Bloodhound Gang - Foxtrot Uniform Charlie Kilo (Official Video)
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Music video by Bloodhound Gang performing Foxtrot Uniform Charlie Kilo. (C) 2005 Republic / Geffen Records
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The Remains Of The Day
Academy Award-winners Anthony Hopkins and Emma Thompson star in this moving tale of butler whose devotion to duty prevents him from acknowledging his love for the housekeeper working beside him. Set on a baronial estate in pre-World War II England, this poignant drama of denied romance plays against a backdrop of the growing threat of Nazism in Europe. © 1993 Columbia Pictures Industries, Inc. All Rights Reserved.
Spinosaurus fishes for prey | Planet Dinosaur | BBC
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Henry Is Leaving Swellview ⁉️ Henry Danger | Nick
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Watch live: House votes on articles of impeachment against President Trump
The House is poised to debate articles of impeachment against President Trump alleging he abused his power and obstructed Congress, setting the stage for an extraordinary rebuke from the chamber of Congress most responsive to the will of the American people. For live updates:
The House will convene at 9 a.m. to begin debate leading up to the final impeachment votes. After an hour of debate on the rule governing the proceedings, six hours of debate on the articles will be divided equally between Democrats and Republicans, who could introduce procedural obstacles that would stretch the proceedings into the evening.
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Our Miss Brooks: Exchanging Gifts / Halloween Party / Elephant Mascot / The Party Line
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.
Spy
A female CIA agent who has been convinced that she can't do field work by her boyfriend does exactly that after her boyfriend is supposedly killed by the daughter of an enemy agent with a nuclear bomb for sale. Luckily, it turns out that she's a far better agent than her intimidated boyfriend, who it turns out isn't really dead, led her to believe.
The Great Gildersleeve: Marjorie the Actress / Sleigh Ride / Gildy to Run for Mayor
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.
50 Billion Dollar Man...Dan Peña Speaks at the University of Chester
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Translated titles:
Hombre de 50 mil millones de dólares ... Dan Peña habla en la Universidad de Chester
50-Milliarden-Dollar-Mann ... Dan Peña spricht an der University of Chester
Un homme de 50 milliards de dollars ... Dan Peña s'exprime à l'université de Chester
Homem de 50 bilhões de dólares ... Dan Peña fala na Universidade de Chester
50 बिलियन डॉलर मैन ... डेन पेनाला चेस्टर व
50 miliardi di dollari ... Dan Peña parla all'Università di Chester
500億ドルの男... DanPeña、チェスター大学で講演
50 억 달러의 남자 ... 체스터 대학에서 댄 페냐 (Dan Peña)가 말한다.
Человек за 50 миллиардов долларов ... Дэн Пенья выступае
ชาย 50 พันล้านดอลลาร์ ... Dan Peñaพูดที่ University o
The Great Gildersleeve: Gildy's New Car / Leroy Has the Flu / Gildy Needs a Hobby
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.
Suspense: Dead Ernest / Last Letter of Doctor Bronson / The Great Horrell
On the second presentation of July 22, 1940, Forecast offered a mystery/horror show titled Suspense. With the co-operation of his producer, Walter Wanger, Alfred Hitchcock received the honor of directing his first radio show for the American public. The condition agreed upon for Hitchcock's appearance was that CBS make a pitch to the listening audience about his and Wanger's latest film, Foreign Correspondent. To add flavor to the deal, Wanger threw in Edmund Gwenn and Herbert Marshall as part of the package. All three men (including Hitch) would be seen in the upcoming film, which was due for a theatrical release the next month. Both Marshall and Hitchcock decided on the same story to bring to the airwaves, which happened to be a favorite of both of them: Marie Belloc Lowndes' The Lodger. Alfred Hitchcock had filmed this story for Gainsborough in 1926, and since then it had remained as one of his favorites.
Herbert Marshall portrayed the mysterious lodger, and co-starring with him were Edmund Gwenn and character actress Lurene Tuttle as the rooming-house keepers who start to suspect that their new boarder might be the notorious Jack-the-Ripper. [Gwenn was actually repeating the role taken in the 1926 film by his brother, Arthur Chesney. And Tuttle would work again with Hitchcock nearly 20 years later, playing Mrs. Al Chambers, the sheriff's wife, in Psycho.] Character actor Joseph Kearns also had a small part in the drama, and Wilbur Hatch, head musician for CBS Radio at the time, composed and conducted the music specially for the program. Adapting the script to radio was not a great technical challenge for Hitchcock, and he cleverly decided to hold back the ending of the story from the listening audience in order to keep them in suspense themselves. This way, if the audience's curiosity got the better of them, they would write in to the network to find out whether the mysterious lodger was in fact Jack the Ripper. For the next few weeks, hundreds of letters came in from faithful listeners asking how the story ended. Actually a few wrote threats claiming that it was indecent and immoral to present such a production without giving the solution.
Cuisine of the United States | Wikipedia audio article
This is an audio version of the Wikipedia Article:
Cuisine of the United States
Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago.
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
=======
American cuisine reflects the history of the United States, blending the culinary contributions of various groups of people from around the world, including indigenous American Indians, African Americans, Asians, Europeans, Pacific Islanders, and South Americans. Early Native Americans utilized a number of cooking methods in early American Cuisine that have been blended with early European cooking methods to form the basis of American cuisine. The European settlement of the Americas yielded the introduction of a number of various ingredients, spices, herbs, and cooking styles to the latter. The various styles continued expanding well into the 19th and 20th centuries, proportional to the influx of immigrants from many different nations; this influx nurtured a rich diversity in food preparation throughout the country.
When the colonists came to the colonies, they farmed animals for clothing and meat in a similar fashion to what they had done in Europe. They had cuisine similar to their previous British cuisine. The American colonial diet varied depending on the settled region in which someone lived. Commonly hunted game included deer, bear, buffalo, and wild turkey. A number of fats and oils made from animals served to cook much of the colonial foods. Prior to the Revolution, New Englanders consumed large quantities of rum and beer, as maritime trade provided them relatively easy access to the goods needed to produce these items: rum was the distilled spirit of choice, as the main ingredient, molasses, was readily available from trade with the West Indies. In comparison to the northern colonies, the southern colonies were quite diverse in their agricultural diet.
During the 18th and 19th centuries, Americans developed many new foods. During the Progressive Era of the late 19th and early 20th centuries, c. 1890s–1920s, food production and presentation became more industrialized. One characteristic of American cooking is the fusion of multiple ethnic or regional approaches into completely new cooking styles. A wave of celebrity chefs began with Julia Child and Graham Kerr in the 1970s, with many more following after the rise of cable channels, such as the Food Network and Cooking Channel, in the late 20th century.
NYSTV - Hierarchy of the Fallen Angelic Empire w Ali Siadatan - Multi Language
Chronologically, after the fall of Adam, the fallen angels procreated with humans to create a genetic hybrid that was an unsanctioned creation from God.
These Giants took over the world and were made the rulers of kingdoms. The Enlilship as it was called.
This is where Ali's talk begins. The nephilim (hybrids) took positions of power and created all the false religions of the world.
They reinvented themselves as the gods of old. Zeus, Aphrodite, Baal, Shiva, etc...
They especially like to be associated as moon or sun gods.
To this day, the Fallen Angel Hybrids hold all the key positions of power. We don't call them fallen angel hybrids, we call them the illuminati.
Another in depth discussion by Ali Siadatan, whose topics of expertise include Fallen Angel Genealogy, Ancient pre flood history, the Illuminati, End Times Prophecy, Modern History, Ancient Aliens, UfOs and a lot more.
His website is thinkagainproductions.com
And don't forget to check out NYSTV with Jon Pounders.
Free Truth Productions
Truth = Freedom
freetruthproductions.com
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My Friend Irma: Acute Love Sickness / Bon Voyage / Irma Wants to Join Club
My Friend Irma, created by writer-director-producer Cy Howard, is a top-rated, long-run radio situation comedy, so popular in the late 1940s that its success escalated to films, television, a comic strip and a comic book, while Howard scored with another radio comedy hit, Life with Luigi. Marie Wilson portrayed the title character, Irma Peterson, on radio, in two films and a television series. The radio series was broadcast from April 11, 1947 to August 23, 1954.
Dependable, level-headed Jane Stacy (Cathy Lewis, Diana Lynn) began each weekly radio program by narrating a misadventure of her innocent, bewildered roommate, Irma, a dim-bulb stenographer from Minnesota. The two central characters were in their mid-twenties. Irma had her 25th birthday in one episode; she was born on May 5. After the two met in the first episode, they lived together in an apartment rented from their Irish landlady, Mrs. O'Reilly (Jane Morgan, Gloria Gordon).
Irma's boyfriend Al (John Brown) was a deadbeat, barely on the right side of the law, who had not held a job in years. Only someone like Irma could love Al, whose nickname for Irma was Chicken. Al had many crazy get-rich-quick schemes, which never worked. Al planned to marry Irma at some future date so she could support him. Professor Kropotkin (Hans Conried), the Russian violinist at the Princess Burlesque theater, lived upstairs. He greeted Jane and Irma with remarks like, My two little bunnies with one being an Easter bunny and the other being Bugs Bunny. The Professor insulted Mrs. O'Reilly, complained about his room and reluctantly became O'Reilly's love interest in an effort to make her forget his back rent.
Irma worked for the lawyer, Mr. Clyde (Alan Reed). She had such an odd filing system that once when Clyde fired her, he had to hire her back again because he couldn't find anything. Useless at dictation, Irma mangled whatever Clyde dictated. Asked how long she had been with Clyde, Irma said, When I first went to work with him he had curly black hair, then it got grey, and now it's snow white. I guess I've been with him about six months.
Irma became less bright as the program evolved. She also developed a tendency to whine or cry whenever something went wrong, which was at least once every show. Jane had a romantic inclination for her boss, millionaire Richard Rhinelander (Leif Erickson), but he had no real interest in her. Another actor in the show was Bea Benaderet.
Katherine Elisabeth Wilson (August 19, 1916 -- November 23, 1972), better known by her stage name, Marie Wilson, was an American radio, film, and television actress. She may be best remembered as the title character in My Friend Irma.
Born in Anaheim, California, Wilson began her career in New York City as a dancer on the Broadway stage. She gained national prominence with My Friend Irma on radio, television and film. The show made her a star but typecast her almost interminably as the quintessential dumb blonde, which she played in numerous comedies and in Ken Murray's famous Hollywood Blackouts. During World War II, she was a volunteer performer at the Hollywood Canteen. She was also a popular wartime pin-up.
Wilson's performance in Satan Met a Lady, the second film adaptation of Dashiell Hammett's detective novel The Maltese Falcon, is a virtual template for Marilyn Monroe's later onscreen persona. Wilson appeared in more than 40 films and was a guest on The Ed Sullivan Show on four occasions. She was a television performer during the 1960s, working until her untimely death.
Wilson's talents have been recognized with three stars on the Hollywood Walk of Fame: for radio at 6301 Hollywood Boulevard, for television at 6765 Hollywood Boulevard and for movies at 6601 Hollywood Boulevard.
Wilson married four times: Nick Grinde (early 1930s), LA golf pro Bob Stevens (1938--39), Allan Nixon (1942--50) and Robert Fallon (1951--72).
She died of cancer in 1972 at age 56 and was interred in the Columbarium of Remembrance at Forest Lawn Cemetery in Hollywood Hills.
Josip Broz Tito | Wikipedia audio article
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Josip Broz Tito
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
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Josip Broz (Cyrillic: Јосип Броз, pronounced [jǒsip brôːz]; 7 May 1892 – 4 May 1980), commonly known as Tito (; Cyrillic: Тито, pronounced [tîto]), was a Yugoslav communist revolutionary and political leader, serving in various roles from 1943 until his death in 1980. During World War II, he was the leader of the Partisans, often regarded as the most effective resistance movement in occupied Europe. While his presidency has been criticized as authoritarian and concerns about the repression of political opponents have been raised, some historians consider him a benevolent dictator. He was a popular public figure both in Yugoslavia and abroad. Viewed as a unifying symbol, his internal policies maintained the peaceful coexistence of the nations of the Yugoslav federation. He gained further international attention as the chief leader of the Non-Aligned Movement, alongside Jawaharlal Nehru of India, Gamal Abdel Nasser of Egypt, Sukarno of Indonesia, and Kwame Nkrumah of Ghana.Broz was born to a Croat father and Slovene mother in the village of Kumrovec, Austria-Hungary (now in Croatia). Drafted into military service, he distinguished himself, becoming the youngest sergeant major in the Austro-Hungarian Army of that time. After being seriously wounded and captured by the Imperial Russians during World War I, he was sent to a work camp in the Ural Mountains. He participated in some events of the Russian Revolution in 1917 and subsequent Civil War. Upon his return home, Broz found himself in the newly established Kingdom of Yugoslavia, where he joined the Communist Party of Yugoslavia (KPJ).
He was General Secretary (later Chairman of the Presidium) of the League of Communists of Yugoslavia (1939–1980) and went on to lead the World War II Yugoslav guerrilla movement, the Partisans (1941–1945). After the war, he was the Prime Minister (1944–1963), President (later President for Life) (1953–1980) of the Socialist Federal Republic of Yugoslavia (SFRY). From 1943 to his death in 1980, he held the rank of Marshal of Yugoslavia, serving as the supreme commander of the Yugoslav military, the Yugoslav People's Army (JNA). With a highly favourable reputation abroad in both Cold War blocs, he received some 98 foreign decorations, including the Legion of Honour and the Order of the Bath.
Tito was the chief architect of the second Yugoslavia, a socialist federation that lasted from November 1942 until April 1992. Despite being one of the founders of Cominform, he became the first Cominform member to defy Soviet hegemony in 1948 and the only one in Joseph Stalin's time to manage to leave Cominform and begin with its own socialist program with elements of market socialism. Economists active in the former Yugoslavia, including Czech-born Jaroslav Vanek and Croat-born Branko Horvat, promoted a model of market socialism dubbed the Illyrian model, where firms were socially owned by their employees and structured on workers' self-management and competed with each other in open and free markets.
Meet Corliss Archer: Beauty Contest / Mr. Archer's Client Suing / Corliss Decides Dexter's Future
Meet Corliss Archer, a program from radio's Golden Age, ran from January 7, 1943 to September 30, 1956.
Priscilla Lyon and Janet Waldo successively portrayed 15-year-old Corliss on radio. Lugene Sanders also played Corliss briefly on radio and in the Meet Corliss Archer television show.
Perpetually perky, breathless and well-intentioned, Corliss is constantly at the side of her next-door neighbor and boyfriend, Dexter Franklin (Bill Christy, Sam Edwards). Clumsy, nerdy Dexter, a sweet but constant bungler with a nasal voice, is best remembered for his trademark phrase, Holy cow! and his braying call, Heyyyy, Corrrrrliiiiiss!--frequently delivered from the hedge separating their houses.
Harry Archer, Corliss' father, is a lawyer who tolerates Dexter only when he wants to use him to prove the superiority of the male gender. Gruff but gentle, he was played by both Fred Shields and Frank Martin. Janet Archer, Corliss' mother, was played by Irene Tedrow, Monty Margetts, and Gloria Holden. She is calm and understanding with her daughter and her husband, both of whom sometimes try her patience. Other frequent characters include Mildred Ames, a good friend of Corliss (played by Bebe Young and Barbara Whiting); Mildred's irritating younger brother Raymond (Tommy Bernard, Kenny Godkin); and Corliss' rival, Betty Cameron (Delores Crane).
Meet Corliss Archer was written by F. Hugh Herbert, who first introduced the character and her friends in the magazine story A Private Affair, the first of a series of stories. Kiss and Tell was a 1943 play that was adapted for a 1945 film starring Shirley Temple. The 1949 sequel, A Kiss For Corliss, was re-released in 1954.
Dragnet: Claude Jimmerson, Child Killer / Big Girl / Big Grifter
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.
Our Miss Brooks: Deacon Jones / Bye Bye / Planning a Trip to Europe / Non-Fraternization Policy
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: Man Who Couldn't Lose / Dateline Lisbon / The Merry Widow
Suspense is a radio drama series broadcast from 1942 through 1962.
One of the premier drama programs of the Golden Age of Radio, was subtitled radio's outstanding theater of thrills and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were withheld until the last possible second; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's The Dunwich Horror, but by the late 1950s, such material was regularly featured.
The familiar opening phrase tales well-calculated to... was satirized by Mad as the cover blurb Tales Calculated to Drive You... Mad on its first issue (October--November 1952) and continuing until issue #23 (May 1955).
Radio comedians Bob and Ray had a recurring routine lampooning the show, with stories that were presented as dramatic but were intentionally mundane, entitled Tales calculated to put you in a state of... Apathy!
American Radical, Pacifist and Activist for Nonviolent Social Change: David Dellinger Interview
David T. Dellinger (August 22, 1915 -- May 25, 2004), was an influential American radical, a pacifist and activist for nonviolent social change. More:
Dellinger achieved peak notoriety as one of the Chicago Seven, protesters whose disruption of the 1968 Democratic National Convention in Chicago led to charges of conspiracy and crossing state lines with the intention of inciting a riot. The ensuing court case was turned by Dellinger and his co-defendants into a nationally-publicized platform for putting the Vietnam War on trial. On February 18, 1970, they were acquitted of the conspiracy charge but five defendants (including Dellinger) were convicted of individually crossing state lines to incite a riot.
Judge Hoffman's handling of the trial, along with the FBI's bugging of the defence lawyers, resulted, with the help of the Center for Constitutional Rights, in the convictions being overturned by the Seventh Circuit Court of Appeals two years later, on 21 November 1972. Although the contempt citations were upheld, the appeal court refused to sentence anyone.
Dellinger was born in Wakefield, Massachusetts to a wealthy family. His father was a lawyer and a prominent Republican. A Yale University and Oxford University student, he also studied theology at Union Theological Seminary. Rejecting his comfortable background, he walked out of Yale one day to live with hobos during the Depression. While at Oxford, he visited Nazi Germany and drove an ambulance during the Spanish Civil War. During World War II, he was an imprisoned conscientious objector and anti-war agitator. In federal prison, he and fellow conscientious objectors — including Ralph DiGia and Bill Sutherland — protested racial segregation in the dining halls, which were ultimately integrated due to the protests. In February 1946, Dellinger helped to found the radical pacifist Committee for Nonviolent Revolution.
During the 1950s and 1960s, Dellinger joined freedom marches in the South and led many hunger strikes in jail. As US involvement in Vietnam grew, Dellinger applied Gandhi's principles of non-violence to his activism within the growing anti-war movement, of which one of the high points was the Chicago Seven trial. He travelled to both North and South Vietnam in 1966 to learn first-hand the impact of American bombing and later recalled that critics ignored his trip to Saigon and focused solely on his visit to Hanoi.
In 1956, he and A. J. Muste founded the magazine Liberation, as a forum for the non-Marxist left, similar to Dissent.
Dellinger had contacts and friendships with such diverse individuals as Eleanor Roosevelt, Ho Chi Minh, Martin Luther King, Jr., Abbie Hoffman, A.J. Muste, Greg Calvert, David McReynolds and numerous Black Panthers, including Fred Hampton, whom he greatly admired. As chairman of the Fifth Avenue Vietnam Peace Parade Committee he worked with many different anti-war organizations, and helped bring Dr. King and James Bevel into leadership positions in the 1960s anti-war movement. He sat on the executive committee of the Socialist Party of America and the Young People's Socialist League, its youth section, until he left in 1943; and was also a long-time member of the War Resisters League. In 1968, he signed the Writers and Editors War Tax Protest pledge, vowing to refuse tax payments in protest against the Vietnam War.
Dellinger appeared at the December 1971 gathering of music and political views in favor of the then-jailed John Sinclair.
Anti-war activist, socialist and author for his lifelong commitment to pacifist values and for serving as a spokesperson for the peace movement, Dellinger was awarded the Peace Abbey Courage of Conscience on September 26, 1992.
In 1996, at the first Democratic Convention held in Chicago since 1968, Dellinger was arrested along with nine others (including his own grandson as well as Abbie Hoffman's son Andrew) during a sit-in protest at Chicago's Federal Building. Later, in 2001, he led a group of young activists from Montpelier, Vermont, to Quebec City, to protest the creation of a free trade zone.
David Dellinger died in Montpelier, Vermont, in 2004.
Before reading [his autobiography], I knew and greatly admired Dave Dellinger. Or so I thought. After reading his remarkable story, my admiration changed to something more like awe. There can be few people in the world who have crafted their lives into something truly inspiring. This autobiography introduces us to one of them. — Noam Chomsky, from the dustjacket of From Yale to Jail