Investigative Documentaries: Ika-8 yugto ng 'Kandidato,' panoorin ngayong Huwebes
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Nuclear Power and Bomb Testing Documentary Film
The Waste Isolation Pilot Plant, or WIPP, is the world's third deep geological repository (after closure of Germany's Repository for radioactive waste Morsleben and the Schacht Asse II Salt Mine) licensed to permanently dispose of transuranic radioactive waste for 10,000 years that is left from the research and production of nuclear weapons. It is located approximately 26 miles (42 km) east of Carlsbad, New Mexico, in eastern Eddy County.
In order to address growing public unrest concerning construction of the WIPP, the New Mexico Environmental Evaluation Group (EEG) was created in 1978. This group, charged with overseeing the WIPP, verified statements, facts, and studies conducted and released by the DOE regarding the facility. The stewardship this group provided effectively lowered public fear and let the facility progress with little public opposition in comparison to similar facilities around the nation such as Yucca Mountain in Nevada.
The EEG, in addition to acting as a check for the government agencies overseeing the project, acted as a valuable advisor. In a 1981 drilling, pressurized brine was again discovered. The site was set to be abandoned when the EEG stepped in and suggested a series of tests on the brine and the surrounding area. These tests were conducted and the results showed that the brine deposit was relatively small and was isolated from other deposits. Drilling in the area was deemed safe due to these results. This saved the project valuable money and time by preventing a drastic relocation.
In 1979 Congress authorized construction of the facility. In addition to formal authorization, Congress redefined the level of waste to be stored in the WIPP from high temperature to transuranic, or low level, waste. Transuranic waste often consists of materials which have come in contact with radioactive substances such as plutonium and uranium. This often includes gloves, tools, rags, and assorted machinery often used in the production of nuclear fuel and weapons. Although much less potent than nuclear reactor byproducts, this waste still remains radioactive for approximately 24,000 years. This change in classification led to a decrease in safety parameters for the proposed facility, allowing construction to continue at a faster pace.
The first extensive testing of the facility was due to begin in 1988. The proposed testing procedures involved interring samples of low level waste in the newly constructed caverns. Various structural and environmental tests would then be performed on the facility to verify its integrity and to prove its ability to safely contain nuclear waste. Opposition from various external organizations delayed actual testing into the early 1990s. Attempts at testing were resumed in October 1991 with US Secretary of Energy James Watkins announcing that he would begin transportation of waste to the WIPP.
Despite apparent progress on the facility, construction still remained costly and complicated. Originally conceptualized in the 1970s as a warehouse for waste, the repository now had regulations similar to those of nuclear reactors. As of December 1991, the plant had been under construction for 20 years and was estimated to have cost over one billion dollars. At the time, WIPP officials reported over 28 different organizations claiming authority over operations of the facility.
In November 1991, a federal judge ruled that Congress must approve WIPP before any waste, even for testing purposes, was sent to the facility. This indefinitely delayed testing until Congress gave its approval. The 102nd United States Congress passed legislation allowing use of the WIPP. The House of Representatives approved the facility on October 6, 1992 and the Senate passed a bill allowing the opening of the facility on October 8 of the same year. The bill was met with much opposition in the Senate. Senator Richard H. Bryan fought the bill based on safety issues that concerned a similar facility located in Nevada, the state for which he was serving as senator. His efforts almost prevented the bill from passing. New Mexico senators Pete V. Domenici and Jeff Bingaman effectively reassured Senator Bryan that these issues would be addressed in the 103rd Congress. The final legislation provided safety standards requested by the House and an expedited timeline requested by the Senate.
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.
NYSTV - Nostradamus Prophet of the Illuminati - David Carrico and the Midnight Ride - Multi Language
Nostradamus is the most well known prophet of the millennium because his predictions came true. What was the true source of his visions? How deeply ingrained in the occult was he? What was his medical background? What innovations did he use to fight the Black Plague that was rampant at the time? Was he a puppet working for the Illuminati? Or were they working for him?
Now the real question is, was Nostradamus just a psyops planned hundreds of years ago and the demonic forces are just controlling events as Nostradamus predicted?
Some deep insights into the life and times of Nostradamus with David Carrico of The Midnight Ride.
In depth information you'd have to watch like 8 documentaries about Nostradamus to get.
Free Truth Productions
Truth should be Open Source...
freetruthproductions.com
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Afrikaans: gevalle engel
Arabic: ملاك ساقط
Azerbaijani: düşmüş mələk
Belarusian: Палы анёл
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Bengali: পতিত দেবদূত
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German: fallen angel
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English: fallen angel
Esperanto: fallen angel
Spanish: Ángel caido
Estonian: Langenud ingel
Basque: Aingeru eroria
Persian: فرشته افتاده
Finnish: langennut enkeli
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Gujarati: ઘટી દેવદૂત
Hausa: mala'ika ya fadi
Hindi: गिरी हुई परी
Hmong: fallen angel
Croatian: pali anđeo
Haitian Creole: tonbe zanj
Hungarian: Bukott angyal
Armenian: ընկած հրեշտակ
Indonesian: Malaikat yang jatuh
Igbo: mmụọ ozi dara ada
Icelandic: fallinn engill
Italian: Angelo caduto
Hebrew: מלאך שנפל
Japanese: 堕天使
Javanese: widodari tiba
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
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Myanmar (Burmese): ပြိုလဲကောငျးကငျတမနျ
Nepali: गिर परी
Dutch: gevallen engel
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Chichewa: mngelo wakugwa
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Polish: upadły anioł
Portuguese: anjo caído
Romanian: inger decazut
Russian: падший ангел
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Chinese: 堕落的天使
Chinese (Simplified): 堕落的天使
Chinese (Traditional): 墮落的天使
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Afrikaans: Lucifer
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The War on Drugs Is a Failure
The War on Drugs is a campaign of prohibition and foreign military aid and military intervention being undertaken by the United States government, with the assistance of participating countries, intended to both define and reduce the illegal drug trade. More on this topic:
This initiative includes a set of drug policies of the United States that are intended to discourage the production, distribution, and consumption of illegal psychoactive drugs. The term War on Drugs was first used by President Richard Nixon in 1971.
On May 13, 2009, Gil Kerlikowske, the current Director of the Office of National Drug Control Policy (ONDCP), signaled that although it did not plan to significantly alter drug enforcement policy, the Obama administration would not use the term War on Drugs, as he claims it is counter-productive. ONDCP's view is that drug addiction is a disease that can be successfully prevented and treated... making drugs more available will make it harder to keep our communities healthy and safe.(2011) One of the alternatives that Mr Kerlikowske has showcased is Sweden's Drug Control Policies that combine balanced public health approach and opposition to drug legalization. The prevalence rates for cocaine use in Sweden are barely one-fifth of European neighbors such as the United Kingdom and Spain.
In June 2011, the Global Commission on Drug Policy released a critical report on the War on Drugs, declaring The global war on drugs has failed, with devastating consequences for individuals and societies around the world. Fifty years after the initiation of the UN Single Convention on Narcotic Drugs, and years after President Nixon launched the US government's war on drugs, fundamental reforms in national and global drug control policies are urgently needed. The report was immediately criticized by organizations that oppose a general legalization of drugs.
In 1986, the US Defense Department funded a two-year study by the RAND Corporation, which found that the use of the armed forces to interdict drugs coming into the United States would have little or no effect on cocaine traffic and might, in fact, raise the profits of cocaine cartels and manufacturers. The 175-page study, Sealing the Borders: The Effects of Increased Military Participation in Drug Interdiction, was prepared by seven researchers, mathematicians and economists at the National Defense Research Institute, a branch of the RAND, and was released in 1988. The study noted that seven prior studies in the past nine years, including one by the Center for Naval Research and the Office of Technology Assessment, had come to similar conclusions. Interdiction efforts, using current armed forces resources, would have almost no effect on cocaine importation into the United States, the report concluded.
During the early-to-mid-1990s, the Clinton administration ordered and funded a major cocaine policy study, again by RAND. The Rand Drug Policy Research Center study concluded that $3 billion should be switched from federal and local law enforcement to treatment. The report said that treatment is the cheapest way to cut drug use, stating that drug treatment is twenty-three times more effective than the supply-side war on drugs.
The National Research Council Committee on Data and Research for Policy on Illegal Drugs published its findings on the efficacy of the drug war. The NRC Committee found that existing studies on efforts to address drug usage and smuggling, from U.S. military operations to eradicate coca fields in Colombia, to domestic drug treatment centers, have all been inconclusive, if the programs have been evaluated at all: The existing drug-use monitoring systems are strikingly inadequate to support the full range of policy decisions that the nation must make.... It is unconscionable for this country to continue to carry out a public policy of this magnitude and cost without any way of knowing whether and to what extent it is having the desired effect. The study, though not ignored by the press, was ignored by top-level policymakers, leading Committee Chair Charles Manski to conclude, as one observer notes, that the drug war has no interest in its own results.
During alcohol prohibition, the period from 1920 to 1933, alcohol use initially fell but began to increase as early as 1922. It has been extrapolated that even if prohibition had not been repealed in 1933, alcohol consumption would have quickly surpassed pre-prohibition levels. One argument against the War on Drugs is that it uses similar measures as Prohibition and is no more effective.
My Friend Irma: The Red Hand / Billy Boy, the Boxer / The Professor's Concerto
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.
The Great Gildersleeve: French Visitor / Dinner with Katherine / Dinner with the Thompsons
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.
Calling All Cars: The Corpse Without a Face / Bull in the China Shop / Young Dillinger
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.
The Great Gildersleeve: The Circus / The Haunted House / The Burglar
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.