“Two Cathedrals” (Part II) Guests: Aaron Sorkin and Kirsten Nelson [Intro Music] HRISHI: You’Re Listening to the West Wing Weekly
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Words That Work: It's Not What You Say, It's What People Hear
ï . •,";,£ CASL M T. ^oÛNTAE À SUL'S, REVITA 1ENT, HASSLE- NT_ MAIN STR " \CCOUNTA ;, INNOVAT MLUE, CASL : REVITA JOVATh IE, CASL )UNTAE CO M M XIMEN1 VlTA • Ml ^re aW c^Pti ( °rds *cc Po 0 ^rof°>lish lu*t* >nk Lan <^l^ gua a ul Vic r ntz °ko Ono." - Somehow, W( c< Words are enorm i Jheer pleasure of CJ ftj* * - ! love laag^ liant about Words." gM °rder- Franl< Luntz * bril- 'Frank Luntz understands the power of words to move public Opinion and communicate big ideas. Any Democrat who writes off his analysis and decades of experience just because he works for the other side is making a big mistake. His les sons don't have a party label. The only question is, where s our Frank Luntz^^^^^^^™ îy are some people so much better than others at talking their way into a job or nit of trouble? What makes some advertising jingles cut through the clutter of our crowded memories? What's behind winning campaign slogans and career-ending political blunders? Why do some speeches resonate and endure while others are forgotten moments after they are given? The answers lie in the way words are used to influence and motivate, the way they connect thought and emotion. And no person knows more about the intersection of words and deeds than language architect and public-opinion guru Dr. Frank Luntz. In Words That Work, Dr. Luntz not only raises the curtain on the craft of effective language, but also offers priceless insight on how to find and use the right words to get what you want out of life. -
Congress in the Mass Media: How the West Wing and Traditional Journalism Frame Congressional Power ______
CONGRESS IN THE MASS MEDIA: HOW THE WEST WING AND TRADITIONAL JOURNALISM FRAME CONGRESSIONAL POWER _______________________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri – Columbia _______________________________________________________ In Partial Fulfillment Of the Requirement for the Degree Master of Arts _______________________________________________________ by CASSANDRA BELEK Dr. Lee Wilkins, Thesis Supervisor MAY 2010 1 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled CONGRESS IN THE MASS MEDIA: HOW THE WEST WING AND TRADITIONAL JOURNALISM FRAME CONGRESSIONAL POWER presented by Cassandra Belek, a candidate for the degree of master of journalism, and hereby certify that, in their opinion, it is worthy of acceptance. ____________________________________________________ Professor Lee Wilkins ____________________________________________________ Professor Jennifer Rowe ____________________________________________________ Professor Sandra Davidson ____________________________________________________ Professor Marvin Overby DEDICATION To everyone who has given me an education. To my parents, Joe and Katie, who sacrificed so much to ensure that my brother and I had the best educations possible. They taught me more than I can fit on this page. To my big brother Joey, who taught me about sports and ’90s rap music. To my Belek and Lankas extended families, who taught me where I come from and support me in where I am going. To all my teachers and professors—the good, the bad, and the awesome—at Holy Spirit Catholic School, St. Thomas Aquinas High School, the University of Notre Dame, and the University of Missouri. To Professor Christine Becker of the University of Notre Dame, who taught me it is okay to love television and whose mentorship continued even after I left the Dome. -
Libby &Hearts Al-Libi
Libby &hearts al-Libi | HuffPost US EDITION THE BLOG Libby &hearts al-Libi By Marty Kaplan 11/05/2005 07:58 pm ET | Updated May 25, 2011 We already knew about Curveball and Chalabi — liars whose accounts the Administration used to bolster their case for imminent WMD danger requiring pre-emptive war. Now, thanks to a Doug Jehl New York Times piece, we know about Ibn al-Shaykh al-Libi, the defector who alleged that Iraq was training Al Qaeda members in the use of explosives and illicit weapons. Al-Libi was Scooter Libby’s dream come true. But it turns out — even as his claims were making their way into Administration speeches — that as early as February 2002, American intelligence agencies knew that al-Libi was making the stuff up. Imagine the scene in the West Wing. Here are Cheney and the rest of the cabal (W was doubtless off mountain biking, or brush-clearing) looking at al-Libi’s claims on the one hand, and on the other, the Defense Intelligence Agency’s warning not to buy what al-Libi was selling. They had a choice to make: trust American intelligence, or trust neocon ideology. They picked ideology. The next time you hear the “everyone-believed-Saddam-was-training-Al-Quaeda” talking point, remember that there were red lights flashing in the White House telling them al-Libi was a fabricator. There’s a word for holding fast to a belief despite the evidence: fundamentalism. Is a faith-based foreign policy cult really the best we can do? UPDATE via Atrios: Newsweek reported that al-Libi was an early instance of the torture policy sent down to the CIA from then-White House counsel Alberto Gonzales and Scooter’s subsequent succesor, David Addington: “Al-Libi was handed over to the CIA. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
1.22: What Kind of Day Has It Been
The West Wing Weekly 1.22: What Kind of Day Has It Been [Intro Music] HRISHI: You’re listening the The West Wing Weekly, I’m Hrishikesh Hirway JOSH: ..and I’m Joshua Malina HRISHI: Today, we’re talking about the finale of season one JOSH: Woo! HRISHI: It’s episode 22, and it’s called ‘What kind of day has it been’. JOSH: It was written by Aaron Sorkin, it was directed by Tommy Schlamme, and it originally aired on May 17th, in the year 2000. HRISHI: Here’s a synopsis.. JOSH: A hrynopsis? HRISHI: [laughs] Sure.. JOSH: I just wanted to make sure because, you know, it’s an important distinction. HRISHI: An American fighter jet goes down in Iraq, and a rescue mission ensues to find the pilot. But, it’s a covert operation, so CJ has to mislead the press. Toby’s brother is onboard the space shuttle Columbia, but it’s having mechanical difficulties and can’t land. Plus, Josh has to meet with the Vice President to bring him around to the Bartlet administration's plans for campaign finance. President Bartlet travels to Rosalind, Virginia, to speak at the Newseum and give a live town hall meeting. But as they’re exiting, S#&* goes down and shots ring out. JOSH: Well done HRISHI: Before we even get into the episode though, Josh, I want to ask you about the title. ‘What kind of day has it been’ is a very Sorkin title, it’s been the finale for lots of things that he’s done before. -
The West Wing Weekly 7.04: “Mr. Frost” [Intro Music] JOSH
The West Wing Weekly 7.04: “Mr. Frost” [Intro Music] JOSH: You're listening to The West Wing weekly. I'm Joshua Malina HRISHI: And I'm Hrishikesh Hirway. Today we are talking about “Mr. Frost.” It's episode 4 from season 7. JOSH: It was written by Alex Graves. HRISHI: How about that? JOSH: How about that? And it was directed by Andrew Bernstein. HIRSHI: Alex Graves, usually a director, first time writer – JOSH: - and executive producer – HRISHI: - and executive producer. And Andrew Bernstein was former first A.D., and now this is, I think this is his second episode that he has directed. JOSH: Right, after 365 days. Great guy, terrific director. And, uh, also very cool to see Alex flexing new muscles and writing an episode. This episode aired on October 16th, 2005. HRISHI: In this episode there are three major story lines which overlap in nice ways. First of all, there is the continuation of the leak. Margaret testifies in front of the senate committee. Everybody's gotten subpoenaed and Leo’s subpoena in particular is going to be very bad for the Santos campaign. The second story line is the Santos campaign. It’s education week and Santos discusses evolution and intelligent design in a way that trips up Vinick. Vinick had been briefed by Mr. Frost in a previous episode who leads us to the third story line which is the assignation of the Palestinian chairman Farad. JOSH: Yes. HRISHI: I thought it was nice the way the three story lines intersected. Sometimes we have talked about how the “A” plots and the “B” plots and the “C” plots don’t necessarily feel like they are relevant to one another at all. -
DARPA Program Manager
The Role of DARPA in Seeding and Encouraging Technology Trajectories: Pre- and Post- Tony Tether in the New Innovation Ecosystem Erica R.H. Fuchs Assistant Professor Department of Engineering and Public Policy Carnegie Mellon University [email protected] 1 PlatoPlato’’ss Cave:Cave: ItIt’’ss notnot aboutabout thethe funding.funding. “Are you familiar with the allegory of the Cave?” (Plato, The Republic) “… It’s the same thing with (trying to deduce technology directions from) funding. The technology direction is a separate thing.” (Lead Technologist) 2 Background:Background: InnovationInnovation andand thethe ((U.S.)U.S.) StateState • Unlike other countries, whom have open and explicit developmental policies (Chalmers 1982; Wade 1990; Amsden 1989, 1994, 2001, 2003; Breznitz 2007, Block 2007) • Strong prevalence of free-market thinking in U.S. (Harcourt 1980) • Despite extensive historical documentation of the importance of federal agencies in technology development • Developmental state largely “hidden” (Hughes 2005, Block 2007) Little research unpacking the underlying processes by which the U.S. state influences technology trajectories. 3 DARPA:DARPA: PioneerPioneer • Founded 1958 (ARPA), Sputnik – Prevent technological surprises – Overcome inter-service rivalry • Pioneer of U.S. “Developmental Network State” • Since its inception – Hailed: Internet, PC, Laser… The West Wing – Criticized: Lazowski/Patterson 2005, 90s, 80s, 70s… – Copied: • 1998: ARDA/DTO (Intelligence Community) • 1999: 'In-Q-Tel (CIA) • 2002: HSARPA (Homeland Security) -
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. -
The Tufts Daily Volume Lxxii, Number 8
Tufts Prof-chaired discussion group to foster conversa- TUFTS VOLLEYBALL tion, connection in Medford Volleyball spikes the see FEATURES / PAGE 3 competition SEE SPORTS / BACK PAGE Election fever? Catch these political podcasts see ARTS & LIVING / PAGE 5 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 THE TUFTS DAILY VOLUME LXXII, NUMBER 8 MEDFORD/SOMERVILLE, MASS. TUESDAY, SEPTEMBER 20, 2016 tuftsdaily.com Tufts Food Rescue Collaborative coordinates dining center food donation by Juliana Furgala This fall, Dining Services Assistant News Editor leased a food packag- ing machine for its own use Tufts Food Rescue and that of TFRC, Zwigard, a Collaborative (TFRC), a stu- junior, said. She added that the dent-led food donation machine is located in Dewick- umbrella organization, is work- MacPhie Dining Center. ing to package and distribute According to Luce, a senior, uneaten food from Tufts Dining the machine eliminates the use Services this semester, accord- of many plastic bags that were ing to TFRC founders Shelby formerly used for temporary Luce and Lucy Zwigard. packaging. TFRC is a partnership “We used to have to take all between Dining Services, stu- of the food and just bag it and dents, faculty, staff and Food weigh it and donate it to [Food for Free, a local NGO dedicated for Free], but now we actually to redistributing food to home- have a brand new machine,” less families. When it launched Luce said. “Now we can actu- last March, TFRC worked to ally make the meals ourselves.” connect Dining Services to Packaged meals can contain Food for Free for packaging a variety of foods, according to purposes, but this semester Richard Kaup, chef manager at TFRC obtained a food packag- Carmichael Dining Center. -
The West Wing Weekly Episode 1:05: “The Crackpots and These Women
The West Wing Weekly Episode 1:05: “The Crackpots and These Women” Guest: Eli Attie [West Wing Episode 1.05 excerpt] TOBY: It’s “throw open our office doors to people who want to discuss things that we could care less about” day. [end excerpt] [Intro Music] JOSH: Hi, you’re listening to The West Wing Weekly. My name is Joshua Malina. HRISHI: And I’m Hrishikesh Hirway. JOSH: We are here to discuss season one, episode five, “The Crackpots and These Women”. It originally aired on October 20th, 1999. This episode was written by Aaron Sorkin; it was directed by Anthony Drazan, who among other things directed the 1998 film version of David Rabe’s Hurlyburly, the play on which it was based having been mentioned in episode one of our podcast. We’re coming full circle. HRISHI: Our guest today is writer and producer Eli Attie. Eli joined the staff of The West Wing in its third season, but before his gig in fictional D.C. he worked as a political operative in the real White House, serving as a special assistant to President Bill Clinton, and then as Vice President Al Gore’s chief speechwriter. He’s also written for Studio 60 on the Sunset Strip, House, and Rosewood. Eli, welcome to The West Wing Weekly. ELI: It’s a great pleasure to be here. JOSH: I’m a little bit under the weather, but Lady Podcast is a cruel mistress, and she waits for no man’s cold, so if I sound congested, it’s because I’m congested. -
“Things Fall Apart” Guest: Jennifer Palmieri
The West Wing Weekly 6.21: “Things Fall Apart” Guest: Jennifer Palmieri [Intro Music] HRISHI: You’re listening to the West Wing Weekly. I’m Hrishikesh Hirway. JOSH: And I’m Joshua Malina. HRISHI: Today we’re talking about episode 21 from season 6, it’s called “Things Fall Apart.” JOSH: This episode was written by Peter Noah and directed by Nelson McCormick. It first aired on March 30th 2005. HRISHI: I don’t believe we’ve heard the name Nelson McCormick before. Is that someone whose directed The West Wing before? JOSH: No, I think not. This is his first of what will turn out to be two episodes of The West Wing. He also directed an episode called “Transition.” Which we’ll get to. Oh we’ll get to it. HRISHI: Joining us later on this episode Jennifer Palmieri, Communications Director for the Hillary Clinton campaign and formerly for the Obama White House. JOSH: What do you think of this one? HRISHI: I, I like the plot of this episode. I think it’s interesting what happens with the convention and the nomination process, but the execution of it, I have issues with here and there. Really just a few moments here and there in the writing. JOSH: I think we will find ourselves in accord as I wrote down ‘Great bones, not enough meat’ HRISHI: Hey look at that. Yeah. That’s a good way of putting it. And before we jump into our discussion, here’s a synopsis from Warner Brothers. “The success of the impeccably organized Republican convention contrasts with the Democrats who look in disarray as the candidates continue to battle to be the Democratic Party Presidential nominee. -
Cast Bios Lea Thompson
‘TIES THAT BIND’ CAST BIOS LEA THOMPSON (Cathy Davis) – Lea Thompson is best known for her roles in the Steven Spielberg and Robert Zemeckis “Back to the Future” feature film franchise and as the title character in the now-syndicated TV comedy “Caroline in the City,” for which she won TV Guide and People’s Choice Awards. A native of Minnesota, Thompson began her career as a professional ballet dancer and performed in more than 45 ballets with the Minnesota Dance Theatre. After apprenticing with the Pennsylvania Ballet, she moved to New York at the age of 20 to pursue an acting career. She was first featured in a supporting role in the motion picture “Jaws 3-D,” which was followed by a starring role opposite Tom Cruise in “All the Right Moves.” Additional film credits include “Article 99,” “Casual Sex?,” John Hughes’ “Some Kind of Wonderful,” “Dennis the Menace,” “Red Dawn,” “The Wizard of Loneliness,” “Howard the Duck,” “The Wild Life,” “Space Camp,” “The Beverly Hillbillies,” “The Little Rascals,” “The Unknown Cyclist,” “Fish Don’t Blink,” “Come Away Home” and the upcoming “Senior Skip Day” with Norm MacDonald. Thompson’s television credits include a guest-starring role on “Law & Order: SVU,” the series “For the People,” the miniseries “A Will of Their Own,” and the original movies “The Right to Remain Silent,” “The Unspoken Truth,” “The Substitute Wife,” “Montana,” “Stolen Babies” and “Nightbreaker,” for which she received a CableACE nomination. She is currently filming a mini-series for Hallmark, “Final Approach,” in which she stars with Dean Cain, Anthony Michael Hall and Ernie Hudson.