Golda Meir Dies; Didn't See Peace
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Torrance Press
Paqe B-8 THE PRESS Sund«y, February 26, Tele-Visions 'Bqchner Real Lover in 'Hong Kong' BY THORTON KANE Channel 9 to HOW COME9 Why don't we sec anything new and dif-j KABC's Englishman fcrcnt on TV? As a disgruntled viewer who has asked that 1 question about twice a v/eek for the past five or six years,! %vt were forced to accept a flat answer last week. That an Wows Tract Wives swer is in the three-month ratings published by all the KM.)-TV viewers will get B\ JOHN BARRY national rating services. double opportunity to Press TV Editor "Candid Camera" is the hit of the season, with rating^, watch the newest Los Ange .This is not one of those "he was born here, went to school at such and such hovering around the ?>1% mark for nearly every show., les entry into the a place, etc." pieces so prevalent profession in television magazines today. It's rather H story inspired by Another newcomer that has gone over the top is "The Andyi al ranks the Griffith Show." We mean no discredit to these shows 1 Los Angeles the person who shares my name in a tract, house in suburbia both ere excellent entertainment. : Angels on Saturday, March Los Angeles. When "Hong Kong" (.Channel 7's attempt to 111. buck the highly rated- * """ - -- ---- What is signiifcant is that "Candid Camera" is one of, the first shows ever seen on TV and dates back to the ! KH.I-TV. which wMI tele "Wagon Train" series on! for fear the smokey haze in earliest days of the industry. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Feminist Art, the Women's Movement, and History
Working Women’s Menu, Women in Their Workplaces Conference, Los Angeles, CA. Pictured l to r: Anne Mavor, Jerri Allyn, Chutney Gunderson, Arlene Raven; photo credit: The Waitresses 70 THE WAITRESSES UNPEELED In the Name of Love: Feminist Art, the Women’s Movement and History By Michelle Moravec This linking of past and future, through the mediation of an artist/historian striving for change in the name of love, is one sort of “radical limit” for history. 1 The above quote comes from an exchange between the documentary videomaker, film producer, and professor Alexandra Juhasz and the critic Antoinette Burton. This incredibly poignant article, itself a collaboration in the form of a conversation about the idea of women’s collaborative art, neatly joins the strands I want to braid together in this piece about The Waitresses. Juhasz and Burton’s conversation is at once a meditation of the function of political art, the role of history in documenting, sustaining and perhaps transforming those movements, and the influence gender has on these constructions. Both women are acutely aware of the limitations of a socially engaged history, particularly one that seeks to create change both in the writing of history, but also in society itself. In the case of Juhasz’s work on communities around AIDS, the limitation she references in the above quote is that the movement cannot forestall the inevitable death of many of its members. In this piece, I want to explore the “radical limit” that exists within the historiography of the women’s movement, although in its case it is a moribund narrative that threatens to trap the women’s movement, fixed forever like an insect under amber. -
ÍNTER R "Iraveí(|)Ííhouítñou0íe
.t.-:===.-._^=^.-. ==!l IJMoorc, Mr. and Mrs. William Pcheer, Bacon, of New York, were the of East Orange, and Mr. W. M. among Mrs. Louis F. es LentenExodusFromNew The Goss. arrivals at the Ponce do Leon for the I Prankard and W. H. Don- of the German government are filled York woman's Atlantic nat Is Pell are Belieair championship of the week-end, afterward going to Palm City among the New York pa¬ Gotha Almanack with the usual array of excellencies, Golf Links will begin on Mon- Beach. trons of the Marlborough-Blenheim. I professors and councillors, yet at the day. Mrs. G. K. Morrow, of Malba, L. Mr. and Mrs. Malcolm J. A. Liss- head of thai government stand the L, has been ill and Mrs. Frederick Wood MeMeeker, of Winter Home for Will Fill Winter Resorts her may not defend New Y'ork, entertained at the Alcazar J berger and Mr. and Mrs. Hugo Yieth Can't With names of i bert, Scheidemann, Ditt- Up title. Other New Yorkers who ! and their daughter are at the Shel- KeepUp mann, and Barth. Nobody at dinner the Landsberg will are Mis? early part of the week. burne phi,;," M#trion Kerr, Mrs. From New York at the Hotel Alcazar New from New York. Mr. and Mrs. is supposed to care about their Chris- W. H. Ellis, Miss »ienevive Yorkers Robert of tian names. Mrs. R. Cullen, are Mr. and Mrs. William Holcomb, Many Brockway, Summit, arrived Deposed Royalty S. Porter, Miss Hazel Hop- Mrs. A. E, Mrs. at the Dennis, accompanied by Miss Tiie German national colors are still Seekers of Freedom, From Cold kins, Mrs. -
BUSINESS Manchester, Conn
24 - MANCHESTER HERALD. Fri.. June 25, 1982 ' ■ ■ ■ \ I ■ : y - BUSINESS Manchester, Conn. Afternoon sun, cool tonight Saturday, June 26, 1982 Rain, tourists meaty issues for firm — See page 2 anrlirstpr Umlh Single copy 25(f Bogner's I supplies Haig resigns without warning the dogs r. Shultz no ■ hj}:; Foreign policy unclear, he says )'ry By Raymond T. DeMeo Herald Reporter WASHINGTON (UPI) - When the administration took of Shultz had been prominently men stranger to "M y mother could skin an animal Alexander Haig unexpectedly quit fice, “ We agreed that consistency, tioned during the transition as a about as well as any man in the , -CVf^r Friday as secretary of state, clarity and steadiness of purposes possibile secretary of state. Reagan trade.’’ charging President Reagan’s were essential to success. It was in chose him to oversee the setting up Washington » X *.,.f ^ •5>;; An unusual statement? Not when foreign policy has shifted from its this spirit that I undertook to serve of the economic and NATO summit you consider from whom it came: goals of "consistency, clarity and you as secretary of state. meetings in Versailles and Bonn Donald Bogner of 233 Blue Ridge steadiness of purpose.’’ But, he continued, “ In recent earlier this month, which provided By United Press International Drive, whose fondest childhood Reagan immediately nam6d months it has become clear to me Reagan with a showcase for his in George Pratt Shultz, President memories are of “ bouncing around former Treasury Secretary George that the foreign policy on which we ternational expertise. Reagan's choice as secretary of the floor’ ’ of his fam ily’s first Shultz to succe^ him. -
EB Awarded Seawolf Contract Inside Today
16— MANCHESTER HERALD. Friday, May 3.1991 1. 88 TAG SALES aiCARSFORaJUJfl S2 TRUCKS ft VANS 94 MOTORCYCLES ft MOPBDS FORD-1978 Galaxy. (^11 FOR SALK after 1pm, 645-1218. DODGE-1982 Van. HONDA-1978 CX500 Very good condition. Cargo, 8 passenger, Road bfta. Shaft drive, f i t ! HUGE Asking $500. slant 6. Automatic, 59K water cooled, well 10 FAMILY SALE! IMPALA-1980. Power miles, good tires, reese maintained. 7500 miles. Furniture, antiques, books, Steering, power brakes hitch. m X ) . 643-1653. $850. Paul, 243-7855 toys, china, glass, beauti power windows, air or 646-3383.___________ ful clothes, giflware, box conditioning. Runs MOTORCYLE.-lnsurance. LAWN CARE PAINTING/ CARPENTRY/ HEATING/ lo tsA M O iS I PAPERING REMODELING PLUMBING good. Body in good SSCAMFERSft Friendly service, com Rain or Shine shape. High mileage. petitive raes, same day FrI., Sat. and Sun. TRAILERS H anrhpH tFr M pralb YARDMASTERS WEXaLFSPAtmNGCO. KITCHBIA BATH REMODELING hs&lBHon and Reolaoenient Asking $450 or best coverage. Crockett Spring Clean-Up VIsI our beaudM Showroom or call lor 9am-4pm offer. Cash or bank 1984-YELLOWSTONE Agency, 643-1577. QuaMy w oikata olOI,Gas&Beciric check. 649-4379. Lawns, Bushss, Trees Cut reasonable ptfce! your tree estimate. 68 Blgdow Street PARK MODEL. 38 X H ER ITA G E •Vyiater Heaters Yards, gutters, garages Interior & Exterior ■Warm Air Funaces Manchester PLYMOUTH-VOYAGER 12. Winter package. 25 KITCHEN a BATH CENTER S E 1987 59K, air, AM/ Foot Awning (9 X 26). Looking for an daaned. U w n FerWzing. App«- Free Estimates 254 Broad Street ■Bciers FM, luggage rifok. -
Season 5 Article
N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s. -
The National News Council's News Clippings, 1973 August- 1973 September (1973)
University of California, Hastings College of the Law UC Hastings Scholarship Repository Formation of the National News Council Judicial Ethics and the National News Council 8-1973 The aN tional News Council's News Clippings, 1973 August- 1973 September The aN tional News Council, Inc. Follow this and additional works at: http://repository.uchastings.edu/nnc Recommended Citation The aN tional News Council, Inc., The National News Council's News Clippings, 1973 August- 1973 September (1973). Available at: http://repository.uchastings.edu/nnc/168 This News Article is brought to you for free and open access by the Judicial Ethics and the National News Council at UC Hastings Scholarship Repository. It has been accepted for inclusion in Formation of the National News Council by an authorized administrator of UC Hastings Scholarship Repository. For more information, please contact [email protected]. THE NEW YORK TIMES, SUNDAY, SEPTEMBER 16, 197J 19 By lORN I. O'CONNOR TelevisIon NE of the more significant con are received. The letter concluded that tuted "a controversial Issue ext public In three ·centralized conduits? If the frontations currently taking place "in our view there is no~hing contro importance," networks do distort, however uninten Oin the television arena involves versial or debatable in the proposition Getting no response from the net tionally, who will force them to clarify? the case of Accuracy in Media, that nat aU pensions meet the expecta work that it considered acceptable, AIM In any journalism, given the pressure Inc., a nonprofit, self-appointed "watch tions' of employes or serve all persons took its case to the FCC, and last of deadlines, mistakes are inevitable. -
Collection Development Policy 2012-17
COLLECTION DEVELOPMENT POLICY 2012-17 CONTENTS Definition of terms used in the policy 3 Introduction 5 An historical introduction to the collections 8 The Collections Archaeology 11 Applied and Decorative Arts 13 Ceramics 13 Glass 14 Objets d‘Art 14 Jewellery 15 Furniture 16 Plate 16 Uniforms, Clothing and Textiles 17 Flags 18 Coins, Medals and Heraldry 20 Coins and Medals 20 Ship Badges, Heraldry and Seal Casts 21 Ethnography, Relics and Antiquities 23 Polar Equipment 23 Relics and Antiquities 23 Ethnographic Objects 24 Tools and Ship Equipment 26 Tools and Equipment 26 Figureheads and Ship Carvings 27 Cartography 30 Atlases, Charts, Maps and Plans 30 Globes and Globe Gores 31 Fine Arts 33 Oil Paintings 33 Prints and Drawings 34 Portrait Miniatures 35 Sculpture 36 Science and Technology 40 Astronomical Instruments 40 Navigational Instruments and Oceanography 42 Horology 43 Weapons and Ordnance 46 Edged Weapons 46 Firearms 47 Ordnance 49 Photographs and Film 52 Historic Photographs 52 Film Archive 54 Ship Plans and Technical Records 57 1 Boats and Ship Models 60 Boats 60 Models 60 Ethnographic Models 61 Caird Library and Archive 63 Archive Collections 63 Printed Ephemera 65 Rare Books 66 Legal, ethical and institutional contexts to acquisition and disposal 69 1.1 Legal and Ethical Framework 69 1.2 Principles of Collecting 69 1.3 Criteria for Collecting 70 1.4 Acquisition Policy 70 1.5 Acquisitions not covered by the policy 73 1.6 Acquisition documentation 73 1.7 Acquisition decision-making process 73 1.8 Disposal Policy 75 1.9 Methods of disposal 77 1.10 Disposal documentation 79 1.11 Disposal decision-making process 79 1.12 Collections Development Committee 79 1.13 Reporting Structure 80 1.14 References 81 Appendix 1. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
LOU SCHEIMER: CREATING the FILMATION GENERATION 1946–1948Chapter TWO Driving Japan Crazy
CONTENTS... PREFACE ..........................................5 chapter seventeeN ......149 Anthologies and Expansion (1978–1979) chapter one .............................7 Wherein My Father Punched Out Adolf Hitler Years chapter eighteen .....161 Before Captain America Did (1928–1946) The Year of Legal Discontent (1979–1980) chapter two ..........................17 chapter nineteen .....171 Driving Japan Crazy (1946–1948) Silver Bullets and Soccer Balls (1980–1981) chapter three .................23 chapter twenty ..........179 Carnegie and an Early Proposal (1948–1955) Forced To Runaway (1981–1982) chapter FOUR .....................31 chapter twenty-one ....189 Clowns, Cats, Rockets, and Jesus (1955–1965) A Farewell to Networks / The Last Man Standing (1982–1983) chapter five ........................43 And Who, Disguised As A Real Animation Studio… chapter twenty-two ....197 We Have the Power! (1983–1984) chapter six ............................51 The Super Superheroes (1967) COLOR GALLERY ..............209 chapter seven .................59 The Fantastic Shrinking Bat-Teenager (1968) chapter twenty-three ....521 Morals and Media Battles (1984–1985) chapter eight ....................69 Gold Records and Witches (1969) chapter twenty-four ....223 Sisters Are Doing it for Themselves (1985–1986) chapter nine ........................75 Hey Lady! More Monsters & Music! (1970–1971) chapter twenty-five ......235 Let’s Go Ghostbusters! (1986-1987) chapter ten .........................81 Funnies, Games, and Fables (1971) chapter twenty-six ......241 -
Program Guide Report
Schedule Program Guide For TCN/GO Sun Oct 11, 2009 06:00 CHOWDER G The Sing Beans/Certifrycation Class In order to cook the performing food Sing Beans, the gang has to stay up all night as the dish cooks. 06:30 SQUIRREL BOY G Up All Night/ Pool For Love Andy and Rodney are determined to stay up all night in order to see the legendary Yellow Flash in the sky. 07:00 KIDS WB SUNDAY WS G 07:05 THUNDERBIRDS Captioned Repeat G Sun Probe Part 1 Follow the adventures of the International Rescue, an organisation created to help those in grave danger in this marionette puppetry classic. 07:30 CAMP LAZLO G The Battle of Pimpleback Mountain/ Dead Bean Drop The Jellies rip a hole in Lumpus' prized tent and will do anything to keep Lumpus from discovering the secret. 08:00 LOONATICS UNLEASHED WS G Cape Duck When Duck takes all the credit for catching the Shropshire Slasher, Tech gets annoyed. But when Duck starts to suspect that the Slasher is out for revenge, he's more than willing to let Tech take the glory. 08:30 TOM & JERRY TALES WS G Sasquashed/ Xtreme Trouble/ A Life Less Guarded When Jerry and Tuffy go camping, Tom frightens them by pretending to be the legendary Bigfoot, but then the real Bigfoot teams up with the mice to scare the wits out of Tom. 09:00 GRIM ADVENTURES OF BILLY AND MANDY G Waking Nightmare / Because of the Undertoad Mandy needs her beauty sleep, but Billy risks his hide to keep her up all night.