dive master eamonn
eamonn was diving in angel dive for many month and finish working as a dive master in nha trang, vietnam
SSI Mermaid Specialty Course
Check out the new SSI Mermaid Specialty Course! Ask your SSI Training Center today!
Egypt Diving 2013 PADI OWD
2 days of diving in the Red Sea getting lisence PADI OWD (18m)
Sharm El Sheikh
Dolphin Dive Center
December 2013
GoPro Hero 1, GoPro Hero 2.
iMac
Final Cut
Dragon's Club: Overgrown Bromance | 용띠클럽 철부지 브로망스 : EP 4[SUB : KOR/ENG, 2018.1.2]
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* Guest : Kim Jong Kook, Cha Tae Hyun, Jang Hyuk, Hong Kyung Min,Hong Kyung In
* Episode 4The sky blue sea.
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DAGANG PINGGIR DALAN [Official Music Video] Lagu Sedih Menyayat Hati Versi Ngapak @dpstudioprod
DAGANG PINGGIR DALAN [Official Music Video] Lagu Sedih Menyayat Hati Versi Ngapak @dpstudioprod || Perjalanan hidup seorang perantauan yang mendedikasikan hidupnya sebagai pedagang kaki lima ..... cerita kehidupan yang bisa di ambil hikmah serta hidayah untuk kita renungkan ... sebuah karya cipta dari seniman jawa yang akan menggugah para pecinta musik untuk lebih giat berkarya. Dukung kami denga berbagi video ini ....
Judul : DAGANG PINGGIR DALAN
Vocal : Herudin
Cipt : Abi Qosim
Arr : Dedy Pitak
Produksi : DEDY PITAK STUDIO
#PedagangPerantauan #LaguSedih #PinggirDalan
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven critics accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
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.
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.
Dragnet: Big Escape / Big Man Part 1 / Big Man Part 2
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.