Tour a Thriving 23-Year-Old Permaculture Food Forest - An Invitation for Wildness
In the small town of Riverton at the bottom of New Zealand’s South Island is Robert and Robyn Guyton’s amazing 23-year-old food forest. The 2-acre property has been transformed from a neglected piece of land into a thriving ecosystem of native and exotic trees where birds and insects live in abundance. Robert and Robyn are a huge inspiration to us, not only for their beautiful approach to healing the land and saving heritage trees and seeds, but for the way they’ve impacted on their local community.
They’ve operated an environment centre in their town for over 20 years, where the community comes together to learn and discuss, buy produce and sit by the warm fire over a cuppa. We’ve even heard of folk who’ve up and moved to Riverton because they’re so inspired by the Guytons!
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???? GRANDES DESASTRES NATURALES DE LA HISTORIA,DOCUMENTAL DE HISTORIA,DOCUMENTAL,BEST DOCUMENTARIES
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???? GRANDES DESASTRES NATURALES DE LA HISTORIA,DOCUMENTAL DE HISTORIA,DOCUMENTAL,BEST DOCUMENTARIES
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Please watch: BATALLAS EPICAS DE LA HISTORIA,MIOSÉS,DOCUMENTALES GUERRA,DOCUMENTALES DOCUMENTAL,BIBLIA DOCUMENTAL
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DOCUMENTAL - VIDAJE - Tras la mirada del nómada. ????(ENG - PT Subs) Viaje en bicicleta, cicloturismo.
Nómada desde 2011, un viaje en bicicleta, una vuelta al mundo, aprendiendo y desaprendiendo...
Disfrútalo libre y si te gusta la experiencia pon tu el valor, cola-valora en: albertsans.com/colabora
Un documental 100% de autor que muestra la experiencia de cumplir el viejo sueño de vivir mil vidas en una y que cada día sea intenso y libre, tras la mirada de esa aventura, se esconden tantas situaciones, como miedos, soluciones, regalos y lecciones, gentes, paisajes, instantáneas capturadas, músicas creadas, videos guardados y recuerdos tatuados.
74 minutos que susurran 7 años de rodaje y Vida-Viaje, decenas de canciones propias, miles de fotografías, cientos de reflexiones y 7 meses de edición...
Gracias. ;)
REDES SOCIALES Y WEB:
Delicious – Emily’s Miracle of Life: The Movie (Subtitles)
Become part of a very special chapter in Emily's life. Emily’s only just started her very own cooking blog, when she receives some wonderful news. She's pregnant!
Please remember to subscribe if you wish these videos to continue. And let us know if there are other Snuggford stories you would like to see.
Chapter 1: 00:03:31
Chapter 2: 00:26:09
Chapter 3: 00:49:30
Chapter 4: 01:14:08
Chapter 5: 01:35:37
Chapter 6: 01:57:57
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HOME (2009)
Director: Yann Arthus-Bertrand
Producer: Luc Besson, Denis Carot
Genre: Documentary / World Cinema
Country: France
Language: English / AR / CH / DE / EN / ES / FR / HI / IT / JP / PT / RO / RU subtitles
The Earth is what we all have in common!
Internationally renowned photographer Yann Arthus-Bertrand makes his feature directorial debut with this environmentally conscious documentary produced by Luc Besson, and narrated by Glenn Close. Shot in 54 countries and 120 locations over 217 days, Home presents the many wonders of planet Earth from an entirely aerial perspective. As such, we are afforded the unique opportunity to witness our changing environment from an entirely new vantage point. In our 200,000 years on Earth, humanity has hopelessly upset Mother Nature's delicate balance. Some experts claim that we have less than ten years to change our patterns of consumption and reverse the trend before the damage is irreversible. Produced to inspire action and encourage thoughtful debate, Home poses the prospect that unless we act quickly, we risk losing the only home we may ever have.
Original Motion Picture Soundtrack:
Armand Amar - HOME OST (2009)
Calling All Cars: Disappearing Scar / Cinder Dick / The Man Who Lost His Face
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.
Rick Steves' Andalucía: The Best of Southern Spain
Join Rick as he weaves Andalucía's rich mix of culture, cuisine, history, and natural wonders into a 60-minute special. The hour includes the major cities of Sevilla, Córdoba, and Granada; flamenco, sherry, and horses; dramatic white-washed hill towns; and fun in the Costa del Sol sun — plus a dash of Britain in Gibraltar.
© 2010 Rick Steves' Europe
Zeitgeist Addendum
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Zeitgeist: Addendum by Peter Joseph. Full movie
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Delicious – Emily’s Road Trip: The Movie (Subtitles)
Take a nostalgic road trip along Route 66. Join Emily and the O'Malley family as they discover what's truly important in life.
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The Chronicles of Narnia: The Silver Chair- Audiobook
Quick! said Eustace. Hold hands! We mustn't get separated!
And before Jill quite knew what was happening, he had pulled her out of the door, out of the school grounds, out of England, out of our whole world into That Place. Eustace and Jill are whisked to the land of Narnia where Aslan, the great Lion, needs their help to find the missing Prince Rilian. Teaming up with Puddleglum, the Marsh Wiggle, the search takes them through some of the most dangerous underland of Narnia.
Even if they attain their goal, it can only be the start of further trouble.
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Originally published: 7 September 1953
Author: C. S. Lewis
Pages: 217 (first edition); 51,022 words (US)
Illustrator: Pauline Baynes
Characters: Aslan, Prince Caspian, Eustace Scrubb, Jill Pole, Puddleglum, Rilian, Lady of the Green Kirtle
Genres: Novel, Children's literature, Fantasy Fiction
The Silver Chair is a children's fantasy novel by C. S. Lewis, published by Geoffrey Bles in 1953. It was the fourth published of seven novels in The Chronicles of Narnia; it is volume six in recent editions, which are sequenced according to Narnian history.
About The Author
Clive Staples Lewis was born in Belfast in 1898. As a child, he was fascinated by the fairy tales, myths and ancient legends recounted to him by his Irish nurse. The image of a faun carrying parcels and an umbrella in a snowy wood came to him when he was 16. However, it was not until many years later as a professor at Cambridge University that the faun was joined by an evil queen and a magnificent lion. Their story became The Lion, the Witch and the Wardrobe, one of the best-loved books of all time. Six further Chronicles of Narnia followed and the final title, The Last Battle, published in 1956, was awarded the highest mark of excellence in...
The Rich in America: Power, Control, Wealth and the Elite Upper Class in the United States
The American upper class describes the sociological concept pertaining to the top layer of society in the United States. About the book:
This social class is most commonly described as consisting of those with great wealth and power and may also be referred to as the Capitalist Class or simply as The Rich. Persons of this class commonly have immense influence in the nation's political and economic institutions as well as public opinion.
Many politicians, heirs to fortunes, top business executives, CEOs, successful venture capitalists and celebrities are considered members of this class. Some prominent and high-rung professionals may also be included if they attain great influence and wealth. The main distinguishing feature of this class, which is estimated to constitute roughly 1% of the population, is the source of income. While the vast majority of persons and households derive their income from salaries, those in the upper class derive their income from investments and capital gains. Estimates for the size of this group commonly vary from 1% to 2%, while some surveys have indicated that as many as 6% of Americans identify as upper class. Sociologist Leonard Beeghley sees wealth as the only significant distinguishing feature of this class and, therefore, refers to this group simply as the rich.
The members of the tiny capitalist class at the top of the hierarchy have an influence on economy and society far beyond their numbers. They make investment decisions that open or close employment opportunities for millions of others. They contribute money to political parties, and they often own media enterprises that allow them influence over the thinking of other classes... The capitalist class strives to perpetuate itself: Assets, lifestyles, values and social networks... are all passed from one generation to the next. -Dennis Gilbert, The American Class Structure, 1998
Sociologists such as W. Lloyd Warner, William Thompson and Joseph Hickey recognize prestige differences between members of the upper class. Established families, prominent professionals and politicians may be deemed to have more prestige than some entertainment celebrities who in turn may have more prestige than the members of local elites. Yet, contemporary sociologists argue that all members of the upper class share such great wealth, influence and assets as their main source of income as to be recognized as members of the same social class. As great financial fortune is the main distinguishing feature of this class, sociologist Leonard Beeghley at the University of Florida identifies all rich households, those with incomes in the top 1% or so, as upper class.
Functional theorists in sociology and economics assert that the existence of social classes is necessary in order to distribute persons so that only the most qualified are able to acquire positions of power, and so that all persons fulfill their occupational duties to the greatest extent of their ability. Notably, this view does not address wealth, which plays an important role in allocating status and power.
In order to make sure that important and complex tasks are handled by qualified and motivated personnel, society offers incentives such as income and prestige. The more scarce qualified applicants are and the more essential the given task is, the larger the incentive will be. Income and prestige which are often used to tell a person's social class, are merely the incentives given to that person for meeting all qualifications to complete an important task that is of high standing in society due to its functional value.
It should be stressed... that a position does not bring power and prestige because it draws a high income. Rather, it draws a high income because it is functionally important and the available personnel is for one reason or another scarce. It is therefore superficial and erroneous to regard high income as the cause of a man's power and prestige, just as it is erroneous to think that a man's fever is the cause of his disease... The economic source of power and prestige is not income primarily, but the ownership of capital goods (including patents, good will, and professional reputation). Such ownership should be distinguished from the possession of consumers' goods, which is an index rather than a cause of social standing. -Kingsley Davis and Wilbert E. Moore, Principles of Stratification.
Grief Drives a Black Sedan / People Are No Good / Time Found Again / Young Man Axelbrod
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.
The Chronicles of Narnia: Prince Caspian: The Chronicles of Narnia, Book 2- Audiobook
The four Pevensie children from The Lion, the Witch, and the Wardrobe are called back to Narnia when Caspian, the nephew of the evil usurping ruler, sides with the true Narnians to oppose him. There they find that centuries have passed since their last visit, and that, once again, they face a battle against overwhelming odds.
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IS IT ANY GOOD?
PRINCE CASPIAN is an altogether simpler and more straightforward adventure tale than its predecessor, and far simpler than most modern fantasies. Once again Lucy is the heroine of heart and spirit, while Peter is the hero of the sword. Edmund has learned his lessons well, and is stalwart and kind, while Susan -- well, Susan mostly grumbles, and one can see Lewis already setting up her fall from grace, which occurs in the last book. The novel is structured as two parallel, and eventually intersecting, stories: one of Caspian escaping from, and rebelling against, his evil uncle; the other of the Pevensies rediscovering a Narnia that has changed a great deal in the centuries since their last visit.
Gone, for the most part, is the heavy dose of Christian symbolism, replaced by a hodgepodge of mythological elements, including Bacchus and his Maenads, nature spirits, and a river god. The plain but very literary writing and simplicity of storytelling, combined exciting adventures and a moderate length make this book well-suited to middle-grade readers.
WHAT PARENTS NEED TO KNOW
Parents need to know that there is some violence here, with battles and beheadings with swords.
BOOK DETAILS
Author: C.S. Lewis
Illustrator: Pauline Baynes
Genre: Fantasy
Book type: Fiction
Publisher: HarperTrophy
Publication date: October 15, 1951
Publisher's recommended age(s): 10 - 14
Number of pages: 238
Last updated: July 22, 2019
Following information from @commonsensemedia.org
Isle of Dogs
Visionary director Wes Anderson’s Isle of Dogs tells the story of Atari Kobayashi, 12-year-old ward to corrupt Mayor Kobayashi. When all the canine pets of Megasaki City are exiled to a vast Trash Island, Atari sets off in search of his bodyguard-dog, Spots. With the assistance of his newfound mongrel friends, he begins an epic journey that will decide the fate and future of the entire Prefecture.
Patti Cake$
In a coming-of-age story straight out of Jersey, an unlikely rapper finds her voice as a one-of-a-kind hip-hop legend in the making in PATTI CAKE$, the first feature film from acclaimed commercial and music-video director Geremy Jasper. Set in gritty strip-mall suburbia, PATTI CAKE$ chronicles an underdog’s quest for fame and glory with humor, raw energy and some unforgettable beats.
2013-07-26 (P2of3) Leading All to Be Vegan Will Bring Immense Merits
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This discussion, titled “Leading All to Be Vegan Will Bring Immense Merits - Part 2 of 3” (DVD#1029-1), took place on Jul 26, 2013.
More videos are coming soon. Feel free to share them and spread the peace and love!
May your life be graced with serenity and laughter every day.
Supreme Master TV
Our Miss Brooks: First Day / Weekend at Crystal Lake / Surprise Birthday Party / Football Game
Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name.
Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School.
Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win.
Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags.
Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections.
Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts.
Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty.
Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend.
Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks.
Jacques Monet (Gerald Mohr), a French teacher.
Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.
Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try.
Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very feline in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews.
Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton, she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.
For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended.
UFO CONGRESS Czechien - ILona Podhrazska CC.- Subtitl 1996
CC.-Subtitl. (12. Dimension ) ET Contact from Czech republic Ivana Podhrazska is spiritism telepathic medium. Ilona Podhrazska writing messages... Contact with Humanoid EBE OLie from 12 Dimension we have contact from 1993 Year! amazon.com and my name ILona Podhrazska : Our Book is w and my name : ILona Podhrazska My e- mail: ilona.podhrazska@seznam.cz , , a Česká kniha : ............................Our Group Facebook: And i hope will more books .....My Skype name is : ILona – Podhrazska and My e-mail is: ilona.podhrazska@seznam.cz ============================================= if you want to donate money for new Laptop here is my address: paypal.me/IlonaPodhrazska and my adress for PayPal is : ilona.podhrazska@seznam.cz =============================== Budete-li chtít přispět menší částkou k nákupu nového notebooku. Děkuji! Zde je odkaz: My Bank: Česká spořitelna, a.s. Moje jméno: Ilona Podhrázská : číslo účtu: 0000003047970083/0800 ……. Pro Českou republiku- For Czech Republic. ================================== / if you want to donate money for buying a new laptop.Thank you! Here is from foreign country, abroad : ( My Bank name: Ceska sporitelna, a.s. ) My name: iLona Podhrazska : IBAN : CZ8808000000003047970083 , BIC: GIBACZPX
Calling All Cars: Oakland Payroll Robbery / Murder by Blueprint / The Human Claw
The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
Calling All Cars: Crime v. Time / One Good Turn Deserves Another / Hang Me Please
The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.