MEXICAN TAKIS FOOD TASTE TEST #4
New: RED COPPER PAN 5 MINUTE CHEF | TESTING 'AS SEEN ON TV' PRODUCTS
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Takis Mexican Food Taste Test. Yummy Mexican candy and snacks review. Today, I'm trying Takis Fuego, De La Rosa Mazapan, Bubulubu. ✔ Help Me Reach 50,000 Subscribers :
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• Food review in this taste test:
De La Rosa Mazapan
Super Rebanadita Sandia - Rebanaditas with Chilli Powder
Aldama Mini Obleas
Obleas Guanabana Nectar
takis
Takis Fuego Hot Chili Pepper & Lime Flavored Corn Snacks
Takis, Fuego Hot Chili Pepper & Lime Tortilla Chips, 9.9-Ounce Bag
Takis Fuego Mini
Takis Fuego Family Size Party Pack
Takis Fuego Box of 46 bags
Mini Takis, Fuego Rolled Tortilla Snacks, 25 Count
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The Secret Life of Vivian is a hilarious Foodtainment Channel. I'm a recovering Diet Dr. Pepper addict with a slight cussin' problem. I make videos about top 10 lists, top 5 list, weird kitchen gadgets, strange food and life hacks, opening as seen on TV products, tasting crazy candy, diy food, how to, tutorials, review new foods, challenges, pranks and random shenanigans!
My channel is your one stop shop for tasting crazy, weird food, experimenting with food, trying cookie recipes, making tasty cakes, trying candy, hacking food, testing crazy kitchen inventions! You're not only getting Vivian Tries, you're also getting Vivian reacts. Funny comedic videos all around FOOD.
Be sure to watch my popular videos, such as TAKIS, FUEGO, MEXICAN FOOD TASTE TEST #4, MEXICO, MEXICAN, FOOD, TASTE, TEST, #1, MEXICO & GERMAN FOOD TASTE TEST #1, GERMANY.
Military Lessons: The U.S. Military in the Post-Vietnam Era (1999)
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.
Calling All Cars: The Long-Bladed Knife / Murder with Mushrooms / The Pink-Nosed Pig
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.
Calling All Cars: The Blood-Stained Coin / The Phantom Radio / Rhythm of the Wheels
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.
Our first Live PS4 Broadcast Diablo III
Our first Live PS4 Broadcast Diablo III lets play walk through of reaper dark souls playstation 4 live stream. How to play Diablo 3, sort of, evil edition.
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Words at War: Eighty-Three Days: The Survival Of Seaman Izzi / Paris Underground / Shortcut to Tokyo
The French Résistance has had a great influence on literature, particularly in France. A famous example is the poem Strophes pour se souvenir, which was written by the communist academic Louis Aragon in 1955 to commemorate the heroism of the Manouchian Group, whose 23 members were shot by the Nazis.
The Résistance is also portrayed in Jean Renoir's wartime This Land is Mine (1943), which was produced in the USA.
In the immediate post-war years, French cinema produced a number of films that portrayed a France broadly present in the Résistance.[188][189] The 1946 La Bataille du rail depicted the courageous efforts of French railway workers to sabotage German reinforcement trains,[190] and in the same year Le Père tranquille told the story of a quiet insurance agent secretly involved in the bombing of a factory.[190] Collaborators were hatefully presented as a rare minority, as played by Pierre Brewer in Jéricho (1946) or Serge Reggiani in Les Portes de la nuit (1946), and movements such as the Milice were rarely evoked.
In the 1950s, a less heroic interpretation of the Résistance to the occupation gradually began to emerge.[190] In Claude Autant-Lara's La Traversée de Paris (1956), the portrayal of the city's black market and general mediocrity revealed the reality of war-profiteering during the occupation.[191] In the same year, Robert Bresson presented A Man Escaped, in which an imprisoned Résistance activist works with a reformed collaborator inmate to escape.[192] A cautious reappearance of the image of Vichy emerged in Le Passage du Rhin (1960), in which a crowd successively acclaim both Pétain and de Gaulle.[193]
After General de Gaulle's return to power in 1958, the portrayal of the Résistance returned to its earlier résistancialisme. In this manner, in Is Paris Burning? (1966), the role of the resistant was revalued according to [de Gaulle's] political trajectory.[194] The comic form of films such as La Grande Vadrouille (1966) widened the image of Résistance heroes to average Frenchmen.[195] The most famous and critically acclaimed of all the résistancialisme movies is Army of Shadows (L'Armee des ombres), which was made by the French film-maker Jean-Pierre Melville in 1969. The film was inspired by Joseph Kessel's 1943 book, as well as Melville's own experiences, as he had fought in the Résistance and participated in Operation Dragoon. A 1995 television screening of L'Armee des ombres described it as the best film made about the fighters of the shadows, those anti-heroes.[196]
The shattering of France's résistancialisme following the events of May 1968 emerged particularly clearly in French cinema. The candid approach of the 1971 documentary The Sorrow and the Pity pointed the finger on anti-Semitism in France and disputed the official Résistance ideals.[197][198] Time magazine's positive review of the film wrote that director Marcel Ophüls tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans.[199]
Franck Cassenti, with L'Affiche Rouge (1976); Gilson, with La Brigade (1975); and Mosco with the documentary Des terroristes à la retraite addressed foreign resisters of the EGO, who were then relatively unknown. In 1974, Louis Malle's Lacombe, Lucien caused scandal and polemic because of his absence of moral judgment with regard to the behavior of a collaborator.[200] Malle later portrayed the resistance of Catholic priests who protected Jewish children in his 1987 film Au revoir, les enfants. François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.[201] The 1980s began to portray the resistance of working women, as in Blanche et Marie (1984).[202] Later, Jacques Audiard's Un héros très discret (1996) told the story of a young man's traveling to Paris and manufacturing a Résistance past for himself, suggesting that many heroes of the Résistance were imposters.[203][204] In 1997, Claude Berri produced the biopic Lucie Aubrac based on the life of the Résistance heroine of the same name, which was criticized for its Gaullist portrayal of the Résistance and over-emphasis on the relationship between Aubrac and her husband.[205]
In the 2011 video game Call of Duty: Modern Warfare 3, in which a hypothetical World War III is depicted, a French resistance movement is formed to act against Russian occupation. The playable characters of many factions in-game receive assistance from this Resistance . This is in line with previous, World War II-based Call of Duty games, which often featured involvement with the Resistance of that era.
Calling All Cars: The General Kills at Dawn / The Shanghai Jester / Sands of the Desert
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.
Was the Reagan Era All About Greed? Reagan Economics Policy
Prior to the Reagan administration, the United States economy experienced a decade of rising unemployment and inflation, (known as stagflation). Political pressure favored stimulus resulting in an expansion of the money supply. President Richard Nixon's wage and price controls were abandoned. The federal oil reserves were created to ease any future short term shocks. President Jimmy Carter started phasing out price controls on petroleum, while he created the Department of Energy. Much of the credit for the resolution of the stagflation is given to two causes: a three year contraction of the money supply by the Federal Reserve Board under Paul Volcker, initiated in the last year of Carter's presidency, and long term easing of supply and pricing in oil during the 1980s oil glut.
In his stated intention to increase defense spending while lowering taxes, Reagan's approach was a departure from his immediate predecessors. Reagan enacted lower marginal tax rates in conjunction with simplified income tax codes and continued deregulation. During Reagan's presidency the annual deficits averaged 4.2% of GDP after inheriting an annual deficit of 2.7% of GDP in 1980 under president Carter. The rate of growth in federal spending fell from 4% under Jimmy Carter to 2.5% under Ronald Reagan. GDP per working-age adult, which had increased at only a 0.8% annual rate during the Carter administration, increased at a 1.8% rate during the Reagan administration. The increase in productivity growth was even higher: output per hour in the business sector, which had been roughly constant in the Carter years, increased at a 1.4% rate in the Reagan years.
Before Reagan's election, supply side policy was considered unconventional by the moderate wing of the Republican Party. While running against Reagan for the Presidential nomination in 1980, George H. W. Bush had derided Reaganomics as voodoo economics. Similarly, in 1976, Gerald Ford had severely criticized Reagan's proposal to turn back a large part of the Federal budget to the states. Reagan's policies have since become widely accepted by many Republicans.
In his 1980 campaign speeches, Reagan presented his economic proposals as merely a return to the free-enterprise principles that had been in favor before the Great Depression. At the same time he attracted a following from the supply-side economics movement, formed in opposition to Keynesian demand-stimulus economics. This movement produced some of the strongest supporters for Reagan's policies during his term in office.
The contention of the proponents, that the tax rate cuts would more than pay for themselves, was influenced by a theoretical taxation model based on the elasticity of tax rates, known as the Laffer curve. Arthur Laffer's model predicts that excessive tax rates actually reduce potential tax revenues, by lowering the incentive to produce; the model also predicts that insufficient tax rates (rates below the optimum level for a given economy) lead directly to a reduction in tax revenues.
According to William Niskanen, former chairman of the Cato Institute, the Reagan years left three major adverse economic legacies. First, privately held federal debt increased from 22% to 38% of GDP, despite a long peacetime expansion. Second, failure to address the savings and loan problem early led to an additional debt of about $125 billion. Third, trade barriers increased drastically -- the share of U.S. imports subject to trade restrictions increased from 12% in 1980 to 23% in 1988.
Ron Paul on Understanding Power: the Federal Reserve, Finance, Money, and the Economy
1988 - More Ron Paul:
Paul believes the size of the federal government must be decreased substantially. In order to restrict the federal government to what he believes are its Constitutionally authorized functions, he regularly votes against almost all proposals for new government spending, initiatives, or taxes, in many cases making him in a minority of members of the house by doing so. For example, on January 22, 2007, Paul was the lone member out of 415 voting to oppose a House measure to create a National Archives exhibit on slavery and Reconstruction, seeing this as an unauthorized use of taxpayer money.
Paul advocates substantially reducing the government's role in individual lives and in the functions of foreign and domestic states; he says Republicans have lost their commitment to limited government and have become the party of big government. His 2012 Plan to Restore America would eliminate five Cabinet-level departments: Energy, HUD, Commerce, Interior, and Education. He has called for elimination of other federal agencies such as the U.S. Department of Health and Human Services, and the Internal Revenue Service, calling them unnecessary bureaucracies. Paul would severely reduce the role of the Central Intelligence Agency; reducing its functions to intelligence-gathering. He would eliminate operations like overthrowing foreign governments and assassinations. He says this activity is kept secret even from Congress and leads to trouble. He also commented, We have every right in the world to know something about intelligence gathering, but we have to have intelligent people interpreting this information.
Paul calls for the elimination of the Federal Emergency Management Agency (FEMA), which is tasked with coordinating preparedness and relief for natural disasters. He regards the argument for FEMA as symptomatic of a blind belief in big government's ability to do anything and everything for anyone and everyone.... When people are starving, injured and dying they need speed and efficiency, yet FEMA comes along with forms and policies and rubber stamps. He complains that FEMA is a mismanaged and nearly-bankrupt bureaucracy, open to corruption. He also argues that the socialized insurance concept which underlies FEMA is deeply flawed, encouraging risk-taking -- such as building beachfront homes in hurricane-prone coastal areas -- that would be too expensive to consider if the sole source of disaster insurance were private-sector insurance purchased in the free market. In his view, disaster response management should be coordinated at the state and local level, without any federal involvement, and should be entirely voluntary and based on charitable goodwill. As Hurricane Irene bore down on the country's coast in August 2011, Paul said, I live on the Gulf Coast. We put up with hurricanes all the time.... In 1900, before FEMA, the local people rebuilt the city, built a seawall, and they survived without FEMA....
In a speech on June 25, 2003, criticizing giving Prime Minister of the United Kingdom Tony Blair a Congressional Gold Medal of Honor, Paul said, These medals generally have been proposed to recognize a life of service and leadership, and not for political reasons—as evidenced by the overwhelming bipartisan support for awarding President Reagan, a Republican, a gold medal. These awards normally go to deserving individuals, which is why I have many times offered to contribute $100 of my own money, to be matched by other members, to finance these medals. Texas Monthly awarded him the Bum Steer award for voting against a congressional honor for cartoonist Charles Schulz, but also noted, When he was criticized for voting against the [Parks] medal, he chided his colleagues by challenging them to personally contribute $100 to mint the medal. No one did. At the time, Paul observed, 'It's easier to be generous with other people's money.' In February 2009, he joined with Democratic congressman Harry Mitchell of Arizona to call for an end to automatic Congressional pay increases, through a proposed amendment to the economic stimulus package.
The Great Gildersleeve: Aunt Hattie Stays On / Hattie and Hooker / Chairman of Women's Committee
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.