Podcast Episode 24
"Mother, mother, I feel sick. Send for the doctor quick, quick, quick. Mother, dear, shall I die? Yes, my darling, by and by. One two three four."
DOCTOR WHO: A CHILDREN'S TIME TRAVEL SHOW
Debuting one day after the JFK assassination event.
"Doctor Who is a British science-fiction television programme produced by the BBC since 1963. The programme depicts the adventures of a Time Lord called "the Doctor", an extraterrestrial being from the planet Gallifrey. The Doctor explores the universe in a time-travelling space ship called the TARDIS. Its exterior appears as a blue British police box, which was a common sight in Britain in 1963 when the series first aired. Accompanied by a number of companions, the Doctor combats a variety of foes, while working to save civilisations and help people in need."
"Doctor Who first appeared on BBC TV at 17:16:20 GMT on Saturday, 23 November 1963; this was eighty seconds later than the scheduled programme time, due to the assassination of John F. Kennedy the previous day."
The Eleventh Hour Calls
"Aliens began to take over, prompting Morgan Freeman to step up during the eleventh hour to save the world.” That’s just one instance where you’ll hear someone use "the eleventh hour" in reference to a just-in-the-nick-of-time, last possible moment before the result of some often-dire event. But just where did the phase come from? The cliché might originate from the Bible, specifically Matthew 20:9: “And when they came that were hired about the eleventh hour they received every man a denarius.” The passage is a reference to the fact that the workers who took over at the eleventh hour of a 12-hour workday received just as much pay at those who had already been working all day. But in Cliches: Over 1500 Phrases Explored and Explained, author Betty Kirkpatrick writes that other than the wording, there’s “no obvious connection” to the Bible entry. Even Eric Partridge, in 1940’s A Dictionary of Cliches, writes that the phrase is "no longer apprehended as an allusion to the parable of the labourers, of whom the last ‘were hired at the eleventh hour.’" The phrase really started to take off in the 19th century, but was used earlier than that, and some scholars have even narrowed a specific time for the eleventh hour down to the time between 5 and 6 p.m., because the typical workday was from 6 a.m. to 6 p.m.—or sunrise to sunset. Whether or not the Bible housed the phrase’s original meaning, it is now an allusion to something that happens at the last possible moment."
11th hour Superman fails: http://www.recalledcomics.com/TheAdventuresOfSuperman596TwinTowers.php
King James and Shakespeare
Mark Millar: Author of Kingsman: The Secret Service and DC Comics Scribe
"Mark Millar MBE (/mɪlˈɑːr/) is the New York Times bestselling author of Kick-Ass, Wanted and Kingsman: The Secret Service, all of which have been adapted into Hollywood franchises. His DC Comics work includes the seminal Superman: Red Son. At Marvel Comics he created The Ultimates, selected by Time magazine as the comic book of the decade, and described by screenwriter Zak Penn as his major inspiration for The Avengers movie (http://www.scriptmag.com/features/assembling-the-avengers-for-the-big-screen-interview-with-screenwriter-zak-penn). Millar also created Wolverine: Old Man Logan and Civil War, Marvel's two biggest-selling graphic novels ever. Civil War was the basis of the Captain America: Civil War movie and Old Man Logan was the inspiration for Fox’s Logan movie in 2017. Mark has been an executive producer on all his movies, and for four years worked as a creative consultant to Fox Studios on their Marvel slate of movies. In 2017, Netflix bought Millarworld in the company’s first ever acquisition, and employed Mark as President to continue creating comics, TV shows and movies"
The U.S.A.is still (basically) a British Colony
Propagandists redefine labor for post modern times.
Hercules or Heracles, is a labor hero.
"The Twelve Labours of Heracles or of Hercules... are a series of episodes concerning a penance carried out by Heracles, the greatest of the Greek heroes, whose name was later Romanised as Hercules. They were accomplished over 12 years at the service of King Eurystheus. The episodes were later connected by a continuous narrative. The establishment of a fixed cycle of twelve labours was attributed by the Greeks to an epic poem, now lost, written by Peisander, dated about 600 BC. After Hercules killed his wife and children, he went to the oracle at Delphi. He prayed to the god Apollo for guidance. Hercules was told to serve the king of Mycenae, Eurystheus, for 12 years. During these 12 years, Hercules is sent to perform twelve difficult feats, called labors."
"Urbanization refers to the population shift from rural to urban areas, "the gradual increase in the proportion of people living in urban areas", and the ways in which each society adapts to the change. It is predominantly the process by which towns and cities are formed and become larger as more people begin living and working in central areas. The United Nations projected that half of the world's population would live in urban areas at the end of 2008. It is predicted that by 2050 about 64% of the developing world and 86% of the developed world will be urbanized. That is equivalent to approximately 3 billion urbanites by 2050, much of which will occur in Africa and Asia. Notably, the United Nations has also recently projected that nearly all global population growth from 2017 to 2030 will be absorbed by cities, about 1.1 billion new urbanites over the next 13 years. Urbanization is relevant to a range of disciplines, including geography, sociology, economics, urban planning, and public health. The phenomenon has been closely linked to modernization, industrialization, and the sociological process of rationalization. Urbanization can be seen as a specific condition at a set time (e.g. the proportion of total population or area in cities or towns) or as an increase in that condition over time. So urbanization can be quantified either in terms of, say, the level of urban development relative to the overall population, or as the rate at which the urban proportion of the population is increasing. Urbanization creates enormous social, economic and environmental changes, which provide an opportunity for sustainability with the “potential to use resources more efficiently, to create more sustainable land use and to protect the biodiversity of natural ecosystems.” Urbanization is not merely a modern phenomenon, but a rapid and historic transformation of human social roots on a global scale, whereby predominantly rural culture is being rapidly replaced by predominantly urban culture. The first major change in settlement patterns was the accumulation of hunter-gatherers into villages many thousand years ago. Village culture is characterized by common bloodlines, intimate relationships, and communal behavior, whereas urban culture is characterized by distant bloodlines, unfamiliar relations, and competitive behavior. This unprecedented movement of people is forecast to continue and intensify during the next few decades, mushrooming cities to sizes unthinkable only a century ago. As a result, the world urban population growth curve has up till recently followed a quadratic-hyperbolic pattern."
Never forget Metropolis needs theater for the masses.
Lifetime actor warning:
BOSS HOGG LIVES
David Hogg is a political figure, He can be criticized like any other high profile political activist or politician.
He has a wikipedia entry, do you have one? I don't...
Hogg also has an IMDB page: http://www.imdb.com/name/nm9641890/
Hogg is a public persona now. He can't hide behind the victim card.
He's appeared on HBO's Bill Maher show:
"Mar 2, 2018 - UPDATE with video David Hogg, one of the Florida high school students turned gun reform activists who have bowled over TV news anchors with their composure, articulation and media savvy, had Bill Maher at hello tonight."
David Hogg is a very public figure now.
He cannot hide behind the shield of the victim card. Analyzing ideas is not harassment. Questioning someone's integrity and honesty is required when dealing with political figures like political activists and politicians. High profile public figures cannot hide behind harassment claims. I would be considered a liberal by mainstream reasoning and I also have no problem with common sense laws regarding subjects like gun control. I simply have a problem with dishonesty. I hope that doesn't offend anyone.
"David Miles Hogg (born c. 2000) is an American who survived the massacre of the Stoneman Douglas High School shooting on February 14, 2018, and afterward became a gun control advocate and an activist against gun violence in the United States. He is one of twenty founding members of Never Again MSD, a gun control advocacy group led by Marjory Stoneman Douglas High School students."
see also: Never Again MSD | Real Time with Bill Maher (HBO) - YouTube • YouTube · Real Time with Bill Maher
"News From Nowhere: Television and the News. by Edward Jay Epstein.
Random House. 321 pp. $7.95.
"The public image of American journalism has always included a good proportion of myth. Well before the Second World War, Broadway and Hollywood had made the stereotype of the Intrepid Reporter—dogged in his pursuit of the truth, fearless in his determination to see it printed—nearly as familiar as the white hats that identified the good guys in a Western. The war made legends out of such foreign correspondents as Ernie Pyle and Margaret Bourke-White; in the cold-war years that followed, with their prolonged emphasis on foreign affairs, the image of the newspaper correspondent came to be fixed in a new stereotype, but one every bit as solid, and as favorable, as the old one of Hollyood. Television was at first merely an instrument of this myth, but in the mid-1950s it grew to be something more. With the development of national network news programs, the legend came to life. Combining the events of the day with the actual faces and voices of individual correspondents, television brought forth the Intrepid Reporter before our eyes, and in the process created a new kind of journalism. Today TV news is an American institution, and in Edward Jay Epstein’s latest book it has now received a serious study of its operation. In News from Nowhere Epstein examines the processes by which network news programs are created and the institutional factors which shape those processes. His discoveries are thoroughly deflating to the myth of the Intrepid Reporter. Epstein’s two previous books were on headline-making topics (the first was Inquest, the most sensible of the critiques of the Warren Commission; the second dealt with New Orleans District Attorney Jim Garrison and his purported discovery of the plotters of President Kennedy’s assassination) and consequently he has sometimes been considered a journalist himself. Not here. News from Nowhere, which began as a doctoral dissertation at Harvard, is a first-rate example of most of the qualities which make scholarship more than journalism."
"Never forget 911."
Superman used to use a phone booth for a moment of costume changing privacy.
Of most trusted news sources and police departments...
"Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942. While the character swiftly took on a life of its own, moving beyond parody, other animated characters soon took their turn to parody the character. In 1943, Bugs Bunny was featured in a short, Super-Rabbit, which sees the character gaining powers through eating fortified carrots. This short ends with Bugs stepping into a phone booth to change into a real "Superman" and emerging as a U.S. Marine. "
Call The Police: Dial 999!
"In the earliest days of telephone technology, prior to the development of the rotary dial telephone, all telephone calls were operator-assisted. To place a call, the caller was required to pick up the telephone receiver, sometimes turn a magneto crank, and wait for the telephone operator to answer. The caller would then ask to be connected to the number they wished to call, and the operator would make the required connection manually, by means of a switchboard. In an emergency, the caller might simply say "Get me the police", "I want to report a fire", or "I need an ambulance or doctor". Until dial service came into use, one could not place calls without proper operator assistance. "Emergency 911" displayed on the side of an Upper Dublin Township, Pennsylvania police vehicle, indicating that 9-1-1 is the number to dial in the event of an emergency. The first known use of a national emergency telephone number began in the United Kingdom in 1937, using the number 999, which continues to this day. In the United States, the push for the development of a nationwide American emergency telephone number came in 1957 when the National Association of Fire Chiefs recommended that a single number be used for reporting fires."
"The first city in North America to use a central emergency number was the Canadian city of Winnipeg, Manitoba in 1959, which instituted the change at the urging of Stephen Juba, mayor of Winnipeg at the time. Winnipeg initially used 999 as the emergency number, but switched numbers when 9-1-1 was proposed by the United States. In 1967, the President's Commission on Law Enforcement and Administration of Justice recommended the creation of a single number that could be used nationwide for reporting emergencies. The Federal Communications Commission then met with AT&T in November 1967 in order to choose the number. In 1968, the number was agreed upon. AT&T chose the number 9-1-1, which was simple, easy to remember, dialed easily, and worked well with the phone systems in place at the time. At the time, this announcement only affected the Bell System telephone companies; independent phone companies were not included in the emergency telephone plan. However, Bob Gallagher of the Alabama Telephone Company decided he wanted to implement it ahead of AT&T, and the company chose Haleyville, Alabama, as the location."
Public Police Call Box
A 'doctor who knows'...
"The Police box was introduced in the United States in 1877 and was used in the United Kingdom throughout the 20th century from the early 1920s. It is a public telephone kiosk or callbox for the use of members of the police, or for members of the public to contact the police. Unlike an ordinary callbox, its telephone was located behind a hinged door so it could be used from the outside, and the interior of the box was, in effect, a miniature police station for use by police officers to read and fill in reports, take meal breaks and even temporarily hold prisoners until the arrival of transport."
"The Talons of Weng-Chiang is the sixth and final serial of the 14th season of the British science fiction television series Doctor Who, which was first broadcast in six weekly parts from 26 February to 2 April 1977. Set in 19th-century London and written by the series' script editor at the time, Robert Holmes, The Talons of Weng-Chiang was also the final serial to be produced by Philip Hinchcliffe, who had worked on the series for three seasons. One of the most popular serials from the series' original run on television, The Talons of Weng-Chiang has continued to receive acclaim from reviewers and it has been repeatedly voted one of the best stories by fans. Despite this, criticism has been directed towards the serial's representation of Chinese characters and an unconvincing giant rat featured in the story."
Dagger of The Mind: Television Style:
Dagger of The Mind
"There is a running joke throughout the episode in which the Doctor creates an apparent ontological paradox by inspiring Shakespeare to borrow phrases that the Doctor quotes from his plays. Examples of this include the Doctor telling Shakespeare that "all the world's a stage" (from As You Like It) and "the play's the thing" (from Hamlet), as well as the name Sycorax from The Tempest. However, when Shakespeare himself coins the phrase "To be, or not to be", the Doctor suggests he write it down, but Shakespeare considers it "too pretentious". In a different version of the joke, the Doctor exclaims "Once more unto the breach", and Shakespeare initially likes the phrase, before realising it is one of his own from Henry V, which was probably written in early 1599. When questioning Shakespeare about witches, Martha remarks that he has written about witches; a reference to Macbeth, which Shakespeare denies. At the time in which the episode is set, Shakespeare had yet to write Macbeth or Hamlet, which prominently feature the paranormal, such as witches and ghosts. There are numerous other allusions to Shakespeare's plays. Just before the Doctor steps out of the TARDIS, he exclaims "Brave new world", from Act V Scene I of The Tempest. In an early scene a sign is glimpsed for an inn named "The Elephant". This is the name of an inn recommended in Twelfth Night. The three Carrionites allude to the Weird Sisters from Macbeth (which was written several years after the setting of this episode); like them, the Carrionites use trochaic tetrameter and rhyming couplets to cast spells. When regressing the architect in Bedlam, The Doctor uses the phrase "A Winter's Tale", whilst the architect himself uses the phrase "poor Tom" in the same way as the 'mad' Edgar in King Lear. Lilith credits the Carrionites' escape from the Eternals' banishment to 'new...glittering' words. Shakespeare is credited with adding two to three thousand words to the English language, including 'assassination', 'eyeball', 'leapfrog' and 'gloomy"."
"Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds. To seek out new life and new civilizations. To boldly go where no man has gone before!"
Dagger of The Mind
"It is episode #9, production #11 and was broadcast November 3, 1966"
""Dagger of the Mind" is a first season episode of the American science fictiontelevision series, Star Trek. It is episode #9, production #11 and was broadcast November 3, 1966. It was written by Shimon Wincelberg under the pen name "S. Bar-David," and directed by Vincent McEveety. The title is taken from a soliloquy by the title character in William Shakespeare's play Macbeth. In the episode, the Enterprise visits a planet that houses a rehabilitation facility for the criminally insane where a new treatment has horrifying results. It marks the first appearance of the Vulcan mind meld."
"On the Enterprise Van Gelder becomes increasingly frantic, warning that the landing party is in danger. When he tries to explain the danger and refers to the neural neutralizer, he is convulsed with pain. Spock mind-melds with van Gelder, enabling him to bypass whatever mental block is keeping van Gelder from telling his story. Spock learns that Adams himself has gone mad, and is using the device on inmates and staff to gain total control of their minds. The first officer assembles a security team, but the colony's force field blocks transport and communication. Unaware of events on the ship, Kirk decides to access the neutralizer and test it on himself, with Noel at the controls. During the test, she tries to find out whether the device can actually implant new memories and emotions in a subject by playfully suggesting that a Christmas-party encounter between the two of them went a little further than it did. Adams appears, overpowers Noel, seizes the controls, increases the neutralizer's intensity and brainwashes Kirk into thinking that he has been in love with Noel for years. Kirk and Noel are confined to their quarters. With Kirk's help, Noel reaches the facility's control room through a ventilation duct and interrupts Kirk's next neutralizer session by shutting off power to the entire complex. Freed from the neutralizer, Kirk attacks Adams, leaving him unconscious in the treatment room. A guard discovers Noel's sabotage, restoring power before turning his attention to her. She tricks him by feigning unconsciousness before surprising him with a well aimed kick, propelling him into the circuitry and electrocuting him. She turns off the power. With the force field now off, Spock, McCoy and a security team beam down to the planet. Spock restores power to the colony after disabling the force field. When the power was turned back on, the neutralizer emptied Adams' mind, killing him. Van Gelder recovers his sanity, takes charge of the colony and destroys the neural neutralizer."
Shatner imdb: http://www.imdb.com/name/nm0000638/
South Park Episode 24
""Roger Ebert Should Lay Off the Fatty Foods" is the eleventh episode in the second season of the American animated television series South Park. The 24th episode of the series overall, it originally aired on Comedy Central in the United States on September 2, 1998. The episode was written by series co-creator Trey Parker, along with David Goodman, and directed by Parker. It spoofs the Star Trek episode "Dagger of the Mind". In the episode, the boys visit a planetarium; they soon discover that the operator has sinister intentions involving brainwashing. Meanwhile, Cartman auditions to sing on the Cheesy Poofs advertisement. Despite the title, the episode has nothing to do with Roger Ebert, aside from a brief joke about a fictional "Roger Ebert constellation" during the tour of the planetarium."
The History of The Insanity Defense
"The M'Naghten rule (pronounced, and sometimes spelled, McNaughton) is any variant of the 1840s jury instruction in a criminal case when there is a defense of insanity: that every man is to be presumed to be sane, and ... that to establish a defense on the ground of insanity, it must be clearly proved that, at the time of the committing of the act, the party accused was laboring under such a defect of reason, from disease of the mind, as not to know the nature and quality of the act he was doing; or if he did know it, that he did not know he was doing what was wrong. The rule was formulated as a reaction to the acquittal in 1843 of Daniel M'Naghten on the charge of murdering Edward Drummond, whom M'Naghten had mistaken for British Prime Minister Robert Peel. M'Naghten fired a pistol at the back of Peel's secretary, Edward Drummond, who died five days later. The House of Lords asked a panel of judges, presided over by Sir Nicolas Conyngham Tindal, Chief Justice of the Common Pleas, a series of hypothetical questions about the defence of insanity. The principles expounded by this panel have come to be known as the M'Naghten Rules, though they have gained any status only by usage in the common law and M'Naghten himself would have been found guilty if they had been applied at his trial."
Episode 11 – Dagger of the Mind
The adventures of my favorite one eyed actors and television detectives...
"The eleventh episode of Columbo was titled Dagger of the Mind and was the fourth episode of the show’s second season. Columbo travels to London and finds himself in the middle of a murder investigation involving Shakespearean actors, butlers and cockney handymen. In this podcast Gerry and Iain consider the highs and lows of a controversial episode."
"In a unique episode, compared to what had come before, Columbo was removed from his comfort zone and placed in London to learn from Bernard Fox‘s Detective Chief Superintendent Durk and the team at Scotland Yard. Although there was a limited amount of actual filming in the UK, the whole story unfolded across the Atlantic as Columbo failed to resist involving himself in a foreign investigation. For the first time in Columbo so far we had multiple killers in Dagger of the Mind, as Honor Blackman and Richard Basehart‘s husband-and-wife team accounted for one fatality each. Their victims, John Williams‘ Sir Roger Haversham and Wilfrid Hyde-White‘s outstanding Tanner, play their parts but meet with tragic ends. One of the more debated characters in this episode is Arthur Malet‘s Joe Fenwick, a particularly stereotypical portrayal of a cockney handyman. This exaggerated caricature grated with many viewers, though the character had an important role to play in the unfolding of Columbo’s investigation."
"Columbo broke new ground on November 26, 1972. For the first time ever the Lieutenant stepped outside his LA comfort zone and mixed it up with a bunch of Brits on a work visit to Scotland Yard."
“In a finale that Sherlock himself would be proud of, Columbo gathers all the key players at the wax museum.” As they gather round the waxwork of Sir Roger, Columbo tells them what he thinks happened. The two actors killed Sir Roger in a fight that saw Lilly’s pearl necklace broken and scattered across her dressing room floor. They then moved him to the mansion and set up the scene of an accident. Then Columbo plays his trump card. He conjectures that pearls from the broken necklace could feasibly have ended up in Sir Roger’s umbrella. As the tension mounts, the museum manager slowly opens the umbrella – and a lone pearl rolls out on to the floor. It’s the straw that breaks the camel’s back. Nick is seized by Macbeth-style lunacy and raves crazily in the background. A stunned Lilly comes clean and admits the killing."
The Royal Court Theatre
This was the theatre used in the "Dagger of The Mind" Columbo episode.
"The Royal Court Theatre, at different times known as the Court Theatre, the New Chelsea Theatre, and the Belgravia Theatre, is a non-commercial West End theatre on Sloane Square, in the Royal Borough of Kensington and Chelsea, London, England. In 1956 it was acquired by and remains the home of the English Stage Company and is notable for its contributions to contemporary theatre."
The West End Theatre
"West End theatre is a common term for mainstream professional theatre staged in the large theatres of "Theatreland" in and near the West End of London. Along with New York City's Broadway theatre, West End theatre is usually considered to represent the highest level of commercial theatre in the English-speaking world. Seeing a West End show is a common tourist activity in London. In 2013, ticket sales reached a record 14.4 million, making West End theatre the largest English-speaking audience in the world. Famous screen actors, British and international alike, frequently appear on the London stage."
" Theatre in London flourished after the English Reformation. The first permanent public playhouse, known simply as The Theatre, was constructed in 1576 in Shoreditch by James Burbage. It was soon joined by The Curtain. Both are known to have been used by William Shakespeare's company. In 1599, the timber from The Theatre was moved to Southwark, where it was used in building the Globe Theatre in a new theatre district formed beyond the controls of the City corporation. These theatres were closed in 1642 due to the Puritans who would later influence the interregnum of 1649. After the Restoration (1660), two companies were licensed to perform, the Duke's Company and the King's Company. Performances were held in converted buildings, such as Lisle's Tennis Court. The first West End theatre, known as Theatre Royal in Bridges Street, was designed by Thomas Killigrew and built on the site of the present Theatre Royal, Drury Lane. It opened on 7 May 1663 and was destroyed by a fire nine years later. It was replaced by a new structure designed by Christopher Wren and renamed the Theatre Royal, Drury Lane. Outside the West End, Sadler's Wells Theatre opened in Islington on 3 June 1683. Taking its name from founder Richard Sadler and monastic springs that were discovered on the property, it operated as a "Musick House", with performances of opera; as it was not licensed for plays. In the West End, the Theatre Royal Haymarket opened on 29 December 1720 on a site slightly north of its current location, and the Royal Opera House opened in Covent Garden on 7 December 1732. The Patent theatre companies retained their duopoly on drama well into the 19th century, and all other theatres could perform only musical entertainments. By the early 19th century, however, music hall entertainments became popular, and presenters found a loophole in the restrictions on non-patent theatres in the genre of melodrama. Melodrama did not break the Patent Acts, as it was accompanied by music. Initially, these entertainments were presented in large halls, attached to public houses, but purpose-built theatres began to appear in the East End at Shoreditch and Whitechapel."
Theater in poor districts. Urban living needs social engineering management.
From agricultural based feudal system to industrialized urban feudalism. A rose by any other name... rebranded slavery is still slavery. Tax payers are wage slaves.
"… Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses."
Aristocracy in NYC: https://en.wikipedia.org/wiki/Eyes_Wide_Shut
September 11, 1888
"The torso was matched by police surgeon Thomas Bond to a right arm and shoulder that had previously been discovered on the muddy shore of the River Thames in Pimlico on 11 September. The Times newspaper had initially suspected that the arm was placed in the water as a medical students' prank."
"A dagger of the mind, a false creation"
"Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou marshall'st me the way that I was going;
And such an instrument I was to use.
Mine eyes are made the fools o' the other senses,
Or else worth all the rest; I see thee still,
And on thy blade and dudgeon gouts of blood,
Which was not so before. There's no such thing."
History of Theater
"In the late 18th century, New York's only playhouse was the decaying and increasingly low-brow John Street Theatre. Tired of attending such an establishment, a group of wealthy New Yorkers began planning the construction of a new playhouse in 1795. Investors bought 113 shares at $375 each to cover the estimated $42,375 cost. To plan the structure, the owners hired celebrated architect Marc Isambard Brunel, a Frenchman who had fled to New York to avoid the Reign of Terror and was currently the city's engineer. Part way through construction, however, the project ran out of money. The owners sold more shares for what would eventually mount to a construction cost of more than $130,000. As a cost-saving measure, Brunel's exterior design for the building was not implemented. The resulting three-story structure measured 80 feet (24 m) wide by 165 feet (50 m) deep and was made of plain dressed stone. The overall effect was an air of austerity. The interiors, on the other hand, were quite lavish. The building followed the traditional European style of placing a gallery over three tiers of boxes, which overlooked the U-shaped pit."
"The section of Manhattan where the theatre stood was not stylish: the New Theatre, as it was called, was neighbor to Bridewell Prison, a tent city's worth of squatters, and the local poorhouse. Lewis Hallam, Jr., and John Hodgkinson, both members of the John Street Theatre company, obtained the building's lease. They hired remnants of the Colonial Old American Company to form the nucleus of the theatre's in-house troupe and thus give the establishment the sheen of tradition and American culture. Meanwhile, the men quarreled, and construction continued languorously. The theatre finally held its first performance on 29 January 1798, despite still being under construction. The gross was an impressive $1,232, and, according to theatre historian T. Allston Brown, hundreds of potential patrons had to be turned away."
The English are coming.. no they were already here...
Lewis Hallam Sr.
"Hallam is thought to have been born in about 1714 and possibly in Dublin. His father was also an actor who had been killed by actor Charles Macklin, allegedly over a wig. Many of his siblings were actors and one was said to be an admiral. Hallam had a child Isabella who was baptised in London in 1746. He and his brother, William had only moderate success in Britain and they decided to try their skills in America. Hallam arrived in North America in 1752 with his theatrical company, organized by his brother William, who was joint owner of the company with him. Lewis had been an actor in William's company in England, but it had failed, prompting the North American venture. The new company landed at Yorktown, Virginia. The company began their performances in Williamsburg, then the capital of Virginia Colony. Here they hired a large wooden structure, which was roughly altered to suit their purposes. It was so near the forest that the players were able to shoot wild fowl from the windows of the building. Their opening performance was George Granville's The Jew of Venice, which Hallam billed as Shakespeare's The Merchant of Venice. Music was supplied by a single player on a harpsichord. From Williamsburg, the troupe traveled to Annapolis and Philadelphia. In 1754, Hallam built the first theater in Manhattan on Nassau Street. He and his theatre company also toured throughout the thirteen colonies.mHallam died in Jamaica, where the company had gone to perform. His widow (d. Philadelphia, 1773) married David Douglas, with whom she formed the American Company in 1758. Her son by Lewis, Lewis Hallam, Jr., known as Lewis Hallam the Younger, became an actor in his mother and step father's company."
Lewis Hallam Jr.
"Lewis Hallam Jr. (c. 1740-November 1, 1808) is an England-born American theater manager, son of Lewis Hallam, one of the pioneers of Theater in the United States. In 1769, he performed "Dear Heart! What a Terrible Life I Am Led", the first documented white stage performance of an African American-styled song."
"Hallam came to America in 1752, with his family, and first performed in The Merchant of Venice in Williamsburg, Virginia. After his father's death, he worked with a company run by his mother and stepfather, and Hallam became the star of the company. He was the "earliest known American Hamlet and (played) Arsaces, the hero of the first professionally produced American play, The Prince of Parthia" in 1752. Hallam continued to work in American theatre throughout his life, except for a period, during the American Revolutionary War, when he moved to the West Indies. The theater building at Prince George's Community College in Maryland is named the Hallam Theater."
John Hodgkinson (actor)
"John Hodgkinson (born John Meadowcroft) (1766 - 12 September 1805) was a well-known actor in the United States in the late 18th and early 19th century. He was born in England and came to the United States in 1792. William Dunlap and Hodgkinson managed the John Street Theatre together for a few years in the 1790s."
"Samuel Phelps (born 13 February 1804, Plymouth Dock (now Devonport), Plymouth, Devon, died 6 November 1878, Anson’s Farm, Coopersale, near Epping, Essex) was an English actor and theatre manager. He is known for his productions of William Shakespeare's plays which were faithful to their original versions, after the derived works by Nahum Tate, Colley Cibber and David Garrick had dominated the stage for over a century. Phelps made his début as Shylock in London at the Haymarket Theatre in 1837 and appeared under the management of William Charles Macready at the Theatre Royal, Drury Lane, who recognized Phelps as a potential rival and gave him little opportunity to display his talents, although Phelps did gain popularity in the roles of Captain Channel in Douglas William Jerrold's melodrama The Prisoner of War (1842), and of Lord Tresham in Robert Browning's A Blot in the 'Scutcheon (1843). It was not until the abolition of the Patent monopoly on theatrical production that Phelps was able to take over the management of the then-unfashionable Sadler's Wells Theatre and revolutionize the production of Shakespeare's plays by restoring Shakespearean performances to the original text of the first folio and away from the adaptations by Colley Cibber, Nahum Tate and David Garrick that had been favored by the theatre-going public since the Restoration. Phelps staged all but four of Shakespeare's plays at Sadler's Wells, some of which (like The Winter's Tale and Measure for Measure) hadn't been performed since their premieres at the Globe Theatre."
"The patent theatres were the theatres that were licensed to perform "spoken drama" after the Restoration of Charles II as King of England, Scotland and Irelandin 1660. Other theatres were prohibited from performing such "serious" drama, but were permitted to show comedy, pantomime or melodrama. Drama was also interspersed with singing or dancing, to prevent the whole being too serious or dramatic. Public entertainments, such as theatrical performances, were banned under the Puritan rule in the English Commonwealth. After he was restored to the throne, Charles II issued letters patent to Thomas Killigrew and William Davenant, granting them the monopoly right to form two London theatre companies to perform "serious" drama. The letters patent were reissued in 1662 with revisions allowing actresses to perform for the first time (Fisk 73). Killigrew established his company, the King's Company at the Theatre Royal, Drury Lane in 1663; Davenant established his company, the Duke's Company, in Lisle's Tennis Court in Lincoln's Inn Fields in 1661, later moving to Dorset Garden in 1671. In Dublin, the Theatre Royal opened on Smock Alley in 1662; this building survives and was reopened as a theatre in 2012. After problems under the direction of Charles Killigrew, Thomas' son, the King's Company was taken over by its rival, the Duke's Company in 1682. The two companies merged and the combined "United Company" continued under Thomas Betterton at Drury Lane. After some disagreements, Betterton obtained a licence from William III to form a new company at the old theatre in Lincoln's Inn Fields in 1695, which moved to the Theatre Royal, Covent Garden in 1720 (now the Royal Opera House). The two patent theatres closed in the summer months. To fill the gap, Samuel Foote's Theatre Royal, Haymarket became a third patent theatre in London in 1766. Further letters patent were granted to theatres in other English and Irish towns and cities, including the Theatre Royal, Cork in 1760, the Theatre Royal, Bath in 1768, the Theatre Royal, Liverpool in 1772, and the Theatre Royal, Bristol in 1778. These monopolies on the performance of "serious" plays were eventually revoked by the Theatres Act 1843, but censorship of the content of plays by the Lord Chamberlain under Robert Walpole's Theatrical Licensing Act of 1737 continued until 1968."
ABSURD USO TOURS
"There was a sense of emergency among leading politicians in France in the summer of 1793 between the widespread civil war and counter-revolution. Mr. Barère exclaimed on 5 September 1793 in the Convention: "Let's make terror the order of the day!" They were determined to avoid street violence such as the September Massacres of 1792 by taking violence into their own hands as an instrument of government."
"terrorism (n.) 1795, in specific sense of "government intimidation during the Reign of Terror in France" (March 1793-July 1794), from French terrorisme, noted in English by 1795 as a coinage of the Revolution, from Latin terror "great fear, dread, alarm, panic; object of fear, cause of alarm; terrible news," from PIE root *tres- "to tremble" (see terrible)."
"The September Massacres were a wave of killings in Paris and other cities from 2–7 September 1792, during the French Revolution. There was a fear that foreign and royalist armies would attack Paris and that the inmates of the city's prisons would be freed and join them. Radicals called for preemptive action. The action was undertaken by mobs of National Guardsmen and some fédérés; it was tolerated by the city government, the Paris Commune, which called on other cities to follow suit. By 6 September, half the prison population of Paris had been summarily executed: some 1200 to 1400 prisoners. Of these, 233 were nonjuring Catholic priests who refused to submit to the Civil Constitution of the Clergy. However, the great majority of those killed were common criminals. The massacres were repeated in many other French cities. No one was prosecuted for the killings, but the political repercussions first injured the Girondists (who seemed too moderate) and later the Jacobins (who seemed too bloodthirsty)"
Justice League Film
Third part of Superman as savior trilogy. The character Cyborg represents the power of the internet and Superman represents natural truth.
"Resurrectionists were commonly employed by anatomists in the United Kingdom during the 18th and 19th centuries to exhume the bodies of the recently dead. Between 1506 and 1752 only a very few cadavers were available each year for anatomical research. The supply was increased when, in an attempt to intensify the deterrent effect of the death penalty, Parliament passed the Murder Act 1752. By allowing judges to substitute the public display of executed criminals with dissection (a fate generally viewed with horror), the new law significantly increased the number of bodies anatomists could legally access. This proved insufficient to meet the needs of the hospitals and teaching centres that opened during the 18th century. Corpses and their component parts became a commodity, but although the practice of disinterment was hated by the general public, bodies were not legally anyone's property. The resurrectionists therefore operated in a legal grey area. Nevertheless, resurrectionists caught plying their trade ran the risk of physical attack. Measures taken to stop them included the use of increased security at graveyards. Night watches patrolled grave sites, the rich placed their dead in secure coffins, and physical barriers such as mortsafes and heavy stone slabs made extraction of corpses more difficult. Body snatchers were not the only people to come under attack; in the public's view, the 1752 Act made anatomists agents of the law, enforcers of the death penalty. Riots at execution sites, from where anatomists collected legal corpses, were commonplace. Matters came to a head following the Burke and Hare murders of 1828. Parliament responded by setting up the 1828 Select Committee on anatomy, whose report emphasised the importance of anatomical science and recommended that the bodies of paupers be given over for dissection. In response to the discovery in 1831 of a gang known as the London Burkers, who apparently modelled their activities on those of Burke and Hare, Parliament debated a bill submitted by Henry Warburton, author of the Select Committee's report. Although it did not make body snatching illegal, the resulting Act of Parliament effectively put an end to the work of the resurrectionists by allowing anatomists access to the workhouse dead."
Sections 9 and 11 of The Murder Act
"The Act included the provision "for better preventing the horrid crime of murder" "that some further terror and peculiar mark of infamy be added to the punishment", and that "in no case whatsoever shall the body of any murderer be suffered to be buried", by mandating either public dissection or "hanging in chains" of the cadaver. The Act also stipulated that a person found guilty of murder should be executed two days after being sentenced unless the third day was a Sunday, in which case the execution would take place on the following Monday. On 1 July 1828, this Act was repealed, as to England, by section 1 of the Offences Against the Person Act 1828 (9 Geo 4 c 31), except so far as it related to rescues and attempts to rescue. The corresponding marginal note to that section says that effect of this was to repeal the whole Act, except for sections 9 and 10.
Section 1 This section was repealed by section 1 of, and the Schedule to, the Statute Law Revision Act 1871.
Section 9 This section provided that any person who, by force, set at liberty or rescued, or who attempted to set at liberty or rescue, any person out of prison who was committed for, or convicted of, murder, or who rescued or attempted to rescue, any person convicted of murder, going to execution or during execution, was guilty of felony, and was to suffer death without benefit of clergy. This death penalty was reduced to transportation for life by the Punishment of Offences Act (1837).
Section 11 This section was repealed by section 1 of, and the Schedule to, the Statute Law Revision Act 1871."
"Resurrectionists have also been known to hire women to act the part of grieving relatives and to claim the bodies of dead at poorhouses. Women were also hired to attend funerals as grieving mourners; their purpose was to ascertain any hardships the body snatchers may later encounter during the disinterment. Bribed servants would sometimes offer body snatchers access to their dead master or mistress lying in state; the removed body would be replaced with weights."
The Possible Origins of Some of The Whitehall "Victims"
"The Anatomy Act 1832 (2 & 3 Will. IV c.75) is an Act of Parliament of the United Kingdom that gave freer licence to doctors, teachers of anatomy and bona fide medical students to dissect donated bodies. It was enacted in response to public revulsion at the illegal trade in corpses."
"Body snatching is the secret removal of corpses from burial sites. A common purpose of body snatching, especially in the 19th century, was to sell the corpses for dissection or anatomy lectures in medical schools. Those who practiced body snatching were often called "resurrectionists" or "resurrection-men". A related act is grave robbery, uncovering a tomb or crypt to steal artifacts or personal effects, however grave robery differs from body snatching in that grave robbing does not involve stealing the corpse itself."
Propaganda– History is a Weapon (1928) by Edward Bernays link: http://www.historyisaweapon.com/defcon1/bernprop.html
"The Licensing Act of 1737 was a pivotal moment in theatrical history. Its purpose was to control and censor what was being said about the British government through theatre. The act was modified by the Theatres Act 1843 and was finally named as the Theatres Act 1968."
The power of the number 11 revealed:
"The Armistice that ended the fighting in western Europe of the First World War took effect at 11 a.m. Paris time on November 11, 1918, "the eleventh hour of the eleventh day of the eleventh month". "
1963: The Yellow Smiley Face is Born
"A smiley (sometimes called a happy face or smiley face) is a stylized representation of a smiling humanoid face that is a part of popular culture worldwide. The classic form designed by Harvey Ball in 1963 comprises a yellow circle with two black dots representing eyes and a black arc representing the mouth "
Smile, you're on candid camera... The Smiley Face Murders
"The Smiley face murder theory (variations include Smiley face murders, Smiley face killings, Smiley face gang, and others) is a theory advanced by two retired New York City detectives, Kevin Gannon and Anthony Duarte, that a number of young men found dead in bodies of water across several Midwestern American states over the last decade did not accidentally drown, as concluded by law enforcement agencies, but were victims of a serial killer or killers. The term smiley face became connected to the alleged murders when it was made public that the police had discovered graffiti depicting a smiley face near locations where they think the killer dumped the bodies in at least a dozen of the cases. The response of law enforcement investigators and other experts to Gannon and Duarte's theory has been largely skeptical."
"The ‘Smiley Face Killer’ Theory That Connects 40 College Students’ Deaths"
"Is a shadowy but organized cabal of serial killers responsible for murdering 40 or so drunken white college-aged males and then dumping their cadavers in waterways to wash away the physical evidence? And are these demented ’n’ demonic bastards taunting police by drawing smiley faces near where they send the bodies to a watery grave? Should we—as Americans generally, but more specifically the drunken white college-aged males among us—be very, very afraid? Or is the “Smiley Face Killers” theory simply some implausibly grandiose delusion concocted by a pair of attention-starved former police detectives who’ve woven a fairy tale around what most experts insist is a string of accidental and unrelated drownings? In other words, is the theory for real…or just really dumb? Either way, it is stubbornly persistent. It won’t die, no matter how many people try to kill it. In 2008, retired New York police detectives Frank Gannon and Anthony Duarte went public with what many have dismissed as a cockamamie theory. They claimed that starting around 1997 and stretching across eleven states from New York to Minnesota, more than three dozen waterlogged corpses that had been dredged from rivers and lakes and ponds shared too many similarities for it all to be coincidental..."
"Why debunked 'Smiley Face' killer theory emerged in Hudson River deaths"
"HOBOKEN -- Soon after the recent discovery of a young Hoboken man's body in the Hudson River, discussions suggesting there were links to other drownings in the city and to a larger debunked conspiracy theory started to appear in comments on news stories and in social media. 24-year-old Matthew Genovese was found in the Hudson River in Hoboken on Jan. 26, after last being seen drinking with friends days before at a local pub. Genovese had left the pub to walk home alone. Despite authorities asserting that there are no indications of "foul play" in the case, several people have commented online linking Genovese -- and three other cases in the past two years in which young men also ended up in the Hudson River in Hoboken after last being seen drinking with friends -- to a roughly 10-year-old conspiracy theory that was debunked six years ago by a leading center for homicide research."
"The theory, which gained its name from "smiley face" graffiti found near some of the police scenes, has been derided by skeptical researchers. It was promoted starting in the 2000s by two retired New York Police Department detectives, Anthony Duarte and Kevin Gannon, who now work at a private New York-based investigation firm called "Nationwide Investigations." In 2010, the Minnesota-based Center for Homicide Research released a list of 18 reasons it believes the theory deserves to be dismissed, based on a review of news articles and other studies (see box). Dallas Drake, the co-founder of the Center for Homicide Research and its principal researcher, said those promoting this theory are making unreasonable conclusions."
DC Comics: The Joker
"The Joker is a fictional supervillain created by Bill Finger, Bob Kane, and Jerry Robinson who first appeared in the debut issue of the comic book Batman (April 25, 1940), published by DC Comics. Credit for the Joker's creation is disputed; Kane and Robinson claimed responsibility for the Joker's design, while acknowledging Finger's writing contribution. Although the Joker was planned to be killed off during his initial appearance, he was spared by editorial intervention, allowing the character to endure as the archenemy of the superhero Batman."
"However, his chemical genius provides his most-notable weapon: Joker venom, a liquid or gaseous toxin which sends its targets into fits of uncontrollable laughter; higher doses can lead to paralysis, coma or death, leaving its victim with a ghoulish, pained rictus grin"
DC Comics – The Watchmen logo: "...blood-stained smiley face..."
"Creatively, the focus of Watchmen is on its structure. Gibbons used a nine-panel grid layout throughout the series and added recurring symbols such as a blood-stained smiley face. All but the last issue feature supplemental fictional documents that add to the series' backstory, and the narrative is intertwined with that of another story, an in-story pirate comic titled Tales of the Black Freighter, which one of the characters reads. Structured at times as a nonlinear narrative, the story skips through space, time and plot. In the same manner, entire scenes and dialogue have parallels with others through synchronicity, coincidence and repeated imagery."
It's All A Yellow Journal Joke
"Gilbert Gottfried on His Infamous 9/11 Joke and ‘Too Soon’"
"It was a couple of weeks after 9/11. There was a weird feeling in New York. People were walking around in a daze. I was at the roast of Hugh Hefner, and I just wanted to be the first person to make a really-poor-taste joke about September 11. It was impromptu; I don’t remember thinking about it beforehand. I said, “I have to leave early tonight, I have a flight to California. I can’t get a direct flight — they said I have to stop at the Empire State Building first.”
"Today Gilbert Gottfried revisits the 9/11 joke he told at a Friars Club Roast of Hugh Hefner mere weeks after the attack. It kicked off the trend of jokes being delivered “too soon,” which still continues to this day. (That joke, and his legendary version of the Aristocrats that followed, were completely scrubbed ..."
"The Aristocrats is a 2005 American documentary comedy film about the famous dirty joke of the same name. It was conceived and produced by comedians Penn Jillette and Paul Provenza, edited by Emery Emery, and released theatrically by TH!NKFilm. The film is dedicated to Johnny Carson, as "The Aristocrats" was said to be his favorite joke. "The Aristocrats" is a longstanding transgressive joke amongst comedians, in which the setup and punchline are almost always the same (or similar). It is the joke's midsection – which may be as long as the one telling it prefers and is often completely improvised – that makes or breaks a particular rendition. The joke involves a person pitching an act to a talent agent. Typically the first line is, "A man walks into a talent agent's office." The man then describes the act. From this point, up to (but not including) the punchline, the teller of the joke is expected to ad-lib the most shocking act they can possibly imagine. This often involves elements of incest, group sex, graphic violence, defecation, coprophilia, necrophilia, bestiality, child sexual abuse, and various other taboo behaviors."