DOCSLIB.ORG

Time Magazine Tells All on How the 2020 Election Was “Rigged”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Time Magazine Tells All on How the 2020 Election Was “Rigged” The February 15, 2021 God Bless America 2021 American Indian Tribal News * Ernie C. Salgado Jr., CE0, Publisher/Editor Time Magazine Tells All on How the 2020 Election Was “Rigged” Edited by Ernie C. Salgado, Jr., * Sources: Time Magazine, The GOP Times, WND A Free Press ELECTION STITCHED UP TIGHT room deal ahead of the elec- A massive, coordinated effort by the left that pushed mail-in On Friday, February 5, 2021 Time tion. Trending Politics put voting and other measures that have become associated with Magazine shockingly went public the Time Magazine story with the whole twisted story of how under the microscope. To claims by the right of election fraud is the subject of an in- the 2020 National election was them it’s crystal clear that “a depth report published by Time magazine. “Rigged” against everything Presi- secret cabal composed of Time's Molly Ball describes it as a "conspiracy" between "left- dent Donald Trump stood for. rich connected elites joined forces to destroy President wing activists and business titans.” But she insists the objec- "They got states to change voting • Trump.” tive of the "extraordinary shadow effort" was only to "protect" systems and laws and helped secure hundreds of millions in Elites like Bill Gates, Mark the 2020 presidential election from anticipated claims of public and private funding. Zuckerberg, Jack Dorsey, fraud by Trump. (“For our Protection and Safety”) Jeff Bezos and George So- • "They fended off voter- ros had the selection rigged like a propaganda messaging to legitimize sorship of any election related ques- suppression lawsuits, recruited windjammer. it later. The “extraordinary shadow tion, using high tech artificial intelli- armies of poll workers and got Tim Pool agrees. “I just want to say effort” wasn’t aimed at winning the gence and “data-driven strategies to millions of people to vote by vote but to ensuring it would SEEM fight viral smears.” The propaganda mail for the first time. that it is the opposite of Democracy when a secret cabal of wealthy and “free and fair, credible and uncor- department “executed national pub- • "They successfully pressured politically connected elites conspire rupted.” lic-awareness campaigns” designed social media companies to take to manipulate the rules and laws of DEMOCRAT SLEEPER CELLS to make the masses think in proper- a harder line against disinfor- an election in order to win.” As an The plot would not have happened ly programmed patterns. mation and used data-driven afterthought, he adds “not like this without the help of Democrat sleep- They justified the disinformation as strategies to fight viral smears. is a new story though.” er cells lurking within the GOP. helping “Americans understand • "They executed national public- WAR ON A CORPORATION They were able to cover up “an how the vote count would unfold over days or weeks.” The last thing awareness campaigns that Time admits that there was election so calamitous that no result they wanted was “Trump’s conspira- helped Americans understand a conspiracy unfolding behind the could be discerned at all, a failure of cy theories and false claims of victo- how the vote count would un- scenes in this election. At the core the central act of democratic self- ry from getting more traction.” fold over days or weeks, pre- of the conspiracy was an unholy alli- governance that has been a hall- venting Trump’s conspiracy the- ance between left-wing activists and mark of America since its found- Former Obama Administration offi- ories and false claims of victory business titans. They hid it in plain ing.” Thanks to corporate censor- cial Norm Eisen summed the strate- from getting more traction. sight, announcing their plot “in a ship, questioning ballot integrity gy up. “The untold story of the elec- After Election Day, they monitored terse, little-noticed, joint statement.” will get you instantly silenced. tion is the thousands of people of both parties who accomplished the every pressure point to ensure that The U.S. Chamber of Commerce The evil forces of darkness had triumph of American democracy at Trump could not overturn the re- teamed up with union bosses at the their tentacles in every aspect of the its very foundation.” sult. AFL-CIO to quietly publish a notice election. States changed voting laws The Socialist Democrats are so sure on the long awaited Election Day. It and swapped equipment systems to The New World Order Socialist of their iron grip on power that was an obvious “implicit bargain.” suit the plan. Meanwhile, so called have succeeded in over-troughing a “Republicans” helped “secure hun- FREE America. Welcome to post- they’ve dropped all the pretense. The corporate tech megaliths who dreds of millions in public and pri- Constitutional open borders global- The stage was set for a Socialist embrace social justice ideals of de- vate funding.” ism brought to you by the Open Democrat victory. funded police, open borders, slav- Societies Foundations, George So- Not as a scandal but more a writen ery reparations, and free stuff for All that money was used to fight off ros, the Rockefellers, and the Roth- “documentary.” Author Molly Ball, everyone combined all their forces voter-suppression lawsuits. They schilds. of the Socialist Democrat persua- and dumped all their resources into “recruited armies of poll workers,” sion, spells it all out in excruciating- accomplishing the goal of canceling and ultimately, “got millions of peo- We are no longer a free people as ly painful detail. conservatism once and for all. ple to vote by mail” for the first two we will witness . or three times. All it takes to overturn an entire sys- The election was decided ahead of Think, The Federal Reserve Bank, tem of government is a solid back- time and all the effort went into the All the social media networks The World Bank, The Third Reich clamped down hard with heavy cen- and Communist China! The Censoring of America: The Sham Impeachment of Private American Citizen Donald Trump, is to Show His & Free America Supporters What Can Happen to Them. The text below are from the February 10, 2021 Senate Sham Impeachment Source: TheGOPTimes.com * Contributed by Franklin Motte, Moreno Valley CA Attorney David Schoen gave his opening statements would be a grave understatement. It is in a passionate and defiant defense of President not as if the House Members who Trump as arguments began in the second sham im- voted to impeach were not mighti- peachment Tuesday. Schoen echoed many learned ly warned about the dangers to the “By permission of A.F. Branco and Creators Syndicate, Inc.“ scholars of the US Constitution in citing the inherent institution of the Presidency and to flaws with the Democrats’ half-baked, “snap im- our system of due process. or waiver of jurisdiction, if the House ever acquired peachment” of a no-longer sitting President. They were warned in the strongest of terms from jurisdiction, and the Article should be dismissed be- The findings he raised in the President’s defense within their own ranks adamantly, clearly, and in no cause the trial in the Senate of a private citizen is not were damning. “Under their unsupportable constitu- uncertain terms not to take this dangerous snap im- permitted, let alone with the conflicts just described tional theory and tortured reading of the text, every peachment course. Those warnings were framed in that attend this proceeding.” civil officer who has served is at risk of impeachment the context of the constitutional due process that was “An impeachment trial of Private Citizen Trump held if any given group elected to the House decides that denied here.” before the Senate would be nothing more nor less than what was thought to be an important service to the “By intentionally waiting until President Trump’s the trial of a private citizen by a legislative body. An country when they served now deserves to term of office expired before delivering the Article of impeachment trial by the Senate of a private citizen be canceled.” Impeachment to the Senate to initiate trial proceed- violates article I, section 9 of the United States Constitu- “They have made clear in public statements that what ings, Speaker Pelosi deprived then-President Trump tion, which provides that `no bill of attainder . shall they really want to accomplish here, in the name of of the express constitutional right–and the right un- be passed.”’ the Constitution, is to bar Donald Trump from ever der the Senate’s own rule IV–to have the Chief Jus- The bill of attainder, as this clause is known, prohibits running for political office again, but this is an affront tice of the United States preside over his trial and Congress from enacting “a law that legislatively deter- to the Constitution no matter who they target today. wield the considerable power provided for in the mines guilt and inflicts punishment upon an identifiable It means nothing less than the denial of the right to Rules of Procedure and Practice in the Senate when individual without provision of the protections of a judi- vote and the independent right for a candidate to run sitting on impeachment trials.” cial trial.” A bill of attainder is a legislative act which for elective political office, guaranteed by the 1st and “The impeachment Article should be treated as a inflicts punishment without a judicial trial–A judicial 14th Amendments to the Constitution, using the nullity and dismissed based on the total lack of due trial – The distinguishing characteristic of a bill guise of impeachment as a tool to disenfranchise” process in the House. It should be dismissed be- of attainder is the substitution of a legislative determina- tion of guilt and legislative imposition of punishment “To say there was a rush to judgment by the House cause of Speaker Pelosi’s intentional abandonment for judicial finding and sentence.
Load more

Recommended publications
  • Spring 2014 Commencement Program
    TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2014 May 12 - 16, 2014 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements.
    [Show full text]
  • 1 Sex Differences in Preferences for Humor Produced by Men Or Women: Is Humor in the Sex of the Perceiver? [Word Count = <25
    1 Sex differences in preferences for humor produced by men or women: Is humor in the sex of the perceiver? [word count = <2500] Address correspondence to: 2 ABSTRACT It is a common argument that men are funnier than women. Recently, this belief has received modest empirical support among evolutionary psychologists who argue that humor results from sexual selection. Humor signals intelligence, and women thus use humor to discriminate between potential mates. From this, it follows that in addition to men being skilled producers of humor, women should be skilled perceivers of humor. Extant research has focused on humor production; here we focus on humor perception. In three studies, men and women identified the most humorous professional comedian (Studies 1 and 2) or individual they know personally (Study 3). We found large sex differences. In all three studies, men overwhelmingly preferred humor produced by other men, whereas women showed smaller (study 1) or no (studies 2 and 3) sex preference. We discuss biological and cultural roots of humor in light of these findings. 3 Sex differences in humor perception: Is humor in the sex of the perceiver? Although sex differences in the ability to produce humor have been debated at least since the 17th century (Congreve, 1695/1761; for more recent discussion, see the dialog between Hitchens and Stanley, Hitchens, 2007; Stanley, 2007), surprisingly few empirical studies exist on the topic. Yet understanding any sex difference in humor production or perception is important, since research suggests that humor mediates crucial social, psychological, and physiological processes. Socially, humor performs invaluable roles in persuasion (Mulkay, 1988) and managing personal relationships (Shiota, Campos, Keltner, & Hertenstein, 2004).
    [Show full text]
  • The BG News November 8, 1979
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 11-8-1979 The BG News November 8, 1979 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News November 8, 1979" (1979). BG News (Student Newspaper). 3669. https://scholarworks.bgsu.edu/bg-news/3669 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The BT3 He ws Bowling "Green 'Stale University thurs- Grants to aid women, minority grads day n-8-79 by Paul O'Donnell "We are trying to increase the pool of Staff reporter University among top-funded institutions qualified minority students," he said. The proposal for next year has Freshman loses The University has received $140,400 STONE SAID the federal funds will plementation of an effective graduate standing of each individual graduate already been submitted, and Stone said in grants from the Department of allow for 18 fellowships this year: two program. student, he noted. The areas of study he has requested added support. bid for mayor Health, Education and Welfare (HEW) in mathematics, seven in biological are identified by the University in the He said he hopes to obtain three more to assist minority and women students sciences, five in graduate business ad- HE WAS required to develop a writ- proposal submitted to HEW.
    [Show full text]
  • Skelton United Nations Concert, February 27, 1968
    CBS Television Network Press Information, 51 West 52 Street, New York, N.Y.10019 February 21, 1968 VICE PRESIDENT HUMPHREY TO INTRODUCE RED SKELTON'S SPECIAL PROGRAM FEB. 27 "Laughter - The Universal Language, 11 Skelton 1 s Pantomime Concert, Performed Before International U.N. Diplomatic Audience in New York Vice President Hubert H. Humphrey introduces Red Skelton and welcomes his distinguished audience of United Nations diplomats to 11 Laughter- The Universal Language," Skelton's pantomime concert to be broadcast on "The Red Skelton Hour 11 Tuesday, Feb. 27 (8:30-9:30 PM, EST) in color on the CBS Television Network. The Vice President taped his introductory remarks in Washington on Wednesday, Feb. 21 as a preface for the pantomime concert. The con­ cert itself was taped the previous night in New York before a black-tie audience representing 73 missions at the United Nations. Mr. Humphrey was unable to attend the New York performance because of Washington commitments. 11 Laughter - The Universal Language 11 is performed by Skelton without dialogue, except for the announcer 1 s spoken introductions, which are in English and French. Following the taping of the broadcast, Skelton and Mrs . Skelton greeted the diplomatic audience at a formal reception tendered by the (More) '. CBS Television Network 2 CBS Television Network and the United Nation: Association -U.S.A. at the Plaza Hotel in New York. In the receiving line with the Skeltons were Thomas H. Dawson, President of the CBS Television Network, and Mrs. Dawson; Oscar A. deLima, Chairman of the Executive Committee of the United Nations Asso­ ciation, and Mrs.
    [Show full text]
  • "Command Performance"
    “Command Performance” (Episode No. 21)—Bob Hope, Master of Ceremonies (July 7, 1942) Added to the National Registry: 2005 Essay by Cary O’Dell Bob Hope Soldiers line up for a “Command Performance” performance Radio’s unique “Command Performance” series was the brainchild of producer Louis G. Cowan. Cowan had joined the radio division of the US War Department just prior to the Japanese bombing of Pearl Harbor. With the commencement of the war though, Cowan found his job suddenly changed: rather than producing shows for civilians, he now found himself charged with creating programs for thousands of new servicemen stationed all around the globe. So he happened upon an idea. Many new members of the armed forces were no doubt having to quickly and awkwardly adjust to their new regimented military existence, to the myriad of commands and orders they now had to obey. What would happen if, instead of taking commands, they were allowed to give them, at least in terms of entertainment? Similar in nature to TV’s later “You Asked For It!,” Cowan’s “Command Performance” would solicit requests from servicemen the world over and ask them what they wanted to hear over the air. Cowan and his radio staff would then do their best to make it happen for them. From the beginning, to show their support for the troops, performers of all types (recruited via letters and ads in “Variety”) were generous with their time and talents. And both CBS and NBC donated their studios and recording facilities to the production. Even the major unions and show business guilds relaxed their rules in order to do these shows for the war effort (with the caveat that the shows be heard only by military personnel).
    [Show full text]
  • Red' Skelton and Clem Kadiddlehopper
    Red’Skelton and Clem Kadiddlehopper Wes D.Gehring* “Things have sunk lower than a snake’s belly” [a popular comment by Red Skelton’s Clem Kadiddlehopperl. Newspaper journalist John Crosby in 1952: “How [comically] stupid can you get?” Skelton: “I don’t know. I’m still pretty young.”’ From the books of George Ade, Kin Hubbard, and Will Cuppy to the television work of Herb Shriner and David Letterman, Indi- ana’s humor has long entertained the nation. But Red Skelton’s more-than-fifty-year reign as a Hoosier comedy artist of national significance and his ongoing ties to the state-particularly as his character Clem Kadiddlehopper-place him in a peerless position among Indiana comedians. Since the 1930s Red, fittingly, has achieved success in every medium that he has attempted, including vaudeville, radio, television, and motion pictures. The cornerstone of the comedian’s career is the unprecedented twenty-year televi- sion run (1951-1971) of his variety show. All artists’ backgrounds provide special insights into their work, but there seems to be a unique fascination with the biogra- phies of humorists. Clowns comically comfort audiences with their physical and spiritual resilience. In addition, society seems espe- cially spellbound with the clown chronicle that reveals tragic roots-the ability to provoke laughter despite personal sadness. Once again Skelton is in a unique category among Indiana humorists, for he survived the harshest of childhoods. His circus clown father died an alcohol-related death before Red was born, and as a youth he endured tattered clothing, taunts about his “Wes D.
    [Show full text]
  • Emmy Award Winners
    CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp.
    [Show full text]
  • NPRC) VIP List, 2009
    Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website.
    [Show full text]
  • An Explorative Study of Internet Audience Perceptions of the Portrayals and Appearances of Presidential Candidates on Saturday Night Live
    LIVE FROM NEW YORK AND STRAIGHT TO WASHINGTON: AN EXPLORATIVE STUDY OF INTERNET AUDIENCE PERCEPTIONS OF THE PORTRAYALS AND APPEARANCES OF PRESIDENTIAL CANDIDATES ON SATURDAY NIGHT LIVE Paige Thomason Miller, BA Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: R. Steve Craig, Major Professor Harry Benshoff, Committee Member Matthew Eshbaugh-Soha, Committee Member Sam Sauls, Director of Graduate Studies in the Department of Radio, Television and Film Alan Albarran, Chair of the Department of Radio, Television and Film James D. Meernik, Acting Dean of the Toulouse Graduate School Miller, Paige Thomason. Live from New York and straight to Washington: An explorative study of Internet audience perceptions of the portrayals and appearances of presidential candidates on Saturday Night Live. Master of Arts (Radio, Television and Film), May 2012, 110 pp., references, 122 titles. This thesis examines if and how the Internet viewers of Saturday Night Live skits were influenced by the video skits. The viewers’ online comments were read, categorized and analyzed for content to explore and discuss how the viewers “read” the text of the online video skits. Each video in which candidates John McCain, Sarah Palin, Hillary Clinton and Barack Obama appeared is summarized and analyzed through viewers’ comments. A sample of skits including actors’ portrayals of McCain, Palin, Clinton, Obama and Joe Biden is also summarized and analyzed to find and discuss how the viewers’ perceptions were influenced by the portrayals. Copyright 2012 by Paige Thomason Miller ii TABLE OF CONTENTS Page Chapters 1. INTRODUCTION ...................................................................................................1 Purpose of the Study 2.
    [Show full text]
  • Women's Leadership in Primetime Television an Introductory Study
    Women’s Leadership in Primetime Television An Introductory Study Natalie Greene Spring 2009 General University Honors Capstone Advisor: Karen O’Connor Greene 1 Women’s Leadership in Prime-time Television: An Introductory Study Introduction When television executives report their core audience, women always come out ahead. A 2007 Nielsen Media Research report showed that, with only two exceptions, every broadcast network channel had more female viewers than men. ABC’s female audience almost doubled its male audience during the 2007-08 season (Atkinson, 2008). 1 Women onscreen, however, seem to reflect a different reality, making up only 43% of characters in the prime-time 2007-08 season (Lauzen, 2008). 2 As studies going back as far as the 1970s show, women on screen not only fail to represent the proportional makeup of women in society, they also overwhelmingly show a stereotypically gendered version of women (McNeil, 1975; Signorielli and Bacue, 1999; United States Commission on Civil Rights, 1977). This paper aims to address the evolution of women’s leadership in prime-time network scripted television from 1950 to 2008. Because of the way that women have been traditionally marginalized in television, it is important to study the shows that have featured women as lead characters. Characters such as Lucy Ricardo ( I Love Lucy, 1951-1960) influenced later female leads such as Ann Marie ( That Girl, 1966-1971), Mary Richards ( The Mary Tyler Moore Show, 1970-1977) and Murphy Brown ( Murphy Brown, 1988-1998). Thus, along with an introduction to socialization theory and feminist television criticism, this paper covers a selection of some of the most influential female characters and women-centered shows of this period.
    [Show full text]
  • The Relationship of Various Audience Composition Factors to Television Program Types
    This dissertation has been 63—4708 microfilmed exactly as received THAYER, John Richardson, 1929— THE RELATIONSHIP OF VARIOUS AUDIENCE COMPOSITION FACTORS TO TELEVISION PROGRAM TYPES. The Ohio State University, Ph.D., 1962 Speech—Theater University Microfilms, Inc., Ann Arbor. Michigan Copyright by John Richardson Thayer t h e relationship o f v a r i o u s a u d i e n c e composition f a c t o r s TO TELEVISION PROGRAM TYPES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Richardson Thayer, B.A., M.A. ■X-trk** * * * * The Ohio State University 1962 Approved by Adviser Department of Speech TABLE OF CONTENTS Page LIST OF T A B L E S ............................................... iv LIST OF F I G U R E S ............................................. vi Chapter I. A BRIEF HISTORY OF PROGRAM TYPES AND THEIR IMPORTANCE TO THE TELEVISION B R O A DCA STER....................... 1 The History of Program Types on Radio The History of Program Types on Television The Importance of Program Types The Hypotheses of the Study II. A REVIEW OF THE MOST POPULAR PROGRAM T Y P E S ............. 17 III. THE CATEGORIZING OF PROGRAMS INTO T Y P E S ............... 25 Difficulties Involved in Categorizing Programs Criteria Established in Assigning Programs to Specific Types Definitions of Program Types and Specific Programs Falling Within Those Types IV. DESCRIPTION OF DATA USED IN THE S T U D Y ................. 42 A Brief History of the Company ARB ’ s Measurement Technique ARB's Selection of Sample Homes Selecting the Diary Families Tabulating the Diary Results Final Preparations for Publication Computation Procedures Minimum Reporting Standards V.
    [Show full text]
  • Bill Hobin Papers, 1961-1978 (Bulk 1974-1978)
    http://oac.cdlib.org/findaid/ark:/13030/kt4k40370q No online items Finding Aid for the Bill Hobin papers, 1961-1978 (bulk 1974-1978) Processed by Rachel Barnes; 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 Bill Hobin 348 1 papers, 1961-1978 (bulk 1974-1978) Descriptive Summary Title: Bill Hobin papers, Date (inclusive): 1961-1978, Date (bulk): (bulk 1960-1965) Collection number: 348 Creator: Hobin, Bill Extent: 4 boxes (2 linear ft.) 2 cartons Abstract: Emmy nominated Bill Hobin was involved with a number of popular television programs as director and/or producer. The collection included project files of scripts and production related materials documenting Hobin's career 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.
    [Show full text]