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Football Bowl Subdivision Records
FOOTBALL BOWL SUBDIVISION RECORDS Individual Records 2 Team Records 24 All-Time Individual Leaders on Offense 35 All-Time Individual Leaders on Defense 63 All-Time Individual Leaders on Special Teams 75 All-Time Team Season Leaders 86 Annual Team Champions 91 Toughest-Schedule Annual Leaders 98 Annual Most-Improved Teams 100 All-Time Won-Loss Records 103 Winningest Teams by Decade 106 National Poll Rankings 111 College Football Playoff 164 Bowl Coalition, Alliance and Bowl Championship Series History 166 Streaks and Rivalries 182 Major-College Statistics Trends 186 FBS Membership Since 1978 195 College Football Rules Changes 196 INDIVIDUAL RECORDS Under a three-division reorganization plan adopted by the special NCAA NCAA DEFENSIVE FOOTBALL STATISTICS COMPILATION Convention of August 1973, teams classified major-college in football on August 1, 1973, were placed in Division I. College-division teams were divided POLICIES into Division II and Division III. At the NCAA Convention of January 1978, All individual defensive statistics reported to the NCAA must be compiled by Division I was divided into Division I-A and Division I-AA for football only (In the press box statistics crew during the game. Defensive numbers compiled 2006, I-A was renamed Football Bowl Subdivision, and I-AA was renamed by the coaching staff or other university/college personnel using game film will Football Championship Subdivision.). not be considered “official” NCAA statistics. Before 2002, postseason games were not included in NCAA final football This policy does not preclude a conference or institution from making after- statistics or records. Beginning with the 2002 season, all postseason games the-game changes to press box numbers. -
(Toledo, Ohio), 1949-10-07
Friday, October 7,1949 TOLEDO UNION JOURNAL Page Five Paralyzed From The Waist Down wifoii&iMfai The Bob Toppings Marie Wison On Nationwide Tour For “My Friend Irma” HOLLYWOOD — Marie Wil son, starred in “My Friend Ir- Ma.” Hall Wallis production for Paramount, departed recently on E^SCRE 0 a tour of ten key cities in con nection with important pre-re BY INEZ GERHARD fa. lease engagements of the film. Now that it’s over, Robert The tour will last four weeks with Miss Wilson returning to Lewis can draw a long breath Hollywood each Monday for the aud look back with pride on the CBS “My Friend Irma”, broad terrific job that he did from cast. August 1 to October 1. He took Miss Wilson recently did two weeks of presc~‘l r —earances over for Arthur Godfrey five in New York, « g pi ed to be morning shows a week on CBS one of the most sought-after and one television show, lasting stars ever to visit the big city. an hour, on Wednesday eve Her present tour is in keeping with Paramount’s public rela nings. G o d f r e y’s popularity tions policy of sending top per made him a difficult man to fill sonalities on tour so that the * in for, and Lewis was bound to marimum number of people be a target for a lot of crticism, have the opportunity of seeing, f '' hearing and reading about the just because he wasn’t Arthur. personalities and the picture Now they’re saying that there they will appear in. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Doppelgaengersmall.Pdf
the director’s cut THE DIRECTOR’S CUT Freud’s Doppelgaenger, The Cut, and Deleted Scenes Geoffrey Garrison Contents Introduction 9 Freud’s Doppelgaenger 13 The Cut 157 Deleted Scenes 189 Bibliographical Essay 239 Introduction When the John Huston fi lm Freud the Secret Passion was dubbed into German, nineteen minutes of the English version were left out of the fi lm. This omission occupied the place of desire that led the short video The Cut, realized in 2005 with the support of the Jan van Eyck Academie in Maastricht, the Netherlands. I had originally proposed to fi nd the material left out of the German version of the fi lm as the basis for a piece—what exactly that art work would be, I did not know at the time. Three years later, I am putting the fi nishing touches on this book as a way of driving the last nail into the coffi n of what has been a long and obsessive production, with many detours. Taking its title from the practice of releasing expanded versions of fi lms on DVD, The Director’s Cut supplements the nineteen minute fi lm The Cut—nineteen minutes to fi ll, in a roundabout way, the space left by the deleted footage—by supplying some needed background and following some abandoned routes. The fi rst and longest screenplay, Freud’s Doppelgaenger, tells of the fi lming of Freud the Secret Passion through the life of Montgomery Clift, 10 i n t r o d u c t i o n Introduction 11 the actor who portrayed Freud in Huston’s fi lm. -
Andrew Adams Safety Ht: 5-11 Wt: 204 Dob: 10/28/92 Nfl: 5Th Year Acq: Fa, 2018 College: Connecticut
#26 ANDREW ADAMS SAFETY HT: 5-11 WT: 204 DOB: 10/28/92 NFL: 5TH YEAR ACQ: FA, 2018 COLLEGE: CONNECTICUT ACQUIRED BY BUCS: x Made NFL debut against Washington (9/25/16). x Signed by Tampa Bay as a free agent on September 10, 2019. 2019 HIGHLIGHTS: ORIGINALLY ENTERED NFL: x Played in 14 games, starting the last 11, and recorded 45 tackles, including x Originally entered the league as a college three for loss, one forced fumble, one free agent with the New York Giants on interception and three passes defensed. May 6, 2016. Also added one special teams tackle. CAREER HIGHLIGHTS: x Spent the 2019 offseason with the x Spent time with the New York Giants Detroit Lions. from 2016-17 and with the Detroit Lions x Inactive at Carolina (9/12). during the 2019 offseason. x Made season debut playing on special x Has played in 57 games, with 32 starts, teams, recording one tackle, vs. New totaling 154 tackles, six interceptions, 19 York Giants (9/22). passes defensed, two forced fumbles, x Played on special teams in win at Los and one fumble recovery, while adding Angeles Rams (9/29). seven special teams tackles. x Played in a reserve role at New Orleans x Tied a Buccaneers record with three (10/6). interceptions in a win vs. Carolina (12/2/18). Became the third Tampa Bay player (four x Made first start of season vs. Carolina times) to record three interceptions in one (10/13) and recorded five tackles, game and only the second NFL player in including one for loss. -
Everything Began with the Movie Moulin Rouge (2001)
Introduction Everything began with the movie Moulin Rouge (2001). Since I was so obsessed with this hit film, I couldn’t but want to know more about this particular genre - musical films. Then I started to trace the history of this genre back to Hollywood’s classical musical films. It’s interesting that musical films have undergone several revivals and are usually regarded as the products of escapism. Watching those protagonists singing and dancing happily, the audience can daydream freely and forget about the cruel reality. What are the aesthetic artifices of this genre so enchanting that it always catches the eye of audience generation after generation? What kinds of ideal life do these musical films try to depict? Do they (musical films) merely escape from reality or, as a matter of fact, implicitly criticize the society? In regard to the musical films produced by Hollywood, what do they reflect the contemporary social, political or economic situations? To investigate these aspects, I start my research project on the Hollywood musical film genre from the 1950s (its Classical Period) to 2002. However, some people might wonder that among all those Hollywood movies, what is so special about the musical films that makes them distinguish from the other types of movies? On the one hand, the musical film genre indeed has several important contributions to the Hollywood industry, and its influence never wanes even until today. In need of specialty for musical film production, many talented professional dancers and singers thus get the chances to join in Hollywood and prove themselves as great actors (actresses), too. -
Nfl Draft Picks
NFL DRAFT PICKS PITT’S NFL FIRST-ROUND DRAFT CHOICES (Since 1960) ROUND YEAR/NAME POS TEAM 1961 Mike Ditka, TE, Chicago (5th) 2015 1964 Paul Martha, S, Pittsburgh (10th) 4 T.J. Clemmings OL Minnesota Vikings 1977 Tony Dorsett, RB, Dallas (2nd) 2014 1978 Randy Holloway, DE, Min ne so ta (21st) 1 Aaron Donald DT St. Louis Rams 4 Tom Savage QB Houston Texans 1981 Hugh Green, LB, Tampa Bay (7th) 5 Devin Street WR Dallas Cowboys 1981 Randy McMillan, RB, Bal ti more (12th) 2011 1981 Mark May, OT, Washington (20th) 1 Jon Baldwin WR Kansas City Chiefs 1983 Jim Covert, OT, Chicago (6th) 2 Jabaal Sheard DE Cleveland Browns 1983 Tim Lewis, CB, Green Bay (11th) 5 Dion Lewis RB Philadelphia Eagles 5 Jason Pinkston OL Cleveland Browns 1983 Dan Marino, QB, Miami (27th) 7 Greg Romeus DE New Orleans Saints 1984 Bill Maas, NT, Kansas City (5th) 2010 1985 Bill Fralic, OG, Atlanta (2nd) 6 Nate Byham TE San Francisco 49ers 1985 Chris Doleman, LB, Min ne so ta (4th) 7 Dorin Dickerson TE Houston Texans 1986 Bob Buczkowski, DT, L.A. Raiders (24th) 2009 1987 Tony Woods, LB, Seattle (18th) 2 LeSean McCoy RB Philadelphia Eagles 1988 Craig Heyward, RB, New Or leans (24th) 5 Scott McKillop LB San Francisco 49ers 7 LaRod Stephens-Howling RB Arizona Cardinals 1989 Burt Grossman, DE, San Diego (8th) 7 Derek Kinder WR Chicago Bears 1989 Tom Ricketts, OT, Pittsburgh (24th) 2008 1992 Sean Gilbert, DT, L.A. Rams (3rd) 1 Jeff Otah OL Carolina Panthers 1995 Ruben Brown, OG, Buffalo (14th) 4 Mike McGlynn OL Philadelphia Eagles 2004 Larry Fitzgerald, WR, Arizona (3rd) 7 Kennard Cox DB Buffalo Bills 2007 Darrelle Revis, CB, New York Jets (14th) 2007 2008 Jeff Otah, OT, Carolina (19th) 1 Darrelle Revis DB New York Jets 4 Clint Session LB Indianapolis Colts 2011 Jon Baldwin, WR, Kansas City (26th) 6 H.B. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
National Titles
NATIONAL TITLES PITT’S NATIONAL CHAMPIONSHIPS RATING SYSTEMS YEAR RECORD COACH SE LEC TOR To settle countless ar gu ments, Sports Il lus trat ed in 1970 1976 12-0 Majors Unan i mous researched the first and only complete and wholly ac cu rate list 1937 9-0-1 Sutherland AP, DS, LS, IFA, WS, TFT ever com piled of college foot ball’s myth i cal national champions. 1936 8-1-1 Sutherland IFA, TFT Ev ery rec og nized authority that ever presumed to name a No. 1 1934 9-1 Sutherland Davis was included: 1931 8-1 Sutherland Davis 1929 9-1 Sutherland Davis Associated Press (1936-current): poll of sports writ ers and 1918 4-1 Warner Unan i mous broad cast ers. 1916 8-0 Warner Unan i mous 1915 8-0 Warner Davis Parke H. Davis Ratings (1889-1935): cho sen by Davis, a player at Princeton in 1889 and a former coach at Wis con sin, Amherst and ALL-TIME NATIONAL CHAMPIONSHIPS Lafayette, and first published in the 1934 Spalding’s Foot ball Guide. 1. Notre Dame 17 Dickinson System (1924-40): chosen by Uni ver si ty of Illinois 2. Alabama 13 eco nom ics professor Frank G. Dickinson; based on system that USC 13 awarded var i ous point totals for wins over teams with winning or Yale 13 non-win ning records. 5. Princeton 12 6. PITTSBURGH 9 Dunkel System (1929-cur rent): a power index rating system devised by Dick Dunkel and syn di cat ed to news pa pers around the nation. -
SCOREBOARD Basketball
20-MANGHESTER HERALD. Friday. April 5. 1991 NCAA rules are forcing swimmers to leave school WEEKEND EDITION ByJlM COUR she announced she was going to Each blamed the new NCAA rule, require you to spend more than 20 Ted Tow. the NCAA’s associate make a blanket restriction for all the give up her final two years of which takes effect in August. The Associated Press hours a week.” athletic director, said he wasn’t sports,” she said. “I don’t think they eligibility at Stanford. They said it cuts a world class Stanford women’s coach Richard 'surprised that Evans and Stewart want to take the time and effort to NCAA officials said Thursday swimmer’s supervised workout FEDEiyiL WAY. Wash. — The Quick, the man who is losing Evans, decided to leave school. look into each sport individually.” that its new rule is being, schedule, which usually averages 35 door is wide open for a mass exodus said the mie didn’t need any inter Tow disagreed. misinterpreted. They said Evans and to 40 hours a week. “It’s not the function of college of America’s big-name swimmers preting as far as he was concerned. athletics to prepare world class ath “The thing is, the motivation be FEATURES INSIDE other world class swimmers can still But while college swimming offi from college programs because of a “A swimmer can only do coach- letes.” said Tow. in San Diego for hind the so-called reform package get in as much supervised pool time cials criticized the new rule, the new NCAA rule that drastically supervised training 20 hours a was to free up some of the time as they like. -
Wavelength (July 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 7-1984 Wavelength (July 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (July 1984) 45 https://scholarworks.uno.edu/wavelength/45 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. 0 ·.::.: •• :·: :· :· .:·•• . .. .. :-:::: ... ~ ·: ~--~~\:§;;~ ....... :~ ......·.: .:::"" .: : :.;. ·~ ·• :;~~ .. : ... , ·:.·.. ~ . .: ... ::.: ~·\::~:}~ ·.. :: .. :. ::.-::·.:~~:~':: .: . • •• :·,; :·;:;;t .... .•: .... ·:_.::··.~::::~~l : .. ::: FRANKIE FORD .......... .: ·•· . • 0 .;·.. ~~ . ::. ~ . • . : .-:s ·.· :::·.~.... .. ..... .... , · . .. ..... 'SN11 3l~O 1d30 SNOiliSinOJ~ ..... A~~~ 9I l ~NOl ~ 1~~ 3 :. · : . SN~~l~O M3N ~0 A1ISM3AINn . .·. .... .·. .... 66/66/66 ;o~ o .···. :::/. .-:::.:'.':·::.:::: =:· :·:;.. :: '\?@?·1<·;·::.:.::• • • • ••• •• • • • • • • • • • • • • ::~=:·~• •• • • • • · • ••• 0. 0 • • • • •• • • • • • • • • • • • •••••·: • ••• • • • • •• • . • . • • • ••• : • • • • • • ... • • • : • 0 0 • • • • • • • • • • • • • • •• • • • • • • • • • • •• ... NEW ORLEANS M u s I c MAGAZINE __ UJauelenalh For ISSUE NO. 45 e .JULY 1984 ISSN 07 41 · 2460 New "''m not sure, but I'm almost positive, that all music came from -
DAN KELLY's Ipod 80S PLAYLIST It's the End of The
DAN KELLY’S iPOD 80s PLAYLIST It’s The End of the 70s Cherry Bomb…The Runaways (9/76) Anarchy in the UK…Sex Pistols (12/76) X Offender…Blondie (1/77) See No Evil…Television (2/77) Police & Thieves…The Clash (3/77) Dancing the Night Away…Motors (4/77) Sound and Vision…David Bowie (4/77) Solsbury Hill…Peter Gabriel (4/77) Sheena is a Punk Rocker…Ramones (7/77) First Time…The Boys (7/77) Lust for Life…Iggy Pop (9/7D7) In the Flesh…Blondie (9/77) The Punk…Cherry Vanilla (10/77) Red Hot…Robert Gordon & Link Wray (10/77) 2-4-6-8 Motorway…Tom Robinson (11/77) Rockaway Beach…Ramones (12/77) Statue of Liberty…XTC (1/78) Psycho Killer…Talking Heads (2/78) Fan Mail…Blondie (2/78) This is Pop…XTC (3/78) Who’s Been Sleeping Here…Tuff Darts (4/78) Because the Night…Patty Smith Group (4/78) Ce Plane Pour Moi…Plastic Bertrand (4/78) Do You Wanna Dance?...Ramones (4/78) The Day the World Turned Day-Glo…X-Ray Specs (4/78) The Model…Kraftwerk (5/78) Keep Your Dreams…Suicide (5/78) Miss You…Rolling Stones (5/78) Hot Child in the City…Nick Gilder (6/78) Just What I Needed…The Cars (6/78) Pump It Up…Elvis Costello (6/78) Airport…Motors (7/78) Top of the Pops…The Rezillos (8/78) Another Girl, Another Planet…The Only Ones (8/78) All for the Love of Rock N Roll…Tuff Darts (9/78) Public Image…PIL (10/78) My Best Friend’s Girl…the Cars (10/78) Here Comes the Night…Nick Gilder (11/78) Europe Endless…Kraftwerk (11/78) Slow Motion…Ultravox (12/78) Roxanne…The Police (2/79) Lucky Number (slavic dance version)…Lene Lovich (3/79) Good Times Roll…The Cars (3/79) Dance