Ocean City Lifesaving Station Museum for 'Beach & Beyond' & Worcester County
A 3 1/2 minute promotional spot produced for Worcester County, Maryland featuring a tour of the 'Ocean City Lifesaving Station Museum for the television show 'Beach & Beyond' produced for WMDT-TV ch47 and its' affiliates, produced by unscene productions 2012.
Memorial Day 2017 Flag Raising Ocean City NJ
There is a daily flag raising in front of Gillians Waterpark at Plymouth Place and Boardwalk. The flags are at half staff in honor of all who paid the ultimate price for our freedom.
Air Circus Commercial
Air Circus at 1118 Boardwalk in Ocean City, NJ. The largest kite store in the area!
Ocean City MD Boardwalk at night
via YouTube Capture
Hammerheads On The Beach OC,MD
1 32oz Rum Bucket, 2 32oz Shark Tanks, 1 Jack n Coke, 2 Long Island Iced Teas, 2 Corona's, and 2 Angry Orchards Hard Cider... For Appetizer around 3:30pm in the afternoon... Awesome!
Boardwalk Shops Feel Lingering Effects Of Hermine
Anita Oh is in Ocean City, N.J. with the report.
Wildwood Memorial day kite festival 2012
Check the kites in the sky in this beautiful Memorial day weekend.
'Mid-Atlantic' - Day 5 Scales/Offshore 2014 - Sunset Marina
A promo spot produced for the 'Mid-Atlantic' of Day Five of 2014's tournament at Sunset Marina's portion of the scales and tournament in Ocean City, Maryland produced by unscene productions for the South Jersey Marina Group highlighting Sunset Marina and Ocean City, Maryland's leg of the event...........unscene.
Surf casting in New Zealand..Pines beach smoothhound
Catching a nice fat smoothound shark while fishing on Canterbury's Pines beach....All tackle supplied by the Fishermans' loft- fishermansloft.co.nz/
Calling All Cars: Body on the Promenade Deck / The Missing Guns / The Man with Iron Pipes
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
The Vietnam War: Reasons for Failure - Why the U.S. Lost
In the post-war era, Americans struggled to absorb the lessons of the military intervention. About the book:
As General Maxwell Taylor, one of the principal architects of the war, noted, First, we didn't know ourselves. We thought that we were going into another Korean War, but this was a different country. Secondly, we didn't know our South Vietnamese allies... And we knew less about North Vietnam. Who was Ho Chi Minh? Nobody really knew. So, until we know the enemy and know our allies and know ourselves, we'd better keep out of this kind of dirty business. It's very dangerous.
Some have suggested that the responsibility for the ultimate failure of this policy [America's withdrawal from Vietnam] lies not with the men who fought, but with those in Congress... Alternatively, the official history of the United States Army noted that tactics have often seemed to exist apart from larger issues, strategies, and objectives. Yet in Vietnam the Army experienced tactical success and strategic failure... The...Vietnam War...legacy may be the lesson that unique historical, political, cultural, and social factors always impinge on the military...Success rests not only on military progress but on correctly analyzing the nature of the particular conflict, understanding the enemy's strategy, and assessing the strengths and weaknesses of allies. A new humility and a new sophistication may form the best parts of a complex heritage left to the Army by the long, bitter war in Vietnam.
U.S. Secretary of State Henry Kissinger wrote in a secret memo to President Gerald Ford that in terms of military tactics, we cannot help draw the conclusion that our armed forces are not suited to this kind of war. Even the Special Forces who had been designed for it could not prevail. Even Secretary of Defense Robert McNamara concluded that the achievement of a military victory by U.S. forces in Vietnam was indeed a dangerous illusion.
Doubts surfaced as to the effectiveness of large-scale, sustained bombing. As Army Chief of Staff Harold Keith Johnson noted, if anything came out of Vietnam, it was that air power couldn't do the job. Even General William Westmoreland admitted that the bombing had been ineffective. As he remarked, I still doubt that the North Vietnamese would have relented.
The inability to bomb Hanoi to the bargaining table also illustrated another U.S. miscalculation. The North's leadership was composed of hardened communists who had been fighting for independence for thirty years. They had defeated the French, and their tenacity as both nationalists and communists was formidable. Ho Chi Minh is quoted as saying, You can kill ten of my men for every one I kill of yours...But even at these odds you will lose and I will win.
The Vietnam War called into question the U.S. Army doctrine. Marine Corps General Victor H. Krulak heavily criticised Westmoreland's attrition strategy, calling it wasteful of American lives... with small likelihood of a successful outcome. In addition, doubts surfaced about the ability of the military to train foreign forces.
Between 1965 and 1975, the United States spent $111 billion on the war ($686 billion in FY2008 dollars). This resulted in a large federal budget deficit.
More than 3 million Americans served in the Vietnam War, some 1.5 million of whom actually saw combat in Vietnam. James E. Westheider wrote that At the height of American involvement in 1968, for example, there were 543,000 American military personnel in Vietnam, but only 80,000 were considered combat troops. Conscription in the United States had been controlled by the President since World War II, but ended in 1973.
By war's end, 58,220 American soldiers had been killed, more than 150,000 had been wounded, and at least 21,000 had been permanently disabled. According to Dale Kueter, Sixty-one percent of those killed were age 21 or younger. Of those killed in combat, 86.3 percent were white, 12.5 percent were black and the remainder from other races. The youngest American KIA in the war was PFC Dan Bullock, who had falsified his birth certificate and enlisted in the US Marines at age 14 and who was killed in combat at age 15. Approximately 830,000 Vietnam veterans suffered symptoms of posttraumatic stress disorder. An estimated 125,000 Americans fled to Canada to avoid the Vietnam draft, and approximately 50,000 American servicemen deserted. In 1977, United States President Jimmy Carter granted a full, complete and unconditional pardon to all Vietnam-era draft dodgers. The Vietnam War POW/MIA issue, concerning the fate of U.S. service personnel listed as missing in action, persisted for many years after the war's conclusion.
Futuristic -- I Guess I'll Smoke Feat. Dizzy Wright & Layzie Bone Lyrics
Futuristic -- I Guess I'll Smoke Lyrics
So I guess I'll smoke
So I guess I (coughs)
So I guess I smoke
[Verse 1: Futuristic]
It's your town, I'm only in it for the night though
I'm tryna feel right though
Slow down, what you think about a drink?
Mix it with a little bit of sprit though
Ain't you on tour with Dizzy Wright though?
Nigga roll something
You mean to tell you around all these bomb ass trees
And you don't smoke nothing?
Fuck it, bad bitch wanna hit the blunt
Don't mind if I do first
Cool verse, this some new work
Left the hotel, hit the show, goddamn it was too turnt
Crew shirt that's WTF. Your bitch wanna wear that shit to bed
And then we got to smoking, I ain't joking
The way that she started blowing, and slowly gon' make a nigga want some head
So I guess I smoke
[Hook:]
I guess I'll smoke
I guess I'll smoke
Smoke, so I guess I'll smoke
So I guess I...
Smoke, smoke, smoke
So I guess I...
Smoke, smoke, smoke
[Verse 2: Futuristic]
Blunt, after blunt, after blunt
After blunt, after blunt
After that, then another
Chilling with my niggas and my brothers
Couple bitches say they with
Probably gonna have them under covers
Yeah they all smoke
Hit up Cole, tell him that we need some more
Already got Cîroc and the honey jack, little bit of fireball
We picking up the papers at the store
I got it for the low, that's free shit (free shit)
Fans wanna see me get the tree lit
Probably eat up all the sweet shit
Now I'm writing all this deep shit
Hit up ? damage every single beat quick
Straight THC
Now we mobbin' in the car, that's a MIC
Step to the line and take hits like the MLB
Let the beat drop while I smoke this weed
[Verse 3: Dizzy Wright]
We smoke a lot of weed
Like a whole lot of weed
Back off tour like what
Give it up for the new kid
Nigga I ain't tryna be the new Wiz
I'm just tryna do it like Snoop did
Too clever, whenever, however illegal
When I'm smoking pot up in the parking lot
Hit a lap around the world
Just to land in Amsterdam and
Smoke a blunt up in a coffee shop
You ain't ever smoke like me nigga
You don't want to see who get the highest (Nigga why you lying?)
Nigga you'll probably get the itis
I just got my marijuana license
She with me, she standing you up
They say I smoke like I'm at the cannabis cup
Stand on your luck and get handed your face
On a platter with candles and stuff
Ya'll niggas standing on the sideline
XXL Fresh, now I headed for the cover of the motherfucking High Times
Pregame before a headline, but
It's bedtime for all of these kids
Off that wax niggas know what it is
She hopped out that cab just to hop on the dab
And I'm grabbing the torch and she grabbing my dick
Let us smoke
[Hook]
[Verse 4: Layzie Bone]
Puff puff pass to the side
Let your uncle get a drag of that
And puff puff give
Man I need it for my cataracts
Old nigga, cold nigga, bold enough to hit the dab
Yabba Dabba, Scooby Snack
And little niggas do be cracking
I'll be blowing til' the day that croak
I got nothing else to do so I guess
I'll smoke
Today and everyday after today I'll be
Smoking forever and that ain't no joke
I didn't really mean to impede
But y'all got all the bad bitches and
All the best weed
Catch these keys
She my speed
I'm bout to go get it
Nigga it's OG
All I had to say was, Booty Lover
Bone Thug soldier, and she came closer
Blew a couple shotguns, keep a couple hot ones
Bad to the bone, hit the phone
Then we got gone
For all the real hip hop heads Please subscribe to Hip Hop Era. Follow me on Instagram as well @bboysyfy
A Matter of Logic / Bring on the Angels / The Stronger
The Stronger (Swedish: Den starkare) is a famous 1889 play by August Strindberg. The play is quite short, consisting of only one scene that can be performed in approximately 10 minutes. The characters consist of only two women: a Mrs. X and a Miss. Y, only one of whom speak, an example of a dramatic monologue. It was adapted into a 1952 opera by composer Hugo Weisgall and there have been numerous film and television adaptations of the work. It has also been expanded and adapted into a forty-minute English-language zarzuela with a Madrid setting by Derek Barnes (2010), with text by Christopher Webber.
Johan August Strindberg (22 January 1849 -- 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.[2][3][4] A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics.[5] A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques.[6][7] From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film.[8] He is considered the father of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.[9][10]
In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.[2][11] In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that -- building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play — responded to the call-to-arms of Émile Zola's manifesto Naturalism in the Theatre (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887).[12] In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the vacillating, disintegrated characters is emphasised.[13] Strindberg modelled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays On Psychic Murder (1887), On Modern Drama and the Modern Theatre (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.[14]
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.[15] A series of psychotic attacks between 1894 to 1896 (referred to as his Inferno crisis) led to his hospitalisation and return to Sweden.[15] Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become the Zola of the Occult.[16] In 1898 he returned to playwriting with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.[17] His A Dream Play (1902) — with its radical attempt to dramatise the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters -- was an important precursor to both expressionism and surrealism.[18] He also returned to writing historical drama, the genre with which he had begun his playwriting career.[19] He helped to run the Intimate Theatre from 1907, a small-scale theatre, modelled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
Loose Change - 2nd Edition HD - Full Movie - 911 and the Illuminati - Multi Language
Why were 4 planes allowed to fly over restricted airspace with no transponder signals for over an hour? Why did the owner of the WTC take out a multi billion dollar terrorist insurance policy months before? Why did Jeb Bush, then Head of Security for the WTC remove all the bomb sniffing dogs? Why did the lead hijacker use the U.S. Pensacola Naval Air Station as his address when he rented a car?
So many unanswered questions that deserve further examination, but not even mentioned in the 911 Commission Report.
This is the best documentary on 911. there are other Loose Change Editions but they have been watered down by Alex Jones and others. The second edition is the one you want to watch.
Languages:
Afrikaans
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Azərbaycanca / آذربايجان
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ᏣᎳᎩ (Burmese) but there It doesn't load correctly)
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Yorùbá
中文
isiZulu
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tokipona
Captains Courageous by Rudyard Kipling
Real men don't take guff from snotty kids. Neither does Disko Troop, skipper of the We're Here, a fishing schooner out of Gloucester, Massachusetts, when his crew fishes Harvey Cheyne out of the Atlantic. There's no place on the Grand Banks for bystanders, so Harvey is press-ganged into service as a replacement for a man lost overboard and drowned. Harvey is heir to a vast fortune, but his rescuers believe none of what he tells them of his background. Disko won't take the boat to port until it is full of fish, so Harvey must settle in for a season at sea. Hard, dangerous work and performing it alongside a grab-bag of characters in close quarters is a life-changing experience.
Chapter 1 - 00:00
Chapter 2 - 28:17
Chapter 3 - 1:06:04
Chapter 4 - 1:48:53
Chapter 5 - 2:22:53
Chapter 6 - 2:54:16
Chapter 7 - 3:13:36
Chapter 8 - 3:30:31
Chapter 9 - 4:15:26
Chapter 10 - 5:05:05
Read by Mark F. Smith (
Our Miss Brooks: Easter Egg Dye / Tape Recorder / School Band
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 Long Way Home / Heaven Is in the Sky / I Have Three Heads / Epitaph's Spoon River Anthology
Spoon River Anthology (1915), by Edgar Lee Masters, is a collection of short free-form poems that collectively describe the life of the fictional small town of Spoon River, named after the real Spoon River that ran near Masters' home town. The collection includes two hundred and twelve separate characters, all providing two-hundred forty-four accounts of their lives and losses. The poems were originally published in the magazine Reedy's Mirror.
Each following poem is an epitaph of a dead citizen, delivered by the dead themselves. They speak about the sorts of things one might expect: some recite their histories and turning points, others make observations of life from the outside, and petty ones complain of the treatment of their graves, while few tell how they really died. Speaking without reason to lie or fear the consequences, they construct a picture of life in their town that is shorn of façades. The interplay of various villagers — e.g. a bright and successful man crediting his parents for all he's accomplished, and an old woman weeping because he is secretly her illegitimate child — forms a gripping, if not pretty, whole.
The subject of afterlife receives only the occasional brief mention, and even those seem to be contradictory.
The work features such characters as Tom Merritt, Amos Sibley, Carl Hamblin, Fiddler Jones and A.D. Blood. Many of the characters that make appearances in Spoon River Anthology were based on real people that Masters knew or heard of in the two towns in which he grew up, Petersburg and Lewistown, Illinois. Most notable is Ann Rutledge, regarded in local legend to be Abraham Lincoln's early love interest though there is no actual proof of such a relationship. Rutledge's grave can still be found in a Petersburg cemetery, and a tour of graveyards in both towns reveals most of the surnames that Masters applied to his characters.
Other local legends assert that Masters' fictional portrayal of local residents, often in unflattering light, created a lot of embarrassment and aggravation in his hometown. This is offered as an explanation for why he chose not to settle down in Lewistown or Petersburg.
Spoon River Anthology is often used in second year characterization work in the Meisner technique of actor training.
You Bet Your Life: Secret Word - Face / Sign / Chair
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as Groucho glasses, a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as Groucho glasses, nose-glasses, and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).
Alan Alda often vamped in the manner of Groucho on M*A*S*H. In one episode, Yankee Doodle Doctor, Hawkeye and Trapper put on a Marx Brothers act at the 4077, with Hawkeye playing Groucho and Trapper playing Harpo. In three other episodes, a character appeared who was named Captain Calvin Spalding (played by Loudon Wainwright III). Groucho's character in Animal Crackers was Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Michael Stivic (Rob Reiner), would briefly imitate Groucho Marx and his mannerisms.
Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed '39 a capella. A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice. On the famous Hollywood Sign in California, one of the Os is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in a one-man stage production. He also imitated Marx occasionally on his previous TV sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of Hooray for Captain Spaulding—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
In the Italian horror comic Dylan Dog, the protagonist's sidekick is a Groucho impersonator whose character became his permanent personality.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named Waiting For Groucho about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.
Suspense: The Dead Sleep Lightly / Fire Burn and Cauldron Bubble / Fear Paints a Picture
The Three Witches or Weird Sisters are characters in William Shakespeare's play Macbeth (c. 1603--1607). Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources influencing their creation aside from Shakespeare's own imagination include British folklore, contemporary treatises on witchcraft including King James I and VI's Daemonologie, Scandinavian legends of the Norns, and ancient classical myths concerning the Fates, the Greek myths of the Moirai and the Roman myths of the Parcae. Portions of Thomas Middleton's play The Witch were incorporated into Macbeth around 1618.
Shakespeare's witches are prophets who hail the general Macbeth early in the play with predictions of his rise as king. Upon committing regicide and taking the throne of Scotland, Macbeth hears the trio deliver ambiguous prophecies threatening his downfall. The witches' dark and contradictory natures, their filthy trappings and activities, as well as their intercourse with the supernatural all set an ominous tone for the play.
In the eighteenth century the witches were portrayed in a variety of ways by artists such as Henry Fuseli. Since then, their role has proven somewhat difficult for many directors to portray, due to the tendency to make their parts exaggerated or overly sensational. Some have adapted the original Macbeth into different cultures, as in Orson Welles's performance making the witches voodoo priestesses. Film adaptations have seen the witches transformed into characters familiar to the modern world, such as hippies on drugs or goth schoolgirls. Their influence reaches the literary realm as well in such works as The Third Witch and the Harry Potter series.
Come and Go, a short play written in 1965 by Samuel Beckett, recalls the Three Witches of Shakespeare's Macbeth. It features only three characters, all women, named Flo, Vi, and Ru. The opening line: When did we three last meet? [28] recalls the When shall we three meet again? of Macbeth: Act 1, Scene 1.[29] The Third Witch, a 2001 novel written by Rebecca Reisert, tells the story of the play through the eyes of a young girl named Gilly, one of the witches. Gilly seeks Macbeth's death out of revenge for killing her father.[30]
J. K. Rowling has cited the Three Witches in Shakespeare's Macbeth as an influence in her Harry Potter series. In an interview with The Leaky Cauldron and MuggleNet, when asked, What if [ Voldemort ] never heard the prophecy?, she said, It's the 'Macbeth' idea. I absolutely adore 'Macbeth.' It is possibly my favourite Shakespeare play. And that's the question isn't it? If Macbeth hadn't met the witches, would he have killed Duncan? Would any of it have happened? Is it fated or did he make it happen? I believe he made it happen.[31] On her website, she referred to Macbeth again in discussing the prophecy: the prophecy (like the one the witches make to Macbeth, if anyone has read the play of the same name) becomes the catalyst for a situation that would never have occurred if it had not been made.[32] More playfully, Rowling also invented a musical band popular in the Wizarding world called The Weird Sisters that appears in passing in several books in the series as well as the film adaptation of Harry Potter and the Goblet of Fire. The third Harry Potter movie's soundtrack featured a song by John Williams called Double Trouble, a reference to the witches' line, Double double, toil and trouble. The lyrics of the song were adapted from the Three Witches' spell in the play.