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Synopsis: The movie " 还钱 Return The Money" is about the story of a parvenu, Gu Xinhao, who earned money from stock market. Then he kept a mistress, A'Mei. When he put all his money into the stock market again, the stock market crashed. He owned huge debts. One side, he was hounded by his creditor of Gang force. On the other side, he listed the debtors and tried to get his money back. So now, Gu Xinhao and his two punks, Bareheaded Qiang and Fat Intestine, start a hard and funny journey of collecting money... 故事简介: 电影 《还钱 Return The Money》讲述土豪老板古鑫豪炒股赚了钱，挥金如土，瞒着老婆在外包养情人阿mei。古鑫豪将全部身家押进股市，但没多久股市大跌，为了补仓他向放高利贷的黑道大哥强哥借钱，不料股市崩盘，古鑫豪彻底成了负债的穷光蛋，老婆也愤怒地离去。强哥派打手追钱，古鑫豪为还钱列了一张追债名单，上面记录了他借给别人的债款。自此，古鑫豪和小弟肥肠、光头强走上了艰辛而搞笑的讨债之路.....本片或译《Pay Back》 出品 Studio: 广东大鑫豪, 包氏影业 Baos Film 导演 Director: 吴俊贤 (黑子) Wu Junxian 主演 Starring: 古享林 Gu Xianglin, 王新中 Wang Xinzhong 题材 Genres: 喜剧 搞笑 #Comedy 频道内容介绍 Introduction of Channels & Contents 1, 圈影圈外官方电影频道 Q1Q2 Movie Channel Official: 2, 圈影圈外官方电视剧频道 Q1Q2 Chinese Drama Channel: 3, Moxi Movie Trailers Channel: 4, 模晰音乐频道 Moxi Music Channel: 5, 模晰官方电影频道 Moxi Movie Channel Official
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The aim for thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem -- an escape, a mission, or a mystery. No matter what sub-genre a thriller film falls into, it will emphasize the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax. The cover-up of important information from the viewer, and fight and chase scenes are common methods in all of the thriller subgenres, although each subgenre has its own unique characteristics and methods.[8] A thriller provides the sudden rush of emotions, excitement, sense of suspense and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace thrills. In this genre, the objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. It keeps the audience cliff-hanging at the "edge of their seats" as the plot builds towards a climax. Thrillers tend to be fast-moving, psychological, threatening, mysterious and at times involve larger-scale villainy such as espionage, terrorism and conspiracy. Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it "thrills", it is a thriller. As the introduction to a major anthology explains: " ...Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job. " —James Patterson, June 2006, "Introduction," Thriller[9] Writer Vladimir Nabokov, in his lectures at Cornell University, said: "In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine."
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The Detroit Race Riot broke out in Detroit, Michigan in June 20, 1943, and lasted for three days before Federal troops restored order. The rioting between blacks and whites began on Belle Isle on June 20, 1943 and continued until the 22nd of June, killing 34, wounding 433, and destroying property valued at $2 million. In the summer of 1943, in the midst of World War II, tensions between blacks and whites in Detroit were escalating. Detroit's population had grown by 350,000 people since the war began. The booming defense industries brought in large numbers of people with high wages and very little available housing. 50,000 blacks had recently arrived along with 300,000 whites, mostly from rural Appalachia and Southern States.[2] Recruiters convinced blacks as well as whites in the South to come up North by promising them higher wages in the new war factories. Believing that they had found a promised land, blacks began to move up North in larger numbers. However, upon arriving in Detroit, blacks found that the northern bigotry was just as bad as that they left behind in the deep South. They were excluded from all public housing except Brewster Housing Projects, forced to live in homes without indoor plumbing, and paid rents two to three times higher than families in white districts. They also faced discrimination from the public and unfair treatment by the Detroit Police Department.[3] In addition, Southern whites brought their traditional bigotry with them as both races head up North, adding serious racial tensions to the area. Job-seekers arrived in such large numbers in Detroit that it was impossible to house them all. Before the attack on Pearl Harbor, the U.S. government was concerned about providing housing for the workers who were beginning to pour into the area. On June 4, 1941, the Detroit Housing Commission approved two sites for defense housing projects--one for whites, one for blacks. The site originally selected by the commission for black workers was in a predominantly black area, but the U.S. government chose a site at Nevada and Fenelon streets, an all-white neighborhood. To complete this, a project named Sojourner Truth was launched in the memory of a black Civil War woman and poet. Despite this, the white neighborhoods opposed having blacks moving next to their homes, meaning no tenants were to be built. On January, 20, 1942, Washington DC informed the Housing Commission that the Sojourner Truth project would be for whites and another would be selected for blacks. But when a suitable site for blacks could not be found, Washington housing authorities agreed to allow blacks into the finished homes. This was set on February 28, 1942.[4] In February 27, 1942, 120 whites went on protest vowing they would keep any black homeowners out of their sight in response to the project. By the end of the day, it had grown to more than 1,200, most of them were armed. Things went so badly that two blacks in a car attempted to run over the protesters picket line which led to a clash between white and black groups. Despite the mounting opposition from whites, black families moved into the project at the end of April. To prevent a riot, Detroit Mayor Edward Jeffries ordered the Detroit Police Department and state troops to keep the peace during that move. Over 1,100 city and state police officers and 1,600 Michigan National Guard troops were mobilized and sent to the area around Nevada and Fenelon street to guard six African-American families who moved into the Sojourner Truth Homes. Thanks to the presence of the guard, there were no further racial problems for the blacks who moved into this federal housing project. Eventually, 168 black families moved into these homes.[5] Despite no casualties in the project, the fear was about to explode a year later.[6] In early June 1943, three weeks before the riot, Packard Motor Car Company promoted three blacks to work next to whites in the assembly lines. This promotion caused 25,000 whites to walk off the job, effectively slowing down the critical war production. It was clear that whites didn't mind that blacks worked in the same plant but refused to work side-by-side with them. During the protest, a voice with a Southern accent shouted in the loudspeaker, "I'd rather see Hitler and Hirohito win than work next to a nigger". %281943%29
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Thriller is a broad genre of literature, film, and television programming that uses suspense, tension and excitement as the main elements.[1] Thrillers heavily stimulate the viewer's moods giving them a high level of anticipation, ultra-heightened expectation, uncertainty, surprise, anxiety and/or terror. Good thriller films tend to be adrenaline-rushing, gritty, rousing and fast-paced. Literary devices such as red herrings, plot twists and cliffhangers are used extensively. A thriller is a villain-driven plot, whereby he or she presents obstacles that the protagonist must overcome.[2][3] Common subgenres are psychological thrillers, crime thrillers and mystery thrillers.[4] Another common subgenre of thriller is the spy genre which deals with fictional espionage. Successful examples of thrillers are the films of Alfred Hitchcock. The horror and action genres often overlap with the thriller genre.[5] In 2001, the American Film Institute in Los Angeles made its definitive selection of the top 100 greatest American "heart-pounding" and "adrenaline-inducing" films of all time. To be eligible, the 400 nominated films had to be American-made films, whose thrills have "enlivened and enriched America's film heritage". AFI also asked jurors to consider "the total adrenaline-inducing impact of a film's artistry and craft".[6][7] Homer's Odyssey is one of the oldest stories in the Western world and is regarded as an early prototype of the thriller. One of the earliest thriller movies was Harold Lloyd's comic Safety Last! (1923), with a character performing a daredevil stunt on the side of a skyscraper. Alfred Hitchcock and Fritz Lang helped to shape the modern-day thriller genre beginning with The Lodger (1926) and M (1931), respectively.[2]
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London is the capital city of England and the United Kingdom, the largest city, urban zone and metropolitan area in the United Kingdom, and the European Union by most measures.[note 1] Located on the River Thames, London has been a major settlement for two millennia, its history going back to its founding by the Romans, who named it Londinium.[3] London's ancient core, the City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core.[4] The bulk of this conurbation forms the London region[5] and the Greater London administrative area,[6][note 2] governed by the elected Mayor of London and the London Assembly.[7] London is a leading global city, with strengths in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism and transport all contributing to its prominence.[8] It is the world's leading financial centre alongside New York City[9][10][11] and has the fifth- or sixth-largest metropolitan area GDP in the world depending on measurement.[note 3][12][13] London has been described as a world cultural capital.[14][15][16][17] It is the world's most-visited city measured by international arrivals[18] and has the world's largest city airport system measured by passenger traffic.[19] London's 43 universities form the largest concentration of higher education in Europe.[20] In 2012, London became the first city to host the modern Summer Olympic Games three times.[21] London has a diverse range of peoples and cultures, and more than 300 languages are spoken within its boundaries.[22] In March 2011, London had an official population of 8,174,100, making it the most populous municipality in the European Union,[23][24] and accounting for 12.5% of the UK population.[25] The Greater London Urban Area is the second-largest in the EU with a population of 8,278,251,[26] while the London metropolitan area is the largest in the EU with an estimated total population of between 12 million[27] and 14 million.[28] London had the largest population of any city in the world from around 1831 to 1925.[29]. The latest census reveals white Britons as minority in London for first time in modern times. [30] London contains four World Heritage Sites: the Tower of London; Kew Gardens; the site comprising the Palace of Westminster, Westminster Abbey, and St Margaret's Church; and the historic settlement of Greenwich (in which the Royal Observatory marks the Prime Meridian, 0° longitude, and GMT).[31] Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square, and The Shard. London is home to numerous museums, galleries, libraries, sporting events and other cultural institutions, including the British Museum, National Gallery, Tate Modern, British Library, Wimbledon, and 40 West End theatres.[32] The London Underground is the oldest underground railway network in the world and will complete 150 years of operations on 9 January 2013.[33][34]
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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.
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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. %28radio_drama%29
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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. %28radio_drama%29
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The aim for thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem -- an escape, a mission, or a mystery. No matter what sub-genre a thriller film falls into, it will emphasize the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax. The cover-up of important information from the viewer, and fight and chase scenes are common methods in all of the thriller subgenres, although each subgenre has its own unique characteristics and methods.[8] A thriller provides the sudden rush of emotions, excitement, sense of suspense and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace thrills. In this genre, the objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. It keeps the audience cliff-hanging at the "edge of their seats" as the plot builds towards a climax. Thrillers tend to be fast-moving, psychological, threatening, mysterious and at times involve larger-scale villainy such as espionage, terrorism and conspiracy. Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it "thrills", it is a thriller. As the introduction to a major anthology explains: " ...Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job. " —James Patterson, June 2006, "Introduction," Thriller[9] Writer Vladimir Nabokov, in his lectures at Cornell University, said: "In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine." %28genre%29
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Pertunjukan Wayang Kulit dengan lakon "Semar Mbangun Kayangan" oleh Ki Dhalang Sun Gondrong. dengan subtitle multi bahasa Lakon Semar Mbangun Kayangan Saya bukan gila harta atau gila jabatan, karena kedamaian bukan hanya milik para petinggi. Dimana rasa damai hanya ada dalam rasa syukur terhadap anugerah Tuhan. Saya telah menerima untuk menjadi budak di Marcapada. Jangan memperumit pikiran Anda. Memang benar saya ingin membangun surga, yang saya bangun dan bukan surga siapa pun. Surga yang saya bangun adalah surga saya sendiri, ya jiwa saya sendiri. Apa yang saya bangun adalah keterampilan saya, apa yang saya bangun adalah perbuatan saya, apa yang saya bangun adalah hasrat saya, apa yang saya bangun adalah ibadah saya. Semua kreativitas, rasa, niat dan karya saya akan saya bangun. Sesuai dengan jalannya konstruksi, dunia lahir tidak akan terjadi mulus dibangun dengan baik, jika dunia batin belum dibangun sebelumnya. Karena pembangunan yang mulus dari dunia yang lahir seperti itu membutuhkan keteguhan tekad, kemurnian hati, ketelitian tindakan. Karena jika sampai pembangunan dunia lahir tidak tercerahkan untuk membangun dunia batin, itu tidak akan berhenti menjadi tindakan milik pembawa yang terlupakan. Mengharap sesuatu yang bukan miliknya. Sebaliknya, jika dunia batin telah dibangun, tidak akan ajaib untuk melihat situasi. Yang ada hanyalah melakukan tugas yang telah diberikan kepadanya. Karena ia diselubungi dengan indra keenam, hati yang murni. Telah diamati bahwa jika dunia batin tidak dibangun, pembangunan dunia lahir akan menghancurkan pengetahuan manusia. Sebaliknya, jika dunia batin juga dibangun, ia dapat berjalan berdampingan dengan struktur dunia lahir, sehingga mencapai swasembada. Tidak ada manusia yang akan bertindak sebagai pencuri properti yang bukan miliknya, tetapi ya itu jika dunia batin tidak dibangun, korupsi akan terjadi. Jadi saya memiliki pemahaman seperti ini yang saya harap dapat diteladani oleh para sesepuh agar menjadi seperti manusia pembangun praja. Mari kita bekerja sama untuk melakukan bagian kita, untuk fokus pada proses konstruksi, untuk berpartisipasi dalam mendorong pembangunan baru bangunan, untuk mencapai apa yang dicapai. Jadi jangan merasa buruk untukku. Saya tidak ingin merusak kursi siapa pun, saya tidak ingin mengganggu pangkat siapa pun, Anda adalah dewa, Anda adalah Tuhan yang baik, saya seorang Semar yang baik. Perbuatan baikmu biarlah mereka ditahbiskan untuk melayani mempelai laki-laki. Itulah yang saya inginkan, jika saya milik orang lain, jangan biarkan saya menjadi Ismaya, jangan biarkan saya menjadi Semar. Jadi saya hanya akan memperbaiki jiwa saya, saya akan menyerahkan ibadah saya kepada Tuhan. Semua tindakan saya dalam meminta bimbingan Tuhan pasti akan membawa saya ke jalan yang terang, jalan yang benar. Jangan lupa klik tombol subcribe nya temanku
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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.
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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.
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Friedrich August Hayek CH (8 May 1899 -- 23 March 1992), born in Austria-Hungary as Friedrich August von Hayek, was an economist and philosopher best known for his defense of classical liberalism. In 1974, Hayek shared the Nobel Memorial Prize in Economic Sciences (with Gunnar Myrdal) for his "pioneering work in the theory of money and economic fluctuations and... penetrating analysis of the interdependence of economic, social and institutional phenomena." Hayek is considered to be a major economist and political philosopher of the twentieth century. Hayek's account of how changing prices communicate information which enables individuals to coordinate their plans is widely regarded as an important achievement in economics. He also contributed to the fields of systems thinking, jurisprudence, neuroscience and the history of ideas. Hayek served in World War I and said that his experience in the war and his desire to help avoid the mistakes that had led to the war led him to his career. Hayek lived in Austria, Great Britain, the United States and Germany, and became a British subject in 1938. He spent most of his academic life at the London School of Economics (LSE), the University of Chicago, and the University of Freiburg. In 1984, he was appointed as a member of the Order of the Companions of Honour by Queen Elizabeth II on the advice of Prime Minister Margaret Thatcher for his "services to the study of economics." He also received the US Presidential Medal of Freedom in 1991 from president George H. W. Bush. In 2011, his article The Use of Knowledge in Society was selected as one of the top 20 articles published in the American Economic Review during its first 100 years.
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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 "O"s 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.
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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.
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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 "O"s 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.
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Aiding and abetting the periodically frantic life in the Gildersleeve home was family cook and housekeeper Birdie Lee Coggins (Lillian Randolph). Although in the first season, under writer Levinson, Birdie was often portrayed as saliently less than bright, she slowly developed as the real brains and caretaker of the household under writers John Whedon, Sam Moore and Andy White. In many of the later episodes Gildersleeve has to acknowledge Birdie's commonsense approach to some of his predicaments. By the early 1950s, Birdie was heavily depended on by the rest of the family in fulfilling many of the functions of the household matriarch, whether it be giving sound advice to an adolescent Leroy or tending Marjorie's children. By the late 1940s, Marjorie slowly matures to a young woman of marrying age. During the 9th season (September 1949-June 1950) Marjorie meets and marries (May 10) Walter "Bronco" Thompson (Richard Crenna), star football player at the local college. The event was popular enough that Look devoted five pages in its May 23, 1950 issue to the wedding. After living in the same household for a few years with their twin babies Ronnie and Linda, the newlyweds move next door to keep the expanding Gildersleeve clan close together. Leroy, aged 10--11 during most of the 1940s, is the all-American boy who grudgingly practices his piano lessons, gets bad report cards, fights with his friends and cannot remember to not slam the door. Although he is loyal to his Uncle Mort, he is always the first to deflate his ego with a well-placed "Ha!!!" or "What a character!" Beginning in the Spring of 1949, he finds himself in junior high and is at last allowed to grow up, establishing relationships with the girls in the Bullard home across the street. From an awkward adolescent who hangs his head, kicks the ground and giggles whenever Brenda Knickerbocker comes near, he transforms himself overnight (November 28, 1951) into a more mature young man when Babs Winthrop (both girls played by Barbara Whiting) approaches him about studying together. From then on, he branches out with interests in driving, playing the drums and dreaming of a musical career.
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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. %28radio_drama%29
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A crime of passion, or crime passionnel, in popular usage, refers to a violent crime, especially murder, in which the perpetrator commits the act against someone because of sudden strong impulse such as sudden rage or heartbreak rather than as a premeditated crime. The act, as is suggested by the name (crime passionnel - from French language) is often associated with the history of France. However, such crimes have existed and continue to exist in most cultures. A crime of passion refers to a criminal act in which the perpetrator commits a crime, especially murder or assault, against someone because of sudden strong impulse such as sudden rage or heartbreak rather than as a premeditated crime. A typical crime of passion might involve an aggressive pub-goer who assaults another guest following an argument or a husband who discovers his wife has made him a cuckold and proceeds to brutally batter or even kill his wife and the man with whom she was involved. In the United States civil courts, a crime of passion is referred to as "temporary insanity". This defense was first used by U.S. Congressman Daniel Sickles of New York in 1859 after he had killed his wife's lover, Philip Barton Key, but was most used during the 1940s and 1950s. In some countries, notably France, crime passionnel (or crime of passion) was a valid defense during murder cases; during the 19th century, some cases could be a custodial sentence for two years for the murderer, while the spouse was dead; this ended in France as the Napoleonic code was updated in the 1970s so that a specific father's authority upon his whole family was over.
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Major Dominic Salvatore "Don" Gentile (December 6, 1920 - January 28, 1951) was a World War II USAAF pilot who was the first to break Eddie Rickenbacker's World War I record of 26 downed aircraft. Gentile was born in Piqua, Ohio.[2] After a fascination with flying as a child, his father provided him with his own plane, an Aerosport Biplane. He managed to log over 300 hours flying time by July 1941, when he attempted to join the Army Air Force. The U.S. military required two years of college for its pilots, which Gentile did not have, therefore Gentile originally enlisted in the Royal Canadian Air Force and was posted to the UK in 1941. Gentile flew the Supermarine Spitfire Mark V with No. 133 Squadron, one of the famed "Eagle Squadron" during 1942. His first kills (a Ju 88 and Fw 190) were on August 1, 1942,[3] during Operation Jubilee.[4] In September 1942, the Eagle squadrons transferred to the USAAF, becoming the 4th Fighter Group. Gentile became a flight commander in September 1943, now flying the P-47 Thunderbolt. Having been Spitfire pilots, Gentile and the other pilots of the 4th were displeased when they transitioned to the heavy P-47. By late 1943 Group Commander Col. Don Blakeslee pushed for re-equipment with the lighter, more maneuverable, P-51 Mustang. Conversion to the P-51B at the end of February 1944 allowed Gentile to build a tally of 15.5 additional aircraft destroyed between March 3 and April 8, 1944.[5] After downing 3 planes on April 8,[6] he was the top scoring 8th Air Force ace when he crashed his personal P-51, named "Shangri La", on April 13, 1944 while stunting over the 4th FG's airfield at Debden for a group of assembled press reporters and movie cameras. Blakeslee immediately grounded Gentile as a result, and he was sent back to the US for a tour selling War Bonds. In 1944, Gentile wrote One Man Air Force an autobiography and account of his combat missions with well-known war correspondent, Ira Wolfert. His final tally of credits was aerial victories and 3 damaged,[5] with 6 ground kills, in 350 combat hours flown. He also claimed two victories while with the RAF. After the war, he stayed with the Air Force, as a test pilot at Wright Field, as a Training Officer in the Fighter Gunnery Program, and as a student officer at the Air Tactical School. In June 1949, Gentile enrolled as an undergraduate studying military science at the University of Maryland. On January 28, 1951, he was killed when he crashed in a T-33A-1-LO Shooting Star trainer, 49-905, in Forestville, Maryland, leaving behind his wife Isabella Masdea Gentile Beitman (deceased October 2008), and sons Don Jr., Joseph and Pasquale. Gentile Air Force Station in Kettering, Ohio was named in his honor in 1962. The installation closed in 1996. Winston Churchill called Gentile and his wingman, Captain John T. Godfrey, Damon and Pythias, after the legendary characters from Greek mythology. He was inducted into the National Aviation Hall of Fame in 1995.[7]
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NOOBS PLAY PUBG MOBILE LIVE FROM START. We livestream PUBG mobile from the start as total noobs! Now playing live with no instructions from scratch and half naked isn't easy, so sorry to say the 2nd half of the stream degenerated into some Clash of Clans gameplay too! Who needs armour when you can battle in your birthday . Lets play Player Unknown BattleGrounds and do a walkthrough from the very beginning of the game! MERCHANDISE: WAYS TO HELP SUPPORT THE CHANNEL: Patreon: YouTube Channel Member: YouTube Channel Subscriber: OTHER PLATFORMS TO FOLLOW ON: Discord: Twitch: Twitter: Reddit: Pinterest: Instagram: Omlet Arcade: Tumblr: BitChute: FaceBook: #PUBGMobile #PUBG #PlayerUnknownBattleGrounds #FPSGame #MobileGame #LiveStreamGame #Noobs #GamerGirl #NewGames #FirstPersonShooter #PUBGLive #gamesfromstart #Subtitles #Translations #OmletArcade
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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.
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The US has been criticized for supporting dictatorships with economic assistance and military hardware. More: Particular dictatorships have included Musharraf of Pakistan, the Shah of Iran, Museveni of Uganda, the Saudi Royal family, warlords in Somalia, and Augusto Pinochet in Chile. The US has been criticized by Noam Chomsky for opposing nationalist movements in foreign countries, including social reform. The United States was criticized for manipulating the internal affairs of foreign nations, including Guatemala, Chile, Cuba, Colombia, various countries in Africa including Uganda. See also Covert United States foreign regime change actions. The US has been accused of condoning actions by Israel against Palestinians. Some critics argue that America's policy of advocating democracy may be ineffective and even counterproductive. Zbigniew Brzezinski declared that "[t]he coming to power of Hamas is a very good example of excessive pressure for democratization" and argued that George W. Bush's attempts to use democracy as an instrument against terrorism were risky and dangerous. Analyst Jessica Tuchman Mathews of the Carnegie Endowment for International Peace agreed that imposing democracy "from scratch" was unwise, and didn't work. Realist critics such as George F. Kennan argued U.S. responsibility is only to protect its own citizens and that Washington should deal with other governments on that basis alone; they criticize president Woodrow Wilson's emphasis on democratization and nation-building although it wasn't mentioned in Wilson's Fourteen Points, and the failure of the League of Nations to enforce international will regarding Nazi Germany, Fascist Italy, and Imperial Japan in the 1930s. Realist critics attacked the idealism of Wilson as being ill-suited for weak states created at the Paris Peace Conference. Others, however, criticize the U.S. Senate's decision not to join the League of Nations which was based on isolationist public sentiment as being one cause for the organization's ineffectiveness. President Bush has been criticized for neglecting democracy and human rights by focusing exclusively on an effort to fight terrorism. The US was criticized for alleged prisoner abuse at Guantánamo Bay, Abu Ghraib in Iraq, and secret CIA prisons in eastern Europe, according to Amnesty International. In response, the US government claimed incidents of abuse were isolated incidents which did not reflect U.S. policy. In the 1960s, Martin Luther King Jr. criticized excessive U.S. spending on military projects, and suggested a linkage between its foreign policy abroad and racism at home. Even in 1971, a Time Magazine essayist wondered why there were 375 major foreign military bases around the world with 3,000 lesser military facilities and concluded "there is no question that the U.S. today has too many troops scattered about in too many places." In a 2010 defense report, Cordesman criticized out-of-control military spending. Expenditures to fight the War on Terror are vast and seem limitless. The Iraq war was expensive and continues to be a severe drain on U.S. finances. Bacevich thinks the U.S. has a tendency to resort to military means to try to solve diplomatic problems. The Vietnam War was a costly, decade-long military engagement which ended in defeat, and the mainstream view today is that the entire war was a mistake. The dollar cost was $111 billion, or $698 billion in 2009 dollars. Similarly, the second Iraq war is viewed by many as being a mistake, since there were no weapons of mass destruction found, and the war continues today.
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USS Ancon (AGC-4) was an ocean liner acquired by the United States Navy during World War II and converted to a combined headquarters and communications command ship. Ancon anchored off Fedhala, French Morocco on November 8 and began lowering her boats at 0533. The first troops were debarked an hour later. During the course of the assault, men on the ship witnessed the sinking of four other transports, and Ancon sent out boats to rescue their survivors. On November 12 the transport headed out and, three days later, put into Casablanca harbor. She got underway on the 15th with a convoy bound for Norfolk. After a brief pause there, Ancon traveled to Brooklyn, New York for voyage repairs. A brief period of sea trials preceded the ship's loading cargo and troops for transportation to Algeria. She sailed on January 14, 1943 as a member of the Naval Transport Service. The ship reached Oran on the 26th and spent five days discharging her cargo before heading back toward New York City, where she arrived on February 13. On that day, the vessel was reassigned to the Atlantic Fleet Amphibious Forces. On the 16th, Ancon entered the Norfolk Navy Yard, Portsmouth, Virginia, to undergo conversion to a combined headquarters and communications command ship. She was redesignated AGC-4 on February 26. Following the completion of the yard work on April 21, Ancon held trials and exercises in the Chesapeake Bay through May and into early June when she was designated the flagship of the Commander of the Atlantic Fleet Amphibious Forces. The ship got underway for Oran on June 8 with Task Force (TF) 85. The ship had been selected to participate in the invasion of Sicily, and her preparations continued after her arrival at Oran on June 22. Carrying Rear Admiral Alan G. Kirk, Commander, TF 85, and Lieutenant General Omar Bradley on board, Ancon sailed on July 5 for the waters off Sicily. She reached the transport area off Scoglitti on the 10th and lowered her boats early that morning. Despite enemy fire, the ship remained off Scoglitti providing communications services through the 12th and then got underway to return to North Africa. At the end of a fortnight there, she shifted to Mostaganem, Algeria, on July 29. In mid-August, the vessel moved to Algiers. During her periods in port, she prepared for the upcoming invasion of mainland Italy for which she had been designated flagship for the Commander of the 8th Fleet Amphibious Forces in Northwest African Waters. On September 6, Ancon got underway for Salerno. During the operation, the ship carried Lieutenant General Mark Wayne Clark who commanded the 5th Army. At 0330 on September 9, the first wave of Allied troops hit the beach. Thereafter, she remained in the transport area, undergoing nearly continuous enemy air harassment, until she moved to Palermo, Sicily, to pick up ammunition to replenish her sister ships. She returned to the area off Salerno on the 15th but, the next day, arrived back in Palermo. After two weeks in that Sicilian port, Ancon shaped a course for Algiers. She reached that port on October 2 and spent almost six weeks undergoing repairs and replenishment. In mid-November, she set sail for the United Kingdom and, on November 25, arrived in Devonport, England, where she was designated the flagship of the 11th Amphibious Force. An extended period of repairs and preparations for the impending invasion of France kept Ancon occupied through the winter and much of the spring participating in numerous training exercises with other Allied warships. On May 25, King George VI of the United Kingdom and Field Marshal Bernard Law Montgomery visited the ship. The preparations culminated on June 5, when Ancon got underway for Baie de la Seine, France. She served as flagship for the assault forces that landed on Omaha Beach in Normandy. Throughout the invasion, the ship provided instructions for forces both afloat and ashore. She transferred various units of the Army command to headquarters ashore and made her small boats available to other ships to carry personnel and materials to the beachhead. On June 27, she got underway to return to England and, the next day, arrived at Portland. Ancon remained in British waters through late September, when she sailed in a convoy bound for the East Coast of the United States. She reached Charleston, South Carolina on October 9 and was then assigned to the Amphibious Training Command. At the completion of repairs at the Charleston Navy Yard on December 21, the ship got underway for sea trials. Five days later, she shaped a course for the Pacific. On the last day of 1944, the ship transited the Panama Canal and joined the Pacific Fleet. She continued on to San Diego, California, where she arrived on January 9, 1945. %28AGC-4%29
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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.
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Often the two overlap. However, pure crime films/novels focus on a specific crime or set of crimes, and solving the mystery or tracking down the criminal(s), with no or little violence but more drama throughout. Thrillers are usually fiction-based and fast in pace, while crime fiction tend to be more leisurely paced, dramatic and realistic. Generally, violence is also lacking in a crime fiction, but this depends if the work is based on the mafia, where violence is intense.[17] Some crime films showcase more on the gangster life, personal drama of the criminals and even their biographical film (i.e., The Godfather). Crime-thrillers, on the other hand, have more threat and suspense in them and may involve espionage (spying), frequent killings and other non-criminal conflicts (i.e., Heat). Unlike crime thrillers, crime films usually offer a more serious, grim and realistic portrayal of the criminal environment, emphasizing character development and complex narratives over suspense sequences, chase scenes and violence.[18] In crime fiction, the hero might be a police officer, or a private eye, who can still be tough and resourceful. He is pitted against villains determined to destroy him, although, unlike in thrillers, not necessarily other people, the country or the stability of the free world. Unlike in crime fiction, thrillers keep the emphasis away from the gangster, melodrama or the detective in the crime-related plot, and rather focus more on the suspense and danger that is generated. %28genre%29
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The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California. The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption. 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.
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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. %28radio_drama%29
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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.
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Synopsis: The Romance movie "Sex and City 慾望都市" is about a love story. By the beautiful Taiping Lake, the writer Xu Da and the beautiful Su Xiaomi meet there, a casual saying hello, the light of eyes... They lost in the beautiful mountain, romantic and passionate time there. After the journey, Su Xiaomi returned the city, but unexpectedly, she encountered Xu Da in the city again... 故事简介: 电影《 欲望都市 Sex and City》讲述在风景秀丽的太平湖，作家徐达和美丽性感的苏小米在此相遇，因为不经意的碰撞，相互之间那颗驿动的心变得跳动起来，虽然素不相识，却迷失在太平湖和群山之中，激情而漫浪。 旅游结束，苏小米回到现实生活中，但没有想到在城市中又遇到徐达，一场情感纠葛就此开始…… 出品 Studio: 维亚影视 Wei Ya Films 导演 Director: King 主演 Starring: 熊艺岚 Xiong Yilan, 蒋德亮 Jiang Deliang 题材 Genres: 剧情 #Drama, 爱情 #Romance 圈影圈外YouTube频道影视上线计划 Updated Release Schedule: 关于我们 About us: A Distribution Company & A Platform Website of Film: 频道内容介绍 Introduction of Channels & Contents 1, 圈影圈外官方电影频道 Q1Q2 Movie Channel Official: 2, 圈影圈外官方电视剧频道 Q1Q2 Chinese Drama Channel: 3, Moxi New Movie Trailers 2021: 4, 模晰音乐频道 Moxi Music Channel: 5, 模晰官方电影频道 Moxi Movie Channel Official 6, Moxi Movie Channel English
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Alfred Friendly (December 30, 1911 -- November 7, 1983) was an American journalist, editor and writer for the Washington Post. He began his career as a reporter with the Post in 1939 and became Managing Editor in 1955. In 1967 he covered the Mideast War for the Post in a series of articles for which he won the Pulitzer Prize for International Reporting in 1968. He is credited with bringing the Post from being a local paper to having a position of national prominence. Friendly was born in Salt Lake City. After graduating in from Amherst College in 1933, he came to Washington, DC to look for work. A former professor who worked in the Commerce Department hired him, but his appointment to a high position at such a young age earned him criticism in the press and he resigned. For the next year he travelled the country in the middle of the Depression, eventually returning to become a reporter at the Washington Daily News, writing a column for government employees. Less than two years later he was hired to write the same kind of column for the Post, where he was soon assigned to cover war mobilization efforts and anti-war strikes. When World War II broke out he entered the Army Air Force, rising to the rank of Major before leaving in 1945. While in the military he was involved in cryptography and intelligence operations, finally becoming the second in command at Bletchley Park, and the highest ranking American officer there. After the war he remained in Europe as press aide to W. Averell Harriman supervisor of the Marshall Plan. A year later he returned to Washington and to the Post, where he became assistant managing editor in 1952 and managing editor in 1955. In 1966 he became an associate editor and a foreign correspondent based out of London. Hearing rumors of war in 1967 he headed to the Middle East where he was present throughout the 1967 War and wrote his series of award winning articles. He retired from the Post in 1971, though he continued writing occasional editorials and book reviews. During his retirement he wrote several books, and after his death the Alfred Friendly Foundation was established. It administers the Alfred Friendly Press Fellowships to bring foreign journalists to the United States for internships at prominent newspapers. The Archives and Special Collections at Amherst College holds a collection of his papers.
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La perrita de Violeta le juega una mala pasada y se escapa cuando acaba de salir de la ducha. Solo con una toalla, Violeta sale a buscar a su mascota, pero la puerta que da a la calle le juega una mala pasada. CANALES SUGERIDOS: - - -
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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. %28radio_drama%29
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She Gods of Shark Reef is a 1958 B-adventure film directed by Roger Corman that was partially filmed on location in Kaua'i back to back with Thunder over Hawaii in 1956. The film was distributed in 1958 by American International Pictures as a double feature with Night of the Blood Beast. Stars: Bill Cord, Don Durant, Lisa Montell ---------------- TOP 10! MOVIE NAVIGATOR recommends: (click and watch full length movies)
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Todos los capítulos de 'El Barco' en Atresplayer: Un extraño pez muerde a Vilma
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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.
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Wrong Turn is a 2003 American horror film directed by Rob Schmidt and written by Alan B. McElroy. The film was shot in Hamilton, Ontario, Canada and starred Desmond Harrington, Eliza Dushku, Emmanuelle Chriqui and Jeremy Sisto. In the remote forest of West Virginia, Halley Smith (Yvonne Gaudry) and Rich Stoker (Joel Harris) are rock climbing on a cliff. As Rich prepares to help Halley, she witnesses his sudden murder. Someone begins to pull Halley up the cliff so she cuts the rope and falls to the ground. Halley then attempts to escape to her car but trips over a piece of barbed wire before being pulled back into the woods, screaming, by one of the three cannibalistic mutant mountain men. Medical student Chris Flynn (Desmond Harrington) drives through the mountains of West Virginia. A chemical spill in the road ahead forces him to take a different route. He stops at a rundown gas station and meets an old man (Wayne Robson). The old man is not helpful, but Chris sees a map detailing another route heading to his destination. Chris decides to take the road, but on his way, he collides with a Range Rover stopped in the middle of the road. The car belongs to a group of friends on a hiking trip: Jessie Burlingame (Eliza Dushku), Carly (Emmanuelle Chriqui), her fiancé Scott (Jeremy Sisto), and a couple, Evan and Francine (Kevin Zegers and Lindy Booth). Their tires have been punctured by a piece of barbed wire.
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