DOCSLIB.ORG

Richard Overton's Oral History Interview MIKE ZAMBRANO: This Is

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Overton's Oral History Interview MIKE ZAMBRANO: This Is Richard Overton's Oral History Interview MIKE ZAMBRANO: This is Mike Zambrano. Today is December 3rd, 2013. I'm interviewing Mr. Richard Overton at his home in Austin, Texas. This interview is in support of the Nimitz Education and Research Center Archives for the National Museum of the Pacific War in Texas, Texas Historical Commission for the Preservation of Historical Information related to the site. Good morning, sir, and how are you? RICHARD OVERTON: You have to turn on the light, because I'm telling you, I don't know why I got a little weak (inaudible). MZ: Oh, that's okay. RO: Yeah. MZ: Can you give me your full name, please? RO: Richard Arlen Overton. MZ: And what year were you born in? RO: Nineteen-oh-six, May the 11th. MZ: Where were you born? RO: In St. Mary's Colony. That's down here between Larcourte and Bastrop. MZ: Okay. Would you have a -- I'm sure you had brothers and sisters, right? 1 RO: I did, but I don't have any one now. All of 'em dead. Mother, father, and all. MZ: How many brothers did you have? RO: Four brothers, with myself, and six sisters. MZ: Wow. RO: Ten children in all. MZ: Where were you in that? Were you in the middle, were you the oldest, the youngest? RO: I was the -- about the fourth. I was about the fourth one. MZ: What did your father do for a living? RO: Well, we lived in the country. We picked cotton, chopped cotton, shuck hay, pull corn. All ton of country work there out in the country. MZ: And I -- I'm just guessing, your mother was the -- was a homemaker? RO: Yes, she was a homemaker. She didn't work too much. She'd take care of the kids. MZ: And I'm just curious, but as you all got older, did you also work to contribute to the family? RO: I didn't understand you. MZ: When -- as the kids, as your brothers and sisters -- as -- and you got older, did you all contribute to working for the family? RO: Yeah. 2 MZ: Can you tell me a little bit about your schooling? RO: Schooling? I went to school in the country. I didn't go to no college. I went 'til 11th grade, and that's far as I got. I had to quit and take care of my family, take care of my mother. MZ: To take care of her? Did she get sick? RO: No, I just take care of the family. MZ: Oh, okay. RO: And my father died, and so I just remembered one year, he died (inaudible) I had to stop -- had to take care of the kids, 'cause the older boy, the older sister was (inaudible) than I was, they was working, you know, they'd come to town. And the oldest brother, he married and left. Oldest sister married and she left. And so -- and left me there with the family, and I'd take care of the family. MZ: So, did -- what school were you at when you were in the 11th grade? RO: Pleasant Valley. MZ: Pleasant Valley? RO: Yeah, Pleasant Valley. That's the -- out there between Creedmoor and Lockhart. MZ: Okay. So, you were born in 1926. RO: Nineteen-oh-six. MZ: I'm sorry. I'm sorry, that's right -- 3 RO: Yeah. MZ: -- 1906. What's it like before the Depression? RO: Hmm? MZ: What's it like before the Depression hit? RO: Depression? MZ: Well, before the Depression, what was it like? RO: Well, it wasn't so bad with us. But I did start -- when I started to work, I working for 50 cents a day. (laughs) MZ: Wow. RO: And worked a long time that way, until it went up to, I believe, about -- dollar a day or something like that. MZ: And you worked, like you said before, picking cotton -- RO: Oh, yeah. MZ: -- and other things? RO: Picked cotton, chopped cotton, build -- helped the white folks out to build houses, and I worked on cars. I used to be a good mechanic. I work on cars -- MZ: Wow. So, you did a little bit of everything, then. RO: Yeah, and I had me -- I had some cattle. I didn't have no cattle, but it -- the -- on the -- they had big dairies out there, too. And whenever the calf have a -- whenever a cow have a little calf, they couldn't keep the calf. They'd give 'em to me. I was a good fellah in the country with the white folks and the people, and they'd give me the 4 calf. They wouldn't sell me the calf. They'd give me the calf, and I'd keep the calf up until he get big enough to sell, and I'd sell him. MZ: What could you get for it? RO: We get 25 and $30. That wasn't no money, I was living off of $30, $20 a month. You can -- everything's very cheap there. Soda water was a nickel, chewing gum was a nickel, and gas was -- I think it was around 15 cents. Yeah. Yeah. MZ: Well, that's different from today, huh? (laughs) When the Depression does come around, how does that hit your family? RO: When the Depression comes? Well, it wasn't -- it come round in '25 -- 'cause '25, we didn't have a drop of rain. That whole year, we didn't have any rain at all. But we did have a well right down below where I live in the -- had a home in the country there, and had a well, then. So, that well saved us a little water. But we didn't have a rain -- no rain whatsoever, but we had a lot of storms. This time of year, that's when -- the cloud looks funny now. They change from time -- these clouds -- changes -- back before wintertime come, they -- it's a -- look like a bigger cloud. And then -- but right along until this time of year, they gets more storms in East Texas, and high water. But here in Austin, here in this area, we didn't 5 get much rain and much high water until that water quit raining down yonder, and now it's going to start to -- the weather change up here. The cloud get difficult -- which - - people say the other day, "Don't that cloud look funny?" But I try to tell them that, but they don't ever pay me no attention. It's different in the clouds. (laughs) The cloud makes a bigger difference. It's a bigger cloud, darker cloud down here next month from now, this time of year, then the cloud is more of a -- now, it's a pretty slick cloud and it looks like it's higher. MZ: So, sounds like you know your clouds. RO: Uh-huh. MZ: It sounds like you know your clouds. RO: Yeah. MZ: Does the -- how -- but the Depression, how -- did it hit your family pretty hard or did you not even (inaudible). RO: Well, it -- MZ: -- no matter what? RO: No, it hit some people pretty hard, and it hit lots of 'em -- hit 'em pretty hard, because they didn't have no way to -- there wasn't nothing to do. Well, they couldn't plant no cotton. It wouldn't grow. And you couldn't plant no (inaudible) food, and -- they used to plant corn and go out and take the corn when it get hard -- they take it and 6 (inaudible) shell it and grind it (inaudible) to the grinder, and they would make meal out of it. That's where they'd get the cornbread. But flour, you get a little sack of flour for a dollar and a quarter. But it was a big 24- pound sack of flour. MZ: (laughs) That's incredible. RO: Yeah. And then, we had -- well, always -- we always had chickens, turkeys -- see, I was out there raising that. That's what I used to do: raise chicken, turkeys, and had some birddogs. I would get a hundred dollars a birddog. I always worked. I always tried to know how to live. (laughs) I know it -- I didn't have no trouble. And that car sitting yonder, that's the first car I bought. MZ: The one on the TV set? RO: Yeah, $2,400, but -- MZ: What kind of car is that one? RO: Mercury. MZ: What year? RO: Nineteen seven -- nineteen twenty-five, I believe. So, back in '24. I bought that in, yeah, in '24. I paid $2,400 for it, 'cause I had another car -- I had another -- no, that wasn't the first car. I had another old car I traded in on that car. Cars was cheap then. They're like 7 gas. Gas was 15 cents and a dime, some gallon -- some different gas. MZ: So, it sounds like your family at least had enough to eat during the Depression. RO: Oh, yeah. Yeah, during Depression, yeah, we had hogs, we (inaudible) hogs. And we'd kill a hog every year. We had chickens, and we were -- we had a kind of a nice place out there, and we would raise our own stuff. And one time, we was at church one Sunday, and four boys was talking. And they say to her, "I wish I had a way to get to West Texas. I would -- I had a way to get to West Texas, I could make a living." I say, "What happened?" He said, "The cotton out there is $100" -- dollar a hundred, I mean to say.
Load more

Recommended publications
  • TCM CFF 2012 Talent 1 and Passes on Sale Announcement Nov 2
    For Release: November 2, 2011 TCM Classic Film Festival to Open with Gala Screening of Cabaret Passes Go on Sale Nov. 9 for Four-Day Festival, Coming to Hollywood April 12-15, 2012 Turner Classic Movies (TCM) will open the 2012 edition of the TCM Classic Film Festival with the world premiere of a new 40th anniversary restoration of Bob Fosse’s Cabaret (1972). TCM’s own Robert Osborne, who serves as official host for the festival, will introduce Cabaret to kick off the four-day, star-studded event, which will take pace Thursday, April 12 – Sunday, April 15, 2012, in Hollywood. Passes are set to go on sale Wednesday, Nov. 9, at 10 a.m. (ET) through the official festival website: http://www.tcm.com/festival. One of the most acclaimed films of its era, Cabaret stars Oscar®-winner Liza Minnelli as an American singer looking for love and success in pre-World War II Berlin. Michael York and Academy Award® winner Joel Grey co-star in the film, which earned Fosse an Oscar for Best Director and serves as a perfect showcase for his unique choreography and imaginative visual style. Cabaret will kick off an extensive roster of screenings for the 2012 TCM Classic Film Festival. As part of TCM’s ongoing commitment to supporting film preservation, the festival will showcase several new restorations, including three Best Picture Oscar winners, one of the greatest movie musicals of all time and a nearly forgotten gem ready to be rediscovered: Wings (1927) – 85th Anniversary Restoration Charles “Buddy” Rogers, Richard Arlen and Clara Bow star in William A.
    [Show full text]
  • Theatre and Drv Fu at Torrance Theatre in Old House on Arlington NEWS TWO $»»Ry, REDONDO BEACH, S«Pt
    JTORRANCE, CALIF. [TORRANCE HERALD THURSDAY, SEPT. 19, * "Four Feathers" A Miracle A-*J>» it* ' ' ' m rtn, Is Taking Place FISHING SNAP . Torrance Theatre and Drv Fu at Torrance Theatre in Old House on Arlington NEWS 1604 POST AVENUE TWO $»»ry, REDONDO BEACH, S«pt. 19 '* FRIDAY arid SATURDAY, SEPT. 20-21 The coming w*e* M *"* sound and njuslc, that vjlll live for­ A miracle Is being enacted ofi the R)£ht now the magic work of Theatre ever It IB one of those outstand­ old home of Mr Heavy rock base, bonlto, and mack­ HOUSE brings without doubVtnrle .torn!'Mrs. Jatnts transfdrmmK 'tho'old house into a erel are the > MONTE BLUE in ing stories that is never forgot­ M. Fltzhugh at 2Q28 Arlington ftVfr three varieties of fish of the most ontBtMifllnp talking modern hpmo Is going on and these caught In and lot ten. nue, Torrance. At least, It stems the largest numbers by 60x126 ahd singing- picture* 9f the year- six firms are inviting, the public anglers at Redondo Beach during By popular request, the Torrance like a miracle the way al* leading to watch the Work as It progresses. 9 RQOM3 "CONQUEST" pictures which have enj9y«d elabo­ Theatre 'brings "The the past week. Capt. W. L. Mon- rate Desert Son?" Toh-ance extractors arc tran»* In order to fully appreciate the premieres In th« best'theatres on a return engagement Friday an,d Btad of the barges Emlgh and La- DOUBLE GARAGE A Warner Bros. Talking Picture of the East fprmlng this pld house, into an up- wonderful effects that will be ac­ as W»|l as the Los Saturday, September 27 and 28.
    [Show full text]
  • World War Ii and Us Cinema
    ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • Beggars of Life (1928)
    Thursday 13 March | 19:30 Beggars of Life Dir. William A. Wellman | US | 1928 | 1h 21m Accompanied live by The Dodge Brothers (Mike Hammond, Alex Hammond, Aly Hirji and Mark Kermode) and Neil Brand These screening notes contain spoilers. According to the account given by Louise Brooks, the atmosphere on the set of Beggars of Life was clouded with resentment, hostility and aggression. Brooks, the radiant star of this rail-riding caper, was unhappy in Hollywood and increasingly of a mind to leave town and wriggle out of her Paramount contract. Never one to play the schmoozing game, Brooks didn’t just have to be persuaded to take the role on – she had to be tracked across country, with studio operatives finally discovering her in Washington DC, where she was visiting her paramour George Marshall, the notoriously racist owner of the Redskins. Director William Wellman was put out by her reluctance, and as Brooks recalled: “A coldness was set up between us which neither of us could dispel.” Brooksie was in turn miffed both by the requirement that she take a screen test for the film, and by writer Benjamin Glazer’s remarks about her “too high” forehead. She was only further dismayed to discover that her co-star would be Richard Arlen. They had worked together before, on the comedy Rolled Stockings (1927), and the experience had not brought them close. Arlen was a handsome actor, and a chum of Wellman’s (they had worked on the first-world-war blockbuster Wings), but not the most expressive of leading men.
    [Show full text]
  • Torrance Herald
    Gangway! Here Cornea .lane film written especially for Jane, In response to natioivwide re­ and which opens tonight at the HUMOR GETS GOING IN HIGH GEAR quests of screen fans who have Torrance Theatre. ' wanted to see "Ginger" Jane Jane breaks windows, hurls! Withers run wild again on the tomatoes, kicks shins, and in screen, Twentieth Century - Fox general creates general havoc I ELECTROLUX cast her in "Popper," a hilarious with her mischievous antics, Now Offers You OR. R. A. NO! A Great Saving of PHONE TORRANCE 132 Thursday, Friday, Saturday, Oct.. 22-23-24 "STAGE STRUCK" with DICK POWELL, JOAN BLONOELL On All Floor and Demonstrators "PEPPER" The chorus beauties of "Stage Struck," the First Na with JANE WITHERS tional comedy romance with music seen at the Torrance Theatre tonight, Friday and Saturday, just couldn't keep Write down all the words that mean funny, capricious away from Dick Powell, the.singing star. In the film he ACT NOW BEFORE IT IS lldelicfously daffy and ebullierftly loony. Add them all to- plays the 'part of a dance director staging a Broadway pro TOO LATE! Sunday, Monday, Tuesday, Oct. 25-26-27 flgether and you have a description of Universal's "My Man duction, which is only part of the secret. ' Harburg and Arlen, Who. didf1 -^ :—————— J. FENIMORE COOPER'S Godfrey," which opens Sunday at the Plaza Theatre .Only a few models left to (Hawthorne. This outstanding contribution to the new the snappy song numbers for selves. In pictures you writ go at. .this big 'reduction. "LAST OF THE MOHICANS** Nmovie season is humor gone on "Stage Struck," the First Na­ nothing Jtmt hit songs you Everyone is a brand new with RANDOLPH SCOTT, BINNIE BARNES ua spree, with the gear shift in bright on fair 'women and fuzzy tional production, which comes model 1936 ELECTROLUX "Stage Struck" : and high.
    [Show full text]
  • Architecture—California. Updated July 2014. MLA 6Th Edition. Paul Revere Williams Project
    Architecture—California. Updated July 2014. MLA 6th edition. Paul Revere Williams Project. Art Museum of the University of Memphis. "1849-1949 Centennial Edition." The Palisadian Friday, June 17 1949, sec. complete issue:. "44 Los Angeles, California, A. Qunicy Jones." The Architectural Review (1957): 368,369. "A. Quincy Jones: Designing for the Homes of Tomorrow." Los Angeles Times September 29 1974, sec. Home 20-21: Home section p 20-21. Abbott, Denise. "By Design: Los Angeles is Rich in Residential Architectural Styles, and Interest in such Properties is at an all-Time High." Hollywood Reporter.October (2002): S-1,S-2, S-3, S-16. Abercrombie, Brooke, and Irmina Kobylko. "Where Williams Walked: Pasadena Architect James V. Coane Leaves an Invisible Footprint on His Renovation of a 1928 Spanish Colonial Estate Designed by Los Angeles' Renowned Architect to the Stars." Pasadena Weekly April 1 2009: 5. 4/28/09 <http://pasadenaweekly.com/cms/story/detail/wh...>. "AD A Boundless View of the Ocean... Boundless Beauty in Every Home at Seaview Palos Verdes!" Los Angeles Times February 21 1960, sec. 14:. "AD Grand Opening in Greenacres." Los Angeles Times July 5 1953, sec. D2:. "AD Truly California Living! Paramount Grove." Los Angeles Times February 27 1949, sec. E5:. "Ads for Layne Manor and Paramount Grove." Los Angeles Times July 24 1949: E6. "AIA, Southern California Chapter Selects Southwest Builder and Contractor as its Official Organ." Southwest Builder and Contractor 57.3 (1921): 9 col 1. "Air-Conditioned to a Vile Mood." Los Angeles Times October 21 1959: B4. Alleman, Richard. Hollywood: The Movie Lover's Guide: The Ultimate Insider Tour of Movie L.A.
    [Show full text]
  • Wings of Desire
    August 28, 2012 (XXV:1) William A. Wellman, WINGS (1927, 144 min) 1929 Academy Awards for Best Picture (Wellman) and Best Effects, Engineering Effects (Roy Pomeroy) 1997 Selected for National Film Registry Directed by William A. Wellman Based on a story by John Monk Saunders Screenplay by Hope Loring and Louis D. Lighton Produced by B.P. Schulberg (associate producer) and Lucien Hubbard (producer, uncredited) Original Music by J.S. Zamecnik Cinematography by Harry Perry Film Editing by E. Lloyd Sheldon (editor-in-chief) and Lucien Arlette Marchal...Celeste Hubbard Hedda Hopper...Mrs. Powell Art Direction by Hans Dreier Carl von Haartman...German Officer Costume Design by Travis Banton and Edith Head Gloria Wellman...Peasant Child Conductor (2012 restored score): Peter Boyer William A. Wellman...Doughboy Arranger and orchestrator (2012 restoration): Dominik Hauser F.M. Andrews.... commander: military pilots William A. Wellman (February 29, S.C. Campbell....supervisor: flying sequences 1896, Brookline, Massachusetts – Sterling Campbell....technical director: flight sequences December 9, 1975, Los Angeles, James A. Healy.... supervisor: flying sequences California) directed 83 films, some of A.M. Jones.... supervisor: ground troop maneuvers which are 1958 Lafayette Escadrille, E.P. Ketchum.... supervisor: trench system reproduction 1958 Darby's Rangers, 1955 Blood F.P. Lahm.... commander: military pilots Alley, 1954 Track of the Cat, 1954 The Robert Mortimer.... ordnance supervisor High and the Mighty, 1953 Island in the Ted Parson.... supervisor: flying sequences Sky, 1952 My Man and I, 1951 Carl von Haartman.... supervisor: flying sequences Westward the Women, 1951 It's a Big Country, 1951 Across the Wide Clara Bow...Mary Preston Missouri, 1950 The Next Voice You Charles 'Buddy' Rogers...Jack Powell Hear..., 1949 Battleground, 1948 Yellow Sky, 1948 The Iron Curtain, Richard Arlen...David Armstrong 1947 Magic Town, 1946 Gallant Journey, 1945 Story of G.I.
    [Show full text]
  • Best B-Westerns-2
    B-Western Round Up Best of the best Hollywood series westerns with Cowboy Stars. Roy Rogers Red River Valley (1941) with Gabby Hayes, Gale Storm and Pat Brady. Roy helps ranchers raise money to build a reservoir but loses it to a gambler through a crooked stock deal. The Song of Texas (1943) with Pat Brady. Roy entertains at a children's hospital. Big stagecoach race. Heldorado (1946) with Gabby Hayes and Dale Evans. Roy is guard at Boulder Dam, who helps celebrate Las Vegas’ H2eldorado festival while capturing racketeers with the local casinos. Roll On Texas Moon (1946) with Gabby Hayes and Dale Evans. Roy tries to prevent a range war between cattlemen and sheepherders. Springtime in the Sierras (1947, color) with Andy Devine, Roy Barcroft and Jane Frazee. A THE THREE MESQUITEERS gang headed by evil Stephanie Bachelor is Popular Republic Pictures series with a trio of slaughtering game out of season. heroes -- Robert Livingstone, Ray Corrigan, Max Terhune and his ventriloquist dummy! Bells of San Angelo (1947, color) with Dale Evans, Andy Devine. Along the Mexican border, Ghost Town Gold (1936) The Three Mesquiteers Roy joins Western novelist Dale in a search for try to recover gold stolen by a gang in its effort to smugglers. They discover a silver mine. ruin the banker/mayor. GENE AUTRY Riders of the Whistling Skull (1937) A The Big Show (1936) At the Texas Centennial in supernatural western! The Three Mesquiteers Dallas Gene confuses two girls by being himself and accompany an archeological expedition to a lost his own movie stunt double.
    [Show full text]
  • The Daedalean
    Theme. The entry will be judged on construction, finish, and flight. Each first year Cadet in a The Squadron may enter one rocket. A Tyro Cadet is a Daedalean Cadet who has never participated in the Wing contest. (CAVEAT-The Alpha is the model with balsa fins. Do not order the Alpha III with plastic Semper Discens fins for this contest.) Monthly Aerospace Education Newsletter of the Connecticut Flight 2: Altitude Competition-Build a rocket, kit Wing of the Civil Air Patrol or scratch, which will use a standard engine which will be supplied by the Wing. This will be the Stephen M. Rocketto, Capt., CAP same engine for all and will be either an 1/2A, A, Director of Aerospace Education or B engine, all of which have the same CTWG dimensions (2.75 in x 0.69 in). Your entry must [email protected] accept this size engine. Judging will be based on Volume III, Number 6 June, 2010 maximum altitude reached. Each Squadron may enter two rockets for one flight each and and the CALENDAR best of the two flights will be counted. Flight 3: Free Form Competition-Each Squadron For Future Planning may enter two scratch built rockets powered by a D engine. Judging will be based on construction, 23-26 JUN-National AEO School-Pensacola finish, and flight. 31 JUL-07 AUG-CTWG Encampment 12-14 AUG-AEO School-USAF Museum Finish points will be based on sanding, contouring 21 AUG-CTWG Rocket Contest-Tentative of fins, joins of fins to fuselage, and alignment of 22-24 OCT-CTWG Conference fins.
    [Show full text]
  • The Dodge Brothers Performing to Beggars of Life Sunday 18Th April, 2Pm
    The Dodge Brothers performing to Beggars of Life Sunday 18th April, 2pm US 1928 Director: William A. Wellman Adaptation by Jim Tulley (based on his own novel) Photography: Henry Gerrard Editor: Allyson Shaffer Wellman’s legendary 1928 film Beggars of life. A 100 mins tale of depression era, rail-riding hobos played the iconic Louise Brooks and Jim Arlen. Cast TV and radio presenter Mark Kermode thumps the Wallace Beery Oklahoma Red double bass and blows a lonesome harmonica. Louise Brooks Nancy Joining him with howling guitar and plaintive banjo is Mike Hammond alongside the ringing guitar and Richard Arlen Jim mandolin of Aly Hirji. They’re backed up by percussion on a shoe-string from Al Hammond. Edgar Washington Black Mose The quartet will be joined for this performance by Honorary Dodge Neil Brand on keyboards. H.A Morgan Skinny Andy Clark Bill Film Reviews Roscoe Karns Lame Hoppy Kinematograph September 13 1929 Bob Perry The Arkansas Snake Warning: contains plot spoilers Johnnie Morris Rubin For its thrills retained sentiment and because Jacques Chaplin Baldy Wallace Beery has a “straight” role, the picture is bound to interest. Acting and production are very The Dodge Brothers are renowned for playing the good indeed and the entertainment value universal. hell out of classic Americana. Singing songs about Acting - As Oklahoma Red, Wallace Beery is transport, heartbreak and homicide, they render sound, but adds nothing to his reputation in a distinctive narratives of mean women, bad man and “straight” part. The one or two occasions in which railroads and set them to hard driving rhythms.
    [Show full text]
  • Torrance Press
    Sunday, December 17, 196! THE PRESS Pag* A-S TELEVISION LOG FOR THE WEEK SUNDAY MONDAY TUESDAY WEDNESDAY FRIDAY DECEMBER 18 SATURDAY DECEMBER 17 DECEMBER 19 DECEMBER 20 DECEMBER 22 DECEMBER 23 12:00 ( 2) L.A. Politics 12:00 ( 2) burns and Alien 12:00 ( 2) Burns and Alien 12:00 ( 2) Burns and Alien 12:00 ( 2) Burns and Alien 2:00 ( 2) Sky King ( 7) 770 on TV ( 4) Jan Murray (C) ( 4) Jan Murray (C) ( 4) Jan Murray (C) ( 4) Jan Murray ( 4) NBA Basketball ( 9) Movie ( 5) Cartoons ( 5) Cartoons ( 5) Cartoons ( 5) Cartoons New York at Boston "Starlift" Doris Day ( 7) Camouflage ( 7) Camouflage ( 7) Camouflage ( 7) Camouflage ( 7) Movie (11) Movie ( 9) Hi Noon ( 9) Movie "Apache Trail" ( 9) Hi Noon ( 9) Hi Noon (11) Sheriff John (13) Oral Roberts (11) Lunch Brigade (11) Sheriff John (11) Sheriff John (13) Midday Report (11) Movie (13) Midday Report 2:30 ( 2) My Friend Flicka 12:30 ( 2) Washington (13) Midday Re. ort (13) Midday News 12:30 ( 2) As World Turns Conversation 12:30 ( 2) As World Turns 12:30 < 2) As World Turns 12:30 ( 5) Movie ( 2) As World Turns ( 4) Loretta Young (13) Robin Hood ( 5) C,mmercial Feature ( 4) Loretta Young ( 4) Loretta Young ( 4) Loretta Young ( 5) Continental ( 5) Continental ( 5) Continental ( 5) Continental 1:00 ( 2) Robert Trout New* ( 7) Pro Football ( 7) Take a Face (11) Movie (13) Bible News ( 7) Make a Face ( 7) Make a Face ( 7) Make a Face (13) Christmas in Many 1:00 (13) Commonwealth of (13) Assignment (13) Bowling (2) Science in News 1:00 ( 2) Password Lands 1:30 ( 2) Accent ( 4) Film Drama 'Nations Education ( 4) Young Dr.
    [Show full text]