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The Sur-Metre
The Sur-Metre "D1mn" has geared wmches operated From under the deck, the wmches alongs1de the mam cockpit having large drums for Geno4 sheet Md spinnaker ge4r Note the Geno4 sheet lead blocks on the r4il, the boom downhaulcJnd the rod riggmg Just o~fter a sto~rt of tbe Sixes. No. 72 is Stanley Barrows' Strider, No. 38 is George So~t~cbn's /ll o~ybe, 50 is Ripples, · sailed by Sally Swigart. 46 Vemotl Edler's Capriu, o~ml 77 is St. Fro~tlciS , sailed by VincetJt Jervis. Lmai was out aheatl o~Jld to windward.- Photo by Kent Hitchcock. MEN and BOATS Midwinter Regatta at Los Angeles Again Deanonstrates That it is not Enough to Have a Fast Boat; for Boat, Skippe r and Crew Must All he Good to Form n Winning Combination AS IT the periect weather. or the outside competition, the time-tested maxim that going up the beach is best. Evidently W or the lack of acrimonious protest hearings, or the he did it on the off chance of gaining by splitting with Prel11de, smooth-running race committees, or the fact that it was the first which was leading him by some six minutes. Angelita mean regatta of the year, or all four rea~ ons that made this Midwinter while was ardently fo ll owing the maxim and to such good seem to top all others? advantage that when the two went about and converged llngl!l Anyway, there had been a great deal of advance speculation. it,/J starboard tack put her ahead as Yucca passed an elephant's How would the men from San francisco Bay do with their new e)•ebrow astern. -
The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
Famous Chicagoans Source: Chicago Municipal Library
DePaul Center for Urban Education Chicago Math Connections This project is funded by the Illinois Board of Higher Education through the Dwight D. Eisenhower Professional Development Program. Teaching/Learning Data Bank Useful information to connect math to science and social studies Topic: Famous Chicagoans Source: Chicago Municipal Library Name Profession Nelson Algren author Joan Allen actor Gillian Anderson actor Lorenz Tate actor Kyle actor Ernie Banks, (former Chicago Cub) baseball Jennifer Beals actor Saul Bellow author Jim Belushi actor Marlon Brando actor Gwendolyn Brooks poet Dick Butkus football-Chicago Bear Harry Caray sports announcer Nat "King" Cole singer Da – Brat singer R – Kelly singer Crucial Conflict singers Twista singer Casper singer Suzanne Douglas Editor Carl Thomas singer Billy Corgan musician Cindy Crawford model Joan Cusack actor John Cusack actor Walt Disney animator Mike Ditka football-former Bear's Coach Theodore Dreiser author Roger Ebert film critic Dennis Farina actor Dennis Franz actor F. Gary Gray directory Bob Green sports writer Buddy Guy blues musician Daryl Hannah actor Anne Heche actor Ernest Hemingway author John Hughes director Jesse Jackson activist Helmut Jahn architect Michael Jordan basketball-Chicago Bulls Ray Kroc founder of McDonald's Irv Kupcinet newspaper columnist Ramsey Lewis jazz musician John Mahoney actor John Malkovich actor David Mamet playwright Joe Mantegna actor Marlee Matlin actor Jenny McCarthy TV personality Laurie Metcalf actor Dermot Muroney actor Bill Murray actor Bob Newhart -
Nice Lawyers Finish First
Nice Lawyers Finish First Sean Carter Humorist at Law MONDAY DECEMBER 3, 2018 WEBINAR This page intentionally left blank. Nice Lawyers Finish First Webinar featuring Sean Carter Increasingly, lawyer civility and conge- • Diffuse tensions among warring clients; niality are becoming a thing of the past. • Secure accommodations from opposing Yet, it doesn’t have to be that way. Civil counsel; litigation need not lead to all-out civil Mon., December 3, 2018 war. As legal professionals, lawyers have an • Structure more mutually beneficial arrange- 11:00 am - 1:00 pm obligation to act just that way – professionally. ments with clients; In this presentation, the presenter will remind Sean Carter, Humorist at Law, has crisscrossed lawyers that zealous advocacy does not require the country delivering his Lawpsided Seminars. us to be zealots. It’s possible to be courteous, Each year, he presents more than 100 humorous NE MCLE Accreditation kind, accommodating and effective. In fact, for programs on such topics as legal ethics, stress #163921 (Distance learning) the continued well-being of the profession (and management, constitutional law, legal market- 2 CLE ethics hour the individual lawyer), it’s necessary. In particu- ing and much more. He is the author of the lar, Mr. Carter will discuss practical ways to: first-ever comedic legal treatise -- If It Does Not Fit, Must You Acquit?: Your Humorous Guide to the • Reduce the hostility in interactions with even Law. Mr. Carter graduated from Harvard Law the most difficult opposing counsel; School in 1992. www.nebar.com • Increase camaraderie among colleagues; REGISTRATION FORM: Nice Lawyers Finish First Webinar - December 3, 2018 c $130 - Regular Registration Please let us know how you heard about this CLE event: c $100 - NSBA dues-paying member c Email (eCounsel, listserv, etc.) c Social Media c Free - I paid 2018 NSBA dues and would like to claim c Nebraska Lawyer c Another NSBA CLE event my 2 free ethics credits (member benefit). -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
This Cover and Their Final Version Extended
then this cover and their final version extended and whether it is group 1 or Peterson :_:::_.,·. ,_,_::_ ·:. -. \")_>(-_>·...·,: . .>:_'_::°::· ··:_-'./·' . /_:: :·.·· . =)\_./'-.:":_ .... -- __ · ·, . ', . .·· . Stlpervisot1s t~pe>rt ~fld declaration J:h; s3pervi;o(,r;u~f dompietethisreport,. .1ign .the (leclaratton andtfien iiv~.ihe pna:1 ·tersion·...· ofth€7 essay; with this coyerattachedt to the Diploma Programme coordinator. .. .. .. ::,._,<_--\:-.·/·... ":";":":--.-.. ·. ---- .. ,>'. ·.:,:.--: <>=·. ;:_ . .._-,..-_,- -::,· ..:. 0 >>i:mi~ ~;!~;:91'.t~~~1TAt1.tte~) c P1~,§.~p,rmmeht, ;J} a:,ir:lrapriate, on the candidate's perforrnance, .111e. 9q1Jtext ·;n •.w111ctrth~ ..cahdtdatei:m ·.. thft; J'e:~e,~rch.·forf fle ...~X: tendfKI essay, anydifflcu/ties ef1COUntered anq ftCJW thes~\WfJ(fj ()VfJfCOfflf! ·(see .· •tl1i! ext~nciede.ssay guide). The .cpncl(ldipg interview .(vive . vope) ,mt;}y P.fOvidtli .US$ftJf .informf.ltion: pom1r1~nt~ .can .flelp the ex:amr1er award.a ··tevetfot criterion K.th9lisJtcjudgrpentJ. po not. .comment ~pverse personal circumstan9~s that•· m$iiybave . aff.ected the candidate.\lftl'1e cr.rrtotJnt ottime.spiimt qa;ndidate w~s zero, Jt04 must.explain tf1is, fn particular holft!1t was fhf;Jn ppssible .to ;;1.uthentic;at? the essa~ canciidaJe'sown work. You rnay a-ttachan .aclditfonal sherJtJf th.ere isinspfffpi*?nt f pr1ce here,·.···· · Overall, I think this paper is overambitious in its scope for the page length / allowed. I ~elieve it requires furt_her_ editing, as the "making of" portion takes up too ~ large a portion of the essay leaving inadequate page space for reflections on theory and social relevance. The section on the male gaze or the section on race relations in comedy could have served as complete paper topics on their own (although I do appreciate that they are there). -
.. ,___...M Asthaaeoreboardsays
H 1 w: [I ‘ ..- for”? ..c... ...,.T..v..:-‘mmm_.: ». _ '_ "“j U: ......“in“. “my; ,. I ...aorv. .- .. 7 - Asthaaeoreboardsays.theWolfpackwasieadlng10-13withailttle fourth and goal at the State two. The handoff wentto Tiger tailback line. Moments Inter. Mike Mel (airborne in the picnire to the far rightl over three minutes to play in the fourth quarter. Clemson had the bal. Tracy Perry and the State defense stopped him just short of the goal plckedoffaClemsonpeestoiockltup. (SteflphotobyStevsWIsonl State shackles Tigers 16—13in DeathValley‘ by Bryan Slack south it couldn't give up 20 points to LeGrande intercepted a third-down ensuing kickoff and Ricky Ehteridge when quarterback Scott Smith lobbed be held no longer. the Tigers or the State offense would pass ,and State took over on Clemson's fell on it for the Wolfpack. a perfect pass into the far right corner An 11-play. 67-yard drive.“ the end have to perform a near miracle in order 27. State had possession on the .Tigs' 20. of the end zone from the five. which of the third quarter made the ball game CLEMSON. S.C.—lf ever there was to better. that against a Clemson Five plays later the Pack was stalled Quick caught in stride while looking brand new with just a quarter to go. a master plan. this was it. And it was defense that had averaged giving up Ritter’a first on the 10 and in cam’e Ritter to make it over his shoulder. Tiger tailback Chuck Mcswain rolled carried out to perfection. just seven points per‘game before the 6—0 with a 26-yard field goal. -
Oprah Winfrey Network July 2013 Highlights
OWN: OPRAH WINFREY NETWORK JULY 2013 HIGHLIGHTS Visit www.press.discovery.com/us/own for select episodic photography and screeners NEW SERIES & SEASONS (P) Denotes: Premieres WELCOME TO SWEETIE PIE’S (60 Minutes) Season premiere Saturday, July 27 (10 p.m. - 11 p.m. ET/PT) When Robbie Montgomery, a 1960s backup singer and former Ikette, suffered a collapsed lung and had to stop singing, she decided to pour her talents into another creative venture: a soul food restaurant called Sweetie Pie’s. At her family-centered eateries, which include Sweetie Pie’s at the Mangrove, Sweetie Pie’s Upper Crust and the original Sweetie Pie’s established in 1996, which Miss Robbie runs with her son, Tim, both hilarity and drama are offered in equal measure. This docu-series follows the loud, loving and often singing Montgomery family as they work to expand their empire, one soulful dish at a time. #SweetiePies (P) Saturday, July 27 (10 p.m. - 11 p.m. ET/PT) Episode: End of an Era As Miss Robbie wrestles with the decision to close down her very first restaurant, Tim and Jenae struggle with their emotions around their separation. Meanwhile, Charles continues his shenanigans causing Tim to regret letting him move in. CONTINUING SERIES (New Episodes) (P) Denotes: Premieres OPRAH’S LIFECLASS (60 Minutes) Sundays (9 p.m. - 10 p.m. ET/PT) The award-winning series "Oprah's Lifeclass" is a richly interactive experience where millions of students from countries around the world participate in inspiring conversations with Oprah on-air, online and via social media. -
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. -
Download Download
HOLLYWOOD'S WAR ON THE WORLD: THE NEW WORLD ORDER AS MOVIE Scott Forsyth Introduction 'Time itself has got to wait on the greatest country in the whole of God's universe. We shall be giving the word for everything: industry, trade, law, journalism, art, politics and religion, from Cape Horn clear over to Smith's Sound and beyond too, if anything worth taking hold of turns up at the North Pole. And then we shall have the leisure to take in the outlying islands and continents of the earth. We shall run the world's business whether the world likes it or not. The world can't help it - and neither can we, I guess.' Holroyd, the American industrialist in Joseph Conrad, Nostromo, 1904. 'Talk to me, General Schwartzkopf, tell me all about it.' Madonna, singing 'Diamonds are a Girl's Best Friend,' Academy Awards Show, 1991. There is chilling continuity in the culture of imperialism, just as there is in the lists of its massacres, its gross exploitations. It is there in the rhetoric of its apologists - from Manifest Destiny to Pax Britannica to the American Century and now the New World Order: global conquest and homogenisa- tion, epochal teleologies of the most 'inevitable' and determinist nature imaginable, the increasingly explicit authoritarianism of political dis- course, the tension between 'ultra-imperialism' and nationalism, both of the conquerors and the conquered. In this discussion, I would like to consider recent American films of the Reagan-Bush period which take imperialism as their narrative material - that is, America's place in the global system, its relations with diverse peoples and political forces, the kind of America and the kind of world which are at stake. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
'Flow': Television Nature, Aesthetics and HBO's Luck
Michael Samuel Position Paper for Aesthetics and Politics in Television Studies Roundtable. Resisting ‘Flow’: Television Nature, Aesthetics and HBO’s Luck The nature of television, moreover the ‘defining characteristic of broadcasting’, is rooted with the idea of fluidity, of sequence and of ‘flow’. Content is delivered in accordance with a schedule and the movement of programming from one form into another– whether an episode of a television series’, a selection of advertisements, a news segment, or other units of programming– are delivered a stream of content. This stream, although increasingly fragmented, relies on the concept of the sequence, which is ensured by the internal components of programming (i.e. the aesthetics, narrative developments, etc.) as much as it is by the external components. In addition to this philosophy of the nature of the channel, programming is too assembled in accordance with ‘flow’ and must comply with the pressures of audience retention to insure motion. What is identified within programmes are internal segments within programming to meet the demands of commerciality. Particularly, he comments on one such aesthetic– the ‘strong opening’– which he argues is ‘required to keep viewers watching’. It could be said that television’s nature is pressured and rushed; the result of which could be argued as having a repressive effect on content. Artistic expression, creative liberties become limited and developments (narrative and character) appear rushed at times; particular genres appear dominant, such as the crime drama, in favour for their episodic nature and inclusive narrative and character arcs. Technological advancements in editing and broadcast, as well as evolutions in the form of the [contemporary] television series has seen dramatic developments in the nature and role of programming, as well as broadcasting.