1976 ford pinto station wagon

Aloha.
I have lived on Oahu for 12 years. I came here when I was 20.
People who come here always inevitably ask if there are areas to avoid. Well...maybe not always, because a lot of people think Hawaii is one big beach town and don't know that life happens here too.
Anyway, having spent a lot of time in three of the areas considered most "dangerous" on Oahu, here are my impressions of Ewa Beach, Waipahu, and Waianae. (Pls excuse formatting, I'm on mobile)

1. Ewa Beach

The real Ewa Beach. Hanakahi Street, Hau Bush, Papipi Road, Silva's, etc. Because a lot of people say "Ewa Beach" when they mean Ocean Pointe or Ewa Gentry. I've heard stories that back before the Gentry-fication of the area, Ewa Beach was rough. I have a good friend who, back in the 90s, had just moved to Hawaii and was set to go to Campbell. Apparently, a security guard at the school told his mom she might want to rethink that decision, as a nerdy Haole boy might not fare well at that particular school. That friend ended up going to Radford.
Today, while Ewa Beach definitely still has a reputation, I get the feeling that it has calmed down a lot. I think this is due to the expansion of greater Ewa and the influx of so many new people. Back then, Ewa Beach was isolated. It was the end of the road. Nowadays, it is a neighborhood in a much larger population center.
Ewa Beach certainly feels different from greater Ewa. It's a lot older, more local, and more "neighborhoody." It has an identity that one immediately recognizes as Ewa Beach after living here for a certain amount of time. And you can always recognize an Ewa Beach guy. I don't know how, but you can. And if you can't recognize it, you'll know it in time, because Ewa Beach people always let you know they're from Ewa Beach.
There are still stories about robberies, fights, and other unfortunate events that one hears coming out of Ewa Beach, but I would absolutely not consider it a very "dangerous" area. Rough? Sure, in some places. There were just some robberies and assaults down there. But I've never felt in grave danger being down there. Just cautious about my surroundings.
Ewa Beach is definitely an interesting place. It's a perfect encapsulation of the tension Oahu feels between the old and the new. It's a town with an old reputation for lawlessness that has lost much of its grit because of rapid Gentry-fication.
You know those old guys who you know were badass fighters in their youths? The guys who have grown overweight, are gray-haired, and who like to regale you with crazy stories from 30 years ago? They aren't as fearsome as they once were, but you still wouldn't want to be on their bad side and so you respect them. That, to me, is Ewa Beach.

1. Waipahu

Go to Don Quijote and count how many languages you hear. English. Filipino. Ilocano. Marshallese. Samoan. Chuukese. Filipino. Ilocano. Filipino. Welcome to Waipahu. 94 Block.
For those who don't know, Waipahu is an old mill town that used to process a lot of sugar cane. It's not a beach town like Ewa Beach or Waianae. It's like a suburb of a suburb of Town ("Honolulu"). I mean suburb not in the sense of Suburbia, but in the sense of a town somewhat in the orbit of a larger city. I used to hate going there because it felt so congested, and then they started building the rail and I hated it even more.
Now, however, after having worked there for about a year, I love Waipahu. Old Waipahu town, from about Kunia road all the way to Waipahu High School. Yes, I know, Kunia, Waipio, and Waikele exist, but I mean Waipahu Waipahu.
It's gritty. It's historic. It can certainly be sketchy, and it's even menacing in places. I had a friend who lived on Pupuole Street, and he told me many stories about the nighttime activities in the neighborhood. Every time I went to visit him there, my head was on a swivel.
Then there's Aniani. Oh man. It's such a small neighborhood, really just a street, but it has a reputation for being pretty hectic. I've never hung out there, but I've taken rides down there and it's pretty wild. Casual fire starting, trash everywhere, sneakers hanging from power lines, addicts pushing shopping wagons full of "found" goods, etc.
My boss was born and raised in Waipahu, and when I asked her about Aniani, she told me it's always been Aniani. I even heard nobody used to deliver food there because it was too dangerous. That said, I think part of this was probably due to how tight that street is and how you have to turn around at the end to get out.
Waipahu transit station? Sweet old Filipina tutus and zombies. Times shoppers. People just passing through to get their TB shots at the Civic Center. Others passed out on the bus stop benches.
Waipahu is frequently in the news for robberies, break-ins, and other unpleasant happenings. There are a lot of homeless, many of whom are, unfortunately, addicted to drugs. I worked in a medical office in the area and we had many incidents with public disturbances, including public nudity, public masturbation, and other such quirky occurrences.
That said, there is a beauty to Waipahu. I love its diversity. It is a kind of entry point for many new Hawaii residents, especially from the Philippines, but also from Samoa, the Marshall Islands, Chuuk, etc. Mom and Pop shops, restaurants, barber shops, medical offices, and all manner of businesses line Farrington Highway. Waipahu feels unique among other Oahu towns because of its ethnic composition. These cultures give Waipahu a different kind of flavor than places like Waianae or Kapolei. The only other place I imagine has a similar vibe is Kalihi, but I haven't spent much time there.
Waipahu is very dense, as it is an immigrant town with multiple generations often living in the same small apartments. Familial living is the norm in Hawaii, but in Waipahu this is even more prevalent. It's not just parents, grandparents, and children -- it's parents, grandparents, great-grandparents, children, cousins, uncles, and aunties.
Is Waipahu dangerous? It certainly feels more gritty than Ewa Beach, and one certainly should take certain precautions in certain parts of the town. It's like...you're unlikely to be shot at, but there are places there where you wouldn't necessarily be surprised to see people with guns. I guess it can be dangerous, but I feel like if you know the town and how to navigate it, you'll be fine. Waipahu is certainly not Detroit, but it ain't Mililani either (Mililani seems to be becoming more like Waipahu though from what I've been seeing in the news). Overall, Waipahu is one of my favorite places on the island.
(Take a shot for every time I write the word "certainly")

1. Waianae

This is the one you've been waiting on. The West Side. 96792. The Waianae Coast. If you're scared, just stay in Kapolei.
For convenience, I will refer to the whole Coast as Waianae. In reality, there are differences between Nanakuli, Maili, Waianae, and Makaha. A quick impression:

• Nanakuli feels very Hawaiian. The whole Coast is very Hawaiian, but Nanakuli in particular feels very Hawaiian.
  
• Maili feels like...I don't know, a kind of middle ground? Sea Country (a newer housing development, for those not in the know) is there, but it's tucked away in the back. Almost the exact opposite of Ewa Beach, where the new part is in the front. I'd say Maili feels very residential.
  
• Waianae proper is the heart of Oahu's Wild West. Lots of stores, food places, and other businesses.
  
• Makaha is country. Not a lot of stuff to buy, but a lot to explore. Far less dense than the other three towns.
  

But let's proceed with the conversation.
This is the area most people who aren't from Hawaii first hear about when they ask what the most dangerous part of the island is or where to stay away from. Sure, they'll hear about Kalihi. They'll hear about Wahiawa and Waipahu. But Waianae is different.
Waianae is isolated. One way in, one way out. It's far removed from the sprawl that starts in Kapolei and ends roughly somewhere after Hawaii Kai. It's closed off. This isolation is a kind of double-edged sword: on the one hand, it ensures that Waianae stays Waianae, but on the other hand, it concentrates a lot of the darker aspects of Waianae to that region.
I was once one of those new Hawaii residents, but my knowledge of Waianae was gained from Google prior to moving to Hawaii. When I arrived in Kapolei, a family member living here took me to Waianae shortly after my arrival. I was shocked. I saw homeless tents all along the road. I saw liquor stores and big lifted trucks. I smelled weed literally everywhere. I saw lots of cops in certain parts. I saw a population that looked different from the people I had just seen in Kapolei.
12 years later, I still see all of that, but I see Waianae for what it truly is: a community.
The thing about Waianae is that it's not just local, it's Hawaiian (but with a whole lotta Portuguese last names). This makes it different than somewhere like, say, Pearl City or Nuuanu. Those places have plenty of locals, but ethnically speaking, these areas are more Filipino and/or Japanese.
Waianae, on the other hand, has the highest concentration of Kanaka Maoli on Oahu, which means that local culture there is dominated by Hawaiian culture. This is where you find Hawaiian immersion schools, Hawaiian murals, and so forth. There are non-Hawaiians who live in Waianae, but the historical structure of the community is rooted in old Hawaiian culture.
I used to work at the Comp (if you know, you know). And it was at the Comp where I first learned just how strong of a community Waianae was. My co-workers would call older Patients uncle and aunty, which is obviously the norm in Hawaii, but they would actually be related to the Patients. Like, "oh yeah that's my mom's cousin" or "that's my dad's older brother." Everybody seemed to know each other from school, family ties, or some other connection. It was incredible.
After work, I'd drive home back to Kapolei, and everyone was outside. Everyone was at the beach (shout out to Nanakuli Beach Park), at the parks, taking walks, etc. And as soon as I got back to Kapolei, with its shopping centers and carefully-manicured streets, I felt like I had left something behind in Waianae.
Waianae is rough. I hesitate to use the term "ghetto," because I don't think it's quite "ghetto." It's more of a working-class country kind of vibe. It's more rural Mississippi Delta than Southside Chicago. But make no mistake, whatever you call it, Waianae is a rough area. Drugs are everywhere, shootings are not uncommon (I started writing this shortly after the chicken fight shooting and there was just another shooting at Makaha Beach) and scrapping is a beloved pastime.
It's sad to see the social issues that plague Waianae, and there is a lot of work that needs to be done in that community. But the beautiful thing is that the work is being done by the community. That's the thing about Waianae: nobody there is content with just waiting for the State to help out. Waianae takes matters into its own hands.
The State won't provide affordable housing for the house houseless? Waianae builds a houseless community.
Healthcare hard to come by in Waianae? Waianae builds a medical center.
Hawaiian language in danger of dying out among the younger generations? Waianae builds Hawaiian language immersion schools.
They say Waianae is ghetto, but I say it's proud. It's not somewhere the average tourist or newcomer to Oahu is likely to understand, so many may go once and not go back or avoid it altogether. Waianae's reputation is part of the reason it has managed to retain a certain vibe that other parts of Oahu have lost.
Is it dangerous? I hate this question. Waianae is not Rio de Janeiro, but if someone visiting from Iowa were to ask me, I'd tell them that you definitely need to understand that it's not the Hawaii they promote to tourists in the brochures. Someone from the Bronx might not consider it dangerous because there aren't swaths of gangbangers shooting at each other, but they'd be wrong in thinking Waianae is soft.

1. In Conclusion

These are some of the areas newcomers to Hawaii are told are dangerous. All are on the western part of Oahu, but only Waianae is truly the West Side. Don't let some townie convince you that Kunia is the West Side. Ewa Beach and Waiaphu are sometimes referred to as the South Side, though not as often as Waianae is called the West Side.
I'd say Waianae is without a doubt the roughest area, followed by Waipahu in second place and Ewa Beach in third. But all of these areas have their charm. Waianae is naturally beautiful. The beach, the mountains, the real people of the real Hawaii. Waipahu is a diverse town with great food. And Ewa Beach is the capital of Hawaii.
I've not spent enough time in Kalihi, Wahiawa, Halawa, Palolo, etc. to give a deep analysis, but maybe next time I'll cover the "nicer" areas of Oahu like Kapolei or the really nice areas like Hawaii Kai. Or maybe the East Side or the North Shore or Kaimuki or something. I'll probably do the Laie area. That's a whole different island as far as I'm concerned. Anyway, thanks for reading.
Aloha.

Airtimes EST
THU JUN 01
(1:30AM) The Girl Who Had Everything (1953/1h 9m/Drama/Richard Thorpe)
(2:45AM) It's a Big Country: An American Anthology (1952/1h 29m/Drama/Clarence Brown)
(4:30AM) Alias a Gentleman (1948/1h 16m/Comedy/Harry Beaumont)
(6:00AM) Showgirl in Hollywood (1930/1h 20m/Musical/Mervyn Le Roy)
(7:30AM) Bright Lights (1931/1h 9m/Musical/Michael Curtiz)
(8:45AM) Cain and Mabel (1936/1h 30m/Romance/Lloyd Bacon)
(10:30AM) Marked Woman (1937/1h 36m/Drama/Lloyd Bacon)
(12:15PM) Ziegfeld Girl (1941/2h 11m/Musical/Robert Z. Leonard)
(2:45PM) The Prince and the Showgirl (1957/1h 57m/Comedy/Laurence Olivier)
(4:45PM) Party Girl (1958/1h 39m/Crime/Nicholas Ray)
(6:30PM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(8:00PM) Bringing Up Baby (1938/1h 42m/Comedy/Howard Hawk)
(10:00PM) Break of Hearts (1935/1h 20m/Romance/Philip Moeller)
(11:30PM) Sylvia Scarlett (1935/1h 37m/Romance/George Cukor)
FRI JUN 02
(1:15AM) Mary of Scotland (1936/2h 3m/Romance/John Ford)
(3:30AM) Quality Street (1937/1h 24m/Comedy/George Stevens)
(5:00AM) Christopher Strong (1933/1h 17m/Romance/Dorothy Arzner)
(6:30AM) The Little Minister (1934/1h 50m/Romance/Richard Wallace)
(8:30AM) Spitfire (1934/1h 28m/Drama/John Cromwell)
(10:00AM) Blood on the Moon (1948/1h 28m/Western/Robert Wise)
(11:30AM) The Good Guys and the Bad Guys (1969/1h 31m/Comedy/Burt Kennedy)
(1:15PM) Desire Me (1947/1h 31m/Romance/George Cukor)
(3:00PM) Holiday Affair (1949/1h 27m/Romance/Don Hartman)
(4:30PM) Angel Face (1953/1h 31m/Crime/Otto Preminger)
(6:15PM) Out of the Past (1947/1h 37m/Film-NoiJacques Tourneur)
(8:00PM) She Done Him Wrong (1933/1h 6m/Comedy/Lowell Sherman)
(9:30PM) The Gang's All Here (1943/1h 43m/Musical/Busby Berkeley)
(11:30PM) The Importance Of Being Earnest (1952/1h 35m/Comedy/Anthony Asquith)
SAT JUN 03
(1:15AM) Pillow Talk (1959/1h 45m/Comedy/Michael Gordon)
(3:15AM) Auntie Mame (1958/2h 23m/Comedy//Morton DaCosta)
(5:45AM) The Women (1939/2h 12m/Comedy/George Cukor)
(8:00AM) MGM CARTOONS: The Homeless Flea (1940/0h 7m/Animation/Rudolf Ising)
(8:09AM) One Against the World (1939/0h 10m/Short/Fred Zinnemann)
(8:21AM) Zeeland "The Hidden Paradise" (1935/0h 6m/Short/Ruth Fitzpatrick)
(8:29AM) The Big Noise (1936/57m/Drama/Frank Mcdonald)
(9:30AM) The BATMAN: The Executioner Strikes (1943/0h 15m/Serial/Lambert Hillyer)
(10:00AM) POPEYE: Hill-Billing and Cooing (1956/0h 6m/Animation/Seymour Kneitel)
(10:08AM) Calling Philo Vance (1939/1h 2m/Suspense/William Clemens)
(11:30AM) Main Street Today (1944/0h 19m/Short/Edward L. Cahn)
(12:00PM) ABBA: The Movie (1977/1h 34m/Documentary/?)
(1:45PM) Hoosiers (1986/1h 55m/Drama/David Anspaugh)
(4:00PM) Angels in the Outfield (1951/1h 42m/Drama/Clarence Brown)
(6:00PM) Strangers on a Train (1951/1h 36m/Suspense/Alfred Hitchcock)
(8:00PM) The Black Shield of Falworth (1954/1h 39m/Adventure/)
(10:00PM) The Great Impostor (1960/1h 52m/Adaptation/Robert Mulligan)
SUN JUN 04
(12:00AM) Between Midnight and Dawn (1950/1h 29m/Film-NoiGordon Douglas)
(2:00AM) Swing Shift (1984/1h 40m/Romance/Jonathan Demme)
(4:00AM) Protocol (1984/1h 36m/Comedy/Herbert Ross)
(6:00AM) Saturday Night and Sunday Morning (1960/1h 30m/Drama/Karel Reisz)
(7:45AM) The Loved One (1965/1h 56m/Comedy/Tony Richardson)
(10:00AM) Between Midnight and Dawn (1950/1h 29m/Film-NoiGordon Douglas)
(12:00PM) Born Yesterday (1950/1h 43m/Comedy/George Cukor)
(2:00PM) The Mating Game (1959/1h 37m/Comedy/George Marshall)
(3:45PM) Sex and the Single Girl (1964/1h 54m/Comedy/Richard Quine)
(5:45PM) A Chorus Line (1985/1h 53m/Musical/Richard Attenborough)
(8:00PM) Blazing Saddles (1974/1h 33m/Western/Mel Brooks)
(10:00PM) Along Came Jones (1945/1h 30m/Western/Stuart Heisler)
MON JUN 05
(12:00AM) The Blackbird (1926/1h 26m/Tod Browning)
(2:00AM) Before the Rain (1994/1h 55m/WaMilcho Manchevski)
(4:00AM) Three Colors: White (1994/1h 30m/Drama/Krzysztof Kieslowski)
(6:00AM) June Bride (1948/1h 37m/Romance/Bretaigne Windust)
(8:00AM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(10:00AM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
(12:00PM) Double Wedding (1937/1h 27m/Comedy/Richard Thorpe)
(2:00PM) The Bride Came C.O.D. (1941/1h 32m/Comedy/William Keighley)
(4:00PM) Father of the Bride (1991/1h 45m/Comedy/Charles Shyer)
(6:00PM) High Society (1956/1h 47m/Musical/Charles Walters)
(8:00PM) High Sierra (1941/1h 40m/Crime/Raoul Walsh)
(10:00PM) Colorado Territory (1949/1h 34m/Western/Raoul Walsh)
TUE JUN 06
(12:00AM) The Women (1939/2h 12m/Comedy/George Cukor)
(2:15AM) The Opposite Sex (1956/1h 57m/Musical/David Miller)
(4:15AM) The Bride Goes Wild (1948/1h 38m/Comedy/Norman Taurog)
(6:00AM) The Private Life of Don Juan (1934/1h 26m/Alexander Korda)
(7:30AM) The Life Of Jimmy Dolan (1933/1h 10m/Archie Mayo)
(9:00AM) The Mad Miss Manton (1938)1h 5m/Mystery/Leigh Jason)
(10:30AM) In the Cool of the Day (1963/1h 29m/Robert Stevens)
(12:00PM) The Bad and the Beautiful (1952/1h 58m/Drama/Vincente Minnelli)
(2:00PM) Coma (1978/1h 53m/HorroMichael Crichton)
(4:00PM) The Clock (1945/1h 30m/Romance/Vincente Minnelli)
(5:45PM) Cabaret (1972/2h 4m/Musical/Bob Fosse)
(8:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(10:00PM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
WED JUN 07
(1:15AM) A Star Is Born (1937/1h 51m/Romance/William A. Wellman)
(3:15AM) What Price Hollywood? (1932/1h 28m/Drama/George Cukor)
(5:00AM) Show People (1928/1h 23m/Silent/King Vidor)
(6:30AM) Souls for Sale (1923/1h 30m/Rupert Hughes)
(8:15AM) Hell Below (1933/1h 45m/WaJack Conway)
(10:00AM) The Navy Comes Through (1942/1h 22m/WaA. Edward Sutherland)
(11:30AM) Sealed Cargo (1951/1h 29m/Adventure/Alfred Werker)
(1:00PM) Torpedo Run (1958/1h 38m/Joseph Pevney)
(2:45PM) Submarine D-1 (1937/1h 40m/Drama/Lloyd Bacon)
(4:30PM) Battle of the Coral Sea (1959/1h 20m/WaPaul Wendkos)
(6:00PM) Around the World Under the Sea (1965/1h 57m/HorroAndrew Marton)
(8:00PM) Film: The Living Record of Our Memory (2021/2h 0m/Documentary/Inés Toharia Terán)
(10:15PM) The Invention of Cinema: The First Colors of… (2022/Documentary)
(11:30PM) The Invention of Cinema: Cinema Finds its Voice (2022/Documentary)
THU JUN 08
(12:45AM) Going Attractions: The Definitive Story of the Movie Palace (2019/1h 24m/Documentary/April Wright)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 01) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 02) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 03) (2019/Documentary/Mark Cousins)
(6:15AM) Women Make Film: A New Road Movie Through Cinema (Episode 04) (2019/Documentary/Mark Cousins)
(7:30AM) Image Makers: The Adventures of America's Pioneer Cinematographers (2019/1h 31m/Documentary/Daniel Raim)
(9:30AM) This is Francis X. Bushman (2021/1h 0m/Documentary/Lon Davis)
(10:45AM) The Doughgirls (1944/1h 42m/Comedy/James V. Kern)
(12:30PM) Split Second (1953/1h 25m/Suspense/Dick Powell)
(2:00PM) The Young Philadelphians (1959/2h 16m/Drama/Vincent Sherman)
(4:30PM) The Horn Blows at Midnight (1945/1h 20m/Comedy/Raoul Walsh)
(6:00PM) The Constant Nymph (1943/1h 52m/Romance/Edmund Goulding)
(10:30PM) Suddenly, Last Summer (1960/1h 54m/Drama/Joseph L. Mankiewicz)
FRI JUN 09
(12:45AM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(3:00AM) Woman of the Year (1942/1h 52m/Comedy//George Stevens)
(5:00AM) Alice Adams (1935/1h 40m/Comedy/George Stevens)
(7:00AM) Enchanted Island (1958/1h 33m/Drama/Allan Dwan)
(8:45AM) The Great Heart (1938/0h 10m/Short/David Miller)
(9:00AM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(10:45AM) Having a Wild Weekend (1965/1h 31m/Musical/John Boorman)
(12:30PM) Don't Make Waves (1967/1h 37m/Comedy/Alexander Mackendrick)
(2:15PM) Lord of the Flies (1963/1h 30m/Drama/Peter Brook)
(4:00PM) Kona Coast (1968/1h 32m/Suspense/Lamont Johnson)
(5:45PM) The Last Of Sheila (1973/2h 0h/Suspense/Herbert Ross)
(8:00PM) Written on the Wind (1957/1h 32m/Drama/Douglas Sirk)
(9:45PM) Valley of the Dolls (1967/2h 2m/Drama/Mark Robson)
SAT JUN 10
(12:00AM) Love Has Many Faces (1965/1h 45m/Romance/Alexander Singer)
(2:00AM) Queen Bee (1955/1h 35m/Drama/Ranald Macdougall)
(3:45AM) The Bad Seed (1956/2h 9m/Suspense/Mervyn Leroy)
(6:00AM) Two Weeks in Another Town (1962/1h 47m/Drama/Vincente Minnelli)
(8:00AM) MGM CARTOONS: Innertube Antics (1944/0h 7m/Animation/George Gordon)
(8:09AM) New Roadways (1939/0h 9m/Short/Basil Wrangell)
(8:20AM) St. Helena and its "Man of Destiny" (1936/0h 7m/Short/?)
(8:29AM) The Adventures of Jane Arden (1939/0h 58m/Crime/Terry Morse)
(9:30AM) THE BATMAN: The Doom of the Rising Sun) 1943/0h 20m/Serial/Lambert Hillyer)
(10:00AM) POPEYE: Popeye for President (1956/0h 6m/Animation/Seymour Kneitel)
(10:08AM) The Dragon Murder Case (1934/1h 8m/Mystery/H. Bruce Humberstone)
(11:30AM) Know Your Money (1940/0h 21m/Short/Joe Newman)
(12:00PM) The Merry Widow (1934/1h 39m/Musical/Ernst Lubitsch)
(1:45PM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(3:45PM) Kings Row (1942/2h 7m/Drama/Sam Wood)
(6:00PM) The Cincinnati Kid (1965/1h 53m/Drama/Norman Jewison)
(8:00PM) Gilda Live (1980/1h 30m/Comedy/Mike Nichols)
(9:45PM) Valerie (2019/0h 36m/Documentary/Stacey Souther)
(10:30PM) Lenny (1974/1h 51m/Adaptation/Bob Fosse)
SUN JUN 11
(12:30AM) The Verdict (1946/1h 26m/Film-NoiDon Siegel)
(2:30AM) A Hard Day's Night (1964/1h 32m/Musical//Richard Lester)
(4:15AM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(6:00AM) The Cool Ones (1967/1h 38m/Musical/Gene Nelson)
(8:00AM) I Love You, Alice B. Toklas! (1968/1h 34m/Comedy/Hy Averback)
(10:00AM) The Verdict (1946/1h 26m/Film-NoiDon Siegel)
(11:45AM) Wait Until Dark (1967/1h 48m/Suspense/Terence Young)
(1:45PM) The Catered Affair (1956/1h 33m/Drama/Richard Brooks)
(3:30PM) The Damned Don't Cry (1950/1h 43m/Crime/Vincent Sherman)
(5:30PM) Flower Drum Song (1961/2h 13m/Musical/Henry Koster)
(8:00PM) The Three Musketeers (1973/1h 45m/Adventure/Richard Lester)
(10:00PM) One Million Years B. C. (1966/1h 31m/Fantasy/Don Chaffey)
MON JUN 12
(12:15AM) The Cameraman (1928/1h 18m/Silent/Edward Sedgwick)
(12:15AM The Navigator (1924/1h 20m/Silent/Donald Crisp)
(2:45AM) The Bad Sleep Well (1960/2h 15m/Suspense/Akira Kurosawa)
(5:15AM) Ikiru (1952/2h 23m/Drama/Akira Kurosawa)
(7:45AM) The Marshal of Mesa City (1939/1h 2m/Western/David Howard)
(9:00AM) Party Girl (1958/1h 39m/Crime/Nicholas Ray)
(10:45AM) The Big Shot (1942/1h 22m/Crime/Lewis Seiler)
(12:15PM) The Racket (1951/1h 28m/Crime/John Cromwell
(1:45PM) Jack Pot (1940/0h 19m/Short/Roy Rowland)
(2:15PM) Wichita (1955/1h 21m/Western/Jacques Tourneur)
(3:45PM) Buyer Beware (1940/0h 21m/Crime/Joseph Newman)
(4:15PM) A Lion Is in the Streets (1953/1h 28m/Drama/Raoul Walsh)
(6:00PM) McQ (1974/1h 56m/Crime/John Sturges)
(8:00PM) Born Yesterday (1950/1h 43m/Comedy/George Cukor)
(10:00PM) The Solid Gold Cadillac (1956/1h 39m/Comedy/Richard Quine)
TUE JUN 13
(12:00AM) Phffft (1954/1h 31m/Comedy/Mark Robson)
(1:45AM) Full of Life (1957/1h 31m/Comedy/Richard Quine)
(3:30AM) Bells Are Ringing (1960/2h 7m/Musical/Vincente Minnelli)
(6:00AM) The Bishop Murder Case (1930/1h 28m/Mystery/David Burton)
(7:30AM) The Lady of Scandal (1930/1h 16m/Romance/Sidney Franklin)
(9:00AM) Sin Takes a Holiday (1930/1h 21m/Comedy/Paul Stein)
(10:30AM) The Last Days of Pompeii (1935/1h 36m/Drama/Ernest B. Schoedsack)
(12:15PM) A Tale of Two Cities (1935/2h 0h/Drama/Jack Conway)
(2:30PM) Romeo and Juliet (1937/2h 7m/Romance/George Cukor)
(4:45PM) The Dawn Patrol (1938/1h 43m/WaEdmund Goulding)
(6:45PM) The Woman in Green (1945/1h 8m/Mystery/Roy William Neill)
(8:00PM) Sunset Blvd. (1950/1h 51m/Drama/Billy Wilder)
10:00PM) In a Lonely Place (1950/1h 31m/Drama/Nicholas Ray)
WED JUN 14
(12:00AM) The Player (1992/2h 3m/Comedy/Robert Altman)
(2:15AM) Crashing Hollywood (1938/1h 1m/Comedy/Lew Landers)
(3:30AM) Boy Meets Girl (1938/1h 20m/Comedy/Lloyd Bacon)
(5:15AM) Best Friends (1982/1h 56m/Comedy/Norman Jewison)
(7:15AM) Pat and Mike (1952/1h 35m/Comedy/George Cukor)
(9:00AM) How I Play Golf, by Bobby Jones No. 8: 'The Brassie' (1931/0h 10m/Short/George Marshall)
(9:15AM) The Great American Pastime (1956/1h 29m/Comedy/Herman Hoffman)
(11:00AM) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)
(1:00PM) The Fish That Saved Pittsburgh (1979/1h 44m/Comedy/Gilbert Moses)
(3:00PM) Greased Lightning (1977/1h 36m/Biography/Michael Schultz)
(4:45PM) Grand Prix (1966/2h 59m/Adventure/John Frankenheimer)
(8:00PM) Carl Laemmle (2019/1h 31m/Documentary/James L. Freedman)
(9:45PM) Oscar Micheaux: The Superhero of Black Filmmaking (2021/h 20m/Documentary/Francesco Zippel)
(11:15PM) Burden of Dreams (1982/1h 34m/Documentary/Les Blank)
THU JUN 15
(1:00AM) A Fuller Life (2013/1h 20m/Documentary/Samantha Fuller)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 05) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 06) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 07) (2019/Documentary/Mark Cousins)
(6:15AM) Women Make Film: A New Road Movie Through Cinema (Episode 08) (2019/Documentary/Mark Cousins)
(7:30AM) The True Adventures of Raoul Walsh (2014/1h 35m/Documentary/Marilyn Ann Moss)
(9:15AM) Escape From East Berlin (1962/1h 34m/Drama/Robert Siodmak)
(11:00AM) The League of Gentlemen (1960/1h 56m/Crime/Basil Dearden)
(1:00PM) Double Trouble (1967/1h 30m/Musical/Norman Taurog)
(2:45PM) Light in the Piazza (1962/1h 41m/Romance/Guy Green)
(4:30PM) Murder She Said (1961/1h 26m/Mystery/George Pollock)
(6:00PM) Made in Paris (1966/1h 43m/Comedy/Boris Sagal)
(8:00PM) Guess Who's Coming to Dinner (1967/1h 48m/Comedy/Stanley Kramer)
(10:00PM) The Lion in Winter (1968/2h 14m/Drama/Anthony Harvey)
FRI JUN 16
(12:30AM) On Golden Pond (1981/1h 49m/Drama/Mark Rydell)
(2:30AM) Morning Glory (1933/1h 14m/Drama/Lowell Sherman)
(4:00AM) Lovely To Look At (1952/1h 45m/Musical/Mervyn Le Roy)
(6:00AM) Possessed (1931/1h 12m/Romance//Clarence Brown)
(7:30AM) Anna Karenina (1935/1h 35m/Romance/Clarence Brown)
(9:30AM) Wife Vs. Secretary (1936/1h 28m/Romance/Clarence Brown)
(11:0AM) Of Human Hearts (1938/1h 40m/Drama/Clarence Brown)
(1:00PM) Song of Love (1947/1h 59m/Western/Clarence Brown)
(3:15PM) Intruder in the Dust (1949/1h 29m/Drama/Clarence Brown)
(4:45PM) To Please a Lady (1950/1h 31m/Romance/Clarence Brown)
(6:30PM) When in Rome (1952/1h 18m/Drama/DirectoClarence Brown)
(8:00PM) Beach Blanket Bingo (1965/1h 38m/Musical/William Asher)
(9:45PM) Barbarella (1968/1h 38m/Sci-Fi/Roger Vadim)
(11:30PM) Earth Girls Are Easy (1988/1h 40m/Comedy/Julien Temple)
SAT JUN 17
(1:15AM) The Apple (1980/1h 32m/Musical/Menahem Golan)
(2:45AM) Queen of Outer Space (1958/1h 20m/Sci-Fi/Edward Bernds)
(4:15AM) Hercules, Samson & Ulysses (1963/1h 25m/Adventure/Pietro Francisci)
(5:45AM) Plan 9 from Outer Space (1959/1h 19m/HorroEdward D. Wood, Jr.)
(7:15AM) MGM Parade Show #5 (1955/0h 25m/Documentary/?)
(8:00AM) MGM CARTOONS: Early Bird and the Worm (1936/0h 9m/Short/Rudolf Ising)
(8:11AM) Microscopic Mysteries (1932/0h 9m/Documentary/Hugo Lund)
(8:21AM) Zion Canyon of Colour (1934/0h 7m/Short/?)
(8:30AM) Central Park (1932/0h 58m/Comedy/John G. Adolfi)
(9:30AM) BATMAN AND ROBIN: Batman Takes Over (1949/0h 27m/Serial/Spencer Gordon Bennet)
(10:00AM) POPEYE: Out to Punch (1956/0h 6m/Animation/?)
(10:08AM) The Garden Murder Case (1936/1h 2m/Mystery/Edwin L. Marin)
(11:30AM) Trial by Trigger (1944/0h 21m/Short/William McGann)
(12:00PM) Reveille with Beverly (1943/1h 18m/Musical/Charles Barton)
(1:30PM) How the West Was Won (1962/2h 35m/Western/John Ford)
(4:30PM) Kansas City Confidential (1952/1h 38m/Crime/Phil Karlson)
(6:15PM) Badlands (1973/1h 35m/Crime/Terrence Malick)
(8:00PM) Time After Time (1979/1h 52m/HorroNicholas Meyer)
(10:00PM) Repeat Performance (1947/1h 33m/Drama/Alfred Werker)
SUN JUN 18
(12:00AM) Flaxy Martin (1949/1h 26m/Film-NoiRichard Bare)
(2:00AM) The Great Santini (1979/1h 55m/Drama/Lewis John Carlino)
(4:00AM) I Never Sang for My Father (1970/1h 30m/Drama/Gilbert Cates)
(6:00AM) The Impossible Years (1968/1h 38m/Comedy/Michael Gordon)
(8:00AM) Our Vines Have Tender Grapes (1945/1h 45m/Drama/Roy Rowland)
(10:00AM) Flaxy Martin (1949/1h 26m/Film-NoiRichard Bare)
(11:45AM) Fiddler on the Roof (1971/3h 0m/Musical/Norman Jewison)
(3:00PM) To Kill a Mockingbird (1962/2h 11m/Drama/Robert Mulligan)
(5:30PM) The Courtship of Eddie's Father (1963/1h 57m/Comedy/Vincente Minnelli)
(7:45PM) So You're Going to Be a Father (1947/0h 10m/Short/Richard Bare)
(8:00PM) Life with Father (1947/1h 58m/Comedy/Michael Curtiz)
(10:15PM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
MON JUN 19
(12:00AM) The Divine Lady (1929/1h 50m/Romance/Frank Lloyd)
(2:00AM) Bay of the Angels (1964/1h 25m/Drama/Jacques Demy)
(3:45AM) Donkey Skin (1970/1h 30m/Drama/Jacques Demy)
(5:30AM) MGM Parade Show #5 (1955/25m/Documentary/?)
(6:00AM) Man Wanted (1932/William Dieterle)
(7:15AM) Millie (1931/1h 25m/Drama/John Francis Dillon)
(8:45AM) The Big Hangover (1950/1h 22m/Comedy/Norman Krasna)
(10:15AM) The Angel Wore Red (1960/1h 39m/Romance/Nunnally Johnson)
(12:00PM) Rancho Notorious (1952/1h 29m/Western/Fritz Lang)
(1:45PM) They Live by Night (1948/1h 35m/Crime/Nicholas Ray)
(3:30PM) Pitfall (1948/1h 24m/Film-NoiAndre De Toth)
(5:00PM) Indiscretion of an American Wife (1954/1h 3m/Romance/Vittorio De Sica)
(6:15PM) Tab Hunter Confidential (2015/1h 30m/Biography/Jeffrey Schwarz)
(8:00PM) Do the Right Thing (1989/2h 0m/Drama/Spike Lee)
(10:15PM) Alma's Rainbow (1994/1h 25m/Drama /Ayoka Chenzira)
TUE JUN 20
(12:00AM) Just Another Girl On The I.R.T. (1993/1h 36m/Drama/Leslie Harris)
(2:00AM) Blackboard Jungle (1955/1h 41m/Drama/Richard Brooks)
(4:00AM) Edge of the City (1957/1h 25m/Drama/Martin Ritt)
(6:00AM) The Lady Refuses (1931/1h 12m/Drama/George Archainbaud)
(7:15AM) A Notorious Affair (1930/1h 9m/Drama/Lloyd Bacon)
(8:30AM) Bullets for O'Hara (1941/0h 50m/Crime/William K. Howard)
(9:30AM) No Marriage Ties (1933/1h 5m/Drama/J. Walter Ruben)
(10:45AM) Play Girl (1932/1h 0m/Romance/Ray Enright)
(12:00PM) War Nurse (1930/1h 20m/WaEdgar Selwyn)
(1:30PM) Wings for the Eagle (1942/1h 23m/WaLloyd Bacon)
(3:00PM) The White Sister (1933/1h 41m/Drama/Victor Fleming)
(5:00PM) Their Own Desire (1929/1h 5m/Drama/E. Mason Hopper)
(6:15PM) Smilin' Through (1932/1h 37m/Romance/Sidney Franklin)
(8:00PM) Sullivan's Travels (1942/1h 31m/Comedy/Preston Sturges)
(9:45PM) Bombshell (1933/1h 31m/Comedy/Victor Fleming)
(11:30PM) Hearts of the West (1975/1h 43m/Western/Howard Zieff)
WED JUN 21
(1:30AM) Never Give a Sucker an Even Break (1941/1h 11m/Comedy/Edward Cline)
(3:00AM) It's a Great Feeling (1949/1h 25m/Comedy/David Butler)
(4:30AM) Hollywood Party (1934/1h 3m/Musical/Allan Dwan)
(6:00AM) The Runaway Bus (1954/1h 18m/Comedy/Val Guest)
(7:15AM) Journey for Margaret (1942/1h 21m/Drama/Major W. S. Van Dyke II)
(8:45AM) The Time Machine (1960/1h 43m/Sci-Fi/George Pal)
(10:30AM) Looking at London (1946/0h 10m/Short/?)
(10:45AM) Berkeley Square (1933/1h 24m/Romance/Frank Lloyd)
(12:15PM) High Hopes (1988/1h 52m/Comedy/Mike Leigh)
(2:15PM) A Hard Day's Night (1964/1h 32m/Musical/Richard Lester)
(4:00PM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(5:45PM) The V.I.P.s (1963/1h 59m/Drama/Anthony Asquith)
(8:00PM) Z Channel: A Magnificent Obsession (2004/2h 2m/Documentary/Xan Cassavetes)
(10:15PM) What She Said: The Art of Pauline Kael (2018/Documentary/Rob Garver)
THU JUN 22
(12:00AM) The Celluloid Closet (1995/1h 42m/Documentary/Robert Epstein)
(2:00AM) Paul Robeson: Tribute to an Artist (1979/Biography/Documentary/Saul J. Turell)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 09) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 10) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 11) (2019/Documentary/Mark Cousins)
(6:15AM) Yellowface: Asian Whitewashing and Racism in Hollywood (2019/Documentary/Clara Kuperberg and Julia Kuperberg)
(7:15AM) Soundies: A Musical History (2007/1h 16m/Documentary/0h 54m/Chris Lamson)
(8:45AM) Soldiers Three (1951/1h 27m/Adventure/Tay Garnett)
(10:30AM) The Wild North (1952/1h 37m/Western/Andrew Marton)
(12:15PM) Bhowani Junction (1956/1h 50m/Drama/George Cukor)
(2:15PM) Green Fire (1955/1h 40m/Adventure/Andrew Marton)
(4:00PM) The Prisoner of Zenda (1952/1h 41m/Adventure/Richard Thorpe)
(6:00PM) King Solomon's Mines (1950/1h 42m/Adventure/Compton Bennett)
(8:00PM) Holiday (1938/1h 33m/Comedy/George Cukor)
(10:00PM) Little Women (1933/1h 55m/Drama/George Cukor)
FRI JUN 23
(12:15AM) A Woman Rebels (1936/1h 28m/Drama/Mark Sandrich)
(2:00AM) Undercurrent (1946/1h 56m/Suspense/Vincente Minnelli)
(4:15AM) Stage Door (1937/1h 23m/Drama/Gregory LaCava)
(6:00AM) A King in New York (1957/1h 45m/Comedy/Charles Chaplin)
(8:00AM) Girlfriends (1978/1h 26m/Comedy/Claudia Weill)
(9:30AM) The Naked City (1948/1h 36m/Crime/Jules Dassin)
(11:15AM) Up the Sandbox (1972/1h 37/Drama/Irvin Kershner)
(1:00PM) The House on 56th Street (1933/1h 8m/Drama/Robert Florey)
(2:15PM) This Is the Bowery (1941/0h 10m/Short/Gunther Von Fritsch)
(2:3PM) The Prisoner Of Second Avenue (1974/1h 45m/Comedy/Melvin Frank)
(4:15PM) Soylent Green (1973/1h 27m/Sci-Fi/Richard O. Fleischer)
(6:00PM) Daybreak Express (1953/0h 5m/Short/D.A. Pennebaker)
(6:15PM) Crossing Delancey (1988/1h 37m/Romance/Joan Micklin Silver)
(8:00PM) Grey Gardens (1976/1h 34m/Documentary/Ellen Hovde)
(9:45PM) What Ever Happened to Baby Jane? (1962/2h 12m/HorroRobert Aldrich)
SAT JUN 24
12:15AM) X Y & Zee (1972/1h 50m/Drama/Brian G. Hutton)
(2:15AM) The Big Cube (1969/1h 38m/Drama/Tito Davison)
(4:00AM) The Legend of Lylah Clare (1968/2h 10m/Drama/Robert Aldrich)
(6:15AM) Vacation from Marriage (1945/1h 32m/Drama/Alexander Korda)
(8:00AM) MGM CARTOONS: Dumb-Hounded (1943/0h 8m/Animation/Fred “Tex” Avery)
(8:10AM) Pacific Paradise (1937/0h 10m/Short/George Sidney)
(8:21AM) Calling on Colombia (1940/0h 8m/Documentary/James A. Fitzpatrick)
(8:30AM) Once a Doctor (1937/0h 57m/Drama/William Clemens)
(9:30AM) BATMAN AND ROBIN: Tunnel of Terror (1949/0h 17m/Serial/Spencer Bennett)
(10:00AM) POPEYE: Insect to Injury (1956/0h 6m/Animation/Dave Tendlar)
(10:08AM) Murder in the Private Car (1934/1h 3m/Mystery/Harry Beaumont)
(11:30AM) The Flame Song (1934/0h 21m/Short/Joseph Henabery)
(12:00PM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
(3:15PM) East of Eden (1955/1h 55m/Drama/Elia Kazan)
(5:30PM) Mister Roberts (1955/2h 3m/Comedy/John Ford)
(8:00PM) On the Waterfront (1954/1h 48m/Drama/Elia Kazan)
(10:00PM) Vertigo (1958/2h 8m/Suspense/Alfred Hitchcock)
SUN JUN 25
(12:15AM) Storm Warning (1951/1h 33m/Film-NoiStuart Heisler)
(2:15AM) A Cry in the Dark (1988/2h 1m/Drama/Fred Schepisi)
(4:30AM) My Brilliant Career (1979/1h 38m/Drama/Gillian Armstrong)
(6:15AM) Athena (1954/1h 36m/Musical/Richard Thorpe)
(8:00AM) Calamity Jane (1953/1h 41m/Musical/David Butler)
(10:00AM) Storm Warning (1951/1h 33m/Film-NoiStuart Heisler)
(12:00PM) Imitation of Life (1959/2h 5m/Romance/Douglas Sirk)
(2:15PM) Pride and Prejudice (1940/1h 57m/Romance/Robert Z. Leonard)
(4:30PM) The Reluctant Debutante (1958/1h 36m/Musical/Vincente Minnelli)
(6:15PM) The Palm Beach Story (1942/1h 30m/Comedy/Preston Sturges)
TBD
MON JUN 26
(12:00AM) Don Juan (1926/1h 51m/Silent/Alan Crosland)
(2:00AM) Un Partie de Campagne (1936/0h 45m/Drama/Jean Renoir)
(3:00AM) Il bidone (1955/1h 32m/Comedy/Federico Fellini)
(5:00AM) Report from the Aleutians (1943/0h 45m/Documentary/Capt. John Huston)
(6:00AM) Many Rivers to Cross (1955/1h 32m/Western/Roy Rowland)
(7:45AM) Escape from Fort Bravo (1953/1h 38m/Western/John Sturges)
(9:30AM) The Very Thought of You (1944/1h 39m/Romance/Delmer Daves)
(11:15AM) One for the Book (1948/1h 43m/Comedy/Irving Rapper)
(1:00PM) Of Human Bondage (1946/1h 45m/Drama/Edmund Goulding)
(3:00PM) Lizzie (1957/1h 21m/Drama/Hugo Haas)
(4:30PM) Valley of the Kings (1954/1h 26m/Adventure/Robert Pirosh)
(6:00PM) Scaramouche (1952/1h 55m/Adventure/George Sidney)
(8:00PM) The Celluloid Closet (1995/1h 42m/DocumentaryRobert Epstein)
(10:00PM) Rope (1948/1h 20m/Suspense/Alfred Hitchcock)
(11:30PM) The Children's Hour (1961/1h 47m/Drama/William Wyler)
TUE JUN 27
(1:30AM) Queen Christina (1933/1h 37m/Romance/Rouben Mamoulian)
(3:30AM) Victim (1961/1h 40m/Drama/Basil Dearden)
(5:30AM) Tea and Sympathy (1956/2h 2m/Drama/Vincente Minnelli)
(7:45AM) The Case of the Howling Dog (1934/1h 14m/Suspense/Mystery/Alan Crosland)
(9:15AM) Murder on a Bridle Path (1936/1h 6m/Mystery/Edward Killy)
(10:30AM) The Saint Meets the Tiger (1943/1h 10m/Suspense/Paul Stein)
(12:00PM) The Kennel Murder Case (1933/1h 13m/Mystery/Michael Curtiz)
(1:30PM) Haunted Honeymoon (1940/1h 23m/Comedy/Arthur B. Woods)
(3:00PM) Eyes in the Night (1942/1h 20m/Mystery/Fred Zinnemann)
(4:30PM) Murder at the Gallop (1963/1h 21m/Mystery/George Pollock)
(6:00PM) Shadow of the Thin Man (1941/1h 37m/Mystery/Major W. S. Van Dyke II)
(8:00PM) The Bad and the Beautiful (1952/1h 58m/Drama/Vincente Minnelli)
(10:15PM) Two Weeks in Another Town (1962/1h 47m/Drama/Vincente Minnelli)
WED JUN 28j
(12:15AM) The Barefoot Contessa (1954/2h 8m/Drama/Joseph L. Mankiewicz)
(2:45AM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(5:00AM) The Oscar (1966/1h 59m/Drama/Russell Rouse)
(7:15AM) Mandalay (1934/1h 5m/Suspense/Michael Curtiz)
(8:30AM) The Unsuspected (1947/1h 43m/Suspense/Michael Curtiz)
(10:15AM) The Unholy Wife (1957/1h 34m/Crime/John Farrow)
(12:00PM) Back in Circulation (1937/1h 22m/Drama/Ray Enright)
(1:30PM) The Man with a Cloak (1951/1h 21m/Suspense/Fletcher Markle)
(3:00PM) D.O.A. (1950/1h 23m/Film-NoiRudolph Maté)
(4:30PM) Shadow on the Wall (1950/1h 24m/Suspense/Patrick Jackson)
(6:15PM) The Nanny (1965/1h 33m/HorroSeth Holt)
(8:00PM) Harold and Lillian: A Hollywood Love Story (2015/1h 34m/Documentary/Daniel Raim)
(9:45PM) By Design: The Joe Caroff Story (2022/0h 52m/Documentary/Mark Cerulli)
(10:45PM) Floyd Norman: An Animated Life (2016/1h 34m/Documentary/Michael Fiore)
TBD
THU JUNE 29
(2:00AM) High Noon on the Waterfront (2022/0h 14m/Documentary/David Roberts)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Ep. 12) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Ep.13) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Ep. 14) (2019/Documentary/Mark Cousins
(6:15AM) Max Steiner: Maestro of Movie Music (2021/2h 0m/Documentary/Diana Friedberg)
(8:30AM) Dean Martin: King of Cool (2020/1h 47m/Documentary/Tom Donahue)
(10:30AM) Tarzan, the Ape Man (1932/1h 39m/Adventure/W. S. Van Dyke)
(12:15PM) Tarzan the Fearless (1933/1h 25m/Adventure/Robert F. Hill)
(1:45PM) The Valley of Decision (1945/1h 51m/Romance/Tay Garnett)
(3:45PM) Mrs. Parkington (1944/2h 4m/Romance/Tay Garnett)
(6:00PM) The Postman Always Rings Twice (1946/1h 51m/Crime/Tay Garnett)
(8:00PM) Desk Set (1957/1h 43m/Comedy/Walter Lang)
(10:00PM) Without Love (1945/1h 51m/Comedy/Harold S. Bucquet)
FRI JUN 30
(12:00AM) Pat and Mike (1952/1h 35m/Comedy/George Cukor)
(1:45AM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(3:45AM) Keeper of the Flame (1943/1h 40m/Drama/George Cukor)
(5:30AM) Week-End for Three (1941/1h 5m/Comedy/Irving Reis)
(6:45AM) MGM Parade Show #5 (1955/0h 25m/Documentary/?)
(7:30AM) Pagan Love Song (1950/1h 16m/Musical/Robert Alton)
(9:00AM) On an Island with You (1948/1h 47m/Musical/Richard Thorpe)
(11:00AM) Girl Happy (1965/1h 36m/Musical/Boris Sagal)
(12:45PM) You're Only Young Once (1938/1h 18m/Comedy/George B. Seitz)
(2:15PM) Catalina Caper (1967/1h 7m/Comedy/Lee Sholem)
(3:30PM) Where the Boys Are (1960/1h 39m/Comedy/Henry Levin)
(5:30PM) Sunkist Stars at Palm Springs (1936/0h 19m/Short/Roy Rowland)
(6:00PM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(8:00PM) VictoVictoria (1982/2h 14m/Musical/Blake Edwards)
(10:30PM) La Cage Aux Folles (1979/1h 37m/Comedy//Edouard Molinaro)

Hey everyone!
Planning a mini roadtrip with my partner, and we're looking at occasionally sleeping in the trunk of my 2023 outback with the rear seats down. Just looking for reccomendations for mattresses that aren't outrageously priced, but fit nicely. I've slept in a '95 Camry station wagon with an air mattress before and had issues with evenly spread pressure, so want to make sure i get it right this time!
Cheers

​
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Hey check out similar videos here: https://www.youtube.com/watch?v=05uKspxQ89s&list=PLVduyMnVQjzNYPljUBqwgAXdMPQ9CEKWY

This is not a comprehensive list, but it's as close as I could get to one from research and memory, and it includes quite a bit of Bay Area shenanigans. The Superdome appears fairly often as well:
1941 - The St. Louis Browns attempt to move to Los Angeles, but the winter meetings where the move's approval is set for a vote are scrapped by the attack on Pearl Harbor two days prior
1947 - NL President Ford Frick suggests to good friend and St. Louis Cardinals owner Sam Breadon that the team, currently renting Sportsmans Park from the Browns, should move to Chicago so it can finally have a successful NL franchise, but the White Sox and another area team stridently object so the team is instead sold to Fred Saigh
1953 - Facing federal tax evasion charges and bedeviled by Browns owner Bill Veeck loading the payroll with old Cardinals favorites and starting some wild promotions to shove his stadium's NL tenants out of town, Redbirds owner Fred Saigh nearly sells the team to a group in Houston before Gussie Busch floats in on a river of beer to save Stan Musial from a move to Texas
1953 - Saigh also nearly sold the Cardinals to a different beer baron - Fred Miller of Milwaukee - but as mentioned previously, the Budweiser guys saved the day instead
1953 - Unable to compete with the new Anheuser Busch money, the St. Louis Browns nearly move to Milwaukee instead, but Bill Veeck is blocked by the other owners. Milwaukee consoles itself by watching the ex-Boston Braves, who have just relocated there and will stay for a little over a decade. The Browns, who had started out as the original Milwaukee Brewers, move to Maryland and take on the Yankees franchise's original name as the Baltimore Orioles
1956 - The Washington Senators are courted by Los Angeles before the Brooklyn Dodgers enter the fray, then ultimately move to Minnesota five years later instead
1956 - New York Giants consider a move to Minneapolis before settling on San Francisco once the Brooklyn Dodgers' move west is solidified
1956 - The Kansas City Athletics owner, having just moved the team from Philadelphia, immediately regrets his decision and explores Los Angeles before being usurped by the Brooklyn Dodgers. He sells the team to Charles Finley a few years later
1958 - Incensed at having lost the Dodgers and Giants, New York mayor Robert Wagner enlists William Shea to try to poach the Phillies, Reds, or Dodgers, before switching tactics and instead attacking MLB's antitrust status until they agree to allow the Mets as an expansion franchise.
1962 - Charles Finley tries to move the Athletics to Dallas but gets blocked by other owners
1963 - Charles Finley tries to move the Athletics to Louisville but gets blocked by other owners
1964-1966 - Charles Finley tries unsuccessfully to move the Athletics to Atlanta
1964-1966 - Charles Finley tries unsuccessfully to move the Athletics to San Diego
1964-1966 - Charles Finley tries unsuccessfully to move the Athletics to Indianapolis
1964-1966 - Charles Finley tries unsuccessfully to move the Athletics to Seattle, before ultimately moving them to Oakland in 1968
1965 - The Cincinnati Reds are nearly sold to San Diego by Bill DeWitt (father of current Cardinals owner Bill DeWitt) before local investors step in
1966 - "Singing Cowboy" Gene Autrey tries to move the Los Angeles Angels, formerly of Wrigley Field and Dodger Stadium, to Long Beach, but when the city refuses to pay for a new stadium unless they are called the Long Beach Angels, he moves the team to Anaheim instead so he can use a name that will appeal to a larger southern California base. (Arte Moreno eventually makes a mockery of this entire naming debacle by restoring the Los Angeles name despite the team still being in Anaheim, which the city objects to, leading to the team briefly being called, at least in Spanish, Los Angeles de Los Angeles de Anaheim)
1968 - Bud Selig lures the White Sox to play some home games in Milwaukee and tries to buy the team and move it there, but the sale is blocked by other owners. Two years later he takes the Pilots from Seattle instead
1970s to 1990s - George Steinbrenner threatens to move the Yankees to New Jersey, also halfheartedly flirting with the New Orleans Superdome on a few brief occasions, particularly during a two-year stretch when the Yankees played at Shea Stadium (along with the Jets, Giants and Mets)
1973 - The Padres ink a deal to become the Washington (DC) Stars to replace the Texas Rangers version of the Senators, but after uniforms are designed and baseball cards printed, Ray Kroc of McDonalds fame steps in and keeps the team in San Diego
1975 - Charles Finley tries unsuccessfully to move the Athletics to Chicago's Comiskey Park...
1975 - ...because the White Sox' planned move to Seattle falls apart. Instead, baseball settled the debacle from the Pilots' quick exit via the Mariners expansion.
1976 - The San Francisco Giants try to leave Candestick Park for the warmer environs of Toronto, but a sale to the Labatts beer folks is blocked. Toronto gets the new Blue Jays franchise instead
1978 - Charles Finley tries unsuccessfully to move the Athletics to Denver
1979 - Charles Finley tries unsuccessfully to move the Athletics to New Orleans to play in the Superdome
1980s - Charles Finley tries unsuccessfully to sell the Athletics to Phoenix and/or to Denver again but is blocked by the city of Oakland after they lose the Raiders
1981 - The Pittsburgh Pirates entertain an offer to move to the Superdome in New Orleans, before the mayor threatens legal action
1981 - The Pirates entertain an offer from Tampa, which does not yet have a dome to offer and is ultimately rejected
1981-1985 - The Pittsburgh Pirates spend several years flirting with Denver, with talk dying down around the time of the (probably unrelated) MLB drug trial in the city, which implicates several players and the team's literally cocaine-addled parrot mascot
1985 - The Pittsburgh Pirates owner also flirts with a sale to Indianapolis, who has just stolen the Baltimore Colts from the NFL, but the mayor threatens to sue and scares both sides out of the deal
1987 - The Chicago White Sox flirt with the idea of moving to a new state-of-the-art dome being built in Tampa but ultimately settle for another Comiskey Park instead, thus narrowly helping the Windy City keep a professional baseball team
1990 - The San Francisco Giants atrempt to secure funding for a new stadium in Santa Clara but it is voted down
1992 - The San Francisco Giants attempt to build a stadium in San Jose but the proposal is voted down
1993 - The San Francisco Giants again try to escape the bay area entirely with a move to Tampa's still-vacant state-of-the-art dome, but the other owners block the deal. The dome is eventually occupied by the Ray's, who will eventually threaten to half-move to Montreal in part because they hate that dome
1995 - The Pittsburgh Pirates are nearly sold to a DC owner before being saved by Kevin McClatchey, who would eventually taint his legacy by making way for Bob Nutting to supplant him as owner in 2007
1997 - The Minnesota Twins try to move to Charlotte or Piedmont, but both this and Bud Selig's attempt to kill the team outright ultimately fail
2003 - With MLB taking ownership of the Montreal Expos the prior year, various moves are considered. The team plays some games in San Juan, Puerto Rico and kicks the tires on Portland OR, Monterrey Mexico, East Rutherford NJ, Norfolk VA, and Charlotte NC before finally convincing Orioles (neé St. Louis Browns, who started this whole list) owner Peter Angelos to give DC a third bite at the MLB apple.
Lately there has been talk of the Rays and A's moving, as well as Manfred threatening to kick the Brewers out of Milwaukee. It's fascinating to me how many of these prior relocations have involved Milwaukee, the A's, and Tampa... anyway feel free to call me an idiot for any of these you think may be incorrect or for any big ones I missed. Keep the faith, A's fans...

Apologies if this had already been asked before but I couldn't find anything specific, but I'm going to Europe with the car for 2 weeks in August and don't want to be stuck there. I was presented today with a serious flat tyre, like 100% flat and my alloys were scuffed so I'd obviously driven over something sharp omw to my career exam.
There were multiple puctures in my left passenger tyre which I didn't realise until I was at the tyre pump. I'm used to pumping them regularly as I do lots of long distance driving and I often get the low pressure sign, so I didn't think much of it when the pressure light came on, but I usually pump them up within the hour of the light coming on. However, this time I pulled into the station and realised my rear passenger side had a completely deflated flat (the tyre pump wouldn't even register it) and a nice man in the station showed me how to change it so I know for the future. My question to the group is, I don't like to skimp on things that can save me money long term, think of the Vimes Boots Theory. The man who changed my tyre told me there's no point in investing in expensive tyres as the quality will always decrease over time, but this struck me as a false economy, although I didn't say anything at the time. Before I get them changed, is there really a difference between expensive and cheap tyres?? I would think paying more for good tyres would mean they'll be better quality, but I'm not learned in the art of car-making so would appreciate an honest opinion. Google had very mixed results and/or sponsored advertising so it's hard to judge.
I have a 2015 Ford Focus Zetec Tdci, and usually pump them to 38 in front and 44 in back as that's what I was told upon purchase and the inside of my door is unhelpful, she's my baby and I don't want her to die an early death, but I'm also VERY open to education on car mechanics and maintenance, and I would appreciate any further info on how to maintain my catyres in the future! I usually get the low pressure light once of month but can easily drive a thousand miles in a month if that matters!

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#playstation2 #racing #sports --
Ford Vs Chevy for Sony PlayStation 2. Be the best racer that you could ever be! Choose over 48 high-powered Ford and Chevy cars. Participate in Westington Cup and make your name remarkable. Stun the audience with breathtaking performances while surpassing obstacles. Drift and drive - show us what you've got! --
Hey check out similar videos here: https://www.youtube.com/watch?v=05uKspxQ89s&list=PLVduyMnVQjzNYPljUBqwgAXdMPQ9CEKWY

Platform(s): PC
Genre: Endless zombie survival game?
Estimated year of release: Early 2010's maybe 2012 or 13
Graphics/art style: 2D
Notable characters: I remember there were 4 characters and I remember one had a shotgun.
Notable gameplay mechanics: It is an endless 2D zombie game, you basically try and survive, sometimes you will come across small neighborhoods or truck stops and there you can sleep and eat and loot the building. Sometimes you will get scrap which you can use to get better armor or a trailer on the back of your vehicle for more storage. And there are a lot of zombies in the road, which you don't want to hit without armor or your station wagon will die. and it goes until your 4 survivors all die or if the vehicle breaks down.
Other details: They all start at a bar. And the car was an old beat-up station wagon.
And it wasn't Organ Trail: Directors cut, whenever I look up what I described, that's what shows up, nor was it any of the Earn to Die games. nor was it death road to canada.

Station wagons (especially the v70s) have been really fun options to look at though I realize it may not benefit me in the long run. I think I’d rather spend the money on something I enjoy than something that give me a few more years, as for now. This car also generally checks out all of the boxes. Genuinely a car I’d enjoy, but I’m curious on others thoughts about it

Transmission
by Brian Martinez
Let me start my story by telling you something about me, the most important thing, in fact: I find things, and I fix them. That’s who I am. If you don’t know that, you don’t know me.
I’m a second-generation auto mechanic, born-and-bred. I’ve been repairing cars since before Ford Pintos were blowing up, when cars were made of steel and Route 66 wasn’t just something for the cartoons. These days I’m fortunate enough to own a shop downtown between two of those chain coffee places. It’s small, sure, but it has a reputation for saving cars so far-gone no one else will even touch ‘em. So if you live in the area, and you’ve ever been stuck with the sourest of lemons, or maybe your kid drove your minivan into the pool, we just might have crossed paths, you and I.
That reputation is what led to me getting a phone call from a guy I’d never met, saying he had something that might interest me. His name was Burt and he’d apparently just purchased a piece of property that sat unowned for the better part of twenty years. I knew of the area he was talking about. It’s out in the hills, where there isn’t much to look at. Most of the land there went to weed years ago; acres and acres of old woods and burnt-down barns just waiting for nobody in particular to see the value in them. And, well, it seems Burt was that nobody in particular.
I honestly didn’t know what Burt’s purchase had to do with me, and told him just that, figuring he must have had the wrong number. But the next words out of his mouth told me he knew exactly who he was talking to.
Apparently when old Burt started walking around his new property, digging around in the dirt, so to speak, he made an interesting discovery. So interesting, in fact, that it got me to grab my keys, hop in my truck, and drive up into the hills without so much as a pause to wash my hands.
Some things, you see, don’t wait for a man to look presentable.
As I drove up into the hills to meet Burt, I started to think about my father and the drives he used to take me on. He liked to get a feel for whichever car he was working on, and those drives, they always ended with a detour into the hills. ‘Nothing tests a vehicle like elevation,’ he used to say, and I have to admit, I still agree with that statement. All those long inclines, sharp turns and fast descents- not to mention the occasional slam on the brakes- really put a car through its paces.
Dad knew a thing or two about cars, even if he knew nothing about how to raise a family.
Other than maybe a slight fear of commitment, the main thing I got from my father was a passion for restoring old cars in my spare time. It’s a hobby of mine, and I do it in the garage at my house. I’m especially a sucker for rare cars, and the rarer the better. That little hobby of mine, more so than my day business, was why I ended up driving out to the middle of nowhere with dirty hands and a head full of ideas.
The road up was just as long and winding as I remembered. I almost missed the entrance for the property, a hidden driveway marked with little more than a broken mailbox and a rotting signpost. The private road got smaller and smaller by the minute until I swore the trees were going to swallow me whole and spit the bones back out.
When I finally reached what could pass for a clearing, a guy with a face like a junkyard dog was waiting for me next to the newest, cleanest Ford pick-up I’d seen outside of a dealership. He introduced himself to me as Eddie, an associate of old Burt. I told him I’d been expecting to meet Burt himself, but Eddie explained that Burt didn’t like to meet new people, and rarely came out in the cold weather. It was a bit raw, I had to admit, so I dropped the whole thing and let Eddie get down to the business at hand.
We left our cars behind and Eddie led me into the woods, where the walking was slow-going on account of the overgrowth of vines and dead branches. I’m not one to spook easily, but the more we walked the creepier those woods got, until I was fairly sure Eddie was going to use that French Mastiff face of his to tear my throat out. But just when I was thinking about turning back and saying screw it to the whole thing, I caught sight of what we’d come for.
The very first car I saw was a white, 1974 Pontiac Trans-Am. It was missing its door and tires, and it was buried under a layer of dead vines, but the body shape was unmistakable. Under the rust I could even see what was left of the telltale Firebird emblazoned across its hood in blue.
I couldn’t believe a car like that was just sitting out in the middle of the woods, waiting for anyone to come along and find it. As I got closer, though, I saw just how bad the condition of the car was. The insides were rotted out from rain and mold, and the floor was so eaten up by rust it was ready to fall out.
Before my brain could process the loss of such a beautiful machine, I caught sight of another car. This one was a Datsun 210 with a tree growing right through the hole where its trunk used to be. Wet leaves and newspaper filled the back seat, and the dashboard was an abandoned nest that crawled with leggy insects.
Old Burt hadn’t been pulling my leg: those woods were a graveyard for abandoned cars. From what I could tell, about three acres of woods were absolutely littered with the corpses of old autos. Some were in pieces, most were covered in dead leaves and rust and all the other things that happen when anything is left outside for years and years, but they were there. The sight of so many classic cars in one place, virtually unknown to anyone, both excited and saddened me.
For close to an hour I walked around random piles of tires and glass to stare at rusted-out Range Rovers and Jeeps with their headlights hanging out like popped eyeballs. Finally, like I’d woken up from a spell, I asked Eddie what Burt expected from me. And that’s when he told me the strangest, most interesting offer he could have told me in that moment.
He said if I could make every, single one of those cars disappear in three day’s time, at no cost to old Burt, I could keep them.
The words nearly knocked me off my feet. I’d have to call in every favor to every salvage yard and tow truck operator I knew, but it was possible. Still, nearly all of the cars I’d seen were beyond repair, even for a guy like me. At most I saw some parts that could be salvaged. Maybe a few of the newer, less damaged ones could be saved. I knew a few guys in my circle who might be interested, and I figured if I played my cards right I could make a few bucks out of the deal to boot- or at least land a good trade or two. Still, there weren’t any cars that I was interested in for myself.
Until, at the edge of the property, tucked away in a spot I’d nearly overlooked, I saw it. It was as if I’d been drawn there. Like I was meant to find it.
The car was familiar-looking, yet like nothing I’d ever seen. Cross a Chevelle Malibu Classic SE with the modern retro feel of the ‘97 Plymouth Prowler, add the large rear spoiler and flared wheel arches of a ‘99 Nissan Skyline GT-R, and you still won’t come close. It looked like something one of the big three manufacturers had made and yet I’d never seen or heard of its like ever before. It had no logos, no hood ornament, no identification of any kind. I practically ran around to the back of it to look for a name, a logo, something to identify it, tripping over hidden rocks and broken glass to do it.
But there was nothing. Nothing to betray the make and mark of the strange car in front of me. I even asked Eddie if he knew what it was. He only shrugged, clearly wanting to wrap up our little outdoor meeting. I half-heartedly agreed. It was later than I’d realized. Between the dwindling sun and the discovery I’d made, I’d started to get a chill I couldn’t shake. I had a bad tooth I’d been neglecting, and even that was starting to hurt from the cold.
So I agreed to Burt’s deal. I shook Eddie’s hand on it and got out of there, giving one last glance at the strange car in the woods on the way out.
The next day, after making more phone calls than a politician on election night, a swarm of flatbeds, wheel-lifts and salvage trucks descended on those woods. For two days they scooped out every piece of metal and glass in the place, while I oversaw the operation like a choir conductor from hell. I directed trucks this way and cutting crews that way. They snipped and cut and tore out every dead tree standing in the way so the truck crews could do the rest. I even got in there myself with the old chainsaw when it was needed.
It was an exhausting two days, but I managed to keep my word to Burt and clear every abandoned car off his property with about an hour to spare. Some of the cars went to the junkyard, others to various garages I’d made arrangements with.
I was dead on my feet by the time I got home. I was ready for a shower and a bed, in what order I wasn’t sure. And yet a crackle of energy went through me when I saw what had been dropped off in my garage.
My mystery car. Without the shadows of the woods hiding it, I could see it had been painted silver before the rust took over. It had been a fast sucker once, like a bullet to a werewolf’s chest. That had been a long time ago, and yet I sensed there was still some life in the old girl. I wanted so badly to start digging around under the hood, to see what I could find out, but my legs were ready to collapse and my eyes could barely focus. Intending to wake up early and hit the garage, I stumbled off to bed.
You know that feeling you get when you realize someone’s been talking to you for the past minute, thinking you’ve been listening, and you only just figured it out?
That’s the feeling I woke up to.
I sat straight up like a vampire rising from his coffin. My bedroom was still dark, which meant it was the middle of the night. In my half-sleep I tried to make out the clock on my nightstand but couldn’t read the numbers, so I fumbled for my glasses and shoved them on. It was just past two in the morning: way too early, even for me. No way was I getting up, strange feeling or no.
I was about to take my glasses off and lay back down when I heard the reason I’d woken up.
Whispering.
A man was in my room, whispering in the dark. I lunged across my bed and turned on the lamp, nearly knocking it over. I didn’t have a weapon, but if I could see the intruder I could do something about it. I spun back, back to the whispering, to see who it was, to shout at them or jump on them, whatever I had to do to save my life from the psycho in my bedroom.
But the room was empty. Just me and a pounding heart.
I was so confused, I jumped out of bed and tore around the room, making sure no one was hiding, but I didn’t find anyone. I was alone.
Then I heard it again, and I knew: the whispers were coming from down the hall.
With bare feet I followed it, trying to make out what it was saying, but it was too low to understand. I grabbed a knife as I passed through the kitchen and held it in front of me with sweat beading on my face despite how cold I kept the house.
I followed the whispering to the garage. The overhead light flickered on, lighting up the strange car in my garage. In my half-sleep, half-terror I’d nearly forgotten about it. But there it was, like a bear hibernating in its cave, waiting for the end of winter. It felt alive somehow. Not dead, just asleep and dreaming.
And it was whispering.
I knew how crazy that sounded, how crazy that was, but I swallowed hard and approached the car, knife first. The blade shook in front of me. The whispering got louder the closer I got, and yet I still couldn’t understand the words it was saying. Was someone hiding inside the car? Had I inherited a homeless man when I’d had it towed to my house? If so I had to get him out of there. Get him help, sure, make sure he had a place to sleep, but he couldn’t stay in my garage, whispering through the night. No way.
With my free hand I yanked on the driver’s side door. It didn’t open. Rusted shut. I slowly walked around to the passenger side and yanked again. It opened.
The whispering was louder now, louder but not clearer, like an old television tuned between channels, like a frequency not being picked up, like a…
Like a radio.
The whispers were coming from the radio. I laughed under my breath, realizing how ridiculous I’d been. But then I remembered there was no way the radio could be working. The car wasn’t turned on. If it even had a battery under the hood, it was probably little more than a square pile of rust and battery acid.
I clutched the kitchen knife tight, and with the other hand I slowly reached out to turn the volume knob. I needed to know if the whispers were coming from the radio, and if they were, I needed to know what they were saying. My temple throbbed as the whispers grew louder and louder, louder and louder, louder and-
The moment my finger touched the knob, the whispers stopped.
I felt like I was going crazy. I looked around the inside of the car, noting the strong smell of mildew and animal with a tinge of rotten leather. Other than my own breath echoing back at me, it was silent.
No whispers. No nothing.
I went back to bed, but I barely slept.
The next day was the day I usually took off from the shop, which was a relief since I woke up almost as tired as when I’d gone to bed. As I ate my breakfast, the night before still sat fresh in my mind. But the more I went over it, the more I thought it had been a bad dream, brought on by exhaustion and an imagination run wild. I had to admit the mystery car sitting in my garage had gotten my mind racing faster than a Formula 1.
I’m the kind of guy who likes a simple explanation, something I can touch and feel and, yes, fix, so I started to think that I could have picked up some kind of rogue radio transmission from a trucker, or even a passing plane. The police scanner I owned in my younger days had certainly picked up its share of random broadcasts, and when it comes to working on junkers I’ve learned to expect the unexpected.
After I’d eaten my breakfast and downed my coffee I got right to work on the car. I wanted to clear the air of whatever had happened, and I was dying to see what that baby had going on under the hood. The mystery of who the hell had made the thing was still heavy on me.
But the enigma only deepened the more I looked. Under all that rust and dirt and oil I couldn’t find one damn mark that told me who’d made the car. I almost wanted to say it was a custom build, but the work was too precise, the system too well-planned out to be an after-market job.
I worked on it all day, so wrapped up in it I forgot to eat lunch. I ate dinner like a raccoon digging through a dumpster. Then I worked on it some more.
I was just crawling into bed when I heard it again.
The whispering.
This time I ignored it, hoping it would go away on its own. But it didn’t stop. Not until I got up, walked across my house, went into the garage, and touched the radio. Then, it stopped.
I decided right then and there not to go to the shop the next day. There was just too much work to be done.
I’d been working on the car for four days straight before I got it started up. Four days of stripping and cleaning and rebuilding. Four nights of whispering. I was even starting to hear it during the day, but low, barely audible, like a television playing somewhere in the house.
After I got the engine started, the first thing I did was pull my code reader down from my tool wall and hook it up to the dashboard input. I’d been pleasantly surprised to find an input on the car, even though I was fairly certain it had been built after '96. To my shock the screen filled up with a bunch of random trouble codes I’d never seen before, then went blank. I tried to get it powered up again but apparently the connection had completely overloaded the device.
I’d had the reader for years and it had never given me a problem. I put it down and got back to the car, deciding to stick to the old-fashioned way and get a feel for what was wrong with it. Just like dad used to do.
With my foot on the gas I revved the engine good. It sounded better than I’d expected, like a beast waking up from deep sleep. But there was also something rattling around under the hood, something loose knocking around inside the carburetor or possibly even the manifold.
I tried a few options, opening up this and that, until I narrowed it down to something completely unexpected: the transmission.
With considerable force I managed to open up the transmission, and sure enough I found something inside. Something dark and red. I pulled it out and studied it under the light. It looked like a small rock covered in old transmission fluid. How it got in there I didn’t have a clue. But I decided to clean it off and get a better look at it, in case it pointed to a bigger problem. As I walked it to the slop sink, I noticed the whispering, usually a dull static during the day, had started to grow louder. I could almost make out individual words now. But I ignored it and ran the small rock under the faucet, watching the dark red fluid swirl down the drain.
That was when I discovered something I wasn’t prepared for. The thing in my hand wasn’t a rock- it was a tooth.
A human tooth.
The whispers had grown so loud I could barely hear myself think, barely feel the disgust rising in the pit of my stomach. With the whispers practically shouting in my ear I dropped the tooth and it bounced and clattered inside the sink, coming to a rest near the edge of the drain.
The whispers grew quiet again. A dull roar tickling at the back of my skull. I stared at it, the tooth in the sink, the impossible tooth from the impossible car. I had the urge to throw it out. To get it out of my house and never see it again. But I didn’t do that. I couldn’t tell you why not.
Maybe because that meant touching it again.
Maybe something else.
Feeling like I should give the car a rest, I worked on getting my code reader working again, otherwise I’d have to run to the store and buy a new one. I changed out the batteries and gave it a good, solid whack. A few seconds later I was happy to see the screen turn on. I thought I’d have to do a factory reset to use it again but I was surprised to find it worked perfectly fine. Not only that, the trouble codes it had read off the car were still stored in its memory.
There were pages and pages of codes like I’d never seen in my life, more than I think are even in the tool’s programming. In fact I couldn’t find a single one of them anywhere in the manual. I figured they were probably just random numbers, and yet there was something strange about them, like they had a pattern to them. I dusted off my old computer and typed in the problem codes, figuring if I could get a better look at them I might be able to figure out their meaning. If not, I could at least print them out and show them to somebody who could.
After twenty minutes I’d barely made a dent in typing up all the codes. I gave up on the idea that I could copy them all. I pushed away from my computer and stood up, rubbing my eyes from the strain. Between the glare of the old screen and the noise in my ears, my head was killing me. It all felt so pointless. So inconsequential.
Just before I shut the computer down, I happened to glance one last time at the screen. And when I did, I noticed something that made my skin go cold.
The codes. The pattern. The numbers and letters and spaces between them. They were starting to form a face. A human face, with two eyes and a screaming-
I shut the computer down as fast as I could, then unplugged it to be safe. Then I marched to the garage and disconnected the radio, practically ripping it out of the car.
The whispers stopped.
The house was quiet.
But not for long.
For three days I told myself to get rid of that car, tow it out of my garage and dump it somewhere no one could find it. Maybe even drench it in gasoline and light a match. For three days I ignored the whispers and the doorbell and the phone calls from my shop asking when I was coming back. For three days I buried my head under the hood and worked and worked and worked.
On the fourth day, when the whispers from the radio had grown louder than my own thoughts, louder but still unclear, without words I could understand, I lost it. I threw my wrench at the tool wall, knocking down chisels and socket wrenches and a dozen other tools clattering to the ground. I pounded on my ears, cursing them, willing them to go deaf and stop hearing the whispers.
But they didn’t stop hearing. And the whispers didn’t stop. So I decided. I decided that if I couldn’t stop hearing them, I at least needed to know what they were saying.
I went back to the slop sink. The tooth was still there, perched near the edge of the drain. I’d prayed for it to slip down and wash away on its own but there it was, round and sharp and real as ever. So I picked it up, and the whispers grew louder. Clearer. But still not clear enough to hear. Not enough to make out what the radio was saying. To understand what it wanted from me. It was like a broken antenna, only tuning in half the frequency.
The garage was a mess. I was a mess. Rancid grease stains everywhere. A hole in my tool wall where the wrench had struck it, the ground littered with hammers and screwdrivers and …
Pliers.
Before I could talk myself out of it, I grabbed the pliers from the ground, shoved it onto my mouth, got a good hold of my bad tooth, and ripped it out. It was easier than I expected, but it still hurt, and it bled a lot. But I didn’t hesitate. I pushed the tooth I’d found in the transmission into its place.
The moment I did, it was as if everything came into focus. As if the radio was inside my skull. No, as if my skull was the radio, and I was the antenna. I could hear the transmission clear as day now, a man’s voice inside my head.
Whispering to me.
Telling me where to find the rest of him.
I told you all of this, not because I expect you to believe me, but because I’m about to walk out my door and do something I might not come back from. And if that’s the case, if I don’t return today or any other day from this thing I need to do, I want people to know why.
Because I find things. I find things and fix them. If you don’t know that, you don’t know me.

Hello all! It’s the offseason and for some reason (probably cuz I'm insane but I feel that's implied at this point) I got inspired to write up a history of my favorite figure skating discipline: ice dance. This is a project of love. I don’t pretend to be an expert in all things but I like to think my time as an ice dance fan has given me a good amount of perspective and the ability to view the current state of ice dance within the context of what has come before and what has influenced the current state of affairs. All of that said, I’ve decided to highlight eras in ice dance, mostly by Olympic cycle, to bring attention to ice dancers who have had tremendous impact on the sport as well as to appreciate how far ice dance has come in its 70-year history. I’ll be posting this on Tuesdays and Saturdays (in ET) for everyone to read and take in at their own pace to pass the offseason by. Without further ado, here’s to starting this passion project.
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Part 1: Early Beginnings, 1952-1980
I debated back and forth whether to separate these years out further given the sheer amount of time covered. However, the complete lack of footage for a vast swath of the World Championships that occurred from 1952 to 1970 was the ultimate decider in realizing that those years simply needed to be included in this grouping of years in order to be worth posting. This, of course, also colors my assessment of this era. But I hope to bring an objective view to the early beginnings of ice dance.
The first World Championships for ice dance were held in 1952 in Paris, an addition 44 years in the making. Nine pairs competed in front of 7 judges for the honor of becoming the first ever World Champion in ice dance, an honor that ultimately went to the British pair of Jean Westwood and Lawrence Demmy. It’s unclear what exactly was competed at that first Worlds. The placing system simply asked the judges where they felt a couple should place, added the numbers up, and posted the standings. For example, if all 7 judges placed a couple first, the pair would have 7 points. So it’s hard to tell if more than one program was ever performed.
Although footage for this first Worlds does not exist, we are lucky that footage from Westwood/Demmy’s 1954 win in Oslo was preserved to some extent. The first thing to strike a viewer about Westwood/Demmy, beyond the fact that the music from the event was not captured, was the extended use of the Killian hold, an emphasis on synchronized leg movement and lines, as well as the slower and purposeful movement across the ice. This was early ice dance. The goal for couples in the 1950s and even 1960s was to translate ballroom of the time onto the ice as best as they could. On top of that, we see some early staples of the discipline, like close holds and synchronization, take root almost as soon as the sport could be judged.
The 1950s and 1960s featured a short period of British domination in ice dance, briefly interrupted by a 4 year span where the Czechoslovakian sibling pair of Eva Romanova and Pavel Roman took home 4 titles. Watching this pair, it becomes clear how the sport changed in a short amount of time. Romanova/Roman keep in the spirit of Westwood/Demmy before them but now feature quick changes in hold and more speed than their predecessors. Or at the very least, this is the first recorded instance where this is captured accurately. And while the music is not captured here, given the change in the style of dance, it is likely that music and tempo changes were a requirement at this early stage. This is corroborated by the first ice dance program whose music was captured, the winning program from Diane TowleBernard Ford in 1966. An interesting note in TowleFord’s program is the introduction of small lifts, spins, and Towler’s switching of positions over the ice, lying nearly flat on the ice at one point. The program features 3 music changes.
You may now be wondering how a discipline so intrinsically linked to the Soviet Union and Russia can have been left out of this write up for this long. Well, you don’t have to wait any longer. The reign of British dance came to a screeching halt in the 1969-1970 season, when an Elena Tchaikovskaya coached team of Lyudmila Pakhomova and Alexander Gorshkov earned their first world title at the 1970 Worlds. The 1969 World Silver medalists became the first in a long line of Soviet dancers to stand on the top spot.
Pakhomova/Gorshkov were primarily known for their more dramatic style. As seen prior, ice dance had been steadily becoming more athletic over the years, increasing in speed and difficulty as the years went on. Pakhomova/Gorshkov were among the 2 pairs (alongside America’s Judy SchwomeyeJames Sladky) who really emphasized the athleticism that the event could contain. On top of that, Pakhomova/Gorshkov often picked music that was dynamic and allowed Pakhomova to shine as a performer. Their style is especially apparent in the compulsory they originated, the Tango Romantica, where the dramaticism of the tango is just as important as the tango movements. This was the early stages of ice dance becoming not just a transition of ballroom onto the ice but also a performance in and of itself. SchwomeyeSladky meanwhile were a tad more traditional, adhering more closely to the origins of the sport and its roots to dance. The inventors of the Yankee Polka themselves (now I am conflicted on how I feel about them haha) featured numerous music and tempo changes in their program to cover multiple forms of dance in a short amount of time. Controversy started early in ice dance’s history, as many felt Gorshkov wasn’t as strong a skater as Pakhomova and the American pair of SchwomeyeSladky should have won in 1970. Alas, figure skating judging seems destined to generate controversy. Worth noting here, the first compulsory dance that has a record of being competed was in 1968, which makes Pakhomova/Gorshkov and SchwomeyeSladky among the first to medal with the new required dance. Also worth noting, the 70s saw a lot more variety in holds, with closed holds being the predominant hold but side by side hand holding also featured in programs along with parallel skating.
It's around this time that SchwomeyeSladky began to advocate for the inclusion of ice dance into the Olympics. In a New York Times article from 1972, Judy Schwomeyer was quoted as saying that ice dance was a different kind of sport that used different muscles but the athletes worked just as hard. The pair had skated on Olympic ice when ice dance was presented as a demonstration sport in 1968, with the IOC president in attendance to evaluate the validity of the sport for Olympic competition. They must have made a decent impression, as the IOC approved ice dance as an Olympic sport to be competed in 1976. Although SchowmeyeSladky didn’t make it to compete on the Olympic rings, their demonstration of the sport’s potential for the Olympic audience was hugely influential to the subsequent inclusion in the Olympics.
The 1976 Olympics marked the first time that ice dance would be viewed by the general public and the forerunners were Pakhomova/Gorshkov, who had won 4 world titles by this time, after not attending the 1975 Worlds. This didn’t stop them from standing on top of the Olympic podium for the first time in Olympic history. Their free dance featured numerous dance style, music, and tempo changes. These dance styles included blues/jazz and tango among others, with an emphasis on big movements that drew attention rather than necessarily strictly translating ballroom to ice. Rather, the “vibe” of the dance, so to speak, was of more import to Pakhomova/Gorshkov than performing movements that were reminiscent of ballroom choreography.
Although Pakhomova/Gorshkov were synonymous with 1970s ice dance at this point, it was the 1976 Olympic silver medalists coached by Tatiana Tarasova who appeared to have more of an impact on the dancers that came after them. Irina Moiseeva and Andrei Minenkov won the 1975 World title in Pakhomova/Gorshkov’s absence and swiftly won the 1977 World title after the Olympic champions’ retirement. Moiseeva/Minenkov were a striking pair and I feel like their programs were some of the first where really interesting stuff was happening choreographically. If Pakhomova/Gorskov emphasized the dramatic, Moiseeva/Minenkov cranked that up to an 11. If there was a time to point to when modern dance started seeping into ice dance, this is likely the pair to point to. Still under the rules of the time requiring multiple music and tempo changes, Moiseeva/Minenkov often opted for holding positions across the ice or repeating positions across the ice. Their balletic quality was in sharp contrast to the couple who had just retired as well as the other couples who had dominated in the same time. Where previous couples emphasized sharp movements, Moiseeva/Minenkov emphasized soft transitions. The style was interesting and exciting, but ultimately only won them 2 titles by the time they retired in 1982.
Instead of the aforementioned pair, it was a young Natalia Linichuk/Gennadi Karponosov, coached by Tchaikovskaya, who quickly rose up the ranks to claim 2 World titles and the 1980 Olympic title. Linichuk/Karponosov are who I like to affectionately name the most forgettable Olympic gold medalists in ice dance. Unsurprisingly given the shared coach, their style was similar to Pakhomova/Gorshkov’s, with the emphasis being on sharp, strong movements on ice and the required music changes being used to really draw attention to this (including…what I can only describe as rodeo music).
This era ultimately ended with a slight preview of what was to come. Krisztina Regoczy/Andras Sallay were the Olympic silver medalists in 1980 and decided to end their career at that year’s Worlds. The team coached by Betty Callaway had an inspired free dance, that incorporated music that was similar across the board with different speeds instead of drastically different music like their Soviet competitors. The stops necessitated by the switch in music were incorporated into the choreography to make the free dance more seamless. And while these are things we take for granted now, watching this program compared with the offering from Linichuk/Karponosov really draws these things into sharp focus as innovative for the time.
As if to emphasize a swift changing of the guard, as Regoczy/Sallay walked off the ice at the 1980 Worlds, ready to accept their sole World title and the first non-Soviet World title since 1969, a fellow student of Betty Callaway waited rinkside to congratulate Regoczy on a job well done. Her name? Jayne Torvill.

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