Valerie Broussard (feat Galantis) 7. Trampoline (Dave Aude Extended) - Shaed (and ZAYN) 8. Joy (Cahill Remix) - Will Young 9. Everything To Me (Cutmore Club Mix) - Shane Filan 10. Love You Forever (Metrush Remix) -Nicky Romero (and StadiumX featSam Martin) 11. Like Satellites (Extended Mix) (feat. Danni Rouge) - Manufactured Superstars 12. Anything For You (VIP Club Extended Mix) - Vavo (feat Zhiko)

Just a few scant weeks after spending some unwelcome time with Johnny Cougar, Andrew and Dan return to the year 1982 to discuss another number one hit. This one courtesy of a handful of movie executives who knew they wanted something romantic but not very expensive. What they got was a stone-cold banging power ballad.

1. Extraordinary Being (Hi Im Claude Remix) - Emeli Sande 2. Walking Your Path (Full Intention Chill Remix) - Alina K 3. Bad Habit (Joel Dickinson Club Mix) - Ben Platt 4. 7 Billion (Dave Aude Extended) - OBB 5. Love Yourself (Ralphi Rosario Anthem Club Remix) - Billy Porter 6. Deeper Feeling (Club_Mix) - Guy Scheiman feat. Inaya Day 7. Cry For You (Supervixen Club Mix) - September 8. Love Wins (World Pride 2019 Remix) - Dirty Disco vs Carrie Underwood 9. Perfect Bitch (James Hurr Remix) - Tony Moran (feat Jason Walker) 10. There For You (Moto Blanco Extended Remix) - Hilary Roberts 11. Out Of Love (Marc Stout & Tony Arzadon Extended Mix) - Alessia Cara

John Robert Cocker, más conocido como Joe Cocker (Sheffield, Inglaterra, 20 de mayo de 1944 - Crawford, Colorado, Estados Unidos, 22 de diciembre de 2014),1​ fue un cantante y músico de rock, blues y soul británico. Conocido por su voz áspera y por el gran sentimiento que ponía en sus interpretaciones, Cocker centró parte de su carrera musical en versionar canciones de otros artistas, particularmente de The Beatles. Al respecto, su versión de la canción «With a Little Help from My Friends» alcanzó el número uno en la lista UK Singles Chart en 1968 y fue utilizada como tema principal de la serie de televisión The Wonder Years.Cocker recibió también varios premios a lo largo de su trayectoria musical, incluyendo el Grammy a la mejor actuación pop vocal de grupo, así como el Óscar y el Globo de oro a la mejor canción original por «Up Where We Belong», un dúo con Jennifer Warnes número uno en la lista estadounidense Billboard Hot 100.2​ En 1993, Cocker fue nominado a un premio Brit al mejor artista británico y fue galardonado con una placa Sheffield Legends en su ciudad natal. En 2008, recibió la Orden del Imperio británico en el Palacio de Buckingham por sus «servicios a la música». Fue también situado en el puesto 97 de la lista de los cien mejores cantantes según la revista Rolling Stone

John Robert Cocker, más conocido como Joe Cocker (Sheffield, Inglaterra, 20 de mayo de 1944 - Crawford, Colorado, Estados Unidos, 22 de diciembre de 2014) fue un cantante y músico de rock, blues y soul británico. Conocido por su voz áspera y por el gran sentimiento que ponía en sus interpretaciones, Cocker centró parte de su carrera musical en versionar canciones de otros artistas, particularmente de The Beatles. Al respecto, su versión de la canción «With a Little Help from My Friends» alcanzó el número uno en la lista UK Singles Chart en 1968 y fue utilizada como tema principal de la serie de televisión The Wonder Years. Cocker recibió también varios premios a lo largo de su trayectoria musical, incluyendo el Grammy a la mejor actuación pop vocal de grupo, así como el Óscar y el Globo de oro a la mejor canción original por «Up Where We Belong», un dúo con Jennifer Warnes número uno en la lista estadounidense Billboard Hot 100.

John Robert Cocker, más conocido como Joe Cocker (Sheffield, Inglaterra, 20 de mayo de 1944 - Crawford, Colorado, Estados Unidos, 22 de diciembre de 2014) fue un cantante y músico de rock, blues y soul británico. Conocido por su voz áspera y por el gran sentimiento que ponía en sus interpretaciones, Cocker centró parte de su carrera musical en versionar canciones de otros artistas, particularmente de The Beatles. Al respecto, su versión de la canción «With a Little Help from My Friends» alcanzó el número uno en la lista UK Singles Chart en 1968 y fue utilizada como tema principal de la serie de televisión The Wonder Years. Cocker recibió también varios premios a lo largo de su trayectoria musical, incluyendo el Grammy a la mejor actuación pop vocal de grupo, así como el Óscar y el Globo de oro a la mejor canción original por «Up Where We Belong», un dúo con Jennifer Warnes número uno en la lista estadounidense Billboard Hot 100.

John Robert Cocker, más conocido como Joe Cocker, ? fue un cantante y músico de rock, blues y soul británico. Conocido por su voz áspera y por el gran sentimiento que ponía en sus interpretaciones, Cocker centró parte de su carrera musical en versionar canciones de otros artistas, particularmente de The Beatles Cocker recibió también varios premios a lo largo de su trayectoria musical, incluyendo el Grammy a la mejor actuación pop vocal de grupo, así como el Óscar y el Globo de oro a la mejor canción original por «Up Where We Belong», un dúo con Jennifer Warnes número uno en la lista estadounidense Billboard Hot 100.

John Robert Cocker, más conocido como Joe Cocker (Sheffield, Inglaterra, 20 de mayo de 1944 - Crawford, Colorado, Estados Unidos, 22 de diciembre de 2014) fue un cantante y músico de rock, blues y soul británico. Conocido por su voz áspera y por el gran sentimiento que ponía en sus interpretaciones, Cocker centró parte de su carrera musical en versionar canciones de otros artistas, particularmente de The Beatles. Al respecto, su versión de la canción «With a Little Help from My Friends» alcanzó el número uno en la lista UK Singles Chart en 1968 y fue utilizada como tema principal de la serie de televisión The Wonder Years. Cocker recibió también varios premios a lo largo de su trayectoria musical, incluyendo el Grammy a la mejor actuación pop vocal de grupo, así como el Óscar y el Globo de oro a la mejor canción original por «Up Where We Belong», un dúo con Jennifer Warnes número uno en la lista estadounidense Billboard Hot 100.

OK, we admit it. We thought this was going to be the beginning of the end for this franchise. I mean, how good can a movie be when it features a Hulk Hogan cameo and a supporting role from Mr. T? Turns out IT CAN BE AMAZING. Rocky III is so much better than it has any right to be, and Stallone’s script and directing are a huge part of it. Not to mention our returning actors and the incredible debut performance of Mr. T. We talk about this and play a super-fun round of “Who Could’ve Been Better” as we enjoy the greatness of 1982’s Rocky III! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including the final chapters of our Rocky-thon, Rocky Balboa and Creed! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. “Fanfare for Rocky” taken from the Score for Rocky, written and composed by Bill Conti. ℗ 2015 United Artists Corporation. Full soundtrack can be found at iTunes and Amazon. “Eye of the Tiger” taken from the album of the same name by Survivor. ℗ 1991 Volcano Entertainment, III, L.L.C. The full album can be found on iTunes and Amazon. “Up Where We Belong” taken from the soundtrack An Officer and A Gentleman, performed by Joe Cocker and Jennifer Warnes. ℗ 1982 Island Records. Out of print, but the song is everywhere. “Another One Bites the Dust (2011 Remaster)” taken from Bohemian Rhapsody (The Original Soundtrack) by Queen. ℗ 2018 Hollywood Records, Inc. It’s everywhere, go buy it, Queen is life. “You’re the Best” taken from The Karate Kid (The Original Motion Picture Soundtrack) by Joe “Bean” Esposito. ℗ 2010 The Island Def Jam Music Group. Full album available on iTunes and Amazon. “Treat Your Mother Right” taken from the TV special and album Be Somebody…or Be Somebody’s Fool! from 1984, performed by Mr. T. Check out the video on YouTube…it’s kind of amazing.

Opening Monologue. The Magical MAGA Economy hits 4.1% Growth. Up Where We Belong. Good news for Americans, bad news for Democrats running for office in 2018. "We're back," says an emotional, newly employed steelworker in Illinois. We listen to VP Mike Pence respond to the good economic news, and sample an MSM Montage of Leftist Deniers who claimed none of this could happen. Meanwhile, President Trump scores victories over the EU and China in the Trade Wars, and we observe the Trade Deficit dropping by $52 billion in the second quarter. Also, Rep. Jim Jordan runs for Speaker, Rod Rosenstein survives an impeachment threat, and Team Mueller announces its investigation of Trump's Tweets. So we need a Special Counsel for that? Plus, in another positive gesture, North Korea returns the remains of American soldiers fallen long ago. More concrete results for Trump's leadership on foreign policy. In our concluding segment, we interview activist Jan Cook about the "Walk Away" movement now spreading across Colorado. Democrats leaving their party? With Listener Calls & Music via The Beatles, Joe Cocker, SZA and Crystal Gayle.See omnystudio.com/listener for privacy information.

This week's episode highlights Mary Ann Patten, who was the first female commander of an American merchant vessel, entitled Neptune's Car, and Buffy Sainte Marie, the Canadian Cree singer/songwriter, artist, and activist, best known for her Oscar-winning song, "Up Where We Belong." We're not singing and crying, YOU are!

Up where we belong - Jane Lawther by 247 Church

Up Where We Belong. Sharing good news headlines about the Trump Economy, from consumer confidence to manufacturing to job creation. The arrows are all green. Should they prove sustainable, Democrats will face a major uphill battle in 2018. Meanwhile, officials at the DOJ and FBI finally confirm that allegations of Russian "collusion" in the Fusion GPS Trump Dossier have not been verified nor corroborated. In addition, we now learn that the Hillary-funded Fusion GPS entity has been offering payments to journalists, both before and after the 2016 elections. But which journalists? And for what? As the American people continue to lose trust in their Media, these revelations seem sure to add to the erosion. Also, a new study finds that "angry people" have shorter lifespans. Bad news for the Never Trumpers? Plus, we examine the growing trend of young people leaving desk jobs to become organic farmers. Is agriculture becoming "cool" again? With Listener Calls & Music via Joe Cocker & Jennifer Warnes, Giorgia, Dave Alvin, Green Day, Dion & the Belmonts and Kenny Chesney. Sacred Song from Hank Williams.See omnystudio.com/listener for privacy information.

#35 DAILY DR. ERIN - GOD LIFT US UP WHERE WE BELONG & THE LAW OF SPIRITUALITY   DAILY INSPIRATION: I grew up in a kinda hippy commune in the mountains of Santa Barbara that we right next to Jane Fonda’s ranch. The famous singer Joe Cocker lived on her ranch as well. Needless to say it was a crazy childhood with all kinds of insanity. At that point in time Joe Cocker won the Grammy for the song “Up where we belong” (Officer and a Gentleman Movie with Richard Gere) God (your higher self) always puts us exactly where we need to be for our awakening. Life is designed for your awakening.   DAILY UNIVERSAL LAW: Today we align with The Law of Spirituality.  Spirit is derived from the word seed. So, spirituality is the reality that all of life is created from the one creative seed, spirit (Your Higher Self). All truth, all creation and all experience begins with consciousness. There is an almighty omniscient presence with you now. There is an aspect of you that is indestructible, absolute and a self-existing cause. The Universe is revealing through the law of spirit that you can never be the effect of any circumstance. Your destiny is to experience your full divinity.   DAILY SPIRITUAL PRACTICE: Go into gratitude and begin to give thanks for all the good and bad times, revealing the blessings and lessons.   DAILY CHALLENGE: Write down your desires and dreams that you are struggling with and put them in your ‘God Box.’   LIVE YOUR TRUTH, DR. ERIN   Doctor of Divinity New Thought Leader Best-Selling Author 2016 Global Peace Award Mother & Lover of Life!   http://www.erinfallhaskell.com   http://www.drerin.tv   http://www.drerinshow.com   Facebook.com/DrErin.TV   Instagram.com/DRERIN.TV   twitter.com/drerin   LinkedIn.com/in/DRERIN   YouTube.com/DrErin   30 FREE Guided Meditations: http://bit.ly/30Meditations   FREE Manifesting Masterclass with purchase of book: erinfallhaskell.com/awakeningbook

Attack ships on fire, glittering c-beams, an alien in a bike's basket passing over a full moon. We've seen some things, too, Roy Batty. The Chicago Tribune's Michael Phillips joins Adam and Josh for a Sacred Cow review of Ridley Scott's seminal sci-fi noir (we chose THE FINAL CUT," if you're curious) and the Top 5 Films of 1982. Plus, listeners weigh in on our '82 Death Match - Blade Runner vs E.T. - and Michael recalls seeing "An Officer and a Gentleman" with his college girlfriend (and her grandparents). 0:00-1:51 - Billboard 1:51-37:43 - Sacred Cow: "Blade Runner" "End Credits", Vangelis (Blade Runner) 38:42-39:32 - Donations 39:32-45:10 - Brickspotting: "Lemon," "Brigsby Bear" 45:10-55:38 - Next week / Argentine Marathon / Listener Feedback 55:38-1:03:54 - Polls ("Blade Runner" v "E.T.") 1:03:54-1:20:28 - Top 5: Films of 1982 "Up Where We Belong," Joe Cocker & Jennifer Warnes 1:21:23-2:00:20 - Top 5 cont. 2:00:20-2:06:07 - Close / Hot Mics   Learn more about your ad choices. Visit megaphone.fm/adchoices

Holland and Kelsey discuss Season 8 Episode 17 "Up Where We Belong." Mia (unsuccessfully) juggles modeling and school, Holly J doesn't understand how art works and Sav is apparently a musical prodigy.

Holland and Kelsey discuss Season 8 Episode 17 "Up Where We Belong." Mia (unsuccessfully) juggles modeling and school, Holly J doesn't understand how art works and Sav is apparently a musical prodigy.

In Episode 33 of The Cinescope Podcast, Chad and Aaron talk about one of their favorite movies, One Flew Over the Cuckoo's Nest! The Cinescope Podcast on iTunes Show Notes   One Flew Over the Cuckoo's Nest on iTunes One Flew Over the Cuckoo's Nest soundtrack on iTunes   Stats Released November 19, 1975 Dir. Miloš Forman (Hair, Ragtime, Amadeus, The People vs. Larry Flynt) Written by Laurence Hauben, Bo Goldman Music by Jack Nitzsche (The Exorcist, Cruising, An Officer and a Gentleman, Stand by Me; also co-wrote and won Oscar for “Up Where We Belong” for An Officer and a Gentleman, sung by Joe Cocker and Jennifer Warnes) Starring Jack Nicholson, Louise Fletcher, Will Sampson, William Redfield, Brad Dourif, Sydney Lassick, Christopher Lloyd, Danny DeVito, and Scatman Crothers Contact Aaron Twitter Facebook Feelin' Film - Twitter, Facebook, Website Chad Twitter Facebook Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: Aaron White.

Isaiah, Christina Dudley, WATW, Belpres

Buffy Sainte-Marie is an iconic multi-faceted artist and socio-political force of nature who originally hails from Piapot Cree First Nations Reserve in the Qu’Appelle Valley in Saskatchewan. Over six decades, her music has been interpreted by everyone from Elvis Presley and Janis Joplin to A Tribe Called Red and Courtney Love, and her composition, “Up Where We Belong” […]

Both Down Episode 13 – ‘Up Where We Belong’ – Steve and Scott have returned to your favorite Blood Bowl Podcast. In this episode we take a look at the Fantasy Flight game Blood Bowl Team Manager and have an … Continue reading →

Featuring: Join us for a look back at the remarkable story of Nintendo DS to celebrate our bicentennial episode!Follow the DS's journey from an uncertain beginning to becoming the most successful Nintendo platform in history!We trade our personal DS stories and discuss how it has changed the gaming industry forever!Our New Business is portable-centric as well, with impressions of Puzzle Quest 2, X-Scape, and Jam With The Band!