THE TOY TRAIN BARN PART 2
Toy Train layout in Wisconsin part 2 Award winning setup, really extensive work done on this. Good tutorial by the lady there, amazing that a lot of the motors running things are from the kitchen.
How to Say or Pronounce USA Cities — Argyle, Wisconsin
This video shows you how to say or pronounce Argyle, Wisconsin.
A computer said Argyle, Wisconsin. How would you say Argyle, Wisconsin?
Classic Steam Train Collection Duchess of Hamilton
Opera for the Young: The School Experience
Opera for the Young (OFTY) is a preeminent producer and presenter of opera for children in the United States, and since 1970 we have introduced more than 2.5 million children to opera. Students appear onstage in chorus and cameo roles, performing for their peers right alongside OFTY's professional artists. All productions are fully staged, sung in English and adapted especially for kids. OFTY is unique - children's opera is our sole focus. Each season our productions reach nearly 80,000 elementary students in schools throughout the upper Midwest.
Opera for the Young® keeps school performances affordable through its own fundraising efforts. We are able to offer our programming at 40% of the actual cost through the generous support of individuals, corporations, foundations and government funding.
Opera for the Young also rents our productions to companies around the nation. Visit ofty.org/rentals for more information.
For more information visit ofty.org
*CREDITS*
Video produced by Miles Hofschulz
Special thanks to Madison Media Institute for OFTY's opening titles
Extra special thanks to the students, faculty, and staff at Kennedy Elementary in Janesville, WI for sharing their OFTY experience with the world!
Twelve Years a Slave by Solomon Northup | Full Audiobook with subtitles
Twelve Years a Slave
Solomon NORTHUP
Twelve Years a Slave is the memoir of a freeborn African American from New York who is kidnapped and sold into slavery. After being held for twelve years on a Louisiana plantation, he is eventually freed and reunited with his family. (Summary by RobBoard)
Genre(s): Memoirs Audio Book Audiobooks All Rights Reserved. This is a Librivox recording. All Librivox recordings are in the public domain. For more information or to volunteer visit librivox.org.
NYSTV - Watchers Channeling Entities Fallen Angel Aliens UFOs and Universal Mind - Multi Language
Were the Nazis in communication with entities that revealed technological secrets, allowing them to become a world super-power in a few years? The short answer is, you bet!
How else did a bankrupt nation after World War 1 almost conquer the world in a decade?
Join Jon Pounders of NYSTV (Now You See TV) and David Carrico (FOJC Radio) as they review ancient texts and retrace the rise of power in the Fallen Angelic Empire and how these entities have been nudging the development of the technological world and controlling society from behind the scenes.
Channeling, was also a big part of the Nazi Agenda. The Thule Society, headed by Henriech Himmler, Godson of the Duke of Bavaria as in the Bavarian Illuminati) went all over the world in search of the occult. We see glimpses of this in The Raiders of the Lost Ark: Indiana Jones Movie.
Free Truth Productions
You're ALWAYS stronger with Truth on your side...
Languages
Afrikaans
አማርኛ
العربية
Azərbaycanca / آذربايجان
Boarisch
Беларуская
Български
বাংলা
བོད་ཡིག / Bod skad
Bosanski
Català
Нохчийн
Sinugboanong Binisaya
ᏣᎳᎩ (supposed to be Burmese but it doesn't show...)
Corsu
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словѣньскъ / slověnĭskŭ
Cymraeg
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ગુજરાતી
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Magyar
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Bahasa Indonesia
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ភាសាខ្មែរ
ಕನ್ನಡ
한국어
Kurdî / كوردی
Коми
Kırgızca / Кыргызча
Latina
Lëtzebuergesch
ລາວ / Pha xa lao
Lazuri / ლაზური
Lietuvių
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官話/官话
Māori
Македонски
മലയാളം
Монгол
Moldovenească
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bil-Malti
Myanmasa
नेपाली
Nederlands
Norsk (bokmål / riksmål)
Diné bizaad
Chi-Chewa
ਪੰਜਾਬੀ / पंजाबी / پنجابي
Norfuk
Polski
پښتو
Português
Romani / रोमानी
Kirundi
Română
Русский
संस्कृतम्
Sicilianu
सिनधि
Srpskohrvatski / Српскохрватски
සිංහල
Slovenčina
Slovenščina
Gagana Samoa
chiShona
Soomaaliga
Shqip
Српски
Sesotho
Basa Sunda
Svenska
Kiswahili
தமிழ்
తెలుగు
Тоҷикӣ
ไทย / Phasa Thai
Tagalog
Lea Faka-Tonga
Türkçe
Reo Mā`ohi
Українська
اردو
Ўзбек
Việtnam
Хальмг
isiXhosa
ייִדיש
Yorùbá
中文
isiZulu
中文(台灣)
tokipona
מה שטוחה
平らな地球
bumi datar
ბინა დედამიწაზე
жалпақ жер
ដីនៅលើដី
ಫ್ಲಾಟ್ ಭೂಮಿಯ
평지
ແຜ່ນດິນດ່ຽວ
plokšti žemė
plakana zeme
tany
papa whenua
рамна земја
ഫ്ലാറ്റ് ഭൂമി
хавтгай газар
सपाट पृथ्वी
bumi rata
art ċatta
सस्तो पृथ्वी
vlakke aarde
flat jord
dziko lapansi lathyathyathya
ਫਲੈਟ ਧਰਤੀ
płaska ziemia
Terra plana
pământ plat
плоская земля
පැතලි පෘථිවිය
plochá zemina
ravna zemlja
dhulka dhulka
tokë të sheshtë
равна земља
lefatše le bataletseng
bumi datar
platt jord
ardhi ya gorofa
பிளாட் பூமி
ఫ్లాట్ భూమి
заминаи рост
โลกดิน
düz dünya
плоска земля
فلیٹ زمین
tekis tuproq
trái đất phẳng
פלאַך ערד
ilẹ alapin
扁平的地球
umhlaba flat
Georgian: დაცემული ანგელოზი
Kazakh: құлаған ангел
Khmer: ទេវតាធ្លាក់ចុះ
Kannada: ಬಿದ್ದ ದೇವದೂತ
Korean: 타락한 천사
Latin: fallen angel
Lao: fallen angel
Lithuanian: kritęs angelas
Latvian: kritušais enģelis
Malagasy: anjely nianjera
Maori: anahera hinga
Macedonian: паднат ангел
Malayalam: വീണുപോയ ദൂതൻ
Mongolian: унасан тэнгэр элч
Marathi: पडलेला देवदूत
Malay: malaikat yang jatuh
Maltese: waqa 'anġlu
Myanmar (Burmese): ပြိုလဲကောငျးကငျတမနျ
Nepali: गिर परी
Dutch: gevallen engel
Norwegian: Fallen engel
Chichewa: mngelo wakugwa
Punjabi: ਡਿੱਗ ਦੂਤ
Polish: upadły anioł
Portuguese: anjo caído
Romanian: inger decazut
Russian: падший ангел
Sinhala: වැටුනාවූ දූතයා
Slovak: padlý anjel
Slovenian: padli angel
Somali: malaa'igtii dhacday
Albanian: engjell i rene
Serbian: пали анђео
Sesotho: lengeloi le oeleng
Sundanese: malaikat fallen
Swedish: fallen ängel
Swahili: malaika aliyeanguka
Tamil: விழுந்த தேவதை
Telugu: స్వర్గం నుంచి పడిన దేవత
Tajik: фариштаи золим
Thai: เทวดาตกสวรรค์
Filipino: nahulog na anghel
Turkish: düşmüş melek
Ukrainian: занепалий ангел
Urdu: باغی فرشتہ
Uzbek: tushgan farishta
Vietnamese: Thiên thần sa ngã
Yiddish: געפאלן מלאך
Yoruba: angẹli ti o ṣubu
Suspense: Stand-In / Dead of Night / Phobia
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.
From Freedom to Fascism - - Multi - Language
Aaron Russo produced the movie, Trading Places with Eddie Murphy. He owned his own Island near Tahiti. He patented the first bikini in the world and made his fortune. He ran nightclubs in Chicago and despite all his success, he devoted the last years of his life to make this documentary.
He made this documentary about how Income tax in America is illegal. According to the U.S. Constitution, a person's income is private property and exempt from all taxes.
This video explains the nefarious way they scammed America into paying income taxes.
A very well made video.
Languages
Afrikaans
አማርኛ
العربية
Azərbaycanca / آذربايجان
Boarisch
Беларуская
Български
বাংলা
བོད་ཡིག / Bod skad
Bosanski
Català
Нохчийн
Sinugboanong Binisaya
ᏣᎳᎩ
Corsu
Nehiyaw
Česky
словѣньскъ / slověnĭskŭ
Cymraeg
Dansk
Deutsch
Ελληνικά
Esperanto
Español
Eesti
Euskara
فارسی
Suomi
Võro
Français
Frysk
Gàidhlig
Galego
Avañe'ẽ
ગુજરાતી
هَوُسَ
Hawai`i
עברית
हिन्दी
Hrvatski
Krèyol ayisyen
Magyar
Հայերեն
Bahasa Indonesia
Igbo
Ido
Íslenska
Italiano
日本語
Basa Jawa
ქართული
Қазақша
ភាសាខ្មែរ
ಕನ್ನಡ
한국어
Kurdî / كوردی
Коми
Kırgızca / Кыргызча
Latina
Lëtzebuergesch
ລາວ / Pha xa lao
Lazuri / ლაზური
Lietuvių
Latviešu
Malagasy
官話/官话
Māori
Македонски
മലയാളം
Монгол
Moldovenească
मराठी
Bahasa Melayu
bil-Malti
Myanmasa
नेपाली
Nederlands
Norsk (bokmål / riksmål)
Diné bizaad
Chi-Chewa
ਪੰਜਾਬੀ / पंजाबी / پنجابي
Norfuk
Polski
پښتو
Português
Romani / रोमानी
Kirundi
Română
Русский
संस्कृतम्
Sicilianu
सिनधि
Srpskohrvatski / Српскохрватски
සිංහල
Slovenčina
Slovenščina
Gagana Samoa
chiShona
Soomaaliga
Shqip
Српски
Sesotho
Basa Sunda
Svenska
Kiswahili
தமிழ்
తెలుగు
Тоҷикӣ
ไทย / Phasa Thai
Tagalog
Lea Faka-Tonga
Türkçe
Reo Mā`ohi
Українська
اردو
Ўзбек
Việtnam
Хальмг
isiXhosa
ייִדיש
Yorùbá
中文
isiZulu
中文(台灣)
tokipona
Suspense: My Dear Niece / The Lucky Lady (East Coast and West Coast)
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.
A Matter of Logic / Bring on the Angels / The Stronger
The Stronger (Swedish: Den starkare) is a famous 1889 play by August Strindberg. The play is quite short, consisting of only one scene that can be performed in approximately 10 minutes. The characters consist of only two women: a Mrs. X and a Miss. Y, only one of whom speak, an example of a dramatic monologue. It was adapted into a 1952 opera by composer Hugo Weisgall and there have been numerous film and television adaptations of the work. It has also been expanded and adapted into a forty-minute English-language zarzuela with a Madrid setting by Derek Barnes (2010), with text by Christopher Webber.
Johan August Strindberg (22 January 1849 -- 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.[2][3][4] A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics.[5] A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques.[6][7] From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film.[8] He is considered the father of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.[9][10]
In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.[2][11] In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that -- building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play — responded to the call-to-arms of Émile Zola's manifesto Naturalism in the Theatre (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887).[12] In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the vacillating, disintegrated characters is emphasised.[13] Strindberg modelled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays On Psychic Murder (1887), On Modern Drama and the Modern Theatre (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.[14]
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.[15] A series of psychotic attacks between 1894 to 1896 (referred to as his Inferno crisis) led to his hospitalisation and return to Sweden.[15] Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become the Zola of the Occult.[16] In 1898 he returned to playwriting with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.[17] His A Dream Play (1902) — with its radical attempt to dramatise the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters -- was an important precursor to both expressionism and surrealism.[18] He also returned to writing historical drama, the genre with which he had begun his playwriting career.[19] He helped to run the Intimate Theatre from 1907, a small-scale theatre, modelled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
My Friend Irma: Psycholo / Newspaper Column / Dictation System
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.
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.
Calling All Cars: The Flaming Tick of Death / The Crimson Riddle / The Cockeyed Killer
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: Banker Bandit / The Honor Complex / Desertion Leads to Murder
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.
FIFA 20 Career Mode Gameplay Livestream - Grimsby Town FC Season 2
We are playing some more FIFA 20 this evening with our beloved Grimsby Town FC as we continue on our journey through EFL League One! :D
Suspense: Dead Ernest / Last Letter of Doctor Bronson / The Great Horrell
On the second presentation of July 22, 1940, Forecast offered a mystery/horror show titled Suspense. With the co-operation of his producer, Walter Wanger, Alfred Hitchcock received the honor of directing his first radio show for the American public. The condition agreed upon for Hitchcock's appearance was that CBS make a pitch to the listening audience about his and Wanger's latest film, Foreign Correspondent. To add flavor to the deal, Wanger threw in Edmund Gwenn and Herbert Marshall as part of the package. All three men (including Hitch) would be seen in the upcoming film, which was due for a theatrical release the next month. Both Marshall and Hitchcock decided on the same story to bring to the airwaves, which happened to be a favorite of both of them: Marie Belloc Lowndes' The Lodger. Alfred Hitchcock had filmed this story for Gainsborough in 1926, and since then it had remained as one of his favorites.
Herbert Marshall portrayed the mysterious lodger, and co-starring with him were Edmund Gwenn and character actress Lurene Tuttle as the rooming-house keepers who start to suspect that their new boarder might be the notorious Jack-the-Ripper. [Gwenn was actually repeating the role taken in the 1926 film by his brother, Arthur Chesney. And Tuttle would work again with Hitchcock nearly 20 years later, playing Mrs. Al Chambers, the sheriff's wife, in Psycho.] Character actor Joseph Kearns also had a small part in the drama, and Wilbur Hatch, head musician for CBS Radio at the time, composed and conducted the music specially for the program. Adapting the script to radio was not a great technical challenge for Hitchcock, and he cleverly decided to hold back the ending of the story from the listening audience in order to keep them in suspense themselves. This way, if the audience's curiosity got the better of them, they would write in to the network to find out whether the mysterious lodger was in fact Jack the Ripper. For the next few weeks, hundreds of letters came in from faithful listeners asking how the story ended. Actually a few wrote threats claiming that it was indecent and immoral to present such a production without giving the solution.
Suspense: Heart's Desire / A Guy Gets Lonely / Pearls Are a Nuisance
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.
Suspense: Money Talks / Murder by the Book / Murder by an Expert
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.
Dragnet: Eric Kelby / Sullivan Kidnapping: The Wolf / James Vickers
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.
You Bet Your Life: Secret Word - Water / Face / Window
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as Groucho glasses, a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as Groucho glasses, nose-glasses, and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).
Alan Alda often vamped in the manner of Groucho on M*A*S*H. In one episode, Yankee Doodle Doctor, Hawkeye and Trapper put on a Marx Brothers act at the 4077, with Hawkeye playing Groucho and Trapper playing Harpo. In three other episodes, a character appeared who was named Captain Calvin Spalding (played by Loudon Wainwright III). Groucho's character in Animal Crackers was Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Michael Stivic (Rob Reiner), would briefly imitate Groucho Marx and his mannerisms.
Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed '39 a capella. A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice. On the famous Hollywood Sign in California, one of the Os is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in a one-man stage production. He also imitated Marx occasionally on his previous TV sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of Hooray for Captain Spaulding—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
In the Italian horror comic Dylan Dog, the protagonist's sidekick is a Groucho impersonator whose character became his permanent personality.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named Waiting For Groucho about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.
Words at War: Faith of Our Fighters: The Bid Was Four Hearts / The Rainbow / Can Do
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.