Podcast appearances and mentions of William Fox

Biographer Vanda Krefft returns to the show to celebrate her wonderful & illuminating new book: EXPECT GREAT THINGS!: How the Katharine Gibbs School Revolutionized the American Workplace for Women (Algonquin Books). We talk about the turn of the (20th) century origins of Katharine Gibbs & her school, the legacy of her executive secretarial course for generations of women, "Gibbs Girls'" descendants' desire to honor their family members, the incredible quality of faculty Gibbs was able to recruit, the risks women had to take to enter the professional workforce, and the Trojan Horse campaign of teaching women to learn how businesses work until they're able to run them themselves. We get into Vanda's desire to write about people who were overlooked in history, how this book veered away from her initial idea, how it required a different mode than her biography of William Fox, the challenges of century-old research into women's lives, what she had to learn about the history of women in America, the myth that the 1920s were liberating for women, and her interest in mid-century America. We also discuss how the Gibbs school declined when the family finally sold it in the late '60s, what she'd like her next book to be about, her experience living in Santa Monica during the LA fires, a lengthy aside about publishing and the changes I've seen, getting inspired by Howard Fishman's book on Connie Converse, and a lot more. Follow Vanda on Instagram • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

Dr. William Fox attended David Lipscomb University in Nashville, Tennessee for his undergraduate course of study in biochemistry. He then attended The Southern College of Optometry in Memphis, Tennessee where he was inducted into the Phi Beta Kappa honor society and where he graduated with a doctor of optometry degree. Dr. Fox's externships were at the Biloxi, Mississippi Family Health Clinic, Indian Health Services Department of Ophthalmology, and the Portland Eye Clinic at Pacific University. His externship studies were in the diagnosis and treatment of eye disease and contact lens evaluations. Beginning his career in Atlanta, Georgia, Dr. Fox worked in the Ophthalmology Department, under Dr. Joe Citron, at Crawford Long Hospital. He started Fox Eye Care Group, located next to Lenscrafters, in 1991 in Greensboro, NC. The practice has since grown to 5 locations throughout North Carolina and including Winston Salem. Dr. Fox specializes in contact lens evaluations, diabetic eye exams, and overall family eye health evaluations. He is a 20+ year member of the American Optometric Association and the North Carolina Optometric Society. Dr. Fox was twice awarded the Horizon Award from Lenscrafters for a combination of professional skills and humanitarian endeavors. He was awarded the Wesley Jesson (now CibaVision) Contact Lens Fitter of the Year award in 1998. He continues to work with the Gift of Sight Foundation (now called OneSight) at home and abroad, helping the needy and disadvantaged. Dr. Fox is the treasurer on the national board of ALLDocs, the independent doctors of optometry next to Lenscrafters. Dr. Fox enjoys traveling, playing basketball, and surfing during his free time.

Dr. William Fox attended David Lipscomb University in Nashville, Tennessee for his undergraduate course of study in biochemistry. He then attended The Southern College of Optometry in Memphis, Tennessee where he was inducted into the Phi Beta Kappa honor society and where he graduated with a doctor of optometry degree. Dr. Fox's externships were at the Biloxi, Mississippi Family Health Clinic, Indian Health Services Department of Ophthalmology, and the Portland Eye Clinic at Pacific University. His externship studies were in the diagnosis and treatment of eye disease and contact lens evaluations. Beginning his career in Atlanta, Georgia, Dr. Fox worked in the Ophthalmology Department, under Dr. Joe Citron, at Crawford Long Hospital. He started Fox Eye Care Group, located next to Lenscrafters, in 1991 in Greensboro, NC. The practice has since grown to 5 locations throughout North Carolina and including Winston Salem. Dr. Fox specializes in contact lens evaluations, diabetic eye exams, and overall family eye health evaluations. He is a 20+ year member of the American Optometric Association and the North Carolina Optometric Society. Dr. Fox was twice awarded the Horizon Award from Lenscrafters for a combination of professional skills and humanitarian endeavors. He was awarded the Wesley Jesson (now CibaVision) Contact Lens Fitter of the Year award in 1998. He continues to work with the Gift of Sight Foundation (now called OneSight) at home and abroad, helping the needy and disadvantaged. Dr. Fox is the treasurer on the national board of ALLDocs, the independent doctors of optometry next to Lenscrafters. Dr. Fox enjoys traveling, playing basketball, and surfing during his free time.

“Wait a minute, wait a minute, you ain't heard nothing yet!” This is the story of the silver screen.  In the late nineteenth century, technology is advancing rapidly. Eadweard Muybridge's trip-wire camera work, made famous by a “motion study” of a galloping horse, is giving way to smoother and longer projections. Some see these short films simply as a curiosity, an “invention without a future” as early filmmaker Louis Lumière famously says, but Thomas Edison knows there is serious money to be had. He's quick to patent his inventions (and to sue anyone trying to circumvent his Motion Picture Patents Company), but even he can't keep motion pictures under wraps forever.  Independent filmmakers like Carl Laemmle and William Fox turn their actors into stars and move out to sunny Hollywood to operate far from Edison's watchful eye. LA explodes in the 1910s and 20s as moviemakers and actors flock to the area, and though their decadent lives and debatable morals worry the public, audiences keep consuming the studio's silent productions. That is, until synchronized sound enters the scene.  ____ Connect with us on HTDSpodcast.com and go deep into episode bibliographies and book recommendations join discussions in our Facebook community get news and discounts from The HTDS Gazette  come see a live show get HTDS merch or become an HTDS premium member for bonus episodes and other perks. HTDS is part of the Airwave Media Network.  Interested in advertising on the History That Doesn't Suck? Email us at advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Faisel and Friends, we are discussing Resiliency, Empowerment, and the Pursuit of Rewarding Primary Care. Faisel and Dan are talking with Dr. William Fox, Chairman of the American College of Physicians.Our conversation explores a primary care physicians's greatest tools, the support required for successful time efficiency, and some informed insights around new models of care.Learn more about Primary Care for America at: https://www.primarycareforamerica.org

"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago. Grateful DeadApril 30, 1977  (47 years ago, tomorrow)PalladiumNYCGrateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording.  Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet.  And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated.  It's pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore.   INTRO:                                 Music Never Stopped                                                Track #2                                                0:00 – 1:26                 Hunter Weir tune, released on Blues For Allah (Sept. 1,1975). Bob:  As a lyricist I'm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with that—you know, John Barlow, Garrett Grant, Robert Hunter.Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and I'll sit with a guy and we just fire blank verse at each other until we start to corner that color—and then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case I'll let whoever I'm working with surprise me. . . .“The Music Never Stopped” is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, “There's mosquitoes on the river / Fish are rising up like birds.” He was living in Wyoming at the time on a ranch, and he started describing a situation that I'd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if you're starting with an image that thick, you have to get into some detail about it. “It's been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?” That last line came after some deliberation. It's a pregnant line, sort of like a leading tone in a harmonic development.The success of the endeavor, if you're working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, there's a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When I'm standing in front of the microphone, I may look like me, but I'm not.If the character arrives with a really defined face and features, then it's easy for me to do my job.Fun version because almost always a first set closer and here it is opening the show.  Love that.            236 times            First:  August 13, 1975 at Great American Music Hall, San Francisco, CA, USA            Last:  June 28, 1995 at The Palace of Auburn Hills                      The Palladium:  The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]Peter Gatien owned and operated the club from 1992 until 1997.The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium HalThe Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the '72 tour.  One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dick's Picks Vol. 30This five night Palladium run, of which today's show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY.  All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later.  I had most of these shows on tape and wore them out from so much playing.  Love that they previously released this show as Download Series Vol. 1 and the new Dave's Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Dave's Picks Bonus Disc that is even more songs from the May 4th show).  If you are not listening to Dave's Picks, you are missing out on quality recordings of some of the best shows ever.How hot was the band, check out this extended jam at the end of ½ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip:                                             SHOW No. 1:                    Mississippi ½ Step                                                Track #11                                                7:06 – 9:29 Garcia/Huner tune released on Wake of the Flood in 1973.  Also live versions included on Steal Your Face, Dick's Picks Vol. 1, Without a Net and who knows how many other Dick's/Dave's Picks releases, etc.  If you want to hear it, you can find it, easily. First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since. 236 times (exact same as Music Never stopped!)First:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at Riverport Amphitheater Maryland Heights, MO Music News: Neil Young Tour  SHOW No. 2:                    St. Stephen                                                Track #1                                                              0:00 – 1:49 Blah Blah Blah, everyone knows about St. Stephen.  Dead's Fluffhead apparently.  Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead.  Still only played a total of 187 times:                 First:  May 24, 1968 at National Guard Armory, St. Louis, MO, USA            Last:  October 31, 1983 at Marin Veteran's Memorial Auditorium, San RafaelBut post Dead hiatus year, they started making song sandwiches often based around this song.  This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set.  This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change: SHOW No. 3:                    St. Stephen>Not Fade Away                                                St. Stephen                                                Track #19                                                4:10 – end                                                INTO                                                Not Fade Away                                                Track #20                                                0:00 – 1:15 Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips. MJ News Check out this next transition that they pull off seamlessly: SHOW No. 4:                    Not Fade Away>Stella Blue                                                Not Fade Away                                                Track #20                                                14:15 – end                                                INTO                                                Stella Blue                                                Track #21                                                0:00 – 1:30 Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue.  Jerry's voice is so strong and clear.  Really a treat. Not even getting to the last tune of the encore today.  Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it!  What a great (almost ending) to such a great show.   Deadheads walked out knowing there were still 3 more to go!  Like going to bed and already being told the next day is a snow day! Thank you all for listening.  Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage.  He is joining us to discuss, among other things, the newly released NRPS live album “Hempsteader”.  If you haven't heard it yet, check it out.  I'm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days. Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow.  At his age, the actual number doesn't matter but we love him anyway. ENCORE:                            Stella Blue>St Stephen                                                Stella Blue                                                Track #21                                                7:50 – end                                                INTO                                                St. Stephen                                                Track #22                                                Start - end .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

The Richmond City School Board approved a $30 million bid to rebuild William Fox Elementary School; GRTC asks riders to weigh in on their 10-year strategic plan; Respiratory virus season arrives in Virginia with COVID, influenza and RSV; and other stories

Join us on a special episode of the Energy in Transition Podcast, recorded live at Corvacon, Corva's annual event dedicated to shaping the energy sector's future. Host Josh Lowrey and guest host Walker Moody sit down with William Fox, Corva's General Manager of Predictive Drilling, and Constantine 'Tino' Haddad, Operations Manager at Nabors, to discuss a groundbreaking collaboration. Nabors and Corva have introduced "Predictive Drilling," a revolutionary technology enabling remote control of rig site Auto Driller setpoints through a seamless cloud-to-cloud connection, without the need for additional rig devices. But what sets this apart is its impact on the energy transition. As the world moves towards cleaner energy, drilling operations are crucial. "Predictive Drilling" enhances efficiency, safety, and sustainability in drilling, aligning with industry goals to reduce emissions and minimize environmental impact. Discover how this collaboration propels us towards a greener future, making drilling operations more efficient and eco-friendly. Join us in this exclusive episode of the Energy in Transition Podcast to explore how innovation and collaboration are driving us closer to a sustainable energy landscape. Thank you to our sponsors: Pickering Energy Partners https://pickeringenergypartners.com/ Energy Workforce & Technology Council https://energyworkforce.org/ Preng & Associates https://www.preng.com/ ClearSync Soltuions  https://www.csyncs.com World Oil https://worldoil.com For more information on the production of this podcast, visit https://uprightdigital.com/

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Award-winning biographer ABOUT THE AUTHORS TV host/creator Jake Brown has written 55 published books since 2001, published in 11 countries around the world, including best-sellers and collaborations co-written with music rock's biggest legends, including 2013 Rock & Roll Hall of Fame inductees HEART (with Ann and Nancy Wilson), living guitar legend JOE SATRIANI, country music legend MERLE HAGGARD/Freddy Powers, late Hip Hop legend TUPAC SHAKUR (via the estate), and late metal pioneers MOTORHEAD (w Lemmy Kilmister), Smashing Pumpkins frontman/founder Billy Corgan, the critically-acclaimed NASHVILLE SONGWRITER and IN THE STUDIO (Dr. Dre, Rick Rubin, Tori Amos, Iron Maiden, etc) series. His extensive TV work includes presently airing series like MUSIC'S GREATEST MYSTERIES on AXS TV, BREAKING THE BAND on REELZ Network, on-air narrator for much of B.E.T.'s smash hit THE DEATH ROW CHRONICLES, Bloomberg Network and FUSE TV among others. Brown is creator/host/producer of the first-of-its-kind streaming television show ABOUT THE AUTHORS TV, airing on the popular streaming network TUBI TV, with 4 upcoming seasons presently in production. His work has received international press in in CBS News, The Hollywood Reporter, Rolling Stone Magazine, USA Today, MTV.com, Billboard, Parade Magazine, Country Music Television, VARIETY, and many other prominent national news outlets. In 2012, Brown won the Association for Recorded Sound Collections Awards in the category of Excellence in Historical Recorded Sound Research. http://jakebrownbooks.com Youtube: @abouttheauthorstv During the years Peter Thomas Pontsa operated his dental supply business, he shared his knowledge writing dental articles which appeared in many dental journals. He was president of the College of Dental Technologists of Ontario, where he helped develop the quality assurance program and was an associate publisher for a denturist magazine. He is an avid British sports car enthusiast and while president of the Headwaters British Car Club, wrote numerous stories about cars in the club's newsletter, “British Driven.” Peter spent two seasons racing with Jagged Edgers Motorsports and is a student of Taekwondo and holds a second degree blackbelt.He belongs to the Wordsmiths and is a member of the Crime Writers of Canada. Peter Pontsa lives in Loretto, Ontario, with his wife, Angela, and their orange tabby, Mr. Tee, where he combines his passions—British cars and writing. Outfoxed. An inspector William Fox adventure. http://peterthomaspontsa.com The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors.Please see our website for complete details. http://douglascolemanshow.com If you have a comment about this episode or any other, please click the link below. https://ratethispodcast.com/douglascolemanshow

"How the Jews Invented Hollywood - An Empire of Their Own" is a book that provides insight into the role of Eastern European Jews in the development of the American film industry. The book explores how the main players in the industry, including Karl Lemieux, Adolph Zukor, William Fox, Max Goldstein, Louis B. Mayer, Benjamin Warner, and Cecil B. DeMille, utilized Thomas Edison's inventions to create a new form of entertainment. The book also covers the influence of immigrants on the American entertainment scene and the impact they had on American culture and values. In Matthew chapter 13, Jesus tells the story of the tares and the wheat. The story is about a farmer who was supposed to watch over his field but fell asleep, allowing an enemy to come in and sow tares among the wheat. The Lord ultimately commends the unjust steward because he sowed the tares in the Kingdom of God and those who do iniquity will be cast into a furnace of fire. The righteous will then shine forth as the sun in their father's kingdom. These men found Thomas Edison's inventions such as phonographs, electric lights, peep shows, and movie pictures and began to buy and use them. American values ultimately came to be defined by the movies the Jews made. The movie industry was a result of enterprise and brains from the sweatshop and Penny Arcade game. Many present-day leaders of the movie industry were poor, hardworking immigrant Jews. However, some people, including Charles Lindbergh, believed that the Jews' large ownership and influence in the movie industry, press, radio, and government posed a danger to the country. A lot of movies can have a damaging effect on people's mental health, and this is not in line with the teachings of God. Deuteronomy 28:32 states that our sons and daughters will be given to another people, and parents will lose control of their children. In Chapter 11 of the book of Revelation, Jesus says that he will destroy those who destroyed the Earth and the Western world. It's time for Christians to take a stand and protect their culture and young people from being taken over by another group.

In this episode our host Paige Wilson sits with William Fox, Chief Executive Officer at Data Gumbo Corporation, to discuss how he got started in the Oil and Gas Industry after serving in the Army along with his experiences in leadership as an elder millennial. Company: https://www.datagumbo.com/ LinkedIn: https://www.linkedin.com/in/william-fox-a388384a/ This episode is made possible by Enverus Click here to take it one question survey and receive OGGN hardhat/laptop stickers Enjoying the show? Leave me a review here Brought to you on the Oil and Gas Global Network, the largest and most listened-to podcast network for the oil and energy industry. More from OGGN ... Podcasts LinkedIn Group LinkedIn Company Page Get notified about industry events

In this episode our host Paige Wilson sits with William Fox, Chief Executive Officer at Data Gumbo Corporation, to discuss how he got started in the Oil and Gas Industry after serving in the Army along with his experiences in leadership as an elder millennial. Company: https://www.datagumbo.com/ LinkedIn: https://www.linkedin.com/in/william-fox-a388384a/ This episode is made possible by Enverus Click here to take it one question survey and receive OGGN hardhat/laptop stickers Enjoying the show? Leave me a review here Brought to you on the Oil and Gas Global Network, the largest and most listened-to podcast network for the oil and energy industry. More from OGGN …PodcastsLinkedIn GroupLinkedIn Company PageGet notified about industry events

Vivica A. Fox was born in South Bend, Indiana, on July 30, 1964, and is the daughter of Everlyena, a pharmaceutical technician, and William Fox, a private school administrator. She is of Native American and African-American descent and is proud of her heritage. She is a graduate of Arlington High School in Indianapolis, Indiana, and, after graduating, moved to California to attend college. Vivica went to Golden West College and graduated with an Associate Art degree in Social Sciences. While in California, she started acting professionally, first on soap operas, such as Generations (1989), Days of Our Lives (1965) and The Young and the Restless (1973). In another early role, she played Patti LaBelle's fashion designer daughter, "Charisse Chamberlain", on the NBC-TV series, Out All Night (1992). Her first big break was in the film, Independence Day (1996), along with Will Smith, and also Set It Off (1996). She has earned critical acclaim for her portrayal of "Maxine" in the 1997 motion picture, Soul Food (1997), which netted her MTV Movie Award and NAACP Image Award nominations. In 2000, she was casted in the medical drama, City of Angels (2000), as "Dr. Lillian Price". She has had roles in many other movies ever since, such as: Teaching Mrs. Tingle (1999), Two Can Play That Game (2001) and Kill Bill: Vol. 1 (2003). In 2004, Fox was in an episode of Punk'd (2003), where her pregnant friend pretended to go into labor, but they became angry when a paramedic appeared to care more about taking pictures than delivering the baby. Vivica also took another television role, from 2004 to 2006, as she starred in the drama series, 1-800-Missing (2003), on the Lifetime Television Network. In 2007, she was a contender on Dancing with the Stars (2005) and stayed until she was voted off in the fourth week. In 1998, Vivica A. Fox married singer Christopher Harvest (aka Sixx-Nine), whom she later divorced in June 2002. She also dated rapper 50 Cent, however this was a brief relationship. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Jeremiah's 5th pick: Sunrise: A Song of Two Humans, the 1927 film directed by F.W. Murnau. Based on a 1917 short story called “The Excursion to Tilsit,' written by Hermann Sudermann, the film was Murnau's first in the United States, after he was brought over from Germany by William Fox to make something for Fox Film Corporation like the expressionist work he'd produced in his home country – Nosferatu, The Last Laugh, and Faust among those. As with his previous work, the art design is exaggerated or even distorted to represent the emotional and symbolic tone being strived for. Add in innovative camerawork and one of the first synchronized soundtracks featuring a specifically composed score and sound effects, and the technical achievements alone begin to make it clear why the film had been popular and influential. The film was hailed as a masterpiece by many critics of the day. And it also holds the distinction of being the only film to ever win Best Unique and Artistic Picture at the Oscars – an award that only existed in the ceremony's first year. More recently, AFI listed Sunrise at number 82 in the 2007 version of their 100 Years… 100 Movies list of the greatest American films. As for our purposes, Sunrise has appeared in the top 10 of Sight & Sound's critics survey twice – at number 7 in 2002, and then at number 5 in 2012. Also in the 2012 polling, it was ranked #22 by directors; among the filmmakers who had it on their top 10 lists were Francis Ford Coppola and the Dardenne Brothers. And one more thing worthy of noting: Sunrise was released on September 23rd, 1927… Two weeks later, on October 6, is when The Jazz Singer was released, ushering in the beginning of the sound era for motion pictures. Produced by Stereoactive Media

Episode #69 of the Ground Shots Podcast was recorded in southern Oregon this past August among old Juniper trees tucked just below a special Tableland mesa, with Nikki Hill of Walking Roots, and Sigh Moon assisting in the conversation. Link to our website where you can donate to the podcast, and find the blog post on the podcast episode with photos and bios of Nikki and Sigh Moon as well as a few photos from where we recorded the episode: www.ofsedgeandsalt.com/podcastblog/lithiummine We talk about: What is a tableland or mesa? Nikki's intention in doing survey work at Thacker Pass, a place in Nevada slated to become a large lithium mine Questioning the sustainability of lithium Seeing wild gardens and patterns on the landscape that reflect historical relationships of indigenous peoples and places How deserts have been hard for European ancestored folks to conceptualize and how this makes it easy for us to consider it a wasteland to be inverted to perpetuate modern culture Considering certain lands sacrifice zones comes from the idea that we are separate from land and that we can actually have an effect the effects of private land ownership on the water table and water flows on land seeing through a lens of botanical archaeology how archaeology is often focused on ‘settled' life evidence not nomadic life evidence how do we start to re-see why plants are on the landscape in relationship to human historical tending of those plants? the misinformed idea that hunter-gatherers (gatherer-hunters) were not sophisticated in their tending what is the point in caring about anthropogenic landscapes? Nikki's plant survey process at Thacker Pass in Nevada and some of the plants she found like Yampah, Biscuitroots, Mariposa Lilies and more.   Links: Nikki's Website: Walking Roots Counterpunch article by Nikki: “Botany as Archaeology, to Stop a Lithium Mine' Nikki's instagram page: walking.roots Sigh Moon's Instagram page: tenderwildeyes Sigh Moon's Youtube Channel: https://www.youtube.com/channel/UCrmu0A77ja3o8DZ32ttOsIA/videosSave Thacker Pass Campaign website ‘The Ecology of Eden: An Inquiry into the Dream of Paradise and a New Vision of Our Role in Nature' book by Evan Eisenberg, a book I read in college on critical ecology that feels relevant to this episode “The Void, The Grid & The Sign: Traversing The Great Basin” by William Fox, all about concepts of void and land value in the Great Basin Desert, a fascinating book “1491” and “1493” by Charles Mann, alternative histories to North and South America mentioning anthropogenic landscapes including ‘terra preta' in the Amazon, mentioned on the podcast Save Oak Flat and the Apache Stronghold Campaign Angela Moles Ground Shots Podcast interview mentioned on the podcast: Episode #57: Gabe Crawford interviews Angela Moles P.h.D. on the rapid evolutionary responses of plants due to climate change, challenging scientific dogma Past episodes of the podcast featuring Nikki Hill: Episode #31: Wild Tending series / Nikki Hill and Gabe Crawford on the basics of wild-tending Episode #33: Wild Tending series / Nikki Hill and Gabe Crawford on re-thinking the concept of invasive plants Episode #59: Is there such a thing as an "Invasive Species"? A conversation with Matt Chew Ph.d. hosted by Kollibri terre Sonnenblume, Nikki Hill and Gabe Crawford Music for this episode: Reverie, Spires and The Undergrowth by Juniper Blue This episode hosted by: Kelly Moody Produced by: Kelly Moody

Ohne Wilhelm Fuchs, geboren 1879 in Ungarn, wäre Hollywood nicht die Traumfabrik geworden, die wir heute kennen. Unter seinem amerikanisierten Namen William Fox gründete er eine der erfolgreichsten Filmproduktionsfirmen der USA. Autorin: Melahat Simsek Von Melahat Simsek.

Letterkenny Live at the Fox Theatre, Atlanta Welcome to The Guys Review, where we review media, products and experiences.   **READ APPLE REVIEWS/Fan Mail**Mention Twitter DM group - like pinned tweet @The_GuysReviewRead emails theguysreviewpod@gmail.comTwitter Poll Fox Theatre The 4,665 seat theatre was built in 1929 as part of a as part of a large Shrine Temple, but was ultimately developed into a lavish movie theatre. The principal architect of the project was Olivier Vinour of the firm Marye, Alger and Vinour. The design is supposed to replicate an Arabian courtyard, complete with 96 flickering lights and clouds that move across the ceiling. There is an Egyptian Ballroom that is designed after a temple for Ramses II at Karnak while the mezzanine Ladies Lounge features a replica of the throne chair of King Tut and makeup tables that feature tiny Sphinxes. The theater opened on December 25, 1929, just two months after the stock market crash. Originally build for the shriners, when the project went over budget, they leased the building to William Fox, a movie mogul who was building theaters around the country at the time. The theatre closed December, 1932, 125 weeks after it opened due to the Shriners defaulting on the mortgage and Fox going bankrupt. It was purchased by Paramount Pictures and Lucas & Jenkins, a Georgia company that owned a hundred theatres. In the 1940's the Fox because one of the most popular locations, with the Egyptian room drawing big bands and country and western swing bands of the era. It was notable for being the only club in Atlanta at the time that would allow both black and white patrons. Though still segregated, with a seperate entrance that still remains today at the back of the theatre for historical purposes. The Fox would fully integrate in 1962 In the 70's there was a decline in the theatre attendance, and was almost sold to AT&T with plans to tear it down and put a parking deck in its place, but was ultimately subverted by a group and placed on the National Register of Historic Places in May 1974. Celebrities that assisted saving the Fox include Liberace and Lynyrd Skynyrd (recording their first live album there and debuting guitarist Ed King's replacement, Steve Gaines, to the world). The U.S. Department of the Interior subsequently named the Fox a National Historic Landmark on May 26, 1976, citing its architectural uniqueness. Currently, the Fox is the only remaining movie palace in Atlanta, being run by the non-profit group, Atlanta Landmarks, Inc. An estimated 750,000 people visit the Fox every year. The venue was the site of Prince's final performance, held one week before his death on April 21, 2016. Notable acts who have played the Fox are Elvis, Bruce Springsteen, Bob Marley, Pearl Jam, the Allman Brothers, Ray Charles, James Brown, B-52s, A fun bit of trivia... When the shriners built the theatre, they built a 3,640 sq/ft office space in the theatre that was converted into an apartment that Joe Patten, the technical director from 1974 to 2004, occupied with a rent free lease for life. Patten died in 2016. Since then, the space has been unoccupied, but there is a passageway leads from the bedroom to a former spotlight platform at the top of the auditorium. Thoughts and impressions of the Fox theatre? Would you visit again? Special thanks to Megan George and Aly Grubb for the media tickets they gave us, they were fantastic seats.  Letterkenny Live Produced by New Metric media Staring:Jared KeesoNathan DalesK. Trevor WilsonMichelle MylettMark ForwardTyler JohnstonDylan PlayfairAndrew HerrEvan Stern Letterkenny live was started back in 2018, with only Jared Keeso, Nathan Dales, K. Trevor Wilson, and Mark Forward. Michelle Mylett joined in 2019, and Johnston, Playfair, Herr and Stern joining 2020. Though, the 2020 tour was, of course, postponed indefinitely in March. The dates were not announced to be rescheduled on July 19, 2021. Based on the show of the same name, the stage performance consists of some old, reworked, and new sketches with the cast. Including a set of stand up by Mark Forward and K. Trevor Wilson... and as themselves, not in costume. Which is funny because they reference the actors may resemble the characters. Letterkenny, the tv show, debuted on Crave tv in canada in Feburary 2015, which was based on the YouTube channel Keeso developed called Letterkenny Problems. It arrived in the US in July 2018 on Hulu who now owns exclusive distribution rights in the US. Its been nominated and won numerous Canadian screen awards, including best comedy series, best directing for Jacob Tierney (who directs all the episodes of Letterkenny), Best Lead Actor for Jared Keeso, even technical awards like best editing and best photography for the Sleepover episode. Back to Letterkenny live, Mark Forward, as Coach, welcomed everyone to the show and then informed us that due to an injury, Taylor Johnston who plays Stewart will not be performing that night... Which prompts some boos, and I yelled that it's fucking embarrassing... Which Coach agreed with. Roald then comes on stage and addresses the crowd, being weird and funny, then the hicks start coming on stage. Staring with Squirrely Dan, followed by Katy, then Dary, finally Wayne enters to thunderous applause. They do some back and forth, and crowd interaction with How're ya now? The crowd yells back, Good'n you?! It was fun. They exit the stage and Reily and Jonesy come on and do a bit talking about hockey, referencing the Atlanta Thrashers hockey team, when we hear Shoresy start chirping them from the toilet as he did in the show... But Shorseys chips also work in local attractions and themes, like coke and hot chicken. This goes for a bit, as usual, but its very engaging and works well. I feel there were more sketches, just a little cross over stuff. Roald then introduces Mark Forward to do a small set of stand up. His humor is very misdirectional, like when he walks on stage, he says things like, "yes, thank you, I'm very good." His set was funny, but I honestly don't remember much from it, but he ended it was a joke/song that he admitted before he started that it was "stupid" Xavier McCutchins, who named bears until the end. After Mark finished, another hick skit ened with Coach telling the hicks people want to see the classics. They started updating the crowd on what everyone else in Letterkenny is upto, also giving the crowd a sneak peek to season 11, and showing a cold open to an episode. They moved to an intermission, during which we were able to move everyone from our original seats to about 7 rows back, right in the center. It was awesome. Going into the second half, they continue giving humorous updates to other characters in letterkenny, as well as showing a preview for Shoresy, and a blooper reel for S10. Followed by K. Trevor Wilson coming on and doing a stand up set. His standup is totally different from Mark Forward, and Squirrely Dans character. His long form, informal storytelling type of jokes were a change of pace. We got another skit of Reilly and Jonesy being chirped by Shoresy, again throwing in references to Atlanta like the Varsity and chili hotdogs. And coach drunkenly talking about barb. The final skit brought back one of the best bits from the show, when the whole cast comes on stage making porn sounds, yes yes yes yes yesing and "aw fuck, aw fuck." The lights go out, the cast had a group hug, as they did their curtain call, they introduced themselves and each said something they loved about Atlanta. Two final bows, and they exit stage right. Lights up, and the show is over. Thoughts on the show? Would you go again?  Top Five Trivia of the movie: Top 5 Trivia  **TRIPLE LINDY AWARD** **REVIEW AND RATING** TOP 5Stephen:1 Letterkenny Live2 Breakfast club3 T24 Sandlot5 Back to the Future Chris:1. sandlots2. T23. trick r treat4. rocky horror picture show5. hubie halloween Trey:1) Boondocks Saints2) Mail Order Brides3) Tombstone4) Very bad things5) She out of my league  Tucker:1. T22: Tombstone3: Gross Pointe Blank4: My Cousin Vinny5: John Wick WHAT ARE WE DOING NEXT WEEK? Web: https://theguysreview.simplecast.com/EM: theguysreviewpod@gmail.comIG: @TheGuysReviewPodTW: @The_GuysReviewFB: https://facebook.com/TheGuysReviewPod/YouTube: https://www.youtube.com/channel/UCYKXJhq9LbQ2VfR4K33kT9Q Please, Subscribe, rate and review us wherever you get your podcasts from!! Thank you,-The Guys

Please visit us at http://www.patreon.com/TheCharacterNetwork (www.Patreon.com/TheCharacterNetwork) to help support TCN and help us keep providing these unique and extremely effective research based Bully and Violence Prevention and Character Education Programs to schools around the world, and help more kids who desperately need special intervention. Go to http://www.thecharacternetwork.org/ (www.TheCharacterNetwork.org) to learn more and get involved. Thank you! Public use in schools requires a site license, please visit The Character Network to find out how your school can get these life changing program as a part of the TCN METHOD for school violence and bully prevention. Go HERE for a Free Copy of Jim Lord's Life Changing Breakthrough Novel, Mr. Delaney's Mirror, A Reflection of Your Futurehttps://characternetwork.krtra.com/t/E6KcJXqk8olF (https://bit.ly/GetDelaneysMirrorHere)************** A HERO is someone who does something special to HELP OTHERS. Every hero STARTS as a CHILD, and every Child can CHOOSE to become a Hero... Just like THIS one!William Fox was a police officer in Canada in June of 1961 when he and his wife, Phyllis, had a son, and they named him Michael. During his childhood, Michael's family moved a lot because his father was also a member of the Canadian Army. Over time, Michael and his three sisters attended several schools in several different cities, and he made a lot of new friends. As he grew older, Michael became interested in acting, and when he was 18 years old he moved to Los Angeles, California to pursue acting there. That's when he changed his name but only a little. His real name is Michael Andrew Fox, but he didn't like the sound of Michael A. Fox. So he decided to change the A to a J, and he became Michael J. Fox. In 1982, he got a role in a TV show called Family Ties. Then after acting in a few movies, he went on to star in the three Back to the Future movies. That's when Michael J. Fox became very, very famous. But in 1996, he announced to the world that he had Parkinson's Disease. That's when Michael J. Fox REALLY went to work to help researchers find a cure for Parkinson's Disease. He created the Michael J. Fox Foundation for Parkinson's Research. And although he retired from acting in 2020, he continues to encourage other people who have the disease, and he still helps to raise millions of dollars every year to find a cure. Yes, Michael Andrew Fox, that boy from Canada grew up to become Michael “J” Fox, the actor, the activist, and the HERO! That's what I know about the beginning of This Hero, and I know that YOU Can Be a Hero TOO!Dear Parents, After years of development, trial, and revision, we are so excited to now share with you the most effective version yet of our Proactive Bully Prevention Program that has proven to "change the culture" at hundreds of campuses across America in profound ways. Research has shown the TCN Method™ to be the single most effective school based Violence and Bully Prevention Intervention of its entire genre. We have hundreds of testimonials from educators describing the results they have gotten, and you can view many of these at http://www.thecharacternetwork.org/Testimonials (www.TheCharacterNetwork.org/Testimonials) This program, The Beginning of a Famous Hero™ is used in conjunction with a companion program called Bully Alert!™ in schools played over the intercom during morning announcements twice or more each school week, and backed up by a common culture which reinforces the principles taught, at every turn, and incorporates the phrases of the academic language during any teachable moment. These two sets of stories work together to convey a common academic language which says, “A bully is a person who hurts others on purpose (even if it's just hurting their feelings) but a HERO is a person who HELPS others. So CHOOSE to be a HERO by HELPING instead of a bully by hurting.” They also promote the concept of POSITIVE PERSONAL VISION, Support this podcast

Vanishing Postcards host and storyteller Evan Stern on the importance of telling the stories from the places that are off the interstate. This episode is brought to you by Brain.fm. I love and use brain.fm every day! It combines music and neuroscience to help me focus, meditate, and even sleep! Because you listen to this show, you can get a free trial.* URL: https://brain.fm/innovativemindset If you love it as much as I do, you can get 20% off with this exclusive coupon code: innovativemindset   Born during the driving rainstorm that inspired Stevie Ray Vaughan to record the classic “Texas Flood,” Evan Stern is one of a proud few who can claim Austin as his legitimate hometown. Having caught the performing bug early on, he first gained attention at age 11 with a second-place finish in Austin's famed O. Henry Pun Off, and has since graced the stages of New York's Carnegie Hall and Lincoln Center. A graduate of Sarah Lawrence College and the British American Drama Academy, whether acting Shakespeare, or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost a storyteller, with a sincere love and appreciation for history, travel and the art of raconteurship. He is now honored to return to Texas for the first season of Vanishing Postcards, an ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing Postcards is a documentary travelogue in which listeners are invited on a road trip exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates. Named one of the Best Podcasts of 2021 by Digital Trends. Connect with Evan IG - @vanishing_postcards IG - @evansternnyc Podcast- https://podcasts.apple.com/us/podcast/vanishing-postcards/id1544610020 Episode Transcript [00:00:00] Evan Stern: It's hard for me to really latch on one specific lesson that I have gained, but I do believe that. Everybody wants, ultimately wants to be heard. [00:00:18] Izolda Trakhtenberg: Hello and welcome to the innovative mindset podcast. I'm your host Izolda Trakhtenberg on the show. I interview peak performing innovators in the creative social impact and earth conservation spaces or working to change the world. This episode is brought to you by brain FM brain FM combines the best of music and neuroscience to help you relax, focus, meditate, and even sleep. [00:00:39] I love it and have been using it to write, create and do. Deepest work because you're a listener of the show. You can get a free trial head over to brain.fm/innovative mindset to check it out. If you decide to subscribe, you can get 20% off with the coupon code, innovative mindset, all one word. And now let's get to the show. [00:00:58] Yeah.[00:01:00] [00:01:02] Hey there. And welcome to the innovative mindset podcast. My name is Izolda Trakhtenberg. I'm your host, and I'm super thrilled that you're here. I'm also really excited and thrilled to talk about and meet this week's guest. Listen to this. Evan stern was born during the driving rainstorm that inspired Stevie Ray Vaughn to record the class. [00:01:22] Texas flood. I love that Evan stern is one of a proud few who can claim Austin. S's legitimate hometown that's the town is growing. So, wow. That's amazing how few people probably are from there. Having caught the performing bug early on. He first gained attention at age 11 with a second place finish in Austin's famed. [00:01:43] Oh, Henry punt off. And it says grace, the stages of new York's Carnegie hall and Lincoln center, a graduate of Sarah Lawrence college. American drama academy. Wow. Whether acting Shakespeare or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost, a storyteller, and [00:02:00] you know how close that is to my heart. [00:02:02] He's got a sincere love and appreciation for history travel and the art of a wreck on tour ship. He's now honored to return to Texas for the first season of vanishing postcards and ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing postcards is a documentary travel log in which listeners are invited on a road trip, exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates named one of the best podcasts of 2021 by digital trends, evidence here to talk about banishing postcards and everything else. [00:02:37] So amazing that he's doing Evan. Thank you so much for being there. Show welcome. [00:02:41] Evan Stern: Thank you so much for having me. It's a great honor. Oh, [00:02:44] Izolda Trakhtenberg: you're very sweet. So I I'm, this is such an exciting thing. Delving into the history of Texas. First of all, into the, into the storytellers of Texas into the dives and the honky-tonks of Texas as a travel log.[00:03:00] [00:03:00] But as a podcast, what, what inspired you to do this? What inspired you to go? You know what? I'm going to create this travel log. And I'm going to make it about my home state. What happened that you went, yes, I want to do this. [00:03:13] Evan Stern: Well, it was, it, it wasn't as if there was a lightning bolt of inspiration. It was a very kind of slow gradual process. [00:03:21] Um, and, and you told me, you know, a few years ago that right now I'd be working on a podcast. Um, you know, I might've said really. Um, but like, like so many though, I am one of those people who over the last 10 years just absolutely fell in love. Podcasting, um, and the, um, audio medium of storytelling, I think kind of the gateway drug for me, um, was years ago, I started listening to the moth, you know, just people getting up and telling personal stories without notes. [00:03:52] I, I just absolutely loved it. Um, then you start discovering, um, other programs, you know, like the, the kitchen [00:04:00] sisters and, and, and, and there's, you know, different, different stuff. I mean, there, there's a wonderful podcast about classic Hollywood called you must remember this. There's one about country music called cocaine and rhinestones, um, and around, and, you know, not too long ago as well. [00:04:18] Um, you know, the YouTube algorithm, uh, kept suggesting for whatever reason that I watched these, uh, travel blog, travel blog videos, and in watching them, I would never really see the way that I enjoy traveling represented. Um, I mean, certainly it's not always the case, but I think more often than not, when you, when you see videos of that nature, it's much less about the places themselves. [00:04:45] It's much more about the people saying, oh, look at me and how cute I am in this place. Um, and I just kind of gradually started thinking, you know, I wonder if there is something that, uh, that, that I can do. [00:05:00] Um, and initially I had this grand idea. That I wanted to do a show that was going to be a musical travel log of Mexico. [00:05:09] Um, you know, I'm, I'm immersed in the gig economy in New York, and I always try my best to get away January February just to, to escape the, the bitter cold of the winter. And, um, you know, Mexico is my happy place. It's, it's cheap, it's warm. Um, and so I initially had this idea that I was going to go, uh, kind of explore, use music as a portal to exploring the cultural, regional history of Mexico. [00:05:36] I was going to go to Vera Cruz that was going to where the tradition of, you know, and one a Watteau and, um, you know, in Monterey and the north. And I went so far as to, uh, produce a pilot episode, um, in Marietta Yucatan, um, about the tradition of the trophies that they have there. And it's one thing to, you know, when you're running an event, [00:06:00] Um, you know, you're thinking to yourself, oh my goodness, this is just going to be the best thing ever. [00:06:05] This is going to be amazing. And then you sit down and you listen to what you have spent months working on and you go, oh my goodness, I have missed the mark. So terribly. Um, it was a perfect lesson in show. Don't tell, I mean, w what happened was, is I talked all about the city of Marietta. It's about its history, this, that, and the other, but you didn't actually, um, when, when you were listening to it, I also learned pretty quickly that the, the human voice has such terrific color, shade, and nuance to it. [00:06:37] That if you have an actor come in, um, to a dub over, uh, you know, what was said in English, you just, you just lose so much. Um, and I realized pretty quickly that I needed to learn much more about audio production before tackling a project of that ambitious nature. And so I started thinking to myself, well, you know what. [00:06:59] Might [00:07:00] not be as exotic as Mexico, but if there's one thing I know it's that Texas people love to talk and they tell great stories. So in January of 2020, um, grab some equipments. Um, and I went back down to Texas to see what I could do. Um, really, it was just, uh, going to be kind of an experiment. Um, but it very quickly evolved into vanishing postcards. [00:07:26] Um, what happened was, is I took a look at what I was doing, um, and I realized that each episode was a snapshot of a different place. And if there was a thing that the place has had in common it's that you didn't know how much longer a lot of them were going to be around or that they were representative of broader cultural histories or traditions that. [00:07:52] You know, you, you just, they're kind of rare, um, in, in this kind of fast paced rapidly homogenizing [00:08:00] world. Um, and, um, since then it, it became, it it's, it's been an incredibly rewarding journey. Um, you know, as I maybe referenced earlier in, in many ways, it is kind of a 180 from a lot of the work I've previously done at the, at the same time. [00:08:17] Um, I feel that all of that work really kind of beautifully prepared me for it. Um, and having embarked on this journey, um, I ended up covering like about 1500 miles of, of Texas and, um, having embarked on this journey as a solo traveler, um, I'm now really grateful that the series is out in the world. Um, and I can invite, uh, you know, people like you and listeners really around the world, uh, to, to join me now and experience, uh, everything that I got to do. [00:08:49] Izolda Trakhtenberg: Wow. That's amazing. And it's incredible to me, what you just said about how you took everything that you had learned up until that [00:09:00] point and reframed it and repurposed it almost into this, this way of looking at your home state. And yet it is both technical and it takes a lot of artistry. And I'm wondering what, in, as part of, as part of doing this project, what did you learn? [00:09:21] What was the thing that stood out for you that you learned maybe about yourself or about the people in your state or about the places? What was the biggest thing you learned and how did it change you? [00:09:31] Evan Stern: Well, there's a lot, I mean, it's hard to, for me to really latch on one specific lesson that I have gained. [00:09:38] Um, but I do believe that. Everybody wants, ultimately wants to be heard. They, they really do. Um, and I mean, people often ask me, you know, w w w w when I first started doing this, it was, it was in January, 2020. It was before the pandemic hit. Obviously the pandemic changed, um, a [00:10:00] lot of what I could do. Um, but I was really the first episodes that you'll hear in the series. [00:10:05] I was really just kind of showing up at these places completely unannounced. Um, they really had no idea, um, that I was going to be there. Um, and it, it, people ask me, you know, did you meet resistance? We'll we'll really know. Um, everyone was, was intrigued. And for the most part, people were so honored that, you know, someone like me was taking an interest in their work, their place, uh, what they were doing. [00:10:35] Um, and I don't think too, I mean, Someone recently asked me too, that, that when they, you know, listen to the, to the series, you know, that, you know, they, they feel as if I'm able to, you know, extract these, these stories. And they said, well, how, how do you, how do you make this magic happen? And, well, the truth is is that you, you can't, um, there is nothing that you can do to you. [00:10:59] You never [00:11:00] really know what is is going to happen. Um, but the stories, if you just, if you start talking to people, um, you approach them with respect, empathy, and a willingness to listen. Um, and you ask them specific questions. Um, you just, you, you never know what you're going to. Um, and something that I tell anyone who's maybe interested in doing something like this. [00:11:29] Um, I will say that if you do want to, you know, get stories, you do want to ask people specific questions. Um, I would never go up to someone and just say, tell me about yourself. Um, I might say, um, before we get started, could you maybe describe for me your childhood home, you know, something like that. And, um, that really kind of opens up the door and we just kind of take things from there. [00:11:51] Yeah. [00:11:56] Izolda Trakhtenberg: Sorry. I'm taking all of that in. I like to take a pause to make sure [00:12:00] that I've, that I've understood everything. One of the things that I heard you say that really struck a chord with me was that it's about listening. And the other thing of course was asking those specific questions and. Were there any, and if so, what are they techniques that you use specifically as a, as a performer to help you with that part of it? [00:12:26] Evan Stern: Well, you know, I honestly, I think that, um, as I said so much of my experience, um, leading PR prepared me in, in leading up to this, um, and a big job that I've had for a number of years here in the city is it's a very, it's a very strange job. Um, I work as a, what is called a standardized patient, um, that is the medical schools, programs, hire actors to facilitate simulations [00:13:00] for, uh, medical interns and students. [00:13:03] Um, I have played all sorts of different cases. You'd never believe. I mean, they've had to diagnose me. I've been the graphic designer they've had to diagnose with cancer. Um, I have, uh, you know, I, I I've been the 19 year old crack addict who suffered a panic attack. You name it. I've I've had it. Um, but I have learned so much in, in working with these students in terms of how they build rapport and what works and what doesn't. [00:13:34] Um, I think it's amazing. How many people, uh, it can be applied to interview situations, whatever, um, you know, you give someone a microphone. Sometimes they just kind of become a completely different person. You know, they think that every question, you know, has to be probing and every question, you know, has to have weight, but you really just have to remember how you talk to people in your [00:14:00] everyday life. [00:14:02] You know, how do you introduce yourself to a stranger? Um, you know, you're just going to start talking to people, um, and you know, you, you read their body language and you, you really just it's about establishing trust. Um, and it, and I feel that people understand that. I don't think of myself as a journalist. [00:14:30] Um, I'll be the first to say that I think of myself as more of an essayist. I really think that a journalist job is to investigate a journalist job is to probe. I'm not really there to do that. I'm really there just to, you know, kind of have a conversation and, and enjoy the ride and see where that ride takes. [00:14:49] You know, I'm not, if someone tells me a tall tale, um, I'm not going to fact check that story. Um, but I think that people recognize [00:15:00] that. Um, and you know, I just think that, um, just, just really, like I said, just, just remembering how we relate to one another, uh, every day is, is just crucial. [00:15:15] Izolda Trakhtenberg: Yeah, you're talking. I mean, as you're talking, I'm going, he's, he's talking about integrity and authenticity, and those words are abandoned about aura a lot nowadays, but it really, it seems to me that that's, that that's what you, that, that that's what, what you were using, you know, using who you, who you were authentically to meet these people. [00:15:37] And I know you said that people asked you if you, if you met resistance, I'm wondering what was the most wild story you heard? [00:15:46] Evan Stern: Goodness. Oh, man, there, there were, there was, uh, so, so there's this teeny town called Castile, Texas that sits on the Western edge of the, uh, [00:16:00] the hill country. It's absolutely beautiful, very isolated. [00:16:04] The town has a population of six and, um, I don't even know if he's really there, mayor, I don't know if they actually have a mayor, but you know, the, the big local personality is Randy Love. Festi, uh, he's the owner of the Castille store. Um, I'll be releasing his episode in a, in a few weeks. Um, but, uh, when I was there, he told me that, uh, he had, uh, he, he, he, he took a trip to Cabo San Lucas with his girlfriend. [00:16:36] Uh, they saw this, uh, chicken in a bar and he said, you know what, I need a chicken for the store. So, um, you know, he bought this, uh, roof. For the store. And, um, he had this, uh, Billy Bass that was like, you know, one of those electronic things, you know, you clap your hands in the best wiggles. Well, um, one day as he tells [00:17:00] me, he looks over and, um, this rooster is having sexual relations with that bass. [00:17:05] So this thing he tells me became this huge sensation where people from all over the place started coming to town to see his rooster perform, you know, 12 times a day. And he was able to, uh, make hundreds of thousands of dollars in real estate deals that he was able to sell to the people who came through the store because of that rooster. [00:17:27] And then he proudly led me into the store where he showed me this. He, you know, he, he called the rooster cockroach. Yeah, and the rooster died. And after the rooster died, he had that. He took him to the taxidermists and, um, had him, uh, mounted and placed on top of his good friend, Billy the bass. And I've seen a lot of taxidermy in my day. [00:17:51] I don't think I have ever seen a stuffed rooster and I have certainly never seen a row stuffed rooster on top of a Billy Bass. I'll [00:18:00] tell you that right now. [00:18:02] Izolda Trakhtenberg: Wow. That is. Tall tale for sure. [00:18:10] Oh my goodness. I uh, wow. Yeah, yeah. I don't even, I'm like, whatever. How do I follow that up? I think, I don't [00:18:21] know. I did. I did, because you know, the thing, the thing about this is that anytime we tell stories or listen to stories, I think we're changed by them even if, even if it's, oh, that's just the most ridiculous thing I've ever heard. Your experience of life is, is, is changed in some way or another. So I guess I'm wondering, how have you been changed by doing this project? [00:18:45] Evan Stern: Well, It's in many ways, it's been a dive into the unknown, as I said, it's, it's very, it was all very new for me in the beginning. Um, I had to do a lot of learning and [00:19:00] I re I really had to put myself out there. Um, it definitely, um, tested the boundaries of my comfort, um, in a lot of ways. Um, you know, you really just have to, as I said earlier, you have to go up out there and just start talking to people. [00:19:16] Um, and I usually found that I was way more nervous than the people I was talking to. And, um, I was talking to someone else about this, um, experience. Someone said, and, you know, she asked me, she was like, well, how do you, where does that confidence come from? Where do you get that confidence? And I said, well, you know what? [00:19:36] I, I, I think I've discovered that confidence is kind of overrated. Um, because you can't just read a book or, you know, attend a three-day workshop, whatever, and magically have confidence. It just doesn't happen that way. Confidence happens as a result of experience. Um, it happens as a result of mistakes. Um, and, [00:20:00] um, I think. [00:20:02] I heard somewhere that, you know, what heroic act doesn't involve, just huge levels of vulnerability. Um, and so I, I think I have definitely grown in confidence as a result of all of this, but that really, uh, just is a by-product of, of the work itself and everything that, you know, has been asked of me to, to rise to this challenge [00:20:36] Izolda Trakhtenberg: and that in itself, the, the skills you've built, the ideas that you've gotten and, and brought to fruition is a big part of the change I would imagine. And I love, I'd love to discuss a little bit as you talk about this, what is the process? What was the creative process that goes in to making an episode to crafting vanishing posts? [00:20:59] Evan Stern: Absolutely. [00:21:00] So each, you know, obviously I do have each episode does have a subject that I am interested in delving into. Um, there are people that I want to meet, just so you know, so basically, um, a bit more about the show itself for, for those listening out there. So essentially listeners are invited to join me on a road trip. [00:21:23] And so each episode is produced in documentary style. So, you know, you're going to hear a lot of, it's not, you know, interview, it's not talk show, you're going to hear a lot of different voices. Um, you're going to hear some of my narration, um, and I really work hard to make it an immersive listening experience for those who, who are hearing the episodes. [00:21:49] Um, but basically the, the way that I constructed is, um, there are. And, uh, as I said, you know, each episode, there are certain issues that, that I'm looking at. [00:22:00] Um, and so I just go, I, I talk to people, um, and I assemble a number of interviews at the, at the places that I go to. Um, you know, I try to talk to the, uh, the owners. [00:22:14] I try to talk to the workers. I try to talk to the people who go to these places. Um, you're going to ask all of those people different questions. Um, but you're also, I think there, you know, you also want to, there are also some specific questions that I will ask all of them. Um, and then what I do is I, I come back home and I listened to all of the, um, I listened to all of the interviews and I extract, you know, the, the gold from each person I speak with, you know, I could very well talk to someone for like an hour out of that hour conversation. [00:22:51] I might just take, you know, Three minutes worth of, of nuggets or whatnot. Um, and then I, you know, I, I look at [00:23:00] everything that I have and I stepped back and I, I just kind of look for it, you know, that, what, what, what, what, what are the commonalities, what, what do people keep coming back to, you know, are there opposing views? [00:23:15] Um, and from there, I, I just kind of take these nuggets and I weave together a story out of all of that. Um, I really let my subjects kind of guide the way that the, the story moves and goes. Um, the, the most challenging job for me is in the writing process of pasting it all together. Um, everything has to have I learned, you know, for years, I, you know, I've, I've. [00:23:45] Did a lot of performing in the cabaret world. Um, and you know, even if you're just putting together a show, that's, that's really kind of, you know, a series of songs, what is said in between those songs is every bit as [00:24:00] important as the songs themselves and everything has to have architecture and a beginning, middle and an end. [00:24:06] Um, so the, the greatest challenge for me is about how I can link everything together, um, in the narration as part of a cohesive whole, um, you know, I think, but each episode, uh, you know, I, I never, totally, there are always things that I want to focus on, but you just never totally know where it's going to go. [00:24:27] And before each one, um, I always ask my God, is this going to work? Um, but some so far it's worked out okay, [00:24:38] Izolda Trakhtenberg: That moment of, oh, what if this is going to be a complete disaster? I know it well. Um, and it's, I'm so fascinated by what you're saying with respect to the storytelling, the beginning, middle and end, and the sort of the patter between songs in, in, in a cabaret show, all of, all of those things, those elements [00:25:00] of storytelling, what do you think is the result? [00:25:06] What is the most crucial thing to put into it? And what is the result? How do you, when do you feel like yes, it has worked as opposed to, oh, it's going to be a disaster. [00:25:16] Evan Stern: Well, as I said earlier, again, the most important thing is, is show don't tell, um, and what, what, what is always best for me is I try not to. [00:25:34] I try not to express too much in the way of, of opinion. Um, what, what is really magical though, is just when you have, when you're talking to someone and, you know, whether they realize it or not, they, they share and tell a story that just kind of beautifully encapsulates everything, you know, that, that just really explains the issue [00:26:00] without it, you know, at that point, the work for you is, is really done. [00:26:05] Um, but you know, kind of an example of, of something that, you know, I, I did that, that was a challenge, um, was, you know, I have an episode that's coming out in a bit where. I took a trip first to, to Brownsville, Texas, where I spoke with this man who is the last, uh, cook in the United States who was allowed to serve a barbacoa cooked barbacoa, as it was meant to be prepared, which means it's, it's cooked in a pit under the ground. [00:26:37] Um, and that's what he does. He, he, he's serving barbacoa out of what had been his childhood home. Um, there's a pit out back that's in the ground and, you know, that's where he cooks it. The reason that he's allowed to do it is because his father started it in 1956 and it's been going on for this long. And so I focused on him and I did a segment on him. [00:26:57] And then I went to San [00:27:00] Antonio and I, um, you know, met a cook there who, you know, talked about cooking up puffy tacos. And, um, it ended up, you know, she, her story went in a completely different direction. Um, I mean, her mother. Started this business out of, uh, out of a garage because it was her last hope. Um, she was an incredible woman, a revered figure in San Antonio, um, who, you know, was shockingly murdered. [00:27:28] Um, and she talked all about that and, and, and everything. And, and then, and how she like found forgiveness and was being able to move beyond and, you know, everything that her, how her mother prepared her and how her mother expressed love through, through cooking. And, um, I realized that, you know, on, on the surface, you know, these two stories, yes, they were about cooking, but they were very, very different. [00:27:55] But what, what is it that they had in common? I realized that, you know, [00:28:00] through their cooking, they were both expressing love. And for me, and that's how I brought the two together. [00:28:14] Izolda Trakhtenberg: I'm still thinking, sorry, it's a beautiful, uh, yeah. That notion of, um, cooking and, and healing through cooking and expressing love through cooking, but also expressing love for, I guess, the, the heritage and the inspiration for what they did is so important. And I'm wondering if you have someone or figures or people in, in your world. [00:28:45] Hoo hoo hoo. Does that for you? Who inspired you to do this? And if so, is it that same love, it sounds weird to say love connection, but is that connection one of love and respect? What [00:29:00] is it about the people or the images or, or the ideas that inspired you that comes from that place? [00:29:11] Oh, no you're [00:29:11] Evan Stern: thinking. Oh, no, of course, absolutely. I mean, [00:29:20] There. I mean, who can you say, can you just rephrase the question in a simple, in a simple one sentence in a simple one sentence for me? Can you say, say what you're getting at [00:29:30] Izolda Trakhtenberg: again here? Sure. I'm just wondering who inspired you throughout the journey? Are there any public figures or is there anybody in Texas? [00:29:37] Are there any people who made you go, ah, this is what I want. Well, [00:29:41] Evan Stern: what I can say is that if, if there is a bar that I am always working towards, you know, never, never met him personally. Um, but I am old enough to remember growing up on CVS. There was a man by the name of Charles Kuralt who would travel the [00:30:00] country and he would really just kind of share good news is, is what he was, is what he was doing. [00:30:07] And he. He, he never expressed anything in, in terms of, in, in, in showing these stories, he was able to present, you know, the best of people without really expressing anything in the way of judgment. And there are many situations throughout this process where I have asked myself, what would Charles Kuralt do? [00:30:32] Hmm. Um, and you know, I, I don't mean to, I'm not trying to compare myself to Charles Caroll. Um, in the least, you know, I have much more work to do, you know, before I feel like I can get people called him the Walt Whitman of American television. Um, but I can tell you that that is the bar that I am always working towards. [00:30:56] Um, and the greatest compliments that I have received, [00:31:00] um, you know, or when people have heard this series and said, oh, you know what, this reminds me of Charles Perrault. [00:31:08] Izolda Trakhtenberg: That's lovely. And I remember Charles Caroll also on like, uh, CBS Sunday morning or something like that. Yeah, yeah. Yeah. His stories were all, you know, when, uh, you were mentioning the idea of love and heart. [00:31:20] That's what I remember thinking about his stories was that they were always full of such quiet soul and heart. They didn't have to be huge stories, but they were, they always left me feeling better and always gave me something to think about. Well, yeah, [00:31:38] Evan Stern: go on. Go on. No, no, no, go ahead. Go ahead. Well, and I do believe that there is a great void of that when you look at our media landscape right now, and th there, there really is. [00:31:48] Um, we live in a horribly polarized, horribly divided age. Um, I, I do not believe that anything that we have lived through over the [00:32:00] last five, six years should be normalized. I will be the first to say that, um, But I do believe that, you know, the, the issues that we are wrestling with right now as a nation, uh, in the divisions that we're dealing with in terms of politics and race are completely unsustainable. [00:32:20] But at the same time, I do think that there is more that we have in common than what we've realized. And I do think that culture right now is one of those rare areas of agreement. And what this show is about celebrating is that culture, um, you know, culture provides opportunity for shared experiences and you know, that that's really kind of what I'm getting at with, with all of this. [00:32:53] Um, and, and additionally too, I mean, how can we expect for people in [00:33:00] our rural communities to appreciate what is good and beautiful about places like New York city or San Francisco, or even Austin for that matter, if we cannot appreciate what is good and beautiful about them, [00:33:22] Izolda Trakhtenberg: from what you just said, it feels like there's a sort of a, through the looking glass aspect to your show that you're inviting people to go on a journey with you to, to see these places or to listen to these, to these stories and to hear about them. When you do that, when you're in that space of inviting people on a journey, how do you decide which stories are the ones that are important to tell. [00:33:52] Evan Stern: Well, something that's important to me. Is that so often when we think about art and [00:34:00] culture, I mean, we think about palaces of civilization, like the mat, the British museum, the, the loop, but the truth is that art and culture is everywhere. And oftentimes some of the best of it comes from places that you're just not going to read about in glossy magazines. [00:34:20] You're not going to see about these places on Instagram. And it's really about exploring that, you know, Detroit gave us Motown, Clarksdale, Mississippi gave us the blues. Um, and, and for me, it's really kind of about seeking these, these places out. You know, if you read a, you know, if you read like a tourist guide book about Texas, they're going to tell you to go to the Alamo. [00:34:49] They're going to tell you to go to the river walk, do this, do that. Um, There's so much more to that. I mean, I had the [00:35:00] great honor of visiting a town called San Benito, um, which is about, you know, 15, 18 miles north of the border. Um, and you know, th this is, you know, if you look at this country, um, you know, the real Grandy valley, um, is just statistically, one of the, the poor regions, you know, there's been a lot. [00:35:21] Um, you know, uh, D population, you know, flight, whatnot, but this town of San Benito, um, was responsible for giving birth to the movement of music. Um, which is an incredible genre. Basically what happened is the, uh, the Mexican laborers down in south Texas, um, heard the music that was brought to the area by the checks, the Germans, they heard the Pocus, they heard the accordions, um, and they, they took that accordion music. [00:35:51] They took those polkas and they added their own lyrics and Spanish to them. They threw in guitar and they created this whole entire genre [00:36:00] of music. And, um, w w the story there is, is, is I knew that I wanted to. To do a piece, you know, on the border, you hear about the border a lot, um, in the news right now, but what is always lost in the noise surrounding all of that is the culture and the people who actually exist there. [00:36:19] Um, and I thought that kahuna really kind of provided a terrific, uh, opportunity just to explore kind of the beautiful th the, the beauty that exists there. And I heard that there was this museum in this town called the Texas kahuna music hall of fame. So I sent a message on Facebook. Um, I I'd heard that, uh, it was founded and owned by a man by the name of Ray Abila. [00:36:42] And a little while later, I got a call from his son, turned out, uh, that Mr. Abila, his father had died about seven months prior, but that if I wanted to go, um, visit the museum, that they would be honored to have me and I showed up. This museum, the small town in [00:37:00] Texas and the entire family was there because they wanted for me to know about their father. [00:37:07] Um, they wanted me to know about Cancun . Um, they found a, the president of a record label who specializes in this music so that he could be there with us too. And they had such pride and joy in, in sharing. And an honor that someone took the time to visit a place like, like San Benito. Um, it is an experience I will always treasure and never forget. [00:37:34] Izolda Trakhtenberg: That is so lovely. And I'm so glad that you got to tell that to, to tell that story, to show, to show, to sort of open the window, if you will, into San Benito and into this music. And I'm wondering something, this is a little off topic, but do you know who Alan Lomax was? I [00:37:54] Evan Stern: have heard the name. Um, please refresh my memory. [00:37:57] Izolda Trakhtenberg: Sure, sure. So he was an [00:38:00] ethnomusicologist and what he did with his whole career for 50 years, he traveled the world and he recorded music. And when video came along, video of mew, indigenous music, wherever he was, he tried to find the music from that place. And, uh, and there, when I worked at the national geographic site in many moons ago, he came over and he was like, Hey, I would love to put together a library that didn't happen with the geographic, but his daughter, after his death put up a website and there is a website that you can go and, uh, sort of see the music from anywhere. [00:38:35] You can hear the music from anywhere, you just type it in. And if it's there, if they got a recording of it, you'll be able to hear it. And so I'm wondering for posterity, what is your. W w w this library, if you will, that you're creating this travel log that you're creating in my mind, Alan Lomax, his version of it is providing us access to music from all [00:39:00] over the world that is, that could be lost. [00:39:03] And I'm wondering, what do you, what is your feeling about that with the stories that you're telling you mentioned earlier that these that's, their survival is not certain the different traditions and the, and even the, the, you know, the honky-tonks the places themselves, what are you going for here? What is your long-term vision for vanishing postcard? [00:39:24] Evan Stern: Well, so yes, so I'm collecting oral history and I, I think it is really important that we do have a record of it. Um, I think in some ways, uh, this is something perhaps of a bit of a call to arms. Um, you know, I, I want to say it's about shining a light on, you know, what is, what is still, what is still there. [00:39:47] Um, but we can still go to, but as I said, you know, some of this stuff might not be around for too much longer, so it's, it's really kind of about drawing attention to it so that we can preserve it. Um, you know, I look at my [00:40:00] hometown of Austin. Texas as a whole. Um, it is, it is changing at rapid pace. I don't think that change is something to be feared. [00:40:09] Um, in, in many ways I think it is something that, um, should be embraced, but we have to change and grow responsibly. Um, we have to ask, you know, why, w w what is it that people like about Austin? What is it about Texas that draws people there? Why do people keep coming? Um, and I do think that it is it's culture, and I believe that we, as a society need to do a lot more to protect the culture that surrounds us. [00:40:36] I mean, th th most of the places that I spotlight are small businesses and. You know, whenever a small business closes that, you know, has a great history behind it or fondness to it, you'll have all of these people come out of the woodwork saying, oh my goodness, this is horrible. This is the worst thing ever. [00:40:54] But my question always is, well, when was the last time you, you actually went there? Um, [00:41:00] I mean, it's really exhausting. It's a lot of hard work, um, to, to keep these places going. And if people get tired or they aren't making ends meet you, you can't blame them. Um, and this is an issue that you see happening in New York. [00:41:14] It's an issue you see happening in Texas, California, London, name it it's happening. Um, and so I do think that. You know, th th hopefully this series kind of makes people think, uh, a bit more about that. Um, and long-term, it is my hope, uh, that I can expand the map beyond Texas because, um, the, the issues that I feel are explored in this series are truly universal. [00:41:44] In fact, if you look at the analytics, um, most people tuning in and listening right now are actually listening from outside of Texas. Um, and so I think it's important to, uh, you know, I want to expand the map [00:42:00] and, um, you know, if I can do a part to draw attention to, you know, the, the, the beauty of a meal, American culture that surrounds us, um, you know, that's kind of what my goal is. [00:42:16] Izolda Trakhtenberg: And it's a great goal. And I'm so glad that you said that you eventually, cause that was going to be, my next question was, do you want to take it outside of Texas? And I mean, Texas covering Texas can be a lifetime's work cause it's such a big place with such a varied set of, of uh, peoples and cultures. [00:42:32] And yet I love the notion of, of that, what you said, finding those small businesses, finding those people, who aren't, the ones trumpeting themselves and giving them a chance to, to shine. I think that's amazing and wonderful that you're doing that. And I love the notion. And if you could. What would you go next? [00:42:53] Evan Stern: Uh, well, I, I have a dream. I would love to drive route 66 from Oklahoma to [00:43:00] California, and I would love to collect stories and oral histories along the way. Um, I think that route 66, so much of why, um, it kind of occupies this mythic status, um, is because of the timing. Um, you know, there were other highways that were built before or after there were larger ones. [00:43:19] Um, but I think, you know, if you journey route 60, I've never done it, but I, I have to think that if you drive route 66, I mean, you were following in the steps of the, the Okies who migrated to California because of the dust bowl and the great depression. Um, it was an incredible artery during world war II. [00:43:38] So there's that history as well. Um, then it kind of. You know, in encapsulates that golden age of American travel and in the late forties and fifties, then it was decommissioned. And, you know, there was a lot of abandonment that happened and kind of, what does that say? Um, you know, about the American dream, you [00:44:00] know, it was it, uh, and, and so there's a lot that I would like to explore and taking that journey, um, beyond that, I would also love to take a trip to Mississippi sometime, uh, something that fascinates me about Mississippi. [00:44:11] I think, um, the, the writer really Maura said that Mississippi is America's Ireland. Um, if you look at it, it has produced the most incredible Canon of just literary lions, um, William Fox. Um, Richard Wright, Eudora, Welty. Um, they were all Mississippians and Mississippi continues to produce an incredible writers there. [00:44:36] There's a wonderful storytelling tradition attached to Mississippi. Um, and I would love to see, uh, what, what I could get there. [00:44:47] Izolda Trakhtenberg: I love it. I think that's amazing. First of all, I'd driven along 66 and you will, you will love it. Love it, love it. And, uh, you know, Mississippi and the south in general [00:45:00] has a rich storytelling culture. I have every time I spend time in Alabama, Mississippi, Georgia, Florida, that, that part of the country there, if you, if you set a spell, you will, you will get amazing stories. [00:45:16] And often you don't, it doesn't take a lot of prompting. So I'm I'm you said earlier that, that it's just about sort of talking to people the way you would talk to them. The, I guess the question is, have you had people who just say Nope, Nope. Not doing it. And if so, what have you done if that particular story is important to you or do you just move on to the next person? [00:45:38] Oh, [00:45:38] Evan Stern: absolutely. Well, there, there is. Um, you know, so the. The third episode that you'll hear in the series. Um, I did at a honky-tonk called arche blue, silver dollar, um, in this town called Bandera, Texas. Um, it's a fantastic place. Um, again, it was pre pandemic. Um, so, you know, I showed up there unannounced and I really wanted to [00:46:00] talk to, uh, archi blue. [00:46:01] He's he's the owner, he's in his eighties. He performs there every Saturday night. Um, I thought, you know, th this guy is a legend. I've got to talk to him, got to talk to him. He wanted absolutely nothing to do with it. Wouldn't give me an inch refuse to let me record him. Um, and you know, he was cordial when I talked to him, we're talking, you know, you're one word answers, you try everything. [00:46:24] Um, but what happened is, is, uh, every, I, I talked to everyone. That I could find around him and everybody had a story about archi that they wanted to share and, um, what resulted in. And so his refusal became part of the story itself. Um, but in talking to everyone who knew and loved him and had stories to share about him, you really got a terrific, uh, portrait that wouldn't have existed. [00:46:56] Otherwise that that I think is entirely charming. [00:47:00] Um, and when that happened, I had to remind myself that one of my very, very favorite, um, essays of all time, uh, was written by, uh, gates Elise. Um, in 1965, he was given an assignment to interview Frank Sinatra for Esquire magazine and Frank Sinatra completely refused to talk to him. [00:47:23] Um, but what he ended up doing was he interviewed all the hangers on everyone in his, his entourage. And, uh, to this day, people say that it is the most realistic. Portrait of Frank Sinatra that has ever been captured. Um, and so I would recommend to anyone who finds themselves in that position to think of that story and, you know, maybe read that story, uh, because that's something that I draw tremendous inspiration from.[00:48:00] [00:48:03] Izolda Trakhtenberg: It's so interesting. I have a friend who, uh, who's a PR expert and she talks about the difference between marketing and PR Gloria, Charles, her name. And she says marketing is when you come to people and you say, Hey, I'm great. But PR is when someone else goes, you know what? That person they're great. And as long as it's someone you trust, it weighs more than if the person is trumping again themselves, you know? [00:48:31] And so there's something to what you said that kind of reminded me of that, that notion of the other people around Frank Sinatra or, or, or archi, uh, being the ones who tell their tale. And I, I guess I'm wondering within that, I've asked you about the wildest, what is the story that has touched you the most? [00:48:55] The one that made you go, ah, wow. I had no [00:49:00] idea. [00:49:02] Evan Stern: Well, for me, the, the episode that, that, that has the most personal heart for me, um, is, is the second one. What happened is I went to this dance hall. Um, I, I, I knew that I wanted to do a piece on dance halls. Um, in, in Texas, you know, everyone always talks, always writes about Greenhall or Lukin Bach. [00:49:27] You know, those are the big dance halls, but there are many, many, many more others out there. And there was one I discovered that I'd never been to called SEF Shaq hall. It's in this teeny community, um, called Seton, Texas. It's about eight miles outside of a town called temple. It's a community of about 40 people. [00:49:48] And, um, and there's this old dance hall there called SEF shuck hall. That is pretty much trapped in time. Um, by most accounts, it is now the oldest, [00:50:00] um, family run dance hall in Texas. You know, it's a family that, that owns it. This family has, has always owned and run it. And, um, I went there and I wanted to talk to its owner, Alice, who is 89 years old. [00:50:19] Um, and, uh, you know, I had actually called an advanced to ask if I could come and talk to her. She said, sure, well, I got there. And I said, well, I'm here to talk to Alice. And it turned out, you know, that morning she took a fall and they had to take her to the emergency room. Um, and you know, and it kind of, you know, you could feel the way. [00:50:41] In that situation, you know, what, what happens to this place? Um, you know, without, without Alice here. And I ended up talking to her daughter-in-law and son, um, and you know, they're, they're committed to keeping it going. Um, but you could feel like the, you [00:51:00] know, the, you know, I, I feel like that situation kind of infused the episode with, with weight. [00:51:06] Um, but beyond that, um, you know, I listened to, to what I had initially, and there was something missing. Um, I said to myself, I said, you know, I'm doing a lot of talking here. I'd like to find someone else who could do some, some talking for. Um, and there there's an association called the Texas dance hall preservation. [00:51:29] And I found the woman who was working at the time as their executive director, because I wanted to talk to her just to kind of get some more historic perspective on dance halls. You know, I was talking about the history. I think it's better if someone else can talk about the history, other than me, that actually knows more. [00:51:45] And, you know, I talked earlier about how, you know, you have those moments where someone just kind of, you know, tells a story or share something that just beautifully illuminates everything. And, um, [00:52:00] I was talking to her and I asked, I said, you know, there are so many causes out there in this world that are, that are worth devoting attention to. [00:52:09] I said, you know, why are dance halls important to you? And she said it was, it became an incredibly emotional interview that I was not expecting at all. But she said that, you know, those places have a lot of heart and that her fear was that we're getting away from that as a society. And, you know, she, you know, ends up crying. [00:52:34] She's saying, you know, these places, you know, people go there, you know, it's not just about the fun. It's, it's not just about the dancing. Um, it's about, you know, it's about cleaning the roof. It's about cleaning the toilet. And she says, I see so many people working so hard to keep these places going and, you know, and of course it is perfectly illustrated what the shoe lock family, you know, we're, we're [00:53:00] doing, you know, the, the, the daughter-in-law the son, you know, they, they work, you know, five days, they do not take days off. [00:53:07] You know, they have regular jobs that they keep Monday through Friday, and then they're there on the weekends. And, um, I think that it beautifully exemplified their story. In addition to just about every other person that I talked to in the series as a whole, [00:53:30] Izolda Trakhtenberg: that is beautiful. And I'm so grateful that you shared that, that moment of, of talking to her and also the story of. Dance halls in general or, or anything that we do because we love it. Um, you know, we, we do it because whatever it is, whatever that thing is that you do, because you love it. And particularly these places where one of the things that I think Evan, that, that you've highlighted, that I think is so [00:54:00] incredible is that you've taken, you've highlighted places that aren't going out for fame. [00:54:08] You know, these are people and places that are just living, doing their thing and living their lives day in and day out, year in and year out. And they're not going to be a celebrity. They're not trying to be world famous for example. And yet you've shown the light on them. And I think that's so it's powerful because of that, because they're living their lives and doing something hopefully that they love, like with the dance hall story. [00:54:35] And they're not looking for accolades and yet you've given them a platform. And I'm so grateful that you've [00:54:43] Evan Stern: done that. Well, I will say it's not even that. I think a lot of them as well, feel a responsibility to the people who go to these places, you know, like a dive bar, isn't just a place to grab a beer. [00:54:58] You know, a dive [00:55:00] bar represents an entire community. Um, you know, a dive bar, a dance hall. These are all places where people go to, to belong. That's that's, that's what, all of the, that's another through line that I think these places have in common, you know, whether it's a barbecue joint, a dive bar, a dance hall, people go to these places for community and for places to belong. [00:55:25] And I think that it's, it's, it's important to highlight that aspect as well. [00:55:31] Izolda Trakhtenberg: Absolutely. I agree. Yeah. Interestingly because people come and go, like you said, there are a lot of people who, who come to Texas, uh, especially Austin has, has ballooned. Uh, I guess the question that's come that's upper. Most of my mind right now is culturally the culture of places changes. [00:55:54] Right? And so, as the culture evolves, I [00:56:00] know that you're a lot of what vanishing postcards is about is, is capturing that before it goes away before it's no longer in its current form. Are there things that you've done that have been, uh, sort of in the process of changing or something is over and something new's coming to take its place? [00:56:21] And if so, what have those things been? [00:56:25] Evan Stern: Um, you mean my work or places I've been. [00:56:30] Izolda Trakhtenberg: I guess I'm not asking the question very well. I'm just wondering about culturally, your vanishing postcards project is focused on sort of the smaller, uh, heart, very heartfelt places in people in Texas now and perhaps, and perhaps hopefully someday elsewhere. [00:56:51] And as, as the culture changes in those places or for those dance halls, have you captured in any of the [00:57:00] episodes that you've done? That change taking place? Absolutely. [00:57:04] Evan Stern: Um, the, the very first place that I went to, um, was a bar called, uh, the, the dry Creek cafe. Um, it's been there for about 70 years. Um, it, when it first opened in the early 1950s, it really basically sat on the edge of the country. [00:57:22] Now, not only is it no longer country, um, it's now pretty much surrounded by mansion's. Um, it's now basically it's this ramshackle dilapidated dive that is surrounded by some of the priciest real estate in all of Texas. Um, but this bar has survived. Um, and I think it's one of the few places that you can go where you're reminded that, you know, before the tech, uh, millionaires invaded the Hills, the Hills were actually home to Cedar choppers, which was this, um, Appalachian subculture. [00:57:55] Um, and, uh, the, the very first person that I interviewed. [00:58:00] In, um, in Texas for the series was angel their bartender. Um, this was a tough day game, you know, raspy voice, you know, just changed smoker, you know, just, just fabulous, you know, just tough as nails, woman. Um, she was incredibly, um, reticent to, uh, to speak with me again, getting her to talk on the record and letting along to record her. [00:58:28] Um, just took every ounce of charm that I could possibly muster. But when she found out that I was okay with cussing, um, she opened right up. She let the F bombs fly. Um, we had a terrific time, um, and, uh, very sadly I think about, um, four months or so. Um, after I, I interviewed her, she died. Um, what was remarkable about angel is, um, as I said, the place opened in, um, I think it was 1950. [00:58:59] [00:59:00] Three. Um, she was only the third bartender to ever work there. Wow. Um, and so I'm incredibly grateful that I, you know, captured her, her voice and I have that record of her. Um, but you know, you have to ask, you know, when, when someone like that goes, you know, um, you know, what does that, how does that change a place? [00:59:22] You know, what does that do? I was actually just back in Austin last week. Um, and I went there to visit the place to, you know, just see if there was some additional footage I could get that would help bring the season two to a close, um, just to kind of see how that change had affected things. Um, and you know, so there, there are analogies, there, there are now like a few bartenders there who are like trading duties and whatnot. [00:59:48] Um, but I think what's kind of beautiful is that those who have filled in, you know, were all regulars, who, who knew and loved and cared about the bar. Um, [01:00:00] and, uh, you know, they dedicated a section of the bar to angel where they have, you know, her pictures and some things that she loved. Um, and, um, it was, it was just kind of interesting and reassuring to see, um, how, you know, yes, you know, when a beloved, you know, figured, uh, leaves, it's hard and it's challenging. [01:00:21] Um, but if the community is there. It will come. It will find a way to continue. At least for now. I'm grateful to see that, to know that the dry Creek is still there and that those who love it, um, are doing their part to, uh, to keep it going. [01:00:38] Izolda Trakhtenberg: I'm so glad to hear that story. That is wonderful. Evan. I want to thank you so much for taking the time to talk to me about this. [01:00:46] It's, it's such an important topic because it isn't one that, that we tend to focus on. So I'm really grateful that you took the time to tell me about vanishing postcards and to tell me about the culture and the people that you are, [01:01:00] uh, Capturing, if you will, for, for all of us, for all of us to enjoy. And I, and if you're listening to this, you need to go check out vanishing postcards. [01:01:08] I've listened to a few episodes and it's fabulous and amazing. Evan. If you wouldn't mind, I would love it. If you would give whatever social media. Uh, that you have so that if people want to find you, that they can. [01:01:22] Evan Stern: Absolutely. So the, um, you know, if you search, uh, vanishing postcards on Instagram, uh, you'll find it there. [01:01:29] Um, it also has a, a, a, a Facebook page, just search vanishing postcards. It should turn up. Um, you can also find me on Instagram as well. I'm at Evan stern NYC. Um, and, um, you know, I thank you so much and oh, and, but most important, most crucially, um, you know, please go find, listen to subscribe to vanishing postcards. [01:01:54] Um, since this is a podcast, uh, you know, whatever, you're listening to this on, I'm quite [01:02:00] confident that you'll find us there. We're on apple, we're on Spotify, we're on all the, uh, you know, whatever platform is out there. We're more than likely on, and I'd be most honored if you'd consider giving us a little. [01:02:12] Izolda Trakhtenberg: Awesome. And I will actually put all of that in the show notes so that if you're listening to this and you've seen the show notes, you'll be seeing the links to all of it. I just, people learn differently. So I like giving both the audio and the sort of, you can read it visual for it. Uh, Evan, again, I'm really grateful that you took the time to chat with me. [01:02:32] Me and I, I have one last question, if that's okay. Of course. It's a question I ask everybody who comes on the show and it's a silly question, but I find that it yields some profound results. Yeah. And the question is this, if you could sky write anything for the whole world to see what would you. [01:02:53] Evan Stern: What would I say for the whole world to see? [01:02:58] Oh my [01:03:00] goodness. Yeah. So I feel like I need to say something profound, like Buddha or something like that now, or Yoda. My goodness. [01:03:11] Izolda Trakhtenberg: I've had people say, eat your veggies. So it does not have to be, [01:03:16] Evan Stern: I mean, it is a cliche. Um, I've, I've heard it many times. Um, but I, I do believe that there is something to be said for the fact that if I were to write this in the sky, I would say luck is the result of preparation meeting opportunity. [01:03:34] I absolutely believe that to be true. Um, I always do my best to be, uh, you know, prepared and, uh, educate myself and, you know, and, and be ready so that, um, you know, when opportunity comes, you know, luck can, can happen. [01:03:53] Izolda Trakhtenberg: I love that. I think that's a great way to end this episode, Evan stern, you are fabulous, and I'm [01:04:00] so glad that you were here. [01:04:01] Thank you. This is the innovative mindset podcast. You have been listening to my wonderful conversation with Evan stern, who is the host of the vanishing postcards podcast, which of course, you know, you need to check out if you're liking what you're hearing, do me a favor, leave a review, let me know comment. [01:04:20] However you'd like to get in touch. I would appreciate it until next time. This is again, Izolda Trakhtenberg reminding you to listen, learn, laugh, and love a whole lot. [01:04:36] thanks so much for joining me today. I really appreciate you being here. Please subscribe to the podcast if you're new and if you like what you're hearing, please review it and rate it and let other people know. And if you'd like to be a sponsor of the show, I'd love to meet you on patrion.com/innovative mindset. [01:04:53] I also have lots of exclusive goodies to share just with the show supporters there today's episode was produced by [01:05:00] Izolda Trakhtenberg and his copyright 2021 as always, please remember, this is for educational and entertainment purposes. Only past performance does not guarantee future results, although we can always hope until next time, keep living in your innovative mindset.   * I am a Brain.fm affiliate. If you purchase it through the above links and take the 20% off, I'll get a small commission. And please remember, I'll never recommend a product or service I don't absolutely love!  

92.1 Klasszik rádió szerdai rovata: Újságmúzeum Rovatgazda: Sal Endre

Welcome to the Oil & Gas Digital Doers Podcast — brought to you by Topcoder on the Oil and Gas Global Network. In this episode our host Michael O'Sullivan talks with William Fox, Chief Product Officer at Data Gumbo. Links: Our sponsor Topcoder – https://topcoder.com – the original pioneer in open talent models William Fox – https://www.linkedin.com/in/william-fox-a388384a/ Data Gumbo – https://www.datagumbo.com/ Andrew Bruce's Blog – https://blog.datagumbo.com/en/gumbonet-blog/author/andrew-bruce Connect with OGGN Interested in sponsoring? If you would like to get your company in front of our professional audience, please contact our producer, Savannah Wilson. More Oil and Gas Global Network Podcasts OGGN.com – https://oggn.com/podcasts Street Team LinkedIn Group – https://www.linkedin.com/groups/12458373/ Engage with Oil and Gas Global Network LinkedIn Group | LinkedIn Company Page | Facebook | modalpoint | OGGN Events on Deck: Get Modalpoint's Monthly Events Email Get Automatically Notified About Oil & Gas Events Once a Month Connect with Michael O'Sullivan LinkedIn | Oil and Gas Global Network

In this episode we have a compelling conversation with Vanda Krefft about one of the original studio moguls William Fox. Vanda has written a comprehensive book titled: The Man who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox.  Vanda  previews  her book  with us and she knows her stuff.  Enjoy! Recorded in 2019https://www.vandakrefft.com/#Thanks for listening!

Māori Party co-leader and Waiariki MP Rawiri Waititi says he will be an unapologetic voice for Māori - like a pebble in the shoe of Parliament.Waititi began his maiden speech in Parliament today with a stirring waiata supported by whanau in the public gallery: "You're magic people to me ... I'm proud to be Māori."He said he would be a Māori voice in every piece of legislation to come to the house."You know what it feels like to have a pebble in your shoe? That will be my job here."He paid tribute to Dame Tariana Turia for crossing the floor for the foreshore and seabed law and creating the Māori Party."Her courage has inspired a whole generation, and her act of bravery continues to inspire them today."He told a joke to illustrate the partnership between Māori and Pakeha, where Pakeha were a great white shark that simply ate the fish that represented Māori.He said Māori had suffered through extermination practices, assimilation, land-stealing laws, denial of tangata whenua status, and a monocultural view that almost saw the Māori language die.He then noted media company Stuff's apology for its racist portrayal of Māori and its commitment to do better - but he was waiting for the Crown to do the same."For the monocultural viewpoint that has sought to repress tangata whenua, for aiding and abetting the system of racism that strips us of our spirit."It was no longer acceptable for Oranga Tamariki to "steal our babies", the justice system to "lock our people up", the welfare system that "keeps my people poor", the health system that "keeps my people sick", education that "keeps my people dumb", or a housing system that "keeps my people homeless"."This has to stop. It is time for Māori to look after Māori."Maori Party co-leader Debbie Ngarewa-Packer at the start of her maiden speech. Photo / Mark MitchellHis co-leader, Debbie Ngarewa-Packer, also made a powerful statement, beginning her speech on a chilling note."I stand here as descendant of a people who survived a holocaust, a genocide, sponsored by the House and Members of Parliament whose portraits still hang from the walls, Members of this Parliament who sought our extermination and created legislation to achieve it, that confiscated all our whenua, imprisoned us without trial and murdered and raped our women and children and deliberately engineered our displacement for generations to come."What [19th century politicians] William Fox, George Grey, John Bryce and many others did to my people was unforgivable," she said."Fortunately, their one-generational plan was outlived by our forever generational resolve, such is the strength of my whakapapa. But the trauma of what they did to us still lives with us. 

(Aug 5, 2020) William Fox announced his intention to retire next summer in a message to the campus community Tuesday. Fox has served as St. Lawrence University's president in Canton since 2009.

If you're interested in HSE and especially how technology can contribute, you'll want to listen to this interview with Data Gumbo's CEO and Founder, Andrew Bruce, along with its Chief Product Officer, William Fox.  Thank you to our Sponsor, Endress+Hauser   Endress+Hauser : Apple Watch Giveaway                 Enjoy listening? Support the show by leaving a review in iTunes. Street Team If you're interested in joining the street team, join our Facebook Group here. Interested in Sponsoring??  If you would like to get your company in front of our  professional audience, please contact our Producer, Savannah Wilson.  More Oil and Gas Global Network Podcasts Oil and Gas This Week Podcast | Oil and Gas HS&E Podcast | Oil and Gas Industry Leaders | Oil and Gas Legal Risk | Oil and Gas Onshore | Oil and Gas Offshore  | PITCH Podcast Engage with Oil and Gas Global Network LinkedIn Group | Facebook | modalpoint | OGGN Connect with Russel Stewart LinkedIn | E-Mail | Oil and Gas Global Network 

If you're interested in HSE and especially how technology can contribute, you'll want to listen to this interview with Data Gumbo's CEO and Founder, Andrew Bruce, along with its Chief Product Officer, William Fox.  Thank you to our Sponsor, Endress+Hauser   Endress+Hauser : Jacket+Koozie Giveaway                Leave a Review Enjoy listening? Support the show by leaving a review in iTunes. Street Team If you're interested in joining the street team, join our Facebook Group here. Interested in Sponsoring?? If you would like to get your company in front of our professional audience, please contact our Producer, Savannah Wilson.  More Oil and Gas Global Network Podcasts Oil and Gas This Week Podcast | Oil and Gas HS&E Podcast | Oil and Gas Industry Leaders | Oil and Gas Legal Risk | Oil and Gas Onshore | Oil and Gas Offshore  | PITCH Podcast Engage with Oil and Gas Global Network LinkedIn Group | Facebook | modalpoint | OGGN Connect with Russel Stewart LinkedIn | E-Mail | Oil and Gas Global Network 

Episode 9

This week join Beth & Amelia as we interview Will Fox from the LIPI Team! A very insightful interview about what they're doing down in New York and some spooky explorations they've been on!

Steve Schneickert shares how the foundation of the American film industry was born from the contributions of Hungarian immigrants such as William Fox, Adolph Zukor, Michael Curtiz, George Cukor and Bela Lugosi. More: https://blendradioandtv.com/listing/steve-schneickert-hollywood-history/

In this week's episode, we interview Vanda Krefft, author of The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox. This interview was recorded during BIO's May 2018 annual conference in […]

In our premiere episode, noted Hollywood historian Abby Larson tells the story of Irving Stansel, the first President of Hollywood. As the picture business transformed from sideshow attraction to dominant cultural force, the moguls of Tinseltown often found themselves in aggressive disagreements that often ended in bloodshed. Rather than kill each other over the latest scripts to hit the town, those early power players named a man named Irving Stansel to settle all disputes and to keep the peace. It was a noble experiment, but everyone involved got a lot more than they bargained for. Starring Annie Savage as Abby Larson, with Hal Lublin as Irving Stansel and Announcer #1, Jeremy Carter as Jack Warner and Policy Holder #2, John Ennis as Carl Laemmle and Leland Cornwall IV, Kara Luiz as Mary Pickford, Martin Olson as Douglas Fairbanks and Mortimer Effington III, Megan Gogerty as Frances Marion and Ethel Pomeroy, Mike Rock as William Fox and Policy Holder #3, Christopher Z. Gordon as Adolf Zukor, Judson Jones as Fred Thomson and Goon, Fred Cross as New York Times Reporter, Announcer #2, and Interviewer, Justin Wright Neufeld as DW Griffith and Policy Holder #1, J.T. Arbogast as Announcer #3Special Guests: Christopher Gordon, Fred Cross, Hal Lublin, Jeremy Carter, John Ennis, J.T. Arbogast, Judson Jones, Justin Neufeld, Kara Luiz, Martin Olson, Megan Gogerty, and Mike Rock.Support Unremembered Hollywood

Data Gumbo Connect with Collin Connect with Jake In this episode, Collin and Jake sit with Gerald Smith and William Fox of Data Gumbo to discuss their blockchain technology. Show Links Rate the podcast: Ratethispodcast.com/digitalwildcattersSign up for our newsletter: The RoundupSubscribe to Digital Wildcatters on YoutubeFollow Digital Wildcatters on Facebook

In this episode, Collin and Jake sit with Gerald Smith and William Fox of Data Gumbo to discuss their blockchain technology. Reach out to Gerald and William and learn more The post Data Gumbo | William Fox and Gerald Smith on Oil and Gas Startups appeared first on Digital Wildcatters.

When you hear “Twentieth Century Fox,” I doubt you know where the source of “Fox” in the name. In her book, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017), Vanda Krefft presents a detailed biography of one of the founders of the American film industry, whose successes are largely unknown because of his ultimate downfall.     Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “Twentieth Century Fox,” I doubt you know where the source of “Fox” in the name. In her book, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017), Vanda Krefft presents a detailed biography of one of the founders of the American film industry, whose successes are largely unknown because of his ultimate downfall.     Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “Twentieth Century Fox,” I doubt you know where the source of “Fox” in the name. In her book, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017), Vanda Krefft presents a detailed biography of one of the founders of the American film industry, whose successes are largely unknown because of his ultimate downfall.     Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “Twentieth Century Fox,” I doubt you know where the source of “Fox” in the name. In her book, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017), Vanda Krefft presents a detailed biography of one of the founders of the American film industry, whose successes are largely unknown because of his ultimate downfall.     Learn more about your ad choices. Visit megaphone.fm/adchoices

When you hear “Twentieth Century Fox,” I doubt you know where the source of “Fox” in the name. In her book, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017), Vanda Krefft presents a detailed biography of one of the founders of... Learn more about your ad choices. Visit megaphone.fm/adchoices

Matthew Sweet is joined by critics Ryan Gilbey and Ellen E Jones to look at the films nominated for this year's Academy Awards and the tradition of films with a campaigning message. Film historian Vanda Krefft charts the complicated life of William Fox, the man who founded the Fox Film Corporation. Comedian Lucy Porter and author Steve Massa celebrate the women of the silent era who starred alongside the likes of Buster Keaton and Charlie Chaplin. The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox is by Vanda Krefft. Slapstick Divas: The Women of Silent Comedy is by Steve Massa. Producer: Craig Templeton Smith

Quick: Who is the "Fox" in 20th Century Fox? You'd know if you read Vanda Krefft's fantastic new book, The Man Who Made The Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper)! Vanda joins the show to talk about William Fox's contributions to the movies, why he's virtually unknown today, and how she discovered his story. We also get into her decade-plus experience of researching and writing the book, Vanda's transition from journalist to biographer, the limits of historical records, the damage Fox wrought on his extended family by supporting them, the biographer's need to correct for hindsight, the influence of Nancy Drew on her writing career, the contrasts of her early life in Canada and her adult life in the US, and more! • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through... Learn more about your ad choices. Visit megaphone.fm/adchoices

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through the remarkable arc of Fox’s life, one that took him from the slums of New York City to the glittering lights of Hollywood. The immigrant son of Hungarian Jews, Fox got his start in the entertainment industry in 1904 as an exhibitor. Enjoying success but chafing under the restrictive terms of film distributors, in 1915 he expanded into production, creating the Fox Film Corporation. As Krefft explains, Fox favored a director-centric approach to film making, working with such legendary figures as John Ford and F. W. Murnau to produce some of the greatest films of the silent era. By the late 1920s he had built a vast entertainment empire, only to lose first his fortune and then his company in the economic collapse at the end of the decade, which left him to watch as others turned his studio into 20th Century Fox, one of the big six studios in Hollywood today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through the remarkable arc of Fox’s life, one that took him from the slums of New York City to the glittering lights of Hollywood. The immigrant son of Hungarian Jews, Fox got his start in the entertainment industry in 1904 as an exhibitor. Enjoying success but chafing under the restrictive terms of film distributors, in 1915 he expanded into production, creating the Fox Film Corporation. As Krefft explains, Fox favored a director-centric approach to film making, working with such legendary figures as John Ford and F. W. Murnau to produce some of the greatest films of the silent era. By the late 1920s he had built a vast entertainment empire, only to lose first his fortune and then his company in the economic collapse at the end of the decade, which left him to watch as others turned his studio into 20th Century Fox, one of the big six studios in Hollywood today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through the remarkable arc of Fox’s life, one that took him from the slums of New York City to the glittering lights of Hollywood. The immigrant son of Hungarian Jews, Fox got his start in the entertainment industry in 1904 as an exhibitor. Enjoying success but chafing under the restrictive terms of film distributors, in 1915 he expanded into production, creating the Fox Film Corporation. As Krefft explains, Fox favored a director-centric approach to film making, working with such legendary figures as John Ford and F. W. Murnau to produce some of the greatest films of the silent era. By the late 1920s he had built a vast entertainment empire, only to lose first his fortune and then his company in the economic collapse at the end of the decade, which left him to watch as others turned his studio into 20th Century Fox, one of the big six studios in Hollywood today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through the remarkable arc of Fox’s life, one that took him from the slums of New York City to the glittering lights of Hollywood. The immigrant son of Hungarian Jews, Fox got his start in the entertainment industry in 1904 as an exhibitor. Enjoying success but chafing under the restrictive terms of film distributors, in 1915 he expanded into production, creating the Fox Film Corporation. As Krefft explains, Fox favored a director-centric approach to film making, working with such legendary figures as John Ford and F. W. Murnau to produce some of the greatest films of the silent era. By the late 1920s he had built a vast entertainment empire, only to lose first his fortune and then his company in the economic collapse at the end of the decade, which left him to watch as others turned his studio into 20th Century Fox, one of the big six studios in Hollywood today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though not a figure in the public imagination today, William Fox is a man whose legacy is visible in the numerous media enterprises that bear his name. Vanda Krefft‘s biography The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (Harper, 2017) leads readers through the remarkable arc of Fox’s life, one that took him from the slums of New York City to the glittering lights of Hollywood. The immigrant son of Hungarian Jews, Fox got his start in the entertainment industry in 1904 as an exhibitor. Enjoying success but chafing under the restrictive terms of film distributors, in 1915 he expanded into production, creating the Fox Film Corporation. As Krefft explains, Fox favored a director-centric approach to film making, working with such legendary figures as John Ford and F. W. Murnau to produce some of the greatest films of the silent era. By the late 1920s he had built a vast entertainment empire, only to lose first his fortune and then his company in the economic collapse at the end of the decade, which left him to watch as others turned his studio into 20th Century Fox, one of the big six studios in Hollywood today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vanda Krefft, author of The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox

Objects of Wrath After the bombs rain down, the entire world is an open wound; it is in those bleeding years that William Fox becomes a man. William flees with his family to Magnolia, a farm in Tennessee, while America descends into madness, anarchy, and death. With the aid of elite Special Forces units, Magnolia emerges as beacon of hope and stability. But evil is hungry and relentless. A new threat stalks the Earth. To save his people, and perhaps all of humanity, William must be more than a lethal soldier; he must become a hero. Sometimes, the only way to defeat darkness is to become it. Children of Wrath The Fall brought mankind to its knees. After the world war, anarchy reigned across what was once the United States of America. For nine years, William has lived a quiet life in the west. When Tarantula spreads further north, the tenuous peace between territories is threatened. Gideon, a man who believes himself to be a prophet of God, triggers a war. William is propelled into battle again, fighting for his own life and the lives of those he loves the most.. As events spiral out of control, Gideon's madness threatens to consume the world. William will battle his own demons and an insidious evil he cannot understand. How can light defeat darkness when the darkness comes from within? Wrath and Redemption Is it worth losing your soul to save the world? New America gathers its defense against the Tsar's forces, while four heroes embark on a journey more perilous than they ever imagined. Will mankind find a way to end the cycle of violence at last? To do so may cost William, Crystal, and Ryder everything...because evil never surrenders. It must be destroyed. Join me as we catch up with my return guest Sean T. Smith and his series. Call 646-668-8485 & press 1 to be on air. Or, download Stitcher on your mobile device. Or click on the link here: http://tobtr.com/10165137

Gateway Baptist Church

In the old days, the phrase was if you owned a dealership it was like a license to print money. These days, with so many options for consumers, the dealers aren’t making nearly as much on the cars like they used to. But they’re still expected to participate in the community like they always did. This week John McElroy welcomes current NADA chair William Fox to talk about the world of today’s car dealer. He is joined on the panel by Steve Finlay from Ward’s Dealer Business and Jeff Bennett of the Wall Street Journal.

In the old days, the phrase was if you owned a dealership it was like a license to print money. These days, with so many options for consumers, the dealers aren’t making nearly as much on the cars like they used to. But they’re still expected to participate in the community like they always did. This week John McElroy welcomes current NADA chair William Fox to talk about the world of today’s car dealer. He is joined on the panel by Steve Finlay from Ward’s Dealer Business and Jeff Bennett of the Wall Street Journal.

Townsend Productions is touring a new play about a group of protesters in the 1972 builders’ strike who have become known as the Shrewsbury 24, one of whom is now well-known to TV viewers as actor Ricky Tomlinson. The 24 strikers were arrested and charged with conspiracy, and the campaign to have their convictions quashed is still ongoing 42 years later. In this episode, we speak to writer and co-performer Neil Gore. United We Stand by Neil Gore from Townsend Productions, directed by Louise Townsend and performed by Neil Gore and William Fox, will tour from 19 September to 29 November 2014. For more information, see www.townsendproductions.org.uk.

In 1929, William Fox was a movie mogul and The Fox Theatre was Atlantas crown jewel of movie palaces. Over the years it has hosted many award-winning performances. Comedies, tragedies, and dramas – in the form of movies, plays and dance – have all played on the big screen and the stage, creating more than a few memories along the way. On this months episode of Sidewalk Radio, host Gene Kansas welcomes in Beauchamp Carr, the Executive Vice President of The Woodruff Arts Center and a major player in helping the Fox Theater remain an Atlanta landmark in the 1970s. Also joining in on this months conversation are Chairperson of Emory’s Film and Media Studies, Matthew Bernstein and Leo Alvarez, the Urban Design Leader at Perkins+Will. As always, this episode of Sidewalk Radio is brought to you in part by Perkins+Will.

Dana Fritz, William Fox, Judy Natal, and Pierre Meystre discuss artists as they relate to science, particularly focusing on the artist in residence program at Biosphere 2. Moderated by Julie Sasse.