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Investment in the U.S. financial services industry offers significant advantage for financial firms. In 2015, at least 128 of Fortune's Global 500 companies have chosen to locate their headquarters in the United States to take advantage of its creative, competitive, and comprehensive financial services sector. The industry offers the greatest array of financial instruments and products to allow consumer to manage risk, create wealth, and meet financial needs. Full list of Media Credits Installment credit is used for a specific purpose, for a defined amount and for a specific period. Payments are usually the same amount each month. Examples of purchases made on installment credit include large appliances, automobiles and furniture. These kinds of loans usually offer lower interest rates than revolving credit. For example, a car company holds a lien on the car until the car loan is repaid. The total amount of the principal and interest is repaid within a predefined period. If the customer defaults on the loan payments, the company can repossess the car and charge penalties. Better Qualified has developed a proven credit management program that will help you manage your credit and save money. Better Qualified has developed a proven credit management program that will help you build your credit, remove errors and save money. Paul Oster, the president of BQ noticed that there are only three pure profit companies, not government agencies that generates the credit score for 300 mil. of people. Paul Oster entered the industry to change the system. Better Qualified has a six month program when the specialists repair the credit score. The experts verify and validate the report information, they make it accurately and timely. Better Qualified is committed to providing our clients with optimum accounts receivable management, debt recovery, and customer care programs through years of expertise, advanced technology, and clear communication. As we operate internally as a team, our approach with respect to our Clients is the same building strong, lasting business partnerships through listening and responding to their needs. We deal with Late Payments, Charge Offs, Collections, Medical Collections, Student Loans, Judgments, Bankruptcies, Tax Liens, Incorrect Information, and other credits. In addition, Better Qualified protects you against Identity Theft, the fastest growing crime in America. The BQ IDShield, powered by Identity Theft 911, offers continuous credit monitoring and protection. Royal Palm Beach is governed by a Mayor and a City Council. The Mission of the Village of Royal Palm Beach Mayor and Council is to represent the public interest, promote quick, courteous response to residents' problems, provide leadership and direction to the Village's future, and assure the present and future fiscal integrity of the municipal government. The Village of Royal Palm Beach strives to provide its citizens with a clean, safe, family oriented community.
The Mayor of Royal Palm Beach is currently Fred Pinto. His term expires in March 2018.
The city council consists of four chairs. The following are established and filled: Seat 1: Vice Mayor Jeff Hmara, Seat 2: David Swift, Seat 3: Richard Valuntas, Seat 4: Fred Pinto.
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Nowadays, the level of cyber-attacks has significantly increased. Many people have become victims of identity theft. That usually happens due to inaccurate use of passwords. In 2014 two thousands of appliances were hacked. Most people use the same password for the refrigerator and for the bank account. Be attentive to your personal information and protect yourself from identity thief. Paul Oster, a society secure and credit repair expert, CEO Better Qualified, advises to change the password every thirty day. The security phrase can help secure your credit account. List of all video credits is located here Better Qualified is committed to providing our clients with optimum accounts receivable management, debt recovery, and customer care programs through years of expertise, advanced technology, and clear communication. As we operate internally as a team, our approach with respect to our Clients is the same building strong, lasting business partnerships through listening and responding to their needs. We deal with Late Payments, Charge Offs, Collections, Medical Collections, Student Loans, Judgments, Bankruptcies, Tax Liens, Incorrect Information, and other credits. In addition, Better Qualified protects you against Identity Theft, the fastest growing crime in America. The BQ IDShield, powered by Identity Theft 911, offers continuous credit monitoring and protection. In addition, our 24-hour support team will help you and your family to prevent and resolve any issues related to Identity Theft. The median income for a household in Royal Palm Beach was $54,766, and the median income for a family was $61,063. Males had a median income of $39,356 versus $29,991 for females. The per capita income for Royal Palm Beach was $21,875. About 3.7% of families and 4.3% of the population were below the poverty line, including 5.2% of those under age 18 and 5.9% of those age 65 or over.
As of 2000, speakers of English as a first language accounted for 85.80% of all residents, while Spanish was at 11.49%, and Tagalog as a mother tongue made up 0.48% of the population.
As of 2000, Royal Palm Beach had the eighty-ninth highest percentage of Cuban residents in the US, with 2.95%, while its Jamaican community had the thirty-second highest percentage in the US, with 4.10% of the population (tied with Tamarac and Goulds. This subsector of Finance and insurance called Monetary authorities comprises establishments primarily engaged in performing central banking functions, such as issuing currency (paper money); managing the nation's money supply and international reserves; overseeing payment, clearing and settlement systems; holding deposits that represent the reserves of other banks and institutions; and acting as fiscal agent for the federal government. The institutional arrangements for performing these functions and for conducting monetary policy may differ among the countries. In Canada, these functions are performed by the Bank of Canada, in Mexico by the Bank of Mexico, and in the United States by the Federal Reserve Banks and their branches. Consumer credit is divided into two classifications: revolving creditand installment credit. Consumer credit allows consumers to get an advance or loan to spend money on products or services for family, household or personal uses. Consumers can purchase items they need when their funds are low. Consumer credit offers a backup form of payment and one monthly payment.Better Qualified takes a personal approach to the credit management process and work with you every step of the way to get you the best possible results.
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Nachkriegszeit und geteiltes Deutschland - Das Jahrhundert der Frauen - Teil 1
Nachkriegszeit und geteiltes Deutschland.
Als Nachkriegszeit wird in Deutschland die Zeit nach dem Zweiten Weltkrieg bis spätestens zum Abzug der letzten Alliierten in Berlin im September 1994 bezeichnet.[1] Nach dem Krieg sollte unter Verwaltung der Besatzungsmächte die staatliche Ordnung, Wirtschaft und Infrastruktur neu aufgebaut oder wiederhergestellt werden und die durch den Krieg entstandenen Schäden behoben werden. In diesen ersten Jahren der Nachkriegszeit litten große Teil der Bevölkerung unter Hunger und Knappheit an Gütern aller Art.
Atlantis Low Fly Over
A low fly over of Atlantis from the point in front of Cain at the Cove. This is an un-edited piece of footage filmed from a DJI Phantom 2 Vision+
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.
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.
The Great Gildersleeve: The First Cold Snap / Appointed Water Commissioner / First Day on the Job
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
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.
Auburn Coach Wife Kristi Malzahn Agrees with Match & eHarmony: Men are Jerks
My advice is this: Settle! That's right. Don't worry about passion or intense connection. Don't nix a guy based on his annoying habit of yelling Bravo! in movie theaters. Overlook his halitosis or abysmal sense of aesthetics. Because if you want to have the infrastructure in place to have a family, settling is the way to go. Based on my observations, in fact, settling will probably make you happier in the long run, since many of those who marry with great expectations become more disillusioned with each passing year. (It's hard to maintain that level of zing when the conversation morphs into discussions about who's changing the diapers or balancing the checkbook.)
Obviously, I wasn't always an advocate of settling. In fact, it took not settling to make me realize that settling is the better option, and even though settling is a rampant phenomenon, talking about it in a positive light makes people profoundly uncomfortable. Whenever I make the case for settling, people look at me with creased brows of disapproval or frowns of disappointment, the way a child might look at an older sibling who just informed her that Jerry's Kids aren't going to walk, even if you send them money. It's not only politically incorrect to get behind settling, it's downright un-American. Our culture tells us to keep our eyes on the prize (while our mothers, who know better, tell us not to be so picky), and the theme of holding out for true love (whatever that is—look at the divorce rate) permeates our collective mentality.
Even situation comedies, starting in the 1970s with The Mary Tyler Moore Show and going all the way to Friends, feature endearing single women in the dating trenches, and there's supposed to be something romantic and even heroic about their search for true love. Of course, the crucial difference is that, whereas the earlier series begins after Mary has been jilted by her fiancé, the more modern-day Friends opens as Rachel Green leaves her nice-guy orthodontist fiancé at the altar simply because she isn't feeling it. But either way, in episode after episode, as both women continue to be unlucky in love, settling starts to look pretty darn appealing. Mary is supposed to be contentedly independent and fulfilled by her newsroom family, but in fact her life seems lonely. Are we to assume that at the end of the series, Mary, by then in her late 30s, found her soul mate after the lights in the newsroom went out and her work family was disbanded? If her experience was anything like mine or that of my single friends, it's unlikely.
And while Rachel and her supposed soul mate, Ross, finally get together (for the umpteenth time) in the finale of Friends, do we feel confident that she'll be happier with Ross than she would have been had she settled down with Barry, the orthodontist, 10 years earlier? She and Ross have passion but have never had long-term stability, and the fireworks she experiences with him but not with Barry might actually turn out to be a liability, given how many times their relationship has already gone up in flames. It's equally questionable whether Sex and the City's Carrie Bradshaw, who cheated on her kindhearted and generous boyfriend, Aidan, only to end up with the more exciting but self-absorbed Mr. Big, will be better off in the framework of marriage and family. (Some time after the breakup, when Carrie ran into Aidan on the street, he was carrying his infant in a Baby Björn. Can anyone imagine Mr. Big walking around with a Björn?)
Words at War: Eighty-Three Days: The Survival Of Seaman Izzi / Paris Underground / Shortcut to Tokyo
The French Résistance has had a great influence on literature, particularly in France. A famous example is the poem Strophes pour se souvenir, which was written by the communist academic Louis Aragon in 1955 to commemorate the heroism of the Manouchian Group, whose 23 members were shot by the Nazis.
The Résistance is also portrayed in Jean Renoir's wartime This Land is Mine (1943), which was produced in the USA.
In the immediate post-war years, French cinema produced a number of films that portrayed a France broadly present in the Résistance.[188][189] The 1946 La Bataille du rail depicted the courageous efforts of French railway workers to sabotage German reinforcement trains,[190] and in the same year Le Père tranquille told the story of a quiet insurance agent secretly involved in the bombing of a factory.[190] Collaborators were hatefully presented as a rare minority, as played by Pierre Brewer in Jéricho (1946) or Serge Reggiani in Les Portes de la nuit (1946), and movements such as the Milice were rarely evoked.
In the 1950s, a less heroic interpretation of the Résistance to the occupation gradually began to emerge.[190] In Claude Autant-Lara's La Traversée de Paris (1956), the portrayal of the city's black market and general mediocrity revealed the reality of war-profiteering during the occupation.[191] In the same year, Robert Bresson presented A Man Escaped, in which an imprisoned Résistance activist works with a reformed collaborator inmate to escape.[192] A cautious reappearance of the image of Vichy emerged in Le Passage du Rhin (1960), in which a crowd successively acclaim both Pétain and de Gaulle.[193]
After General de Gaulle's return to power in 1958, the portrayal of the Résistance returned to its earlier résistancialisme. In this manner, in Is Paris Burning? (1966), the role of the resistant was revalued according to [de Gaulle's] political trajectory.[194] The comic form of films such as La Grande Vadrouille (1966) widened the image of Résistance heroes to average Frenchmen.[195] The most famous and critically acclaimed of all the résistancialisme movies is Army of Shadows (L'Armee des ombres), which was made by the French film-maker Jean-Pierre Melville in 1969. The film was inspired by Joseph Kessel's 1943 book, as well as Melville's own experiences, as he had fought in the Résistance and participated in Operation Dragoon. A 1995 television screening of L'Armee des ombres described it as the best film made about the fighters of the shadows, those anti-heroes.[196]
The shattering of France's résistancialisme following the events of May 1968 emerged particularly clearly in French cinema. The candid approach of the 1971 documentary The Sorrow and the Pity pointed the finger on anti-Semitism in France and disputed the official Résistance ideals.[197][198] Time magazine's positive review of the film wrote that director Marcel Ophüls tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans.[199]
Franck Cassenti, with L'Affiche Rouge (1976); Gilson, with La Brigade (1975); and Mosco with the documentary Des terroristes à la retraite addressed foreign resisters of the EGO, who were then relatively unknown. In 1974, Louis Malle's Lacombe, Lucien caused scandal and polemic because of his absence of moral judgment with regard to the behavior of a collaborator.[200] Malle later portrayed the resistance of Catholic priests who protected Jewish children in his 1987 film Au revoir, les enfants. François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.[201] The 1980s began to portray the resistance of working women, as in Blanche et Marie (1984).[202] Later, Jacques Audiard's Un héros très discret (1996) told the story of a young man's traveling to Paris and manufacturing a Résistance past for himself, suggesting that many heroes of the Résistance were imposters.[203][204] In 1997, Claude Berri produced the biopic Lucie Aubrac based on the life of the Résistance heroine of the same name, which was criticized for its Gaullist portrayal of the Résistance and over-emphasis on the relationship between Aubrac and her husband.[205]
In the 2011 video game Call of Duty: Modern Warfare 3, in which a hypothetical World War III is depicted, a French resistance movement is formed to act against Russian occupation. The playable characters of many factions in-game receive assistance from this Resistance . This is in line with previous, World War II-based Call of Duty games, which often featured involvement with the Resistance of that era.
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!
City of Pahokee Commission Meeting - September 10 2019
Discussion of City budget.
Full agenda and backup materials are available at City Hall.
The Enormous Radio / Lovers, Villains and Fools / The Little Prince
The Enormous Radio is a short story written by John Cheever in 1947. It first appeared in the May 17, 1947 issue of The New Yorker and was later collected in The Enormous Radio and Other Stories. The story deals with a family who purchases a new radio that allows them to listen in on conversations and arguments of other tenants living in their apartment building.
According to Alan Lloyd Smith, author of American Gothic Fiction - An Introduction ISBN 0-8264-1595-4, a concept of domestic abjection is one that disturbs identity, order, and system. This is exactly what the new radio did in the Westcott household. When Mrs. Westcott saw the new radio in the large gumwood cabinet, she did not like the enormousness of it. The Gumwood cabinet is a dark cabinet and did not fit in with the living room furnishings and colors that Irene had personally chosen. This cabinet is dark and ugly, bringing darkness into the living room and their lives. Eventually, Irene identifies herself with the object.
Another gothic concept of The Enormous Radio is the element of buried secrets. Both Jim and Irene begin to recognize that there is tension in their marriage. Irene had many deep dark secrets that she feels guilty about. She has successfully hidden these secrets all these years until the ugliness of the radio brings up her neighbors problems. Irene has suppressed and hidden her feelings to others and herself for a long time. This is the reason she is drawn to the radio, it exposes the inner life of others and eventually hers. Irene identified with the others in the building as her own problems. It is ironic that the thing purchased to bring joy to the Westcott's life did nothing but cause trouble between them. Secrets revealed are sometimes not able to be handled well.
Alan Lloyd Smith also identifies Domestic Gothic as,[2] intimately bound up with the idea of the house, gender, and family, which becomes through metaphor, a way of externalizing the inner life of fictional characters.
The Great Gildersleeve: French Visitor / Dinner with Katherine / Dinner with the Thompsons
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.
Von der Wende bis heute - Das Jahrhundert der Frauen - Teil 1
Das Jahrhundert der Frauen,die Wende.
Die Vereinbarkeit von Familie und Beruf wird in ganz Deutschland zum Thema. Mehr junge Frauen als junge Männer machen hierzulande Abitur. Eine Frau wird Kanzlerin. Aber eine Bankkauffrau in der Bundesrepublik verdient für die gleiche Arbeit auch heute noch statistisch zirka 20 Prozent weniger als ihr Kollege.
Weitere Stichworte dieser Folge: Geburtsvorbereitung für Paare, Schönheitswahn, Ehrenmorde, die erste deutsche Kanzlerin.