Arroe Collins Like Its Live Unplugged And Totally Uncut

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Pod Crashing episode 332 with Jessi Hempel from the podcast Hello

Ever wish you had a pal

Episodes available here: 

https://www.iheart.com/podcast/274-hello-monday-with-jessi-he-30599398/ 

Life is a series of choices. This week we're putting focus on outreach. Is it as easy as cash apping someone? Then we're diving into facing our choices and why a bad choice can be a great choice.

Given today's cancel culture, here's a look at how Hollywood, of all places, was America's first "woke" system. We look at more than 50 classic films such as Gone with the Wind, Casablanca, East of Eden, The Ten Commandments, Convention City, and Lawrence of Arabia through the eyes and blue pencils of the Production Code Administration, the industry's censors. What emerges is not a gaggle of prudes but a staff with deep knowledge and sensitivity despite their mission to cleanse. Here is a time capsule of American mores and Hollywood's excesses over nearly four decades that led to today's letter rating system.

Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so.

Well, not any more. The Naughty Bits pores through those files to show how the censors did their job. What was the world prevented from seeing in some of the greatest movies ever made, including Stagecoach, Some Like It Hot, Psycho, and His Girl Friday? Here is the sometimes funny, sometimes outrageous, always riveting history of movie censorship on a nitty-gritty level.

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For years as an award-winning war reporter, Sebastian Junger traveled to many front lines and frequently put his life at risk. And yet the closest he ever came to death was the summer of 2020 while spending a quiet afternoon at the New England home he shared with his wife and two young children. Crippled by abdominal pain, Junger was rushed to the hospital by ambulance. Once there, he began slipping away. As blackness encroached, he was visited by his dead father, inviting Junger to join him. "It's okay," his father said. "There's nothing to be scared of. I'll take care of you." That was the last thing Junger remembered until he came to the next day when he was told he had suffered a ruptured aneurysm that he should not have survived.

This experience spurred Junger-a confirmed atheist raised by his physicist father to respect the empirical-to undertake a scientific, philosophical, and deeply personal examination of mortality and what happens after we die. How do we begin to process the brutal fact that any of us might perish unexpectedly on what begins as an ordinary day? How do we grapple with phenomena that science may be unable to explain? And what happens to a person, emotionally and spiritually, when forced to reckon with such existential questions?

IN MY TIME OF DYING is part medical drama, part searing autobiography, and part rational inquiry into the ultimate unknowable mystery.