The Great Gildersleeve: Community Chest Football / Bullard for Mayor / Weight Problems
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
Our Miss Brooks: Another Day, Dress / Induction Notice / School TV / Hats for Mother's Day
Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name.
Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School.
Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win.
Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags.
Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections.
Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts.
Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty.
Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend.
Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks.
Jacques Monet (Gerald Mohr), a French teacher.
Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.
Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try.
Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very feline in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews.
Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton, she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.
For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended.
Words at War: The Ship / From the Land of the Silent People / Prisoner of the Japs
The Yugoslav Front, also known as the National Liberation War, was a complex conflict that took place during World War II (1941--1945) in occupied Yugoslavia. The war began after the Kingdom of Yugoslavia was overrun by Axis forces and partitioned between Germany, Italy, Hungary, Bulgaria and client regimes. Primarily it was a guerilla liberation war fought by the communist-led, republican Yugoslav Partisans against the Axis occupying forces and their locally-established puppet regimes, such as the Independent State of Croatia and the Nedić government. At the same time, it was a civil war between the Yugoslav Partisans and anti-communist paramilitaries, such as the Serbian royalist Chetniks and the Slovene Home Guard, whose level of collaboration and coordination with the Axis occupiers varied.
Both the Yugoslav Partisans and the Chetnik movement initially resisted the occupation. However, after 1941, the Chetniks adopted a policy of collaboration. They collaborated extensively and systematically with the Italian occupation forces until the Italian capitulation, and thereon also with German and Ustaše forces.[13][14] The Axis mounted a series of offensives intended to destroy the Partisans, coming close to doing so in winter and spring of 1943. Despite the setbacks, the Partisans remained a credible fighting force, gaining recognition from the Western Allies and laying the foundations for the post-war Yugoslav state. With support in logistics, equipment, training, and air power from the Western Allies, and Soviet ground troops in the Belgrade Offensive, the Partisans eventually gained control of the entire country and of border regions of Italy and Austria.
The human cost of the war was enormous. The number of war victims is still in dispute, but is generally agreed to have been at least one million. Non-combat victims included the majority of the country's Jewish population, many of whom perished in concentration and extermination camps (e.g. Jasenovac, Banjica) run by the client regimes. In addition, the Croatian Ustaše regime committed genocide against local Serbs and Roma, the Chetniks pursued ethnic cleansing against the Muslim and Croat population, and Italian occupation authorities against Slovenes. German troops also carried out mass executions of civilians in retaliation for resistance activity (Kragujevac massacre). Finally, during and after the final stages of the war, Yugoslav authorities and Partisan troops carried out reprisals, including the deportation of the Danube Swabian population, forced marches and executions of thousands of captured collaborators and civilians fleeing their advance (Bleiburg massacre), and atrocities against the Italian population in Istria (Foibe killings).
Calling All Cars: The Wicked Flea / The Squealing Rat / 26th Wife / The Teardrop Charm
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
NYSTV - Real Life X Files w Rob Skiba - Multi Language
If you've never heard of Rob Skiba, this is a good introduction. His knowledge base include ancient aliens, modern aliens, UFOs, Flat Earth, End Time Prophecies, the illuminati, elongated skulls, he was the one who took the boat across Lake Michigan and filmed the Chicago skline, pretty much proving it wasn't a mirage, he just launched a weather balloon with cameras, a truly interesting guest.
This is an interview he did with NYSTV (Now You See TV) which has the best talks on the Illuminati.
Check out Jon Pounders and David Carrico on the Midnight Ride.
Rob's website is testingtheglobe.com.
Free Truth Productions
Choice = Abundance = Freedom
freetruthproductions.com
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The Great Gildersleeve: Gildy Traces Geneology / Doomsday Picnic / Annual Estate Report Due
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family.
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
The Great Gildersleeve: Birthday Tea for Marjorie / A Job for Bronco / Jolly Boys Band
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
????Star Citizen - Патч 3.7.0 Копим Деньги на компоненты и Ждём 3.7.1 Live
#StarCitizen #СтарСитизен
Всем привет! Меня зовут Иван я рад приветствовать вас на своём канале здесь вы можете смотреть ролики и стримы по игре Star Citizen.Стримы проходят по мере моей возможности и свободного от работы времени, определенного графика нет!
Внимание❗ На стримах может присутствовать не нормативная лексика, слабонервных просьба воздержаться от просмотра стримов!
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????Star Citizen: Для регистрации в игре используйте мой Реферальный код STAR-GG3L-DSH2 он даст 5к aUEC вам и мне!
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Поддержать Стримера:
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(они могут оскорбить присутствующих людей)
✌ УВАЖАЙТЕ СЕБЯ И ОКРУЖАЮЩИХ!
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Words at War: Eighty-Three Days: The Survival Of Seaman Izzi / Paris Underground / Shortcut to Tokyo
The French Résistance has had a great influence on literature, particularly in France. A famous example is the poem Strophes pour se souvenir, which was written by the communist academic Louis Aragon in 1955 to commemorate the heroism of the Manouchian Group, whose 23 members were shot by the Nazis.
The Résistance is also portrayed in Jean Renoir's wartime This Land is Mine (1943), which was produced in the USA.
In the immediate post-war years, French cinema produced a number of films that portrayed a France broadly present in the Résistance.[188][189] The 1946 La Bataille du rail depicted the courageous efforts of French railway workers to sabotage German reinforcement trains,[190] and in the same year Le Père tranquille told the story of a quiet insurance agent secretly involved in the bombing of a factory.[190] Collaborators were hatefully presented as a rare minority, as played by Pierre Brewer in Jéricho (1946) or Serge Reggiani in Les Portes de la nuit (1946), and movements such as the Milice were rarely evoked.
In the 1950s, a less heroic interpretation of the Résistance to the occupation gradually began to emerge.[190] In Claude Autant-Lara's La Traversée de Paris (1956), the portrayal of the city's black market and general mediocrity revealed the reality of war-profiteering during the occupation.[191] In the same year, Robert Bresson presented A Man Escaped, in which an imprisoned Résistance activist works with a reformed collaborator inmate to escape.[192] A cautious reappearance of the image of Vichy emerged in Le Passage du Rhin (1960), in which a crowd successively acclaim both Pétain and de Gaulle.[193]
After General de Gaulle's return to power in 1958, the portrayal of the Résistance returned to its earlier résistancialisme. In this manner, in Is Paris Burning? (1966), the role of the resistant was revalued according to [de Gaulle's] political trajectory.[194] The comic form of films such as La Grande Vadrouille (1966) widened the image of Résistance heroes to average Frenchmen.[195] The most famous and critically acclaimed of all the résistancialisme movies is Army of Shadows (L'Armee des ombres), which was made by the French film-maker Jean-Pierre Melville in 1969. The film was inspired by Joseph Kessel's 1943 book, as well as Melville's own experiences, as he had fought in the Résistance and participated in Operation Dragoon. A 1995 television screening of L'Armee des ombres described it as the best film made about the fighters of the shadows, those anti-heroes.[196]
The shattering of France's résistancialisme following the events of May 1968 emerged particularly clearly in French cinema. The candid approach of the 1971 documentary The Sorrow and the Pity pointed the finger on anti-Semitism in France and disputed the official Résistance ideals.[197][198] Time magazine's positive review of the film wrote that director Marcel Ophüls tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans.[199]
Franck Cassenti, with L'Affiche Rouge (1976); Gilson, with La Brigade (1975); and Mosco with the documentary Des terroristes à la retraite addressed foreign resisters of the EGO, who were then relatively unknown. In 1974, Louis Malle's Lacombe, Lucien caused scandal and polemic because of his absence of moral judgment with regard to the behavior of a collaborator.[200] Malle later portrayed the resistance of Catholic priests who protected Jewish children in his 1987 film Au revoir, les enfants. François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.[201] The 1980s began to portray the resistance of working women, as in Blanche et Marie (1984).[202] Later, Jacques Audiard's Un héros très discret (1996) told the story of a young man's traveling to Paris and manufacturing a Résistance past for himself, suggesting that many heroes of the Résistance were imposters.[203][204] In 1997, Claude Berri produced the biopic Lucie Aubrac based on the life of the Résistance heroine of the same name, which was criticized for its Gaullist portrayal of the Résistance and over-emphasis on the relationship between Aubrac and her husband.[205]
In the 2011 video game Call of Duty: Modern Warfare 3, in which a hypothetical World War III is depicted, a French resistance movement is formed to act against Russian occupation. The playable characters of many factions in-game receive assistance from this Resistance . This is in line with previous, World War II-based Call of Duty games, which often featured involvement with the Resistance of that era.
The Great Gildersleeve: Gildy Gets Eyeglasses / Adeline Fairchild Arrives / Be Kind to Birdie
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
AIR Dibrugarh Online Radio Live Stream
The Great Gildersleeve: Audition Program / Arrives in Summerfield / Marjorie's Cake
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
AIR Dibrugarh Online Radio Live Stream
Calling All Cars: Gold in Them Hills / Woman with the Stone Heart / Reefers by the Acre
The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
AIR Dibrugarh Online Radio Live Stream
ALL INDIA RADIO: DIBRUGARH :
PROGRAMME SCHEDULE : For THURSDAY : 24-10-2019 & FRIDAY 25-10-2019
M.W 529.1m/KHz.567
F.M. 101.30 MHz
THURSDAY : 24-10-2019
TRANSMISSION: III (3.28 PM to 10.30 PM)
.
6.00 Anchalik Batori
6.05 Programme Summery
6.10 Vrindagaan
6.15 LAKHIMI (Programme for Rural Women) Variety Programme Presented by Tengapukhuri, Koliamati Mohila shilpi Somaj, Charaideu
6.45 Sandhiyar Anchalik Batori
6.55 Aajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 YUVABANI”: (Youth Programme) Tore More Alokore Yatra : Featuring Philobari College
7.45 Adhunik Geet: Artist: Anjumoni Dutta.
8.00 Time & Meter Reading: Sponsored Programme: GYANMALINI : Dibrugarh University
8.30 Ghazal: Artist: Mitali Singh & Bhupinder Singh
8.40 Programme Highlight
8.42 Commercial Spot
8.45 Samachar Sandhya
9.00 News at Nine
9.15 Commercial Spot
9.16 Bare Rahania: (Orchestra) Composer: Upendra Kr. Phanchoo
9.25 Nishar Anchalik Batori
9.30 National Programme of Play-Regional Version from AIR Guwahati.
Followed by Classical Music: (Santoor Recital) Artist: Pundit Ulhas Bapat, Rag: Rageshwari & Mishra Khamaj
10.30 Weather Report /Time Reading /Closing Announcement/Close Down.
PROGRAMME SCHEDULE: DAY: FRIDAY DATE: 25/10/2019
TRANSMISSION: I (5.28 AM to 9.35 AM)
5:28 AIR Signature Tune
5:30 Vandemataram/Opening Announcement/Mangal Badya
5:35 Bhaktigeeti
6:00 News in Hindi
6:05 Neeti Bachan & Programme Summary
6:10 Swasthya Charcha: Interview on - Saru Kalotei Hrid Rogar Pora Kenekoi Hat Saribo Pari : with Dr. Ratan Kotoki, Part-V
6:15 Bidyarthir Anusthan
6:30 Gandhi Prarthana
6: 45 Folk Music: (Zikir) Artist: Wazidur Rahman & Pty.
7: 05 News in Assamese
7: 15 Ajir Dinto: / (Morning Information Service)
7.30 GEETANJALI: 1. Artist: Umesh Gogoi Lyc: Geeta Hatikakoti Aochinaki Tumi..
2. Artist: Utpal Chakrabarty Lyc: Lohindra Kr. Saikia, Sei Rati…3. Artist: Usha Alley Lyc: Labanya Prabha Nath, He Shyam…4. Artist: Urmimala Hazarika Lyc: Prashanta Kr. Bordoloi, Nuaru Thakibo…
5. Artist: Yashminara Rahman Lyc: Pradip Baruah, Sharat Tumi…
7:55 Commercial Spot
8:00 Samachar Prabhat
8:15 Morning News
8:30 North East News Bulletin in English
8:35 SURAR PANCHOI (Composite programme of Assamese Film Songs)
8:50 Puwar Anchalik Batori
9:00 Jilar Rehrup
9:05 ANTARA (Composite programme of Hindi Film Songs)
9.35 Weather Report/Time Reading Closing Announcement/Close Down.
TRANSMISSION : II (11.28 AM to 3.30 PM)
11.58 AIR Signature Tune/Opening Announcement
12.00 News in English
12.05 LIVE PHONE IN SURAR SATSORI (Live Phone in Request Programme of Assamese songs)
1:00 News in English
1:05 News in Hindi
1:10 Troops Programme
1.40 News in Assamese
1:50 Adhunik Geet: Artist: Reenu Sarmah
2.00 Khetir Diha
2.05 Ghazal: Artist: Ashok Khosla
2.15 Dopahar Samachar
2.30 Western Music
3.00 Weather Report/ Time Reading/Closing Announcement/Close Down.
TRANSMISSION: III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/Opening Announcement
3:30 Deori Song: Artist: Pratap Sing Deori Bharali & Pty.
3:45 Programme in Mijumishimi
4:05 Porogramme in Khampti
4:25 Programme in Wanchoo
4:45 News in Hindi
4.55 News in English
5:00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6:00 Anchalik Batori
6.05 Programme Summary & Highlight
6.10 Vrindagaan
6.15 GANYA RAIJOR ANUSTHAN (Rural Programme) Interview on “Chalor Bibhinna Rog
Aru Iyar Protikar” With Dr. Sagarika Gogoi
6:45 Sandhiyar Anchalik Batori
6:55 Ajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 CHAH SRAMIKAR ASOR (T.G. Programme) 1. Jahli Geet: Ratan Manki, 2. Talk: “Chah Janagosthiya Kalindi Sakalor Bibhinna Reeti-Neeti Aru Parampora” By Dambaru Kalindi.
7.45 Adhunik Geet: Artist: Reenu Sarmah
8.00 Time & Metre Reading: Quotation : Jivanar Digh Bani (Radio Autobiography) : Interview with Dr. Kulendu Pathak (Eminent Physicist and Educationist) Interviewer Dr. Sushil Goswami. Part-3
8.30 English Talk Talk on “Present Indian Economic Scenario” By Dr. Atikuddin Ahmed.
8.40 Programme Highlight
8.42 Commercial Spot
8.45 Samachar Sandhya
9.00 News at Nine
9.15 Commercial Spot
9:16 Bare Rahania: (Goalporiya Lokageet) Artist: Zubeen Garg.
9:25 Nihar Anchalik Batori
9.30 North East Collage
10.00 Classical Music: Artist: Irshad Khan, Rag: Puriya & Rachna Bhatiyali.
10.30 Weather Report/ Time Reading /Closing Announcement/Close Down.
NOTE : THE PROGRAMME SCHEDULE IS SUBJECT TO LAST MINUTE CHANGE.
AIR Dibrugarh Online Radio Live Stream
ALL INDIA RADIO: DIBRUGARH
PROGRAMME SCHEDULE: FOR TUESDAY 05-12-19 & 06-12-2019
M.W 529.1m/KHz.567 F.M. 101.30 MHz
PROGRAMME SCHEDULE: FOR TUESDAY 05-12-19
TRANSMISSION III (3.28 PM to 11.10 PM)
3.28 AIR Signature Tune/Opening Announcement
3.30 Mishing Geet: Artist: Kanak Lata Yein
3.45 Programme in Mijumishimi
4.05 Programme in Khampti
4.25 Programme in Wanchoo
4.45 News in Hindi
4.55 News in English
5.00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6.00 Anchalik Batori
6.05 Programme Summery
6.10 Vrindagaan:
6.15 LAKHIMI: (Gaya Mahilar Anusthan) Interview on “Atmo Sohayak Gutor Kam-Kaaj”
With Dr. Rekhamoni Saikia.
6.45 Sandhiyar Anchalik Batori
6.55 Aajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 “YUVABANI”: Amar Atithi Shilpi Interview with Kinshuk Moran (Sound Designer)
7.45 Adhunik Geet: Artist: Akhtar Ali Khan
8.00 Time & Meter Reading: Sponsored Programme: GYANMALINI, Dibrugarh University
8.30 Gnan Bijnan Talk on “Plastic Borjone Ani Diya Bojarkhon” By Dr. Jitumoni Bora.
8.40 Programme Highlight
8.45 Samachar Sandhya:
9.00 News at Nine:
9.16 Assembly Review
9.25 Nichar Anchalik Batori:
9.30 Feature “LAKHIMI” Written by Parvati Prashad Baruah, Produced by Munin Bhuyan
10.00 Question Hour in Parliament / Classical Music: (Vocal) Artist: Pt. Kumar Gandharva Raga: Puriya Dhanasharee (Stand by)
10.30 Weather Report/Time Reading Closing Announcement Close Down…………(Stand by)
11.00 News in English
11.05 News in Hindi
11.10 Close Down.
PROGRAMME SCHEDULE: For THURSDAY 06.12.19
TRANSMISSION I (05.28 AM to 9.35 AM)
5:28 AIR Signature Tune:
5:30 Vandemataram/Opening Announcement Mangal Badya
5:35 Bhaktigeeti:
6:00 News in Hindi:
6:05 Gandhi Chinta & Programme Summary:
6:10 Swasthya Charcha: Interview on “Sit Kalot Hua Sishur Bemar” With Dr. D. K. Patgiri Part-III
6:15 Bidyarthir Anusthan:
6:30 Gandhi Prarthana
6: 45 Folk Music: (Zikir) Artist: Wazidur Rohman & Pty.
7: 05 News in Assamese
7: 15 Ajir Dinto: /(Morning Information Service)
7.30 GEETANJALI: 1.Artist: Dolly Ghosh Sadhya Lyc: Birinchi Kr. Medhi, Bhal Lage Mur… 2. Artist: Dilip Das Lyc: Satish Das, Seikhon Potharot… 3.Artist: Deven Sarmah Lyc: Dipali Kakoti, Jeevan Nodir… 4. Artist: Durgamoyee Bora Lyc: Hiren Bhattacharya, Mur Pahora Geetar… 5. Artist: Debojit Sarmah Lyc: N.M. Rafique, Surere Sojalu…
8:00 Samachar Prabhat:
8:15 Morning News:
8:30 North East News Bulletin in English:
8:35 “SURAR PANCHOI” (Composite) Assamese Film Songs
8:50 Puwar Anchalik Batori:
9:00 Jilar Rehrup:
9:05 “ANTARA” (Composite) Hindi Film Songs
9.35 Close Down.
TRANSMISSION II (11.28 AM to 3.30 PM)
11.58 AIR Signature Tune/Opening Announcement
12.00 News in English
12.05 LIVE PHONE IN SURAR SATSORI (Live Phone in Request Programme)
1:00 News in English:
1:05 News in Hindi
1:10 Troops Programme/
1.40 News in Assamese
1:50 Adhunik Geet: Artist: Anima Choudhury (Rpt)
2.00 Khetir Diha
2.05 Ghazal: Artist: Pankaj Udhas
2.15 Dopahar Samachar
2.30 Western Music:
3.00 Close Down.
TRANSMISSION III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/Opening Announcement
3:30 Deori Song: Artist: Binwa Deori & Pty
3:45 Programme in Mijumishimi
4:05 Porogramme in Khampti
4:25 Programme in Wanchoo
4:45 News in Hindi
4.55 News in English
5:00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6:00 Anchalik Batori
6.05 Programme Summary & Highlight
6.10 Vrindagaan:
6.15 “GANYA RAIJOR ANUSTHAN” (Rural Programme) / Interview on “Banijyik Paddhatire Khadya
Upojugi Kathphular Kheti” With Dr. Gitanjali Devi
6.30 Live Bilingual Commentary of the India-West Indies Cricket Series-2019 to be played at Rajiv Gandhi International Stadium, Hyderabad (Till 10.30 PM or till the end)
6:45 Sandhiyar Anchalik Batori
6:55 Ajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 “CHAH SRAMIKAR ASOR”/ (T.G. Programme)/ Jhumoir: Tileswar Kurmi & Pty.
Short Story by Joiram Kurmi
7.45 Adhunik Geet: Artist: Anima Choudhury
8.00 Time & Metre Reading: Quotation Jivanar Digh Bani (Radio Autobiography)
Interview with Dr. Paramananda Mahanta.Interviewer Jitu Ranjan Chetia Production Rupjyoti Dowerah Part: III
8.30University B’cast/
8.40 Programme Highlight
8.45 Samachar Sandhya:
9.00 News at Nine:
9:16 Assembly Review
9:25 Nishar Anchalik Batori
9.30 Assamese & Hindi Film Songs
10.00 Question Hour in Parliament/Classical Music: Artist: Ud. Bismillah Khan (Shehnai) Rag: Jaijaiwanti (Stand by)
11.00 News in English
11.05 News in Hindi
11.10 Close Down.
NOTE: SCHEDULE IS SUBJECT TO CHANGE
AIR Dibrugarh Online Radio Live Stream
ALL INDIA RADIO: DIBRUGARH
PROGRAMME SCHEDULE: FOR MONDAY 02.12.19
M.W 529.1m/KHz.567 F.M. 101.30 MHz
TRANSMISSION III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/Opening Announcement:
3.30 Mishing Song: Artist: Abanti Pamegam Chetia
3.45 Programme in Mijumishimi
4.05 Programme in Khampti
4.25 Programme in Wancho
4.45 News in Hindi
4.55 News in English
5.00 Programme Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6.00 Anchalik Batori
6.05 Programme Summary & Highlight
6.10 Vrindagaan:
6.15 GANYA RAIJOR ANUSTHAN/(Rural Programme)
6.45 Sandhiyar Anchalik Batori
6.55 Aajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15Yuvavani:Hello Yuvabani
7.45Adhunik Geet: Artist: Sarat Kr. Phangchoo
8.00 Time & Metre Reading:/ Quotation DRAMA: “AAI DHORITRIR SWOPNO” Written by Chandradhar Chamua. Production Jayantajit Das & Lohit Deka Part: 2
8.30 TALK IN ASSAMESE: Talk on “Notun Prajanma Bishayan Aru Poribortita Shiksha Sanskriti”
By Arun Baruah
8.40 Programme Highlight
8.42 Commercial Spot
8.45 SamacharSandhaya
9.00 News at Nine
9.15 Commercial Spot
9.16 Assembly Review
9.25 Nikhar Anchalik Batori
9.30 Discussion in English Discussion on “Healthy Eating” Pts: Dr. Prabal Saikia, Dr. Ruma Bhattacharjee &
Dr. Dipak Kr. Doley (Moderator)
10.00 Question Hour in Parliament
11.00 News in English
11.05 News in Hindi
11.10 Weather Report/Time Reading/Closing
PROGRAMME SCHEDULE: FOR TUESDAY 03.12.19
5.30 Vandemataram/Opening Announcement Mangal Vadya/Programme Announcement
5.35 Bhaktigeeti
6.00 News in Hindi
6.05 Gandhi Chinta & Programme Summary
6.10 Swasthya Charcha: Interview on “Dementia” With Dr. Dhrubajyoti Bhuyan/ Interviewer Kartik Sutradhar
Part: XII
6.15 Classical Music: (Vocal) Artist: Ud. Vilayat Hussain Khan Rag: Sohani
6.30 Bhajan: Artist: Minakshi Konwar Dev
6.40 Employment News
6.45 Folk Music: (Tokarigeet)/ Artist: Bhibi Kanta Baruah & Pty.
7.05 News in Assamese:
7.15“Ajir Dinto”/(Morning Information Service)/
7.30 GEETANJALI: 1.Artist: Binapani Dutta Lyc: Syed Saadulla 2. Artist: Babita Hazarika Lyc: Nagen
3.Artist: Bipul Phukan Lyc: Keshab Mahanta 4. Artist: Babita Baruah Lyc: Karabi Deka Hazarika
5. Artist: Boby Dowerah Lyc: Ahmed Shah
7.55 Commercial Spot
8.00 Samachar Prabhat
8.15 Morning News
8.30 North East News Bulletin in English
8.35 “SURAR PANCHOI” (Assamese Film Song)
8.50 Puwar Anchalik Batori
9.00 Jilar Rehrup
9.05 “ANTARA” / Hindi Film Songs
9.35 Weather Report / Time Reading Closing Announcement Close Down
TRANSMISSION II (11.28 AM to 3.30 PM)
11.58 AIR Signature Tune /Opening Announcement
12.00 News in English
12.05 Folk Music: (Gosai Naam) Artist: Gunalata Neog & Pty.
12.30 “GEETIMANJARI” Artist: Jayanta Hazarika, Ridip Dutta, Khagen Mahanta, Anima Deka, Anup Ghoshal,
Samar Hazarika
1.00 News in English
1.05 News in Hindi
1.10 Troops Programme
1.40 News in Assamese
1.50 Adhunik Geet: Artist: Dilip Dutta
2.00 Singpho Songs
2.10 Vrindagaan
2.15 Dopahar Samachar
2.30 Western Music
3.00 Weather Report/Time Reading/Closing Announcement
TRANSMISSION III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/Opening Announcement
3.30 Mishing Geet: (Oi-Nitom) Artist: Suruj Kumari Medok.
3.45 Programme in Mijumishimi
4.05 Programme in Khampti
4.25 Programme in Wancho
4.45 News in Hindi
4.55 News in English
5.00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6.00 Anchalik Batori
6.05 Programme Summary
6.10 Vrindagaan:
6.15 GANYA RAIJOR ANUSTHAN (Rural Programme)/Interview on “Gahori Palon Aru Pushtikar Aahar” With Dr. Gunaram Saikia.
6.45 Sandhiyar Anchalik Batori
6.55 Ajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 CHAH SRAMIKOR ASOR 1.Jhumoir: Naresh Sona & Pty. 2. Talk: “Dharjya Aru Sohonshilota Manab
Jeevanor Unnatir Ek Apariharjya Dish” By Maniklal Mahato
7.45 Adhunik Geet: Artist: Dilip Dutta
8.00 Krira Jegat (Sports Magazine) “Bharat Bangladesh Cricket Matchor Eti Parjyalochana Aru Poshektor
Krira Sangbad” By Arun Kr. Das
8.20 Hindi film Song
8.42 Commercial Spot
8.45 Samachar Sandhya
9.00 News at Nine
9.15 Commercial Spot
9.16 Assembly Review
9.25 Nishar Ancholik Batori
9.30 Sahitya Kanan 1. Talk on “Ekabinsho Satikar Asomiya Upanyas Aru Mohila Oponyasik” By Dr. Arabinda Rajkhowa 2.Self Composed Poem Recitation By Jiten Nath. 3.Short Story “Ekhon Gopan Noi” By Samsul Banik
10.00 Question Hour in Parliament
11.00 News in English
11.05 News in Hindi
11.10 Weather Report/Time Reading
/Closing
NOTE: SCHEDULE IS SUBJECT TO CHANGE
The Great Gildersleeve: The First Cold Snap / Appointed Water Commissioner / First Day on the Job
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
Suspense: Blue Eyes / You'll Never See Me Again / Hunting Trip
Thriller is a broad genre of literature, film, and television programming that uses suspense, tension and excitement as the main elements.[1] Thrillers heavily stimulate the viewer's moods giving them a high level of anticipation, ultra-heightened expectation, uncertainty, surprise, anxiety and/or terror. Good thriller films tend to be adrenaline-rushing, gritty, rousing and fast-paced. Literary devices such as red herrings, plot twists and cliffhangers are used extensively. A thriller is a villain-driven plot, whereby he or she presents obstacles that the protagonist must overcome.[2][3]
Common subgenres are psychological thrillers, crime thrillers and mystery thrillers.[4] Another common subgenre of thriller is the spy genre which deals with fictional espionage. Successful examples of thrillers are the films of Alfred Hitchcock. The horror and action genres often overlap with the thriller genre.[5]
In 2001, the American Film Institute in Los Angeles made its definitive selection of the top 100 greatest American heart-pounding and adrenaline-inducing films of all time. To be eligible, the 400 nominated films had to be American-made films, whose thrills have enlivened and enriched America's film heritage. AFI also asked jurors to consider the total adrenaline-inducing impact of a film's artistry and craft.[6][7]
Homer's Odyssey is one of the oldest stories in the Western world and is regarded as an early prototype of the thriller. One of the earliest thriller movies was Harold Lloyd's comic Safety Last! (1923), with a character performing a daredevil stunt on the side of a skyscraper. Alfred Hitchcock and Fritz Lang helped to shape the modern-day thriller genre beginning with The Lodger (1926) and M (1931), respectively.[2]
Auburn Coach Wife Kristi Malzahn Agrees with Match & eHarmony: Men are Jerks
My advice is this: Settle! That's right. Don't worry about passion or intense connection. Don't nix a guy based on his annoying habit of yelling Bravo! in movie theaters. Overlook his halitosis or abysmal sense of aesthetics. Because if you want to have the infrastructure in place to have a family, settling is the way to go. Based on my observations, in fact, settling will probably make you happier in the long run, since many of those who marry with great expectations become more disillusioned with each passing year. (It's hard to maintain that level of zing when the conversation morphs into discussions about who's changing the diapers or balancing the checkbook.)
Obviously, I wasn't always an advocate of settling. In fact, it took not settling to make me realize that settling is the better option, and even though settling is a rampant phenomenon, talking about it in a positive light makes people profoundly uncomfortable. Whenever I make the case for settling, people look at me with creased brows of disapproval or frowns of disappointment, the way a child might look at an older sibling who just informed her that Jerry's Kids aren't going to walk, even if you send them money. It's not only politically incorrect to get behind settling, it's downright un-American. Our culture tells us to keep our eyes on the prize (while our mothers, who know better, tell us not to be so picky), and the theme of holding out for true love (whatever that is—look at the divorce rate) permeates our collective mentality.
Even situation comedies, starting in the 1970s with The Mary Tyler Moore Show and going all the way to Friends, feature endearing single women in the dating trenches, and there's supposed to be something romantic and even heroic about their search for true love. Of course, the crucial difference is that, whereas the earlier series begins after Mary has been jilted by her fiancé, the more modern-day Friends opens as Rachel Green leaves her nice-guy orthodontist fiancé at the altar simply because she isn't feeling it. But either way, in episode after episode, as both women continue to be unlucky in love, settling starts to look pretty darn appealing. Mary is supposed to be contentedly independent and fulfilled by her newsroom family, but in fact her life seems lonely. Are we to assume that at the end of the series, Mary, by then in her late 30s, found her soul mate after the lights in the newsroom went out and her work family was disbanded? If her experience was anything like mine or that of my single friends, it's unlikely.
And while Rachel and her supposed soul mate, Ross, finally get together (for the umpteenth time) in the finale of Friends, do we feel confident that she'll be happier with Ross than she would have been had she settled down with Barry, the orthodontist, 10 years earlier? She and Ross have passion but have never had long-term stability, and the fireworks she experiences with him but not with Barry might actually turn out to be a liability, given how many times their relationship has already gone up in flames. It's equally questionable whether Sex and the City's Carrie Bradshaw, who cheated on her kindhearted and generous boyfriend, Aidan, only to end up with the more exciting but self-absorbed Mr. Big, will be better off in the framework of marriage and family. (Some time after the breakup, when Carrie ran into Aidan on the street, he was carrying his infant in a Baby Björn. Can anyone imagine Mr. Big walking around with a Björn?)