Primitive Technology - Cooking Big Cat fish by woman At river - grilled fish Eating delicious 32
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Primitive Technology - Cooking Big Cat fish by woman At river - grilled fish Eating delicious 32
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Real Dragon Captured by Fisherman
A fisherman in Inner Mongolia, China captured what looks like a real chinese dragon. The dragon has since been transported to Beijing for further studies.
[TW21S1] Jiufen Old Street and Chinese Cosplay! Where to go in Taipei?
Jiufen Old Street
九份老街
Jishan Street, Ruifang District, New Taipei City, Taiwan 224
Jiufen Secret Base Cosplay
九份秘密基地柑仔店
Opp No. 5, Shuqi Rd, Ruifang District, New Taipei City, Taiwan 224
Music - My Harlem Days 1 by Jan Chmelar
Camera - GoPro HERO4 Silver
Gimbal - Zhiyun Z1-EVOLUTION 3-Axis Gimbal
Bolin Chen
How to Draw a House in 2-Point Perspective in a Landscape
Learn How to Draw a House in 2-Point Perspective in a Landscape. Please SUBSCRIBE for my weekly art tutorials: Watch next: How to Draw in 2-Point Perspective Playlist:
Circle Line Art School: Episode 226
How to Draw a House in 2-Point Perspective in a Landscape, step by step, with shading and tone:
Step 1:
Draw a horizontal line across your page.
Step 2:
Draw a cross towards each end of this horizontal line for the two vanishing points.
These two vanishing points are where all horizontal lines will go if they are at an angle going away from us, the viewer.
Step 3:
Draw a vertical line, for the near side of the house we are drawing.
Step 4:
Draw two diagonal lines from the top and bottom of this vertical line to the vanishing point on the left, for the left side of the building, and then two more diagonal lines to the vanishing point to the right, for the right side of the building.
Step 5:
Draw two vertical lines either side of our original vertical line, for the two far sides of our house.
Step 6:
Draw a triangle on the top left diagonal, for the side of a roof.
Step 7:
Draw a line from the point of this triangle to the vanishing point on the right.
Step 8:
Copy the right side of the triangle as a simple line for the roof of the house on the right hand side.
We how have a basic house in 2-point perspective for beginners.
The next stage in this drawing is to add tone and shading to the house and trees and landscape and a shadow on the road in perspective.
Art materials used in this perspective art tutorial:
4B Pencil
Blending Stump
Eraser
Hi, my name is Tom McPherson and I founded Circle Line Art School as an online art education resource for all. My aim is to inspire people to learn to draw and be more creative.
Please leave a comment to let me know what kind of drawing you would like to see next.
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Tom McPherson
Circle Line Art School
Music used in this simple perspective drawing of a house:
Evening Fall Piano by Kevin MacLeod is licensed under a Creative Commons Attribution licence (
Source:
Artist:
Inside Israel's Largest Man Made Cave
LIVE on TBN, Fridays at 10:30pm ET (9:30pm CT, 8:30pm MT, 7:30pm PT)
How To Draw A Tree: Narrated step by step
Learn How to Draw a Tree in this narrated pencil drawing of an oak tree, step by step.
Watch Next: How to Draw Trees Playlist:
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See Two Point Perspective here
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In this video learn step by step how to draw an oak tree, narrated from the first line of the trunk to the last detail.
In this video I use a 4B pencil and start by drawing the tree trunk, then the branches and then the leaves. There are many ways to draw. I hope you like and share this video and subscribe to my You Tube Channel for many more.
How to Draw Trees
Tom McPherson
How to Draw a Tree
Circle Line Art School
Katherine Chia – Founding Principal of Desai Chia Architecture
Katherine Chia FAIA along with Arjun Desai AIA are the founding principals of Desai Chia Architecture. Since 1996, they have established the firm’s reputation for authentic design, creating inspiring environments expressive of their use and materials; Desai Chia’s portfolio includes cultural, residential, and commercial projects as well as commissions for product design and collaborations with artists. Projects are currently in development throughout the United States and abroad in Toronto, Bangalore, and the U.K.
The School of Visual Arts offers a four-year Bachelor of Fine Arts degree in Interior Design. The program is accredited by the Council for Interior Design Accreditation (CIDA). After three years of professional experience, BFA graduates from SVAID are qualified to sit for the National Council for Interior Design Qualification exam (NCIDQ).
For more information on SVAID or to schedule a tour or interview, please contact the School of Visual Arts Office of Admissions.
Fishing Tips : How to Catch a Fish
The most important aspect of catching a fish is setting the hook, which is done by jerking the line whenever a fisherman feels a tug. Keep a fish that's been caught on the line with help from a fishing guide in this free video on fishing for beginners.
Expert: Mark Senosk
Bio: Mark Senosk is a professionally trained fishing guide, studying under the Hubbards Guide Academy.
Filmmaker: David Pakman
A Matter of Logic / Bring on the Angels / The Stronger
The Stronger (Swedish: Den starkare) is a famous 1889 play by August Strindberg. The play is quite short, consisting of only one scene that can be performed in approximately 10 minutes. The characters consist of only two women: a Mrs. X and a Miss. Y, only one of whom speak, an example of a dramatic monologue. It was adapted into a 1952 opera by composer Hugo Weisgall and there have been numerous film and television adaptations of the work. It has also been expanded and adapted into a forty-minute English-language zarzuela with a Madrid setting by Derek Barnes (2010), with text by Christopher Webber.
Johan August Strindberg (22 January 1849 -- 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.[2][3][4] A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics.[5] A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques.[6][7] From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film.[8] He is considered the father of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.[9][10]
In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.[2][11] In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that -- building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play — responded to the call-to-arms of Émile Zola's manifesto Naturalism in the Theatre (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887).[12] In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the vacillating, disintegrated characters is emphasised.[13] Strindberg modelled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays On Psychic Murder (1887), On Modern Drama and the Modern Theatre (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.[14]
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.[15] A series of psychotic attacks between 1894 to 1896 (referred to as his Inferno crisis) led to his hospitalisation and return to Sweden.[15] Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become the Zola of the Occult.[16] In 1898 he returned to playwriting with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.[17] His A Dream Play (1902) — with its radical attempt to dramatise the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters -- was an important precursor to both expressionism and surrealism.[18] He also returned to writing historical drama, the genre with which he had begun his playwriting career.[19] He helped to run the Intimate Theatre from 1907, a small-scale theatre, modelled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
Fishing in Her Cleavage - Just For Laughs Gags
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Food as Medicine: Preventing and Treating the Most Common Diseases with Diet
This is Dr. Greger's 2015 live presentation. Dr. Greger has scoured the world's scholarly literature on clinical nutrition and developed this new presentation based on the latest in cutting-edge research exploring the role diet may play in preventing, arresting, and even reversing some of our leading causes of death and disability.
Subscribe to NutritionFacts.org's free newsletter at and receive recipes developed by the NF staff that will fuel your fitness goals.
Have a question for Dr. Greger about this video? Leave it in the comment section at and he'll try to answer it!
Recorded live at the University of Pittsburgh on July 11, 2015 thanks to NAVS and Aaron Wissner.
Image Credit: Stanford Research into the Impact of Tobacco Advertising; Centers for Disease Control and Prevention; Steven Jackson, Leon Keller, and DES Daughter via Flickr; 18percentgrey, Rostislav Sedláček, and Anna Liebiedieva via 123rf; Nmajik, Gajda-13, and Brian Arthur via Wikimedia Commons; and OpenPics and Bambo via Pixabay.
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How Not To Die: The Role of Diet in Preventing, Arresting, and Reversing Our Top 15 Killers
In this “best-of” compilation of his last four year-in-review presentations, Dr. Greger explains what we can do about the #1 cause of death and disability: our diet.
Subscribe to NutritionFacts.org's free newsletter at and receive recipes developed by the NF staff that will fuel your fitness goals.
I'd like to thank Dr. John McDougall (drmcdougall.com) and his team for videotaping this and allowing us to share it with the world.
To watch my last four annual talks in their entirety, check out:
Uprooting the Leading Causes of Death (
More Than an Apple a Day (
From Table to Able (
Food as Medicine (
Have a question about this video? Leave it in the comment section at and someone on the NutritionFacts.org team will try to answer it.
You’ll also find a transcript and acknowledgements for the video, my blog and speaking tour schedule, and an easy way to search (by translated language even) through our videos spanning more than 2,000 health topics.
If you’d rather watch these videos on YouTube, subscribe to my YouTube Channel here:
Thanks for watching. I hope you’ll join in the evidence-based nutrition revolution!
-Michael Greger, MD FACLM
I’d like to thank Dr. John McDougall and his team for videotaping this and allowing us to share it with the world!
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Our Miss Brooks: Magazine Articles / Cow in the Closet / Takes Over Spring Garden / Orphan Twins
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.
Region of Peel Council Meeting Sept 28th, 2017
Region of Peel Council Meeting .
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A Day In the Sky,.. - ( news full video )
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Suspense: The 13th Sound / Always Room at the Top / Three Faces at Midnight
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.
Calling All Cars: Don't Get Chummy with a Watchman / A Cup of Coffee / Moving Picture Murder
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.
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.
XXVI Domingo del Tiempo Ordinario - Ciclo C - 29 de septiembre de 2019 11:00am
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Suspense: Sorry, Wrong Number - West Coast / Banquo's Chair / Five Canaries in the Room
Banquo is a character in William Shakespeare's 1606 play Macbeth. In the play, he is at first an ally to Macbeth (both are generals in the King's army) and they are together when they meet the Three Witches. After prophesying that Macbeth will become king, the witches tell Banquo that he will not be king himself, but that his descendants will be. Later, Macbeth in his lust for power sees Banquo as a threat and has him murdered; Banquo's son, Fleance, escapes. Banquo's ghost returns in a later scene, causing Macbeth to react with alarm during a public feast.
Shakespeare borrowed the character of Banquo from Holinshed's Chronicles, a history of Britain published by Raphael Holinshed in 1587. In Chronicles Banquo is an accomplice to Macbeth in the murder of the king, rather than a loyal subject of the king who is seen as an enemy by Macbeth. Shakespeare may have changed this aspect of his character in order to please King James, who was thought at the time to be a descendant of the real Banquo. Critics often interpret Banquo's role in the play as being a foil to Macbeth, resisting evil where Macbeth embraces it. Sometimes, however, his motives are unclear, and some critics question his purity. He does nothing to accuse Macbeth of murdering the king, even though he has reason to believe Macbeth is responsible.
Banquo's role, especially in the banquet ghost scene, has been subject to a variety of interpretations and mediums. Shakespeare's text states: Enter Ghost of Banquo, and sits in Macbeth's place.[28] Several television versions have altered this slightly, having Banquo appear suddenly in the chair, rather than walking onstage and into it. Special effects and camera tricks also allow producers to make the ghost disappear and reappear, highlighting the fact that only Macbeth can see it.[29]
Stage directors, unaided by post-production effects and camera tricks, have used other methods to depict the ghost. In the late 19th century, elaborate productions of the play staged by Henry Irving employed a wide variety of approaches for this task. In 1877 a green silhouette was used to create a ghostlike image; ten years later a trick chair was used to allow an actor to appear in the middle of the scene, and then again from the midst of the audience. In 1895 a shaft of blue light served to indicate the presence of Banquo's spirit. In 1933 a Russian director named Theodore Komisarjevsky staged a modern retelling of the play (Banquo and Macbeth were told of their future through palmistry); he used Macbeth's shadow as the ghost.[30]
Film adaptations have approached Banquo's character in a variety of ways. In 1936 Orson Welles helped produce an African-American cast of the play, including Canada Lee in the role of Banquo.[30] Akira Kurosawa's 1957 adaptation Throne of Blood makes the character into Capitan Miki (played by Minoru Chiaki), slain by Macbeth's equivalent (Captain Washizu) when his wife explains that she is with child. News of Miki's death does not reach Washizu until after he has seen the ghost in the banquet scene. In Roman Polanski's 1971 adaptation, Banquo is played by acclaimed stage actor Martin Shaw, in a style reminiscent of earlier stage performances.[31] Polanski's version also emphasises Banquo's objection to Macbeth's ascendency by showing him remaining silent as the other thanes around him hail Macbeth as king.[32] in the 1990 telling of Macbeth in a New York Mafia crime family setting, Men of Respect the character of Banquo is named Bankie Como played by American actor Dennis Farina.
You Bet Your Life: Secret Word - Chair / People / Foot
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as Groucho glasses, a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as Groucho glasses, nose-glasses, and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).
Alan Alda often vamped in the manner of Groucho on M*A*S*H. In one episode, Yankee Doodle Doctor, Hawkeye and Trapper put on a Marx Brothers act at the 4077, with Hawkeye playing Groucho and Trapper playing Harpo. In three other episodes, a character appeared who was named Captain Calvin Spalding (played by Loudon Wainwright III). Groucho's character in Animal Crackers was Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Michael Stivic (Rob Reiner), would briefly imitate Groucho Marx and his mannerisms.
Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed '39 a capella. A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice. On the famous Hollywood Sign in California, one of the Os is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in a one-man stage production. He also imitated Marx occasionally on his previous TV sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of Hooray for Captain Spaulding—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
In the Italian horror comic Dylan Dog, the protagonist's sidekick is a Groucho impersonator whose character became his permanent personality.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named Waiting For Groucho about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.