61 11 17 Paknai's Fisherman Village, Nan
Pak Nai was originally a village by the Nan River. But after the construction of the Sirikit Dam, the village became a part of the water reservoir above the dam surrounded by green mountain ranges. As locals of Pak Nai village are fishermen, there are plenty of fish product from the reservoir. Restaurants on rafts providing tasty fish such as Pla Kot - catfish, Pla Bu - gobies, Pla Khang – Giant Catfish, Pla Raet - giant gourami, Pla Thapthim - Thai Red Tilapia, etc. Some rafts also provide accommodations for tourists who want to stay over. Apart from flavorful meals, visitors can also admire the scenery of beautiful mountainous forests, islets, and fisherman’s raft houses by renting boats from locals. Out of the rainy season, there will be a pulled-raft service to Wat Pak Nai, where visitors can enjoy meal on board. The trip takes approximately 2 hours. Moreover, there is a ferry service to Nam Pat District, Uttaradit province but stay over a night is recommended as it takes 6 hours for the journey. To get there: The village is in Na Thanung sub-district, 96-kilometer s from the center of the province. Take the Nan – Wiang Sa – Na Noi route to Na Noi district then take mountainous Highway No. 1339 to Ban Pak Nai for approximately 25 kilometers
หมู่บ้านประมงปากนาย ตำบลนาทะนุง อำเภอนาหมื่น จังหวัดน่าน เดิมเป็นหมู่บ้านริมแม่น้ำน่าน หลังการสร้างเขื่อนสิริกิติ์ หมู่บ้านปากนายได้กลายเป็นส่วนหนึ่งของอ่างเก็บน้ำเหนือเขื่อน ซึ่งมีลักษณะเหมือนทะเลสาบขนาดใหญ่ โอบล้อมด้วยทิวเขาเขียวขจี ชาวบ้านปากนายประกอบอาชีพประมง มีแพร้านอาหารให้เลือกชิมปลาจากเขื่อน เช่น ปลากด ปลาบู่ ปลาคัง ปลาแรด ปลาทับทิม เป็นต้น และบางแห่งทำเป็นห้องพักไว้บริการนักท่องเที่ยว จากบ้านปากนายสามารถเช่าเรือล่องไปตามลำน้ำน่านสู่อ่างเก็บน้ำสิริกิติ์ มีทิวทัศน์เป็นป่าเขาสวยงาม เกาะแก่ง เรือนแพ ชาวประมง ในช่วงนอกฤดูฝน จะมีแพลากไปวัดปากนาย สามารถนั่งรับประทานอาหารบนเรือได้ ใช้เวลาประมาณ ๒ ชั่วโมง และมีแพขนานยนต์ข้ามฟากไปยัง อำเภอน้ำปาด จังหวัดอุตรดิตถ์
การเดินทาง อยู่ที่ตำบลนาทะนุง ห่างจากตัวจังหวัด 96 กิโลเมตร ใช้เส้นทางน่าน-เวียงสา-นาน้อย จากอำเภอนาน้อย มีทางแยกไปถึงอำเภอนาหมื่นราว 20 กิโลเมตร จากนั้นเลี้ยวซ้ายเข้าทางหลวงหมายเลข 1339 เป็นทางลาดยางคดเคี้ยวไปตามไหล่เขาอีกประมาณ 25 กิโลเมตรจึงถึงบ้านปากนาย
On the ferry to Ban Pak Nai, Nan Province, Thailand
Kawasaki motorcycle trip, December 2012
Riding Route 1339 to Ban Pak Nai, Nan, Thailand
Kawasaki Versys motorcycle trip
Pha Ngam! A Limestone wonderland in Loei
We follow a trail up a supernatural limestone landscape encrusted with ancient fossils and emerge with a stunning view over Thailand's Kunming.
nokair.com
The Vietnam War: Reasons for Failure - Why the U.S. Lost
In the post-war era, Americans struggled to absorb the lessons of the military intervention. About the book:
As General Maxwell Taylor, one of the principal architects of the war, noted, First, we didn't know ourselves. We thought that we were going into another Korean War, but this was a different country. Secondly, we didn't know our South Vietnamese allies... And we knew less about North Vietnam. Who was Ho Chi Minh? Nobody really knew. So, until we know the enemy and know our allies and know ourselves, we'd better keep out of this kind of dirty business. It's very dangerous.
Some have suggested that the responsibility for the ultimate failure of this policy [America's withdrawal from Vietnam] lies not with the men who fought, but with those in Congress... Alternatively, the official history of the United States Army noted that tactics have often seemed to exist apart from larger issues, strategies, and objectives. Yet in Vietnam the Army experienced tactical success and strategic failure... The...Vietnam War...legacy may be the lesson that unique historical, political, cultural, and social factors always impinge on the military...Success rests not only on military progress but on correctly analyzing the nature of the particular conflict, understanding the enemy's strategy, and assessing the strengths and weaknesses of allies. A new humility and a new sophistication may form the best parts of a complex heritage left to the Army by the long, bitter war in Vietnam.
U.S. Secretary of State Henry Kissinger wrote in a secret memo to President Gerald Ford that in terms of military tactics, we cannot help draw the conclusion that our armed forces are not suited to this kind of war. Even the Special Forces who had been designed for it could not prevail. Even Secretary of Defense Robert McNamara concluded that the achievement of a military victory by U.S. forces in Vietnam was indeed a dangerous illusion.
Doubts surfaced as to the effectiveness of large-scale, sustained bombing. As Army Chief of Staff Harold Keith Johnson noted, if anything came out of Vietnam, it was that air power couldn't do the job. Even General William Westmoreland admitted that the bombing had been ineffective. As he remarked, I still doubt that the North Vietnamese would have relented.
The inability to bomb Hanoi to the bargaining table also illustrated another U.S. miscalculation. The North's leadership was composed of hardened communists who had been fighting for independence for thirty years. They had defeated the French, and their tenacity as both nationalists and communists was formidable. Ho Chi Minh is quoted as saying, You can kill ten of my men for every one I kill of yours...But even at these odds you will lose and I will win.
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.
Stanley Hong Kong - Things To Do In Stanley
Come and explore Stanley and the area around Stanley Bay on Hong Kong Island together with me. I will visit Stanley Main Street, Stanley Tin Hau Temple, Blake Pier, Stanley Plaza Square, Murray House, the Pak Thai Temple, and Stanley Ma Hang Park.
ZEITGEIST: MOVING FORWARD | OFFICIAL RELEASE | 2011
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This is the Official Online (Youtube) Release of Zeitgeist: Moving Forward by Peter Joseph. [30 subtitles ADDED!]
On Jan. 15th, 2011, Zeitgeist: Moving Forward was released theatrically to sold out crowds in 60 countries; 31 languages; 295 cities and 341 Venues. It has been noted as the largest non-profit independent film release in history.
This is a non-commercial work and is available online for free viewing and no restrictions apply to uploading/download/posting/linking - as long as no money is exchanged.
A Free DVD Torrent of the full 2 hr and 42 min film in 30 languages is also made available through the main website [below], with instructions on how one can download and burn the movie to DVD themselves. His other films are also freely available in this format.
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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).
Suspense: Will You Make a Bet with Death / Menace in Wax / The Body Snatchers
There were several variations of program introductions. A typical early opening is this from April 27, 1943:
(MUSIC ... BERNARD HERRMANN'S SUSPENSE THEME ... CONTINUES IN BG)
THE MAN IN BLACK: Suspense!
This is The Man in Black, here again to introduce Columbia's program, Suspense.
Our stars tonight are Miss Agnes Moorehead and Mr. Ray Collins. You've seen these two expert and resourceful players in Citizen Kane - The Magnificent Ambersons in which Miss Moorehead's performance won her the 1942 Film Critics' Award. Mr. Collins will soon be seen in the Metro-Goldwyn-Mayer Technicolor film, Salute to the Marines.
Miss Moorehead and Mr. Collins return this evening to their first love, the CBS microphone, to appear in a study in terror by Lucille Fletcher called The Diary of Sophronia Winters.
The story told by this diary is tonight's tale of... suspense. If you've been with us on these Tuesday nights, you will know that Suspense is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution... until the last possible moment. And so it is with The Diary of Sophronia Winters and the performances of Agnes Moorehead and Ray Collins, we again hope to keep you in...
(MUSIC: ... UP, DRAMATICALLY)
THE MAN IN BLACK: ... Suspense!
The Great Gildersleeve: The First Cold Snap / Appointed Water Commissioner / First Day on the Job
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
The Great Gildersleeve: Birdie Sings / Water Dept. Calendar / Leroy's First Date
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.
Young Love: Audition Show / Engagement Ceremony / Visit by Janet's Mom and Jimmy's Dad
Janet Waldo (born February 4, 1924) is an American actress and voice artist with a career encompassing radio, television, animation and live-action films. She is best known in animation for voicing Judy Jetson, Penelope Pitstop and Josie McCoy in Josie and the Pussycats. She was equally famed for radio's Meet Corliss Archer, a title role with which she was so identified that she was drawn into the comic book adaptation.
Waldo appeared in several dozen films in uncredited bit parts and small roles, although she was the leading lady in three Westerns, two of them starring Tim Holt. Her big break came in radio with a part on Cecil B. DeMille's Lux Radio Theater. In her radio career, she lent her voice to many programs, including Edward G. Robinson's Big Town, The Eddie Bracken Show, Favorite Story, Four-Star Playhouse, The Gallant Heart, One Man's Family, Sears Radio Theater and Stars over Hollywood. She co-starred with Jimmy Lydon in the CBS situation comedy Young Love (1949--50), and she had recurring roles on The Adventures of Ozzie and Harriet (as teenager Emmy Lou), The Red Skelton Show and People Are Funny.
However, it was her eight-year run starring as teenager Corliss Archer on CBS's Meet Corliss Archer that left a lasting impression, even though Shirley Temple starred in the film adaptations, Kiss and Tell and A Kiss for Corliss. The radio program was the CBS answer to NBC's popular A Date with Judy. Despite the long run of Meet Corliss Archer, less than 24 episodes are known to exist. Waldo later turned down the offer to portray Corliss in a television adaptation.
In 1948 the Meet Corliss Archer comic book, using Waldo's likeness, published by Fox Feature Syndicate, appeared for a run of three issues from March to July 1948, using the original scripts. The same year, Waldo married playwright Robert Edwin Lee, the writing partner of Jerome Lawrence. The couple had two children, and remained married until his death in 1994.
Waldo made a rare on-screen television appearance when she appeared as Peggy, a teen smitten with Ricky Ricardo on a 1952 episode of I Love Lucy titled The Young Fans with Richard Crenna. Ten years later, Waldo again worked with Lucille Ball, this time playing Lucy Carmichael's sister, Marge, on The Lucy Show. That episode, Lucy's Sister Pays A Visit also featured actor Peter Marshall. She also appeared on an episode of The Andy Griffith Show as Amanda. In addition, Waldo reprised the role of Emmy Lou for some early TV episodes of The Adventures of Ozzie and Harriet. Later, she was the female lead opposite Anthony Franciosa in the short-lived sitcom Valentine's Day (1964).
Shirley Mitchell (born November 4, 1919) is an American film and television actress.
After moving to Chicago, she appeared in the network broadcast of The First Nighter and played small parts in various soap operas including The Story of Mary Marlin and The Road of Life. After moving to Los Angeles, she played opposite Joan Davis in The Sealtest Village Store. She also starred as Louella in The Life of Riley and joined the cast of Fibber McGee and Molly as Alice Darling in 1943. Her most prominent radio role was that of the charismatic Southern belle Leila Ransom on The Great Gildersleeve radio show beginning in September 1942. In 1953, Shirley joined the cast of I Love Lucy playing the part of Lucy Ricardo's friend Marion Strong. As of 2012, she is the only recurring adult cast member still living following the deaths of Doris Singleton in 2012 and Peggy Rea in 2011. In 1962, she played Mrs. Colton on the CBS-TV comedy series Pete and Gladys, and between 1965--1967, she appeared as neighbor Marge Thornton on NBC-TVs Please Don't Eat the Daisies. In the same year she appeared in Episode 13, Season 2 of The Dick Van Dyke Show when she played Shirley Rogers opposite Bob Crane as Harry Rogers in Somebody Has to Play Cleopatra. In 1963, she appeared on the television program The Beverly Hillbillies as Opal Clampett (the wife of Jake Clampett, an out-of-work actor). In 1966, she appeared in Green Acres as a nurse and as Oliver's old friend Wanda. Between 1967 and 1968, she portrayed Kate Bradley's cousin Mae Belle Jennings on Petticoat Junction. In 1968, she appeared in the Season 1 finale of The Doris Day Show as Mrs. Loomis, a woman who accuses Billy of stealing $5.00 from her purse after she dropped it.
In 1972, she was the voice of Laurie Holiday on the Hanna-Barbera cartoon series, The Roman Holidays.
In 1994, Mitchell voiced the Sneetches, cousins, Thidwick's mother and Sue the Second Fish in Storybook Weaver and later in 2004, deluxe version in Storybook Weaver Deluxe.
In 2012, she voiced her guest star as Betty White in MAD episode, Betty White & the Huntsman / Ancient Greek Mythbusters.
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The Great Gildersleeve: Disappearing Christmas Gifts / Economy This Christmas / Family Christmas
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.
The Great Gildersleeve: Leroy's Laundry Business / Chief Gates on the Spot / Why the Chimes Rang
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.
You Bet Your Life: Secret Word - Sky / Window / Dust
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.
Suspense: Blue Eyes / You'll Never See Me Again / Hunting Trip
Thriller is a broad genre of literature, film, and television programming that uses suspense, tension and excitement as the main elements.[1] Thrillers heavily stimulate the viewer's moods giving them a high level of anticipation, ultra-heightened expectation, uncertainty, surprise, anxiety and/or terror. Good thriller films tend to be adrenaline-rushing, gritty, rousing and fast-paced. Literary devices such as red herrings, plot twists and cliffhangers are used extensively. A thriller is a villain-driven plot, whereby he or she presents obstacles that the protagonist must overcome.[2][3]
Common subgenres are psychological thrillers, crime thrillers and mystery thrillers.[4] Another common subgenre of thriller is the spy genre which deals with fictional espionage. Successful examples of thrillers are the films of Alfred Hitchcock. The horror and action genres often overlap with the thriller genre.[5]
In 2001, the American Film Institute in Los Angeles made its definitive selection of the top 100 greatest American heart-pounding and adrenaline-inducing films of all time. To be eligible, the 400 nominated films had to be American-made films, whose thrills have enlivened and enriched America's film heritage. AFI also asked jurors to consider the total adrenaline-inducing impact of a film's artistry and craft.[6][7]
Homer's Odyssey is one of the oldest stories in the Western world and is regarded as an early prototype of the thriller. One of the earliest thriller movies was Harold Lloyd's comic Safety Last! (1923), with a character performing a daredevil stunt on the side of a skyscraper. Alfred Hitchcock and Fritz Lang helped to shape the modern-day thriller genre beginning with The Lodger (1926) and M (1931), respectively.[2]
Point Sublime: Refused Blood Transfusion / Thief Has Change of Heart / New Year's Eve Show
Clifford Charles Cliff Arquette (December 27, 1905 -- September 23, 1974) was an American actor and comedian, famous for his TV role as Charley Weaver.
Arquette was born in Toledo, Ohio, the son of Winifred (née Clark) and Charles Augustus Arquette, a vaudevillian. He was the patriarch of the Arquette show business family, which became famous because of him. Arquette was the father of the late actor Lewis Arquette and the grandfather of actors Patricia, Rosanna, Alexis (originally Robert), Richmond, and David Arquette. He was a night club pianist, later joining the Henry Halstead orchestra in 1923.
Arquette had been a busy, yet not nationally known, performer in radio, theatre, and motion pictures until 1956, when he retired from show business. At one time, he was credited with performing in 13 different daily radio shows at different stations in the Chicago market, getting from one studio to the other by way of motorboats along the Chicago River through its downtown. One such radio series he performed on was The Adventures of Wild Bill Hickok Arquette and Dave Willock had their own radio show, Dave and Charley, in the early 1950s as well as a television show by the same name that was on the air for three months. Arquette performed on the shows as Charley Weaver.
The story that Arquette later told about his big break was that one night in the late 1950s he was watching The Tonight Show. Host Jack Paar happened to ask the rhetorical question, Whatever became of Cliff Arquette? That startled Arquette so much that, I almost dropped my Scotch!
In 1959, Arquette accepted Paar's invitation to perform on Paar's NBC Tonight Show. Arquette depicted the character of Charley Weaver, the wild old man from Mount Idy. He would bring along, and read, a letter from his Mamma back home. This characterization proved so popular that Arquette almost never again appeared in public as himself, but nearly always as Charley Weaver, complete with his squashed hat, little round glasses, rumpled shirt, broad tie, baggy pants, and suspenders.
Although a good number of Arquette's jokes appear 'dated' now (and, arguably, even back then), he could still often convulse Paar and the audience into helpless laughter by way of his timing and use of double entendres in describing the misadventures of his fictional family and townspeople. As Paar noted, in his foreword to Arquette's first Charley Weaver book:
Sometimes his jokes are old, and I live in the constant fear that the audience will beat him to the punch line, but they never have. And I suspect that if they ever do, he will rewrite the ending on the spot. I would not like to say that all his jokes are old, although some have been found carved in stone. What I want to say is that in a free-for-all ad lib session, Charley Weaver has and will beat the fastest gun alive.
Arquette, as Charley Weaver, hosted Charley Weaver's Hobby Lobby on ABC from September 30, 1959 to March 23, 1960.
Arquette also appeared as Charley Weaver on the short-lived The Roy Rogers and Dale Evans Show on ABC from September 29 to December 29, 1962.
Arquette was also a frequent guest on NBC's The Ford Show, Starring Tennessee Ernie Ford, the short-lived The Dennis Day Show in the 1953-1954 season, and on The Jack Paar Show after Paar left The Tonight Show.
The Great Gildersleeve: New Neighbors / Letters to Servicemen / Leroy Sells Seeds
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
Words at War: The Hide Out / The Road to Serfdom / Wartime Racketeers
Friedrich August Hayek CH (8 May 1899 -- 23 March 1992), born in Austria-Hungary as Friedrich August von Hayek, was an economist and philosopher best known for his defense of classical liberalism. In 1974, Hayek shared the Nobel Memorial Prize in Economic Sciences (with Gunnar Myrdal) for his pioneering work in the theory of money and economic fluctuations and... penetrating analysis of the interdependence of economic, social and institutional phenomena.
Hayek is considered to be a major economist and political philosopher of the twentieth century. Hayek's account of how changing prices communicate information which enables individuals to coordinate their plans is widely regarded as an important achievement in economics. He also contributed to the fields of systems thinking, jurisprudence, neuroscience and the history of ideas.
Hayek served in World War I and said that his experience in the war and his desire to help avoid the mistakes that had led to the war led him to his career. Hayek lived in Austria, Great Britain, the United States and Germany, and became a British subject in 1938. He spent most of his academic life at the London School of Economics (LSE), the University of Chicago, and the University of Freiburg.
In 1984, he was appointed as a member of the Order of the Companions of Honour by Queen Elizabeth II on the advice of Prime Minister Margaret Thatcher for his services to the study of economics. He also received the US Presidential Medal of Freedom in 1991 from president George H. W. Bush. In 2011, his article The Use of Knowledge in Society was selected as one of the top 20 articles published in the American Economic Review during its first 100 years.