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My Friend Irma, created by writer-director-producer Cy Howard, is a top-rated, long-run radio situation comedy, so popular in the late 1940s that its success escalated to films, television, a comic strip and a comic book, while Howard scored with another radio comedy hit, Life with Luigi. Marie Wilson portrayed the title character, Irma Peterson, on radio, in two films and a television series. The radio series was broadcast from April 11, 1947 to August 23, 1954. Dependable, level-headed Jane Stacy (Cathy Lewis, Diana Lynn) began each weekly radio program by narrating a misadventure of her innocent, bewildered roommate, Irma, a dim-bulb stenographer from Minnesota. The two central characters were in their mid-twenties. Irma had her 25th birthday in one episode; she was born on May 5. After the two met in the first episode, they lived together in an apartment rented from their Irish landlady, Mrs. O'Reilly (Jane Morgan, Gloria Gordon). Irma's boyfriend Al (John Brown) was a deadbeat, barely on the right side of the law, who had not held a job in years. Only someone like Irma could love Al, whose nickname for Irma was "Chicken". Al had many crazy get-rich-quick schemes, which never worked. Al planned to marry Irma at some future date so she could support him. Professor Kropotkin (Hans Conried), the Russian violinist at the Princess Burlesque theater, lived upstairs. He greeted Jane and Irma with remarks like, "My two little bunnies with one being an Easter bunny and the other being Bugs Bunny." The Professor insulted Mrs. O'Reilly, complained about his room and reluctantly became O'Reilly's love interest in an effort to make her forget his back rent. Irma worked for the lawyer, Mr. Clyde (Alan Reed). She had such an odd filing system that once when Clyde fired her, he had to hire her back again because he couldn't find anything. Useless at dictation, Irma mangled whatever Clyde dictated. Asked how long she had been with Clyde, Irma said, "When I first went to work with him he had curly black hair, then it got grey, and now it's snow white. I guess I've been with him about six months." Irma became less bright as the program evolved. She also developed a tendency to whine or cry whenever something went wrong, which was at least once every show. Jane had a romantic inclination for her boss, millionaire Richard Rhinelander (Leif Erickson), but he had no real interest in her. Another actor in the show was Bea Benaderet. %28radio-TV%29 Katherine Elisabeth Wilson (August 19, 1916 -- November 23, 1972), better known by her stage name, Marie Wilson, was an American radio, film, and television actress. She may be best remembered as the title character in My Friend Irma. Born in Anaheim, California, Wilson began her career in New York City as a dancer on the Broadway stage. She gained national prominence with My Friend Irma on radio, television and film. The show made her a star but typecast her almost interminably as the quintessential dumb blonde, which she played in numerous comedies and in Ken Murray's famous Hollywood "Blackouts". During World War II, she was a volunteer performer at the Hollywood Canteen. She was also a popular wartime pin-up. Wilson's performance in Satan Met a Lady, the second film adaptation of Dashiell Hammett's detective novel The Maltese Falcon, is a virtual template for Marilyn Monroe's later onscreen persona. Wilson appeared in more than 40 films and was a guest on The Ed Sullivan Show on four occasions. She was a television performer during the 1960s, working until her untimely death. Wilson's talents have been recognized with three stars on the Hollywood Walk of Fame: for radio at 6301 Hollywood Boulevard, for television at 6765 Hollywood Boulevard and for movies at 6601 Hollywood Boulevard. Wilson married four times: Nick Grinde (early 1930s), LA golf pro Bob Stevens (1938--39), Allan Nixon (1942--50) and Robert Fallon (1951--72). She died of cancer in 1972 at age 56 and was interred in the Columbarium of Remembrance at Forest Lawn Cemetery in Hollywood Hills. %28American_actress%29
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Spoon River Anthology (1915), by Edgar Lee Masters, is a collection of short free-form poems that collectively describe the life of the fictional small town of Spoon River, named after the real Spoon River that ran near Masters' home town. The collection includes two hundred and twelve separate characters, all providing two-hundred forty-four accounts of their lives and losses. The poems were originally published in the magazine Reedy's Mirror. Each following poem is an epitaph of a dead citizen, delivered by the dead themselves. They speak about the sorts of things one might expect: some recite their histories and turning points, others make observations of life from the outside, and petty ones complain of the treatment of their graves, while few tell how they really died. Speaking without reason to lie or fear the consequences, they construct a picture of life in their town that is shorn of façades. The interplay of various villagers — e.g. a bright and successful man crediting his parents for all he's accomplished, and an old woman weeping because he is secretly her illegitimate child — forms a gripping, if not pretty, whole. The subject of afterlife receives only the occasional brief mention, and even those seem to be contradictory. The work features such characters as Tom Merritt, Amos Sibley, Carl Hamblin, Fiddler Jones and A.D. Blood. Many of the characters that make appearances in Spoon River Anthology were based on real people that Masters knew or heard of in the two towns in which he grew up, Petersburg and Lewistown, Illinois. Most notable is Ann Rutledge, regarded in local legend to be Abraham Lincoln's early love interest though there is no actual proof of such a relationship. Rutledge's grave can still be found in a Petersburg cemetery, and a tour of graveyards in both towns reveals most of the surnames that Masters applied to his characters. Other local legends assert that Masters' fictional portrayal of local residents, often in unflattering light, created a lot of embarrassment and aggravation in his hometown. This is offered as an explanation for why he chose not to settle down in Lewistown or Petersburg. Spoon River Anthology is often used in second year characterization work in the Meisner technique of actor training.
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Wanda Wasilewska (21 January 1905 -- 29 July 1964) was a Polish and Soviet novelist and communist political activist who played an important role in the creation of a Polish division of the Soviet Red Army during World War II and the formation of the People's Republic of Poland. She had fled the German attack on Warsaw in September 1939 and taken up residence in Soviet-occupied Lviv and eventually the Soviet Union. Wasilewska was born on 25 January 1905 in Kraków, Austria-Hungary. Her father was Leon Wasilewski, a Polish Socialist Party politician. She studied philosophy at the Warsaw University and Polish language and Polish literature at the Jagiellonian University in Kraków. After she graduated she remained at her alma mater and passed her doctorate exams in 1927. While studying she started cooperation with the Union of Socialist Youth and Society of Workers' Universities. Soon after she finished her studies she started working as a school teacher and a journalist for various left-wing newspapers, among them "Naprzód", "Robotnik", "Dziennik Popularny" and "Oblicze Dnia". She also became the chairperson of the "Płomyk" and "Płomyczek" monthlies for children, where she introduced Soviet propaganda. Although she was often criticised for her radical left-wing opinions, she joined the PPS instead of the communist party, where she was soon promoted to a member of the main party council. In her early political career she supported an alliance of all the left-wing parties with the communists against the ruling Sanacja. She was also an active supporter of many strikes in Poland. During one of the demonstrations in Kraków she met Marian Bogatko, whom she later married. After the Polish defeat in the Polish Defensive War of 1939 and the partition of Poland into Soviet and German occupied zones, she moved to Lviv where she automatically became a Soviet citizen. The Gestapo — acting at the request of the NKVD — helped to transfer her daughter and her furniture from Warsaw to Lviv.[1] She became a member of various communist organisations uniting local Polish and Ukrainian communists. She was also a journalist for the Czerwony Sztandar (Red Banner), a Soviet propaganda newspaper printed in Polish language. In early 1940, Joseph Stalin awarded her a seat in the Supreme Soviet of the USSR. She also became the chair of the Dramatic Theatre in Lviv. After the German invasion of the Soviet Union Wasilewska fled advancing Nazi army and joined the Red Army as a war correspondent and a functionary of the Political Commandment (Politupravleniye) of the Red Army. She held the military rank of a colonel.[2] She was also one of the founders (together with Jerzy Putrament) of the "Nowe Widnokręgi" monthly. After consultations with Stalin (and most probably by his direct order) she became the head of the newly formed Związek Patriotów Polskich (Society of Polish Patriots), a Soviet-created provisional government that was to control Poland. In 1944 she also became the deputy chief of the Polish Committee of National Liberation (PKWN), another provisional government which was also sponsored by the Soviet Union and opposing the Polish government in exile as the legal government of Poland. She favoured the incorporation of Poland as a republic of the Soviet Union. After most of Poland was occupied by the Red Army she decided to stay in the Soviet Union. She also became involved in a relationship with Ukrainian playwright Oleksandr Korniychuk, with whom she moved to Kiev. Although both her Russian and Ukrainian language abilities were very limited, she remained a member of the Supreme Soviet of the Soviet Union for several decades. She did not return to public life, however. She died on July 29, 1964 in Kiev. She is buried in the Baikove Cemetery. She was triple recipient of the Stalin prize for literature (1943, 1946, 1952). During the life of Joseph Stalin she was considered a classic writer of Soviet literature and her works were included into the school curriculum throughout the Soviet Union, but she was almost completely forgotten after his death.
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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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In the beginning of the Golden Age, American radio network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium. As a result, prime-time shows would be performed twice, once for each coast. However, "reference recordings" were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of prerecorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 33⅓ rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the center of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations.[7][8] When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were molded in a record press.
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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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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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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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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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This short movie depicts the relationship of a woman with her father and her husband. Produced by Miracle Creations Director: P. S. Joardar : Siddartha Dey Music Director: Kingshuk Nath Colorist: M. Malay Editor: Santanu Ganguly MAIN CAST: Milli - Tamishra Rihaan - Rohan Bhattacharya Dad - Rakesh Tiwari Special thanks to Ruby General Hospital, Kolkata Like, comment and share! TO GET IN TOUCH WITH US PLEASE SUBSCRIBE. (Its FREE). p.s. Our second movie is out. Check it out on our channel :3 Check out my newest vlog on my other channel: Here are the links: To the video: To the channel: To my instagram: To my FB page: Subscribe and enjoy!
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"The Enormous Radio" is a short story written by John Cheever in 1947. It first appeared in the May 17, 1947 issue of The New Yorker and was later collected in The Enormous Radio and Other Stories. The story deals with a family who purchases a new radio that allows them to listen in on conversations and arguments of other tenants living in their apartment building. According to Alan Lloyd Smith, author of American Gothic Fiction - An Introduction ISBN 0-8264-1595-4, a concept of domestic abjection is one that "disturbs identity, order, and system". This is exactly what the new radio did in the Westcott household. When Mrs. Westcott saw the new radio in the large gumwood cabinet, she did not like the enormousness of it. The Gumwood cabinet is a "dark" cabinet and did not fit in with the living room furnishings and colors that Irene had personally chosen. This cabinet is dark and ugly, bringing darkness into the living room and their lives. Eventually, Irene identifies herself with the object. Another gothic concept of The Enormous Radio is the element of buried secrets. Both Jim and Irene begin to recognize that there is tension in their marriage. Irene had many deep dark secrets that she feels guilty about. She has successfully hidden these secrets all these years until the ugliness of the radio brings up her neighbors problems. Irene has suppressed and hidden her feelings to others and herself for a long time. This is the reason she is drawn to the radio, it exposes the inner life of others and eventually hers. Irene identified with the others in the building as her own problems. It is ironic that the thing purchased to bring joy to the Westcott's life did nothing but cause trouble between them. Secrets revealed are sometimes not able to be handled well. Alan Lloyd Smith also identifies Domestic Gothic as,[2] intimately bound up with the idea of the house, gender, and family, which becomes through metaphor, a way of externalizing the inner life of fictional characters.
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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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Cântări vechi cu Speranța și Prietenii vol.3 - Sunt un străin pe lume Interpretează: Gabriel si Genoveva Gorcea, @Alin și Florina Jivan - Official - , @Andreea Mois , @Cata si Alina Calina , @Ionut Adela Craciun , Dani Craciun , @Alina Havrisciuc, Titel Malnasi, Loredana Musteata, Emanuel si Miriam Popescu, Andrei si Camelia Ciurdas, Ionut Gontaru, Marcel Hot, Andrei si Denisa Tibrea Instrumental: Ionuț Gontaru Video: Speranța Media 🔔 ABONAȚI-VĂ (SUBSCRIBE) pentru a fi la curent cu toate noutățile! Cântarea face parte din albumul "Cântări vechi cu Speranța și Prietenii vol.3" și poate fi achizitionat de pe platformele Itunes, Google Play sau Amazon. Acesta poate fi ascultat pe platformele Spotify sau Deezer. 👉🏻ITUNES: %C3%A2nt%C4%83ri-vechi-vol-3/1402114572 👉🏻GOOGLE PLAY: %C8%9Ba_%C8%99i_Prietenii_C%C3%A2nt%C4%83ri_vechi_Vol_3?id=Bef3sedxhvhqvjh4kpgk3gpt6g4&hl=en Pentru comenzi si alte informatii: 📞 0722 352 152/0264-417401 📧 studio@ #speranța #cântărivechi #muzicăcreștină
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Interviewees: Princess Alexandra Kropotkin, Russian emigre, author Charles B. Brownson, U.S. Representative from Indiana Christian Herter, American politician and statesman Clifford P. Case, American lawyer and politician Franklin Delano Roosevelt, Jr., American politician Frederic René Coudert, Jr., Representative from New York Franklin Delano Roosevelt, Jr. (August 17, 1914 -- August 17, 1988) was an American politician. He was the fifth child of U.S. President Franklin D. Roosevelt, Sr. and his wife Eleanor. He was a Naval officer in World War II and was decorated for bravery in the battle of Casablanca. He graduated from Groton School in 1933, Harvard University in 1937, and from the University of Virginia School of Law in June 1940. During his graduation, his father, Franklin D. Roosevelt gave what is known as the "Stab in the Back" Speech, criticizing Italy's entry into the war. Roosevelt Jr. served as a member of the United States Congress, representing the 20th District of New York from 1949 to 1955. In 1949, he won a special election running as a candidate of the Liberal Party of New York and later ran on the Democratic ticket as well. He sought the Democratic nomination for Governor in 1954, but, after persuasion by powerful Tammany Hall boss Carmine DeSapio, abandoned his bid for Governor was nominated by the Democratic State Convention to run for New York State Attorney General. Roosevelt was defeated in the general election by Republican Jacob K. Javits, although all other Democratic nominees were elected. Following his loss, Eleanor Roosevelt began building a campaign against the Tammany Hall leader that eventually forced DeSapio to step down from power in 1961. He campaigned for John F. Kennedy in the 1960 West Virginia primary, falsely accusing Kennedy's opponent, Hubert Humphrey of having dodged the draft in World War II. Kennedy later named him Under-Secretary of Commerce and chairman of the President's Appalachian Regional Commission. This post (Under-Secretary of Commerce) was given to him when Defense Secretary Robert McNamara shot down the proposal of his appointment as Secretary of Navy. He ran for Governor of New York on the Liberal Party ticket in 1966, but was defeated by the incumbent Republican Nelson A. Rockefeller. He served as chairman of the Equal Employment Opportunity Commission from May 26, 1965 to May 11, 1966. He was senior partner in the New York law firm of Roosevelt and Freiden before and after his service in the Congress. He also ran a small cattle farm and imported Fiat automobiles. (He was a personal friend of Fiat chairman Gianni Agnelli). ,_Jr.
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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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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). 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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In the earliest years, the program was hosted by "The Man in Black" (played by Joseph Kearns or Ted Osborne) with many episodes written or adapted by the prominent mystery author John Dickson Carr. One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone. After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors. The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949. The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with "Death on My Hands": A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him. With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's "The Man Who Went Back to Save Lincoln" or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas. %28radio_drama%29
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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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Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program's format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday's deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday's first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough's death in 1951 (and therefore Romero's, who also died of a heart attack, as acknowledged on the December 27, 1951 episode "The Big Sorrow"), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 - April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero's nephew, April 17, 1952 - May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode "The Big Donation"); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio's top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn't seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives' personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) "Underplaying is still acting", Webb told Time. "We try to make it as real as a guy pouring a cup of coffee." (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans. Most of the later episodes were entitled "The Big _____", where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in "The Big Streetcar" the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect. Throughout the series' radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode "James Vickers", the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at "the road to San Pedro", clearly indicate that it still retained much the character of a country highway at that time. (series)
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Thanks YouTube for acknowledging TSCS's meme of the Harlem Shake kickstarted an internet explosion Update: as of 15 February 2013, over 40,000 spinoffs of the TSCS meme have been uploaded to YouTube, generating over 700 million views ! MUSIC: Harlem Shake -- Baauer This is our 69th video. Have a laugh and like!
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Film sex vitoo Film Film Film Film Film
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Full teen Movie with subtitles English film time of love please HELP channel and ------------------- SUBSCRIBE -------------- Full Length Movies ------------- FULL MOVIE TRENDS --------------------
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Traiesc nemuritori printre Noi... Lumea bizara a oamenilor care traiesc Vesnic! Dacă acest video ti-a placut, abonează-te și apasă pe clopoțel ca să primești notificări când postam: Vizionare plăcută ! #descopera #descoperalumea #adevar #secrete #mistere #traiescnemuritoriprintrenoi Dacă vrei să mă ajuţi: (P)&(C) Descopera Lumea Tv (YouTube Channel) ❌Nu copia sau reposta videoclipul, dacă îți place te rog să-l distribui și/sau să-l adaugi în playlist!
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COPYRIGHT© Shout out to Baauer - Harlem Shake. THIS IS THE ORIGINAL NORWEGIAN ARMY SHAKE! Harlem shake. Army style. -------------------------------- Me and my squad wants to thank everyone who replied and liked this video ! ------------------------------------------------------------- Follow me on: Facebook: Soundcloud: Spotify: Youtube: Instagram:
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James Grover Thurber (December 8, 1894 -- November 2, 1961) was an American author, cartoonist and celebrated wit. Thurber was best known for his cartoons and short stories, published mainly in The New Yorker magazine then collected in his numerous books. One of the most popular humorists of his time, Thurber celebrated the comic frustrations and eccentricities of ordinary people. Many of his short stories are humorous fictional memoirs from his life, but he also wrote darker material, such as "The Whip-Poor-Will," a story of madness and murder. His best-known short stories are "The Dog That Bit People" and "The Night the Bed Fell"; they can be found in My Life and Hard Times, the creative mix of autobiography and fiction which was his "break-out" book. Among his other classics are "The Secret Life of Walter Mitty", "The Catbird Seat", "A Couple of Hamburgers", "The Greatest Man in the World" and "If Grant Had Been Drinking at Appomattox". The Middle-Aged Man on the Flying Trapeze has several short stories with a tense undercurrent of marital discord. The book was published the year of his divorce and remarriage. His 1941 story "You Could Look It Up",[6] about a three-foot adult being brought in to take a walk in a baseball game, is said to have been an inspiration for Bill Veeck's stunt with Eddie Gaedel with the St. Louis Browns in 1951. Veeck claimed an older provenance for the stunt, but was certainly aware of the Thurber story.[7] In addition to his other fiction, Thurber wrote over seventy-five fables, most of which were collected in Fables for Our Time & Famous Poems Illustrated (1940) and Further Fables for Our Time (1956). These usually conformed to the fable genre to the extent that they were short, featured anthropomorphic animals as main characters, and ended with a moral as a tagline. An exception to this format was his most famous fable, "The Unicorn in the Garden", which featured an all-human cast except for the unicorn, which didn't speak. Thurber's fables were satirical in nature, and the morals served as punchlines rather than advice to the reader. His stories also included several book-length fairy tales, such as The White Deer (1945), The 13 Clocks (1950) and The Wonderful O (1957). The latter was one of several of Thurber's works illustrated by Marc Simont. Thurber's prose for The New Yorker and other venues also included numerous humorous essays. A favorite subject, especially toward the end of his life, was the English language. Pieces on this subject included "The Spreading 'You Know'," which decried the overuse of that pair of words in conversation, "The New Vocabularianism," "What Do You Mean It Was Brillig?" and many others. Thurber's short pieces, whether stories, essays or something in between, were referred to as "casuals" by Thurber and the staff of The New Yorker.[8] Thurber wrote a biographical memoir about The New Yorker's founder and publisher, Harold Ross, entitled The Years with Ross (1958). Thurber also wrote a five-part New Yorker series, between 1947 and 1948, examining in depth the radio soap opera phenomenon, based on near-constant listening and researching over the same period. Leaving nearly no element of these programs unexamined, including their writers, producers, sponsors, performers, and listeners alike, Thurber republished the series in his anthology, The Beast in Me and Other Animals (1948) under the section title "Soapland." The series was one of the first to examine such a pop culture phenomenon in depth and with just enough traces of Thurber's wit to make it more than just a sober piece of what would later be called investigative reporting.
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Please support Peter Joseph's new, upcoming film project: "InterReflections" by joining the mailing list and helping: LIKE Peter Joseph @ FOLLOW Peter Joseph @ * Zeitgeist: Addendum by Peter Joseph. Full movie Sharing this movie is encouraged. Download from Subtitles provided by Linguistic Team International:
Це відео автоматично взято із YouTube за назвою товару, можливий неправильний пошук.

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Це відео автоматично взято із YouTube за назвою товару, можливий неправильний пошук.