Adams International Academy-Tea Ceremony
This week's edition of Japan Journal features the illustrious students at Adams International Academy's One Coin English class for retired citizens. Susie VanBuren Osher of Rochester, New York, was our special guest. She was visiting Japan with her husband Scott on business. The students of A.I.A insisted on taking her to the Kakegawa Castle Tea Room to experience a traditional Japanese Tea Ceremony. It was a great day. Enjoy!
Our Miss Brooks: Accused of Professionalism / Spring Garden / Taxi Fare / Marriage by Proxy
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.
1600 Pennsylvania Avenue / Colloquy 4: The Joe Miller Joke Book / Report on the We-Uns
After Miller's death, John Mottley (1692--1750) brought out a book called Joe Miller's Jests, or the Wit's Vade-Mecum (1739), published under the pseudonym of Elijah Jenkins Esq. at the price of one shilling. This was a collection of contemporary and ancient coarse witticisms, only three of which are told of Miller. This first edition was a thin pamphlet of 247 numbered jokes. This ran to three editions in its first year.
Later (not wholly connected) versions were entitled with names such as Joe Miller's Joke Book, and The New Joe Miller to latch onto the popularity of both Joe Miller himself and the popularity of Mottley's first book. It should be noted that joke books of this format (i.e. Mr Smith's Jests) were common even before this date. It was common practice to learn one or two jokes for use at parties etc.
Owing to the quality of the jokes in Mottley's book, their number increasing with each of the many subsequent editions, any time-worn jest came to be called a Joe Miller, a Joe-Millerism, or simply a Millerism.
Joke 99 states:
A Lady's Age happening to be questioned, she affirmed she was but Forty, and called upon a Gentleman that was in Company for his Opinion; Cousin, said she, do you believe I am in the Right, when I say I am but Forty? I ought not to dispute it, Madam, reply'd he, for I have heard you say so these ten Years.
Joke 234 speaks of:
A famous teacher of Arithmetick, who had long been married without being able to get his Wife with Child. One said to her 'Madam, your Husband is an excellent Arithmetician'. 'Yes, replies she, only he can't multiply.'
Joe Miller was referred to in Charles Dickens' A Christmas Carol (1843), by the character Scrooge, who remarks Joe Miller never made such a joke as sending [the turkey] to Bob's will be!
Joe Miller was also referred to in James Joyce's Ulysses (1922) in the limerick that Lenehan whispers during the Aeolus episode to Stephen Dedalus, the last line of which is I can't see the Joe Miller. Can you?.
According to Leonard Feinberg, the 1734 edition contains one of the oldest examples of gallows humor.
Report on ESP / Cops and Robbers / The Legend of Jimmy Blue Eyes
Extrasensory perception (ESP) involves reception of information not gained through the recognized physical senses but sensed with the mind. The term was adopted by Duke University psychologist J. B. Rhine to denote psychic abilities such as telepathy, clairaudience, and clairvoyance, and their trans-temporal operation as precognition or retrocognition. ESP is also sometimes casually referred to as a sixth sense, gut instinct or hunch, which are historical English idioms. It is also sometimes referred to as intuition. The term implies acquisition of information by means external to the basic limiting assumptions of science, such as that organisms can only receive information from the past to the present.
Parapsychology is the pseudoscientific[1] study of paranormal psychic phenomena, including ESP. Parapsychologists generally regard such tests as the ganzfeld experiment as providing compelling evidence for the existence of ESP. The scientific community rejects ESP due to the absence of an evidence base, the lack of a theory which would explain ESP, and the lack of experimental techniques which can provide reliably positive results.
Vincent Jimmy Blue Eyes Alo (May 26, 1904 -- March 9, 2001) was a New York mobster and member of the Genovese crime family who set up casino operations with mob associate Meyer Lansky in Florida and Cuba.
Suspense: Heart's Desire / A Guy Gets Lonely / Pearls Are a Nuisance
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's Sorry, Wrong Number, about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's The Hitch Hiker, in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and producer in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
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.
The Great Gildersleeve: Fish Fry / Gildy Stays Home Sick / The Green Thumb Club
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.
Words at War: Lifeline / Lend Lease Weapon for Victory / The Navy Hunts the CGR 3070
The United States Merchant Marine is the fleet of U.S. civilian-owned merchant vessels, operated by either the government or the private sector, that engage in commerce or transportation of goods and services in and out of the navigable waters of the United States. The Merchant Marine is responsible for transporting cargo and passengers during peace time. In time of war, the Merchant Marine is an auxiliary to the Navy, and can be called upon to deliver troops and supplies for the military.
Merchant mariners move cargo and passengers between nations and within the United States, operate and maintain deep-sea merchant ships, tugboats, towboats, ferries, dredges, excursion vessels, and other waterborne craft on the oceans, the Great Lakes, rivers, canals, harbors, and other waterways.
As of 2006, the United States merchant fleet numbered 465 ships[2] and approximately 100,000 members. Seven hundred ships owned by American interests but registered, or flagged, in other countries are not included in this number.
The federal government maintains fleets of merchant ships via organizations such as Military Sealift Command and the National Defense Reserve Fleet. In 2004, the federal government employed approximately 5% of all American water transportation workers.[3]
In the 19th and 20th centuries, various laws fundamentally changed the course of American merchant shipping. These laws put an end to common practices such as flogging and shanghaiing, and increased shipboard safety and living standards. The United States Merchant Marine is also governed by several international conventions to promote safety and prevent pollution.
The merchant marine is a civilian auxiliary of the U.S. Navy, but not a uniformed service, except in times of war when, in accordance with the Merchant Marine Act of 1936, mariners are considered military personnel. In a time of national emergency, the President can permanently seize any merchant marine vessel in return for fair compensation, or commandeer it for temporary use with no compensation if returned in reasonable condition.
Mariners are well represented in the visual arts. Merchant seaman Johnny Craig was already a working comic book artist before he joined up, but Ernie Schroeder would not start drawing comics until after returning home from World War II. Seaman Haskell Wexler won two Academy Awards, the latter for a biography of his shipmate Woody Guthrie.
Merchant sailors have also made a splash in the world of sport. Drew Bundini Brown was Muhammad Ali's assistant trainer and cornerman, and Joe Gold went made his fortune as the bodybuilding and fitness guru of Gold's Gym. In football, Dan Devine and Heisman Trophy winner Frank Sinkwich excelled. Seamen Jim Bagby, Jr. and Charlie Keller played in Major League Baseball. In track and field, seamen Cornelius Johnson and Jim Thorpe both won Olympic medals, though Thorpe did not get his until thirty years after his death.
Writers Richard Henry Dana, Jr., Ralph Ellison, Herman Melville, and Jack Vance and were merchant mariners, as were prominent members of the Beat movement: Allen Ginsberg, Herbert Huncke, Bob Kaufman, Jack Kerouac, and Dave Van Ronk. Peter Baynham, the coauthor of the film Borat, and Donn Pearce, who wrote the movie Cool Hand Luke, were formerly merchant mariners. Filmmaker Oliver Stone won multiple Academy Awards.
WWII-era merchant mariners played well-known television characters. The list includes Raymond Bailey (who played Milburn Drysdale on The Beverly Hillbillies); Peter Falk (who played the title character on Columbo); James Garner (who played Jim Rockford on The Rockford Files); Jack Lord (who played Steve McGarrett on the original Hawaii Five-0); Carroll O'Connor (who played Archie Bunker on All in the Family); Denver Pyle (who played Uncle Jesse Duke on The Dukes of Hazzard); and Clint Walker (who played Cheyenne Bodie on Cheyenne).
Songwriter and lyricist Jack Lawrence was a mariner during World War II and wrote the official United States Merchant Marine song, Heave Ho! My Lads, Heave Ho! while a young lieutenant stationed at Sheepshead Bay, Brooklyn, in 1943.
Writer/businessman Robert Kiyosaki claimed to have been a mariner.
Paul Teutul, Sr., the founder of Orange County Choppers and Orange County Ironworks, was a merchant mariner during the Vietnam War.
NYSTV - The Chinese Dragon King Nephilim (Illuminati) Bloodline w Gary Wayne - Multi Language
The Chinese Illuminati Bloodlines receive little attention although they control a good portion of world politics. These Chinese ruling bloodlines claim descent from the Dragon Kings and given a birthright to rule.
This is pretty much the same story we see with the European Royal Families. All the Monarchs of Europe are actually one family tree. They also claim descent from the Dragon Kings. In fact, the symbol of England is a red dragon.
Gary Wayne is an expert in UFOs, Ancient Aliens, Ancient Bloodlines, Freemasonry, Transhumanism and Nephilm History, Lucifer and much more.
His book, The Genesis 6 Conspiracy is a complete outline of who the Illuminati are and where they came from.
Free Truth Productions
Truth and nothing but...
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The Long Way Home / Heaven Is in the Sky / I Have Three Heads / Epitaph's Spoon River Anthology
Spoon River Anthology (1915), by Edgar Lee Masters, is a collection of short free-form poems that collectively describe the life of the fictional small town of Spoon River, named after the real Spoon River that ran near Masters' home town. The collection includes two hundred and twelve separate characters, all providing two-hundred forty-four accounts of their lives and losses. The poems were originally published in the magazine Reedy's Mirror.
Each following poem is an epitaph of a dead citizen, delivered by the dead themselves. They speak about the sorts of things one might expect: some recite their histories and turning points, others make observations of life from the outside, and petty ones complain of the treatment of their graves, while few tell how they really died. Speaking without reason to lie or fear the consequences, they construct a picture of life in their town that is shorn of façades. The interplay of various villagers — e.g. a bright and successful man crediting his parents for all he's accomplished, and an old woman weeping because he is secretly her illegitimate child — forms a gripping, if not pretty, whole.
The subject of afterlife receives only the occasional brief mention, and even those seem to be contradictory.
The work features such characters as Tom Merritt, Amos Sibley, Carl Hamblin, Fiddler Jones and A.D. Blood. Many of the characters that make appearances in Spoon River Anthology were based on real people that Masters knew or heard of in the two towns in which he grew up, Petersburg and Lewistown, Illinois. Most notable is Ann Rutledge, regarded in local legend to be Abraham Lincoln's early love interest though there is no actual proof of such a relationship. Rutledge's grave can still be found in a Petersburg cemetery, and a tour of graveyards in both towns reveals most of the surnames that Masters applied to his characters.
Other local legends assert that Masters' fictional portrayal of local residents, often in unflattering light, created a lot of embarrassment and aggravation in his hometown. This is offered as an explanation for why he chose not to settle down in Lewistown or Petersburg.
Spoon River Anthology is often used in second year characterization work in the Meisner technique of actor training.
NYSTV - Transhumanism and the Genetic Manipulation of Humanity w Timothy Alberino - Multi Language
Is the real Mark of the Beast a genetic modification kids will want to get (like a tattoo)?
Will genetic mods be a trend and all the cool kids will have them?
Imagine in the not too distant future, where people will voluntarily have their limbs replaced with machines just to compete in the workforce.
Nowadays, robots are more like humans and humans are more like robots. Artificial Intelligence is here and the merging of man and machine has begun.
Implants to make you smarter and remember more? Downloading consciousness into a computer?
The future was yesterday, Timothy Alberino joins David Carrico and John Pounders for an in-depth overview of how the illuminati plan to bring trans humanism into the mainstream and the technology they are employing.
NYSTV - Best fringe programs you'll hear nowhere else...
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Latin: trans-humanism
Lao: trans-humanism
Lithuanian: trans-humanizmas
Latvian: trans-humanisms
Malagasy: Trans-hevitra maha olona:
Maori: trans-humanism
Macedonian: транс-хуманизам
Malayalam: ട്രാൻസ്-മാനുഷികത
Mongolian: trans-humanism
Marathi: ट्रान्स-मानवतावाद
Malay: trans-humanisme
Maltese: trans-umaniżmu
Myanmar (Burmese): trans ဆိုတဲ့-human
Nepali: trans-humanism
Dutch: trans-humanisme
Norwegian: trans-humanisme
Chichewa: trans-humanism
Punjabi: ਅੰਤਰ-ਮਨੁੱਖਤਾਵਾਦ
Polish: trans-humanizm
Portuguese: trans-humanismo
Romanian: trans-umanism
Russian: транс-гуманизм
Sinhala: ට්රාන්ස්-මානවවාදය
Slovak: trans-humanizmus
Slovenian: trans-humanizem
Somali: trans-humanism
Albanian: trans-humanizëm
Serbian: транс-хуманизам
Sesotho: trans-humanism
Sundanese: trans-humanisme
Swedish: trans-humanism
Swahili: trans-ubinadamu
Tamil: டிரான்ஸ் மனித
Telugu: ట్రాన్స్-మానవతావాదం
Tajik: транзистор
Thai: ทรานส์มนุษยนิยม
Filipino: trans-humanism
Turkish: trans-hümanizm
Ukrainian: трансгуманізм
Urdu: ٹرانس انسانیت
Uzbek: trans-gumanizm
Vietnamese: xuyên chủ nghĩa nhân văn
Yiddish: טראַנס-כיומאַניזאַם
Yoruba: trans-humanism
Chinese: 反人文主义
Chinese (Simplified): 反人文主义
Chinese (Traditional): 反人文主義
Zulu: ukudluliswa kwesintu
Thelema
babylon working
crowley
parsons
hubbard
H.G. Wells
undead
dracula
vlad the impaler
Illuminati
mk ultra
werewolf
right of the pyramid
kings chamber
ark of the covenant
order of the garter
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.
Suspense: 100 in the Dark / Lord of the Witch Doctors / Devil in the Summer House
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.
Week 11, continued
This is CS50.
The Great Gildersleeve: House Hunting / Leroy's Job / Gildy Makes a Will
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.
You Bet Your Life: Secret Word - Light / Clock / Smile
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.
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.
Dragnet: Big Gangster Part 1 / Big Gangster Part 2 / Big Book
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects.
Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program's format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday's deadpan, fast-talking persona emerged, described by John Dunning as a cop's cop, tough but not hard, conservative but caring. (Dunning, 210) Friday's first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough's death in 1951 (and therefore Romero's, who also died of a heart attack, as acknowledged on the December 27, 1951 episode The Big Sorrow), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 - April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero's nephew, April 17, 1952 - May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode The Big Donation); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio's top-rated shows.
Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn't seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives' personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) Underplaying is still acting, Webb told Time. We try to make it as real as a guy pouring a cup of coffee. (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans.
Most of the later episodes were entitled The Big _____, where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in The Big Streetcar the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect.
Throughout the series' radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode James Vickers, the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at the road to San Pedro, clearly indicate that it still retained much the character of a country highway at that time.
Bill Schnoebelen - Interview with an ex Vampire (7 of 9) - Multi - Language
Part 7 of the most in depth information on vampires out there. There are vampire clubs where wannabe yuppies drink each other's blood and wear black and talk about the Lessor Keys of Solomon.
One detail is that the fangs actually grow out and it's mostly and automatic response.
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The Truth is still weird...
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Afrikaans: vampier
Arabic: رعب
Azerbaijani: vampir
Belarusian: вампір
Bulgarian: вампир
Bengali: রক্তচোষা
Bosnian: vampir
Catalan: vampir
Cebuano: vampire
Czech: upír
Welsh: vampire
Danish: vampyr
German: Vampir
Greek: βρυκόλακας
English: vampire
Esperanto: vampire
Spanish: vampiro
Estonian: vampiir
Basque: banpiroa
Persian: خون آشام
Finnish: vampyyri
French: vampire
Irish: vampire
Galician: vampiro
Gujarati: વેમ્પાયર
Hausa: vampire
Hindi: पिशाच
Hmong: vampire
Croatian: vampir
Haitian Creole: vanpir
Hungarian: vámpír
Armenian: վամպիր
Indonesian: vampir
Igbo: vampire
Icelandic: vampíru
Italian: vampiro
Hebrew: ערפד
Japanese: 吸血鬼
Javanese: vampir
Georgian: vampire
Kazakh: вампир
Khmer: បិសាច
Kannada: ರಕ್ತಪಿಶಾಚಿ
Korean: 흡혈귀
Latin: vampire
Lao: vampire
Lithuanian: vampyras
Latvian: vampīrs
Malagasy: Vampire
Maori: vampire
Macedonian: вампир
Malayalam: വാമ്പയർ
Mongolian: цус сорогч
Marathi: पिशाच
Malay: Pontianak
Maltese: vampir
Myanmar (Burmese): သွေးစုပ်ဖုတ်ကောင်
Nepali: पिशाच
Dutch: vampier
Norwegian: vampyr
Chichewa: vampire
Punjabi: ਪਿਸ਼ਾਚ
Polish: wampir
Portuguese: vampiro
Romanian: vampir
Russian: вампир
Sinhala: වැම්පයර්
Slovak: upír
Slovenian: vampir
Somali: vampire
Albanian: vampir
Serbian: вампире
Sesotho: moferefere
Sundanese: vampir
Swedish: vampyr
Swahili: vampire
Tamil: காட்டேரி
Telugu: పిశాచ
Tajik: vampire
Thai: แทตย์
Filipino: vampire
Turkish: vampir
Ukrainian: вампір
Urdu: ویمپائر
Uzbek: vampire
Vietnamese: ma cà rồng
Yiddish: וואַמפּיר
Yoruba: vampire
Chinese: 吸血鬼
Chinese (Simplified): 吸血鬼
Chinese (Traditional): 吸血鬼
Zulu: i-vampire
Calling All Cars: Hit and Run Driver / Trial by Talkie / Double Cross
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.
Bill Schnoebelen - Interview With an Ex Vampire (2 of 9)
Second in a nine part series examining the life and rituals of a vampire as told by Bill Schnoebelen of withoneccordministries.com
Vlad the Impaler had red hair and light skin. People think that vampires started with his legend. But even the ancient Egyptians wrote about vampires thousands of years before Vlad.
In fact, in every language in the world there is a word for vampire and each culture has its own legends.
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Truth = Waaaay stranger than fiction...
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