MetaFilter posts tagged with California

America's 10 Worst Prisons

zarq — Tue, 14 May 2013 09:15:31 -0800

"'If you can't do the time, don't do the crime.' So goes the old saying. Yet conditions in some American facilities are so obscene that they amount to a form of extrajudicial punishment." Mother Jones is profiling "America's 10 Worst Prisons." Facilities were chosen for the list based on "...three years of research, correspondence with prisoners, and interviews with reform advocates." The List 1: ADX (federal supermax: "A federal isolation facility that's "pretty close" to hell.") 2: Allan B. Polunsky Unit (Texas: "'The hardest place to do time in Texas'—and then you die.") 3: Tent City Jail (Phoenix: Feds say notorious facility has a 'pervasive culture of discriminatory bias against Latinos.') 4: Orleans Parish (Louisiana: "'A violent and dangerous institution,' says the Justice Department.") 5: LA County Jail (Los Angeles: "And you thought the Rodney King beating was bad?") 6: Pelican Bay (California: "Where a Christmas card might land you in the hole.") 7: Julia Tutwiler (Alabama: "Prisoners fear 'that it's not safe to take a shower, that it's not safe to go to sleep...that you can be manipulated into sexual favors, it's really horrific.'") 8: Reeves Country Detention Complex (Texas: "An overcrowded, understaffed lockup—with health care bad enough to spark riots.") 9: Walnut Grove Youth Correctional Facility (Mississippi: "'A picture of such horror as should be unrealized anywhere in the civilized world.'") 10: Riker's Island (New York City: "New York City lockup has a "deeply entrenched" pattern of violence by guards, lawsuit claims.") The piece will conclude tomorrow with a list of "Dishonorable Mentions." Accompanying Articles (Some are older pieces covering the same topic) * Maps: Solitary Confinement, State by State: "An exclusive review of how state prisons use isolation to discipline inmates and weed out gang members." * God's Own Warden: "If you ever find yourself inside Louisiana's Angola prison, Burl Cain will make sure you find Jesus—or regret ever crossing his path." * The Silent Treatment: "Imagine serving decades in prison for a crime your sibling framed you for. Now imagine doing it while profoundly deaf." * Solitary in Iran Nearly Broke Me. Then I Went Inside America's Prisons: "We throw thousands of men in the hole for the books they read, the company they keep, the beliefs they hold. Here's why." (Previously on Mefi) * Life in the Hole: Inside a Solitary Cell: "A guided tour of the seven-by-eleven-foot space where inmates spend 23 hours a day."

Mapping transit inequality

liketitanic — Wed, 08 May 2013 07:18:34 -0800

Dan Grover and Mike Belfrage have mapped transit inequality in the Bay Area after reading a New Yorker piece on the New York City subway (previously). The ways in which a widening income gap are changing the demography of San Francisco have been widely reported of late (previously, previously). The project's code is available if you'd like to try mapping your own city.

"it’s one thing to survive, and another to live."

zarq — Wed, 01 May 2013 13:05:20 -0800

This past September, Jessica Ann Lum won a "Best Feature" award in the student-journalist category from the Online News Association, for her Master's project: "Slab City Stories." Less than four months later, on January 13, 2013, she passed away. She was 25. "Jessica loved to tell people’s stories. This is hers." CJR: More of Jessica Lum's work. Also of interest: Mission Bike Portraits From 2009: Online posts help cancer patient share feelings. Ms. Lum was diagnosed with terminal Stage IV metastatic pheochromocytoma in 2008. Her article archive at UCLA's Daily Bruin includes: 'Journalism’s richest experiences are created by the people.' Additional Obituaries * The Daily Bruin * The Sacramento Bee * Daily Californian Slab City Slab City, CA is a makeshift town created by squatters on a former Marine base-turned-squatter-RV-park in the California desert. It was previously covered on MeFi back in 2004. "Slab City Stories" was featured on NPR back in October. The community posted an obituary announcement for Ms. Lum in January: "The piece she did on Slab City is what brought her to us, the residents of Slab City. Her sensitive engaging pictures and recounting of residents’ own stories endeared her to us. She earned our full respect. Respect that is not freely given to many media groups that enter our gates. She lived with us for weeks at a time more than once to truly get a feel for who we are. She was not like other media visitors that blasted in looking for a quick buck, taking quick shots, manipulating the ”stories” into the director’s preconceived staged “documentary”. … We would like her family to know: She will be remembered as one of our kindred spirits."

Motorcycle crashes at Edwards Corner

gottabefunky — Wed, 01 May 2013 10:32:00 -0800

"The Snake" on Mulholland Highway is a notoriously twisty stretch of road near Los Angeles, especially popular with motorcyclists. So many crashes happen at "Edwards Corner" that photographers camp out to film them. The results can be terrifying, or oddly mesmerizing.

SCOTUS Hears Oral Arguments in Prop 8 Case

insectosaurus — Tue, 26 Mar 2013 09:54:56 -0800

Earlier today, the Supreme Court heard oral arguments in the California Prop 8 case, Hollingsworth v. Perry. SCOTUSblog has a round-up of their analysis of today's arguments here. NYT article. LA Times article. The full audio of today's arguments and an unofficial transcript are available on the Supreme Court website. For background information on the case, see SCOTUSblog's Perry page here. Previously.

I believe I can fly

Room 641-A — Sun, 10 Mar 2013 10:25:02 -0800

R/C cameraman Robert Mcintosh takes you soaring high above Santa Monica, Venice, and San Francisco. Float through the air as you glide along the beach and up through the spokes of the Ferris wheel over the Santa Monica Pier. Then head a mile or two south and get a bird's eye view of Venice's Muscle Beach. When your head has stopped spinning you can take in San Francisco and the Golden Gate Bridge or get away from it all (including the ground) out at at Vasquez Rocks. Note: You may want to keep the Dramamine handy.

Welcome to the Rest of California

.kobayashi. — Mon, 04 Feb 2013 10:57:17 -0800

Lisa Hamilton's Real Rural project uses photographs and interviews to document the lives of people living on California's farms and in its small towns. Hamilton's work on the Real Rural project has been praised by NPR.org & The Columbia Journalism Review. And today, Alexis Madrigal (of The Atlantic) contrasts the project with Dodge's arresting Super Bowl halftime ad, "Farmer."

"This was not a complex killing"

Benjy — Tue, 15 Jan 2013 20:47:49 -0800

On Monday, a 12-year-old California boy was convicted of the second-degree murder of his father, regional Neo-Nazi leader Jeff Hall. Prosecutors were successful with their claim that the boy was guilty of a “premeditated and deliberate” crime when the then 10-year-old shot his father, citing testimony from the youth's younger sister and the boy's history of violence and aggression. The boy admitted to taking his father's .357 handgun from a closet early one morning and shooting him as he lay sleeping on the couch. The defense unsuccessfully pointed to the fact that Child Protective Services had been called to the home over 20 times due to reports of abuse and the fact the the boy, who was expelled from several schools after aggression towards peers and teachers, was being home-schooled. The youth could potentially be kept in juvenile detention facilities until age 23.

"Corporations are people, Officer!"

the man of twists and turns — Thu, 10 Jan 2013 00:45:24 -0800

'If Corporations Are People, Can They Ride In The Carpool Lane?' "Motorist Claims Corporation Papers Are Carpool Passengers" and has apparently been doing this for a while, hoping to take it to court. California Vehicle Code Section 470:'"Person" includes a natural person, firm, copartnership, association, limited liability company, or corporation.'

Huell Howser, a fine example of California Gold, passed away

kendrak — Mon, 07 Jan 2013 13:54:23 -0800

Huell Howser, best known as the host of California Gold, passed away today. He was 67. I hope he's up there swimming in the Neptune pool. (previously)

La Madonna Inn E Mobile

The Whelk — Mon, 31 Dec 2012 03:32:00 -0800

Aria was an art movie/promotional stunt put out by Virgin Media in 1987 with famous directors providing a music-video take on various opera pieces. ( A full review by That Opera Chick). Of particular note is Julien Temple's (Of Earth Girls Are Easy fame) adaptation of Verdi's Rigoletto as a zany, cartoonish, ecstasy-fueled and very 80s farce set at the infamous Madonna Inn. Watch the whole delirious sequence here.

Adolph Sutro

MattMangels — Sun, 09 Dec 2012 19:32:06 -0800

Anyone who has spent any time at all on the Western side of San Francisco is familiar with the name Sutro. Being the 24th mayor of the City was actually one of his smaller and lesser-known accomplishments. Born in Prussia in 1830, he first made a name for himself with The Sutro Tunnel, which was used to drain water from underneath the Comstock Lode, improving working conditions and lowering the mine's operating costs. He sold his interest in the company he founded and left for San Francisco, where he built himself a mansion, among other things... The Sutro Baths: Located at Land's End, it contained not just swimming pools, but also a museum and a concert hall. Opened in 1896, the largest pool (or "tank" as it as known) was converted into an ice-skating (and later roller-skating) rink in its later years. The structure was set to be demolished when a fire broke out, in what was apparently no accident, in June of 1966. The ruins of the Baths are now an attraction in and of themselves. Across the street you can walk around the area that was once his estate. The Baths were sadly not the only structure Sutro financed to be destroyed by fire. He was responsible for the most elaborate (and short-lived) incarnation of the Cliff House (pictured here), which opened in 1896 and burned to the ground in 1907. Rising above even the thickest fog, Sutro Tower broadcast signals for 11 TV stations and four FM radio stations. It is located atop Mt. Sutro, which along with Mt. Davidson was completely barren before Mr. Sutro enlisted schoolchildren to plant trees (mostly Eucalyptus) as windbreaks.

The Inside Story of Pong

Blazecock Pileon — Fri, 30 Nov 2012 20:32:00 -0800

The Inside Story Of Pong - On Nov. 29, 1972, a crude table-tennis arcade game in a garish orange cabinet was delivered to bars and pizza parlors around California, and a multi-billion-dollar industry was born. Here's how that happened, direct from the freaks and geeks who invented a culture and paved the way for today's tech moguls.

A-MAZ-ing!

Guy Smiley — Wed, 28 Nov 2012 16:19:54 -0800

According to the Sacramento Bee, Huell Howser is retiring. Best known for his public television show, California's Gold and his boundless enthusiasm, Mr. Howser is "retiring from filming new shows or making appearances."

Up through Los Angeles came a bubblin' crude: Southern California was the Kuwait of the Jazz Age, turning a religious piano teacher into an oil baroness

filthy light thief — Mon, 19 Nov 2012 21:43:23 -0800

"In 1925, California supplied [much] of the world’s oil (Google quickview, original PDF) and much of it came from pumps in the Southland (quickview, PDF). To date, around 9 billion barrels of oil have been produced in the Los Angeles area. There are still over 30,000 active wells here pumping around 230 million barrels of oil a year, making Los Angeles County the second most productive oil county in California (although the quality of the oil here is somewhat low by today’s standards). There are 55 known oil fields in the Los Angeles area and 11 of them are located in a very urban context. This setting makes the oil extraction process in Los Angeles unique." Things to do in LA: Urban Oil Wells In Los Angeles, Part I and Part II. Though they missed the initial California oil boom of 1865-66, Edward Doheny and Charles Canfield are the two names most closely associated with the history of oil in California, when in 1892 they were the first to drill an oil well in the city of Los Angeles, striking black gold 200 feet down with a sharpened 60-foot-long eucalyptus tree trunk. It wasn't until 1916 that a really productive well was drilled on Signal Hill, leading to the nickname Porcupine Hill, for the sheer number of oil derricks. Between the first well dug by Doheny and Canfield and Porcupine Hill, there was the deeply religious piano teacher-turned-wildcatter, Emma A. Summers. Summers invested $700 she had earned from teaching piano for a half interest in a well just a few blocks from Doheny’s producer. When that first gamble paid off, she bought more wells, until she 1901, when she was operating fourteen paying wells of her own and leasing others, and even owned forty horses and ten wagons to distribute her oil, bypassing local oil brokers. She even had her own blacksmith shop to maintain her 10 four-horse teams, and the shop did custom work on the side. This sort of business acumen was remarkable for a women of that era, earning her an article in the San Francisco Call, which wrote

If Mrs. Emma A. Summers were less than a genius she could not, as she does to-day, control the Los' Angeles oil markets. And such a modest, shy and very womanly woman Is this California oil queen! A man In her place would enjoy success better with all the world looking on, but Mrs. Summers hides away from the lime-light and shrinks from the gaze of the public eye. The names of men who have made fortunes since a sea of oil was discovered under California's crust are known the length and breadth of the state and beyond. But this woman who handles a good fourth of the output of the Los Angeles field is scarce-known as an operator except by those with whom she deals and her own personal friends.

Her empire grew greatly with the increased oil demand in World War I, earning her the credit of being one of the largest and most successful operators on the Pacific coast (Google books; Archive.org). With such wealth, she ventured into real estate, including theaters, apartment houses, several San Fernando Valley ranches, and the Summers Paint Co. She moved to the new "suburbs" out Wilshire Boulevard in 1909, though soon moved to a mansion on Wilshire Place. In the 1930s, she lived in a home on California Street, which she turned into an elegant and profitable hotel appropriately called the Queen, and lived there for a while. Summers lived out her remaining years at the Biltmore and Alexandria hotels, though by 1940 she moved to a nursing home in Glendale, passing away November 27, 1941. She was 83 years old. The Los Angeles oil industry outlived Emma Summers, and was recognized as an integral part of the County of Los Angeles in 1957, when the County seal was updated to include oil derricks alongside emblems for culture, agriculture, dairy, fishing, engineering and construction, and the county's Spanish history. Oil production peaked in 1985 at 424 million barrels, 13 percent of the U.S. total production. It was at this same time that Signal Hill, no longer covered with spines of numerous visible oil derricks, shifted from an old oil town and blue-collar enclave into an upscale neighborhood. Dropping production and falling gas prices lead to decreased pumping, until 2005, when prices were high enough to bring long-quiet derricks back to life. But with the increased development and density in Los Angeles, the new and newly active wells are generally quiet, if at all visible. VICE video from 2009: Oil of L.A. (Alt: YouTube). (8:58)

When we first heard L.A. being described as an oil town, we went around looking for evidence of it. It's the 3rd largest oil field in the country. We expected pumps, drills, something that would tell us that oil was here.... We found out that L.A. oil is still thriving, it's just gone underground.

The Center For Land Use Interpretation's Urban Crude project hosted a bus tour in 2010 of various oil-related sites in the LA basin. An extensive write-up of the tour is online, complete with locations and photos of the sites. The Los Angeles Times has another, much shorter, write-up on a 2010 petro-tour. Both mention the La Brea Tar Pits, probably the most famous oil-related place in L.A. Still, some long-abandoned oil wells are staying dead, capping an era of L.A. oil exploration, and affordable apartments will replace the old restaurant, butcher shop and office building that were adjacent to a now-plugged oil well.

Why did Prop 37 Fail?

Scientist — Thu, 15 Nov 2012 10:25:31 -0800

Why did Prop 37, the GMO labeling bill, fail? Ernest Miller of KCET argues that it wasn't money, but message. Proposition 37, a Mandatory Labeling of Genetically Engineered Food Initiative was a Californian ballot measure which was recently defeated 53.1% to 46.9%. There's no denying that the "No" campaign outspent the "Yes" campaign by approximately five to one, but is that the only reason that it failed? Arguments for and against the bill in the California Official Voter Guide show the opposition portraying the bill as a flawed and costly measure that would raise grocery prices without meaningfully providing the consumer protections that the bill ostensibly was written to put in place. Meanwhile, supporters asserted that the bill would create accurate labels for food and improve the ability of consumers to make informed decisions about their health. Proponents of the bill stressed the "right to know" about the contents of food sold in stores, but KCET argues (same as first link) that in the absence of a compelling and well-publicized case for a need to know, voters prioritized their pocketbooks over that knowledge.

Prop 34

likeatoaster — Sun, 04 Nov 2012 16:20:51 -0800

Among the ballot initiatives up for consideration on Tuesday is California's Proposition 34, which would eliminate the death penalty in favor of life imprisonment without parole. If successful, this measure would make California the 18th state to abolish capital punishment, following Connecticut's April 2012 abolition. It would also apply retroactively to the 727 people currently on death row in the state, the most of any state in the country by nearly 100%. While support has been increasing for Prop 34, as many as 17% of California voters remain undecided. The potential elimination of the death penalty in another state this year has additional implications for death penalty abolitionism in general, as the Supreme Court has interpreted the 8th Amendment's ban on cruel and unusual punishment to turn on evolving standards of decency, as measured in part by the number of states condoning the practice.

Coronet Instructional Films

Blasdelb — Thu, 01 Nov 2012 12:32:58 -0800

From the mid 40s to the mid 50s Coronet Instructional Films were always ready to provide social guidance for teenagers on subjects as diverse as dating, popularity, preparing for being drafted, and shyness, as well as to children on following the law, the value of quietness in school, and appreciating our parents. They also provided education on topics such as the connection between attitudes and health, what kind of people live in America, how to keep a job, supervising women workers, the nature of capitalism, and the plantation System in Southern life. Inside is an annotated collection of all 86 of the complete Coronet films in the Prelinger Archives as well as a few more. Its not like you had work to do or anything right? Dating

Dating: Do's and Don'ts (12:26) -1949 Shows the progress of the date, from choosing the right girl and asking her through the last "good night." This social guidance "how-to" film has received more camp accolades than any other, and deserves it. Alan Woodruff ("Woody") receives a ticket to admit one couple to the upcoming Hi-Teen Carnival. "One couple," Woody reflects. "That means a date! Not like just going around with the crowd!" Woody decides to ask Ann Davis, who, the narrator points out, "knows how to have a good time." With her perpetual squint and chipmunk cheeks, Ann (pronounced "Ay-yun" by the actors in this film) is the perfect companion for super-nerd Woody. At crucial moments in the date, the narrator stops the action and presents Woody with several possible options for his actions. Happily, Woody makes all the correct decisions and ends up walking home from Ann's doorstep whistling with satisfaction at a job well done. "Thanks so much," says Ann with a toothy grin. "I had LOADS of fun." Rare (but incomplete) Kodachrome version. Going Steady? (10:37) -1951 Attempts to provoke teens into discussion on the complex issue of going steady. Provides little support for the practice. How Do You Know It's Love? (12:58) -1950 Gives students a basis for thinking clearly about real love and shows that mere conviction of love is not enough to insure lasting happiness. A drama. Young "Nora" (star of Writing Better Social Letters and future star of How To Say No) thinks she's in love with equally young Jack. Mom gives Nora some general advice (borrowed almost word for word from Are You Ready For Marriage?), and Nora and Jack have dinner with Bob (Jack's older brother) and Jean (Jack's fiance). Nora spends her time thinking about her mother's advice and comparing her relationship to Jack and Jean's. Common sense triumphs, Nora realizes she isn't really in love, and everybody is happy in the end. One of the few Coronet productions to use background music (the "wistful" theme) within the film as a narrative bridge -- to good effect. How Much Affection? (19:59) -1957 How far can young people go in petting and still stay within the bounds of personal standards and social mores? How to Be Well Groomed (10:41) -1949 This film details the grooming rituals of brother Don and sister Sue. Both are incredibly neat; in fact, grooming seems to occupy their entire day, while their evenings are spent ironing outfits and polishing shoes. The work load is so heavy it requires two narrators! Features some excellent voice over lines, including: "Sue avoids red nail polish since it would call attention to her stubby hands." "Mother too keeps up a good appearance even around the house, for that keeps up her spirits." "Their good grooming habits help them in friendships and business. For your success depends a great deal on how you look." What to Do on a Date (10:46) -1950 A high school senior learns how and where to ask a girl for a date, where to take her for a good time, and how to avoid spending too much money or being bored by commercialized amusements. One of the most entertaining films in the social guidance genre, principally because of the bad acting of goony "Nick Baxter." Nick wants to go out on a date with Kay, but he's afraid she'll say no. He finally works up the courage to ask her to the movies (to see Wagon Train), but since she's already seen it, they decide to go to the high school scavenger sale instead. And, boy, do they ever have fun! Nick discovers that Kay likes the same things he does (miniature golf, taffy pulls and weenie roasts) and these two social oddballs are well on their way to a meaningful relationship. Are You Ready for Marriage? (16:04) -1950 Two teenagers, wishing to marry early, visit their minister for advice and receive counseling, some of it quite pragmatic, the rest a little strange. Larry and Sue, a couple of fresh-scrubbed teens, want to get hitched -- but Sue's parents disapprove. The two lovebirds decide their only recourse is to visit "Mr. Hall," a marriage counselor with incredibly wide lapels on his suit jacket. He shows them some very scientific looking graphs and a "psychological distance board" complete with tiny wooden dolls tied together with piano wire and shoelaces and -- somehow -- this helps them understand that they should wait until they're older. Educational Screen remarked; "The producers are to be complimented on creating an atmosphere of life-like situations." Good stuff, and the cast is a veritable Who's Who of classroom films: "Sue" starred in How To Be Well Groomed, her "dad" had the feature role in Build Your Vocabulary, Mr. Hall played "Treadway" in The Middletons At The World's Fair, and "Larry" went on to play a heroin junkie in Drug Addiction. Marriage Is a Partnership (16:21) -1951 Flashback on the problems, adjustments and transformations occurring in the first year of a couple's married life. Pretty surprising film coming from Coronet about the "honeymoon is over" drama that newlyweds face. The marriage between Dotty and Pete is pretty traditional--Dotty quits her job to be a homemaker once they are married--but some more modernistic ideas come out, such as the idea that the two newlyweds decide together how the money that Pete earns will be spent, and the small mentions of sex. (!!) The "educational collaborator" listed at the beginning, Lemo Rockwood, was a professor at Cornell University, and her marriage course advocated sexual frankness and pre-marital experimentation, so it's easy to see her stamp on this film.

Social Guidance for Teenagers

Are You Popular? (9:53) -1947 Dramatizes behavior of two teen-agers to illustrate characteristics of personality which lead to popularity & success in dating. Contrasts carolyn, attractive newcomer in high school, with ginny, who is willing to date all the boys but is unpopular with both boys & girls. Shows how carolyn & wally are careful of their appearance, polite, considerate in arranging dates, etc. One of the best examples of post-World War II social guidance films, with examples of "good" and "bad" girls, proper and improper dating etiquette, courtesy to parents, and an analysis of what makes some people popular and others not. A scream and a sobering document of postwar conformity. Mind-boggling double-standard for the "bad" boy and the "bad" girl. Classic Coronet. "Caroline and her mother had found one way a girl can repay a boy for entertaining her [...] perhaps they could bring another couple home with them. That would be fun." How to Say No: Moral Maturity (10:31) -1951 How to say no to unwanted smoking, drinking and petting, and still keep your friends. "How can you say no and still keep your friends?" A discussion group of earnest, clean-cut teens talk directly to the camera as they (and we) flash back to situations where they had to say no: Drinking beer after football practice, smoking cigarettes at a pajama party, and the ever-popular "petting." Control Your Emotions (13:18) -1950 Well-balanced emotions help to create a well-rounded personality, especially in teenagers. This bizarre film is hosted by an unnamed "psychologist." While spouting Pavlovian claptrap such as "Fear is triggered by loud noises" and "Your emotions can be your own greatest enemy," he repeatedly interrupts the story of "Jeff," the film's protagonist. Jeff -- who looks like a heroin addict -- has a lot of trouble controlling his emotions, and the psychologist is always ready to pop in with statements such as "If this kind of behavior is repeated often, it might lead to a permanently warped personality."Control Your Emotions doubles as a lesson in behaviorist psychology and an admonition to postwar American children. "Before man learned how to control fire and put it to work, it was man's greatest enemy. In much the same way, your emotions can be your own greatest enemy." Similar messages percolate throughout the social guidance films of the 1940s and 1950s (see, for example, A Date With Your Family, where the narrator intones, "Pleasant, unemotional conversation helps the digestion"). The links between the effort to manage and regulate outbursts of feeling and the national offensive to smooth out adolescent behavioral excesses often seem obscure. There is no doubt, however, that the architects of Fifties consensus (psychologists, educators, the judiciary, sociologists and advertisers) wished to discourage "unproductive" and negativistic behavior. "Severe emotional stress," says the narrator of this film, "often decreases efficiency." What seems clearest is that for Americans, recovery from wartime damage was more about drawing away emotionally from war's stresses and strains than digging graves and sweeping up rubble. After twelve years of economic depression and almost four years of world war, parents (and the authorities on child development that stood behind them) wanted a peaceful and disruption-free world for their kids, and they don't seem to have distinguished between internal and external turmoils. All were undesirable. Responsive both to the demands of the era and the process of individual maturation, Control Your Emotions ultimately promoted social adaptation over self-expression. It assumed that kids' behavior was a vehicle for emotions that were essentially uncomplicated, individual rather than social. In its scheme, teenagers' emotions weren't linked with any cultural or social contradictions, but simply combinations of the three basic emotions: rage, fear and love. So while other Coronet films like Shy Guy hinted at the existence of a youth culture with its own rewards and pressures, Control Your Emotions saw teens more as creatures of their hormones than of their times. Law and Social Controls (9:40) -1949 Uses the story of teens trying to extend the hours of their "Teen Canteen" as a vehicle for explaining customs, moral codes, and laws. The gang at the "Teen Canteen" can't decide if they should close their establishment at ten thirty or eleven. Adult advisers guide them to the correct decision (ten thirty). Coronet obviously felt it plausible that resolving an issue such as this would require the efforts of both teens and adults -- though it's doubtful anyone else would. Some narration and crude animation. "Jane" also appears in Going Steady and you might recognize "Edward" from Dating Do's and Don'ts. This one grows on you. Act Your Age (13:22) -1949 Jim, an emotionally immature teen, learns to evaluate his personality and to better work out his problems. Mind boggling expose of a delinquent (?) teen who gets frustrated with school and starts vandalizing his desk, only to be sent to the principal to discuss "infantile reactions." Even the wise old janitor gets in on the action. Classic film about using logic to guide your complex, multi-faceted emotions. Fun of Being Thoughtful, The (10:09) -1950 Social guidance film for teenagers encouraging insight into the motives, tastes and desires of others. "Everywhere you go, people talk about thoughtfulness." With this premise in mind, we are wisked into the life of "Jane Proctor," a happy teen who is slavishly devoted to her "fine, thoughtful family." While uttering lines such as "It'd be the thoughtful thing to do," and "That's what makes thoughtfulness worthwhile!" Jane tidies her room, fixes dinner for the family, and fixes her geeky brother Eddie up with a date. In the end, Jane's thoughtfulness pays off ("A new dress!!!") and we leave the Proctor family basking in the sunshine of family togetherness. The script for this film flies in several directions at once, which makes it fun but a little hard to follow. Everyday Courtesy (8:56) -1948 Courtesy in connection with invitations, telephone conversations, introductions and entertaining guests. Possibly the first feature to star John Lindsay, who later achieved immortality as "Woody" in Dating Do's And Don'ts. In this film he plays "Bill Anderson," a young fellow who proudly shows his mother around the "courtesy" displays in his classroom at Sunnyside School. This scenario allows the narrator to teach us the time-worn fundamentals of social courtesy, but the only thing you'll remember from this film is Woody, who is a much better actor here than he was later in life. A film with lots of potential, but no payoff. Better Use of Leisure Time (10:33) -1950 How to make the most of your free time. "Ken" has nothing to do, but the helpful interactive narrator soon puts a stop to that. Sensible leisure activities (bird watching and reading, for example) help Ken "prepare himself for better living" and "use his time well." This film is more imaginative than most when it comes to visual gimmickry. Ken later starred as Chuck-of-the-future in Good Table Manners. Keeping the world safe from beatniks, juvenile delinquents, and riff raff one 72 hour work week at a time. Mind Your Manners (10:42) -1953 How teenagers can cultivate good manners by manifesting a real desire to get along with others. This classic stars "Woody" from Dating Dos and Don'ts -- a few years older, but just as out of touch with reality. As "Jack," he goes through this entire film being unbelievably polite, but the weird leer on his face makes you wonder what he's really thinking. Don't miss the soda shop populated by waitresses in Hans Brinker costumes(!), or the montage of adults thinking approvingly of Jack's behavior. Overcoming Fear (12:39) -1950 How Bill overcomes his fear of the water through understanding its sources. Right or Wrong? (Making Moral Decisions) (10:53) -1951 Assessing the behavior of a juvenile delinquent who refuses to rat on his companions. A gang of "toughs" breaks some warehouse windows, and the night watchman recognizes one of the punks as youthful Harry Green. He's hauled into the police station and he has to decide which is worse -- "squealing" on his friends, or "hiding lawbreakers." This dark film takes place entirely in one night, and as we encounter each character we hear them agonizing to themselves in VOs as they make moral decisions. Sgt. Kelly ("It'll be much easier for you if you help us") played Dick York's weird dad in Shy Guy. Shy Guy (13:36) -1947 Phil (Dick York), new in his high school, follows his father's suggestion and observes the most popular students to determine what makes them popular. By offering to help others he becomes popular himself and sheds his shyness. Phil (played by Dick York) is the son of an apparently single father who seems recently to have undergone corporate relocation, and things are very different for Phil. He has a problem "fitting in." Everything from the nature of the kids in the new town ("different") to what they wear ("not jackets like me, but a regular sweater") sets Phil apart. Armed only with confusing advice from his father, Phil has to reorganize his behavior and make a new home for himself. Shy Guy marks a kind of turning point in postwar history. When Mr. Norton advises Phil to "look around him" and see what the other kids are wearing and how they behave, he's conceding parental authority to the "gang" and, ultimately, helping to legitimize the formation of a distinct youth culture that rests on group identity and validation rather than the authority of elders. Such a youth culture probably has its roots in the wartime autonomy that teens experienced, but here the adults are okaying it. This change, of course, is one of the key social currents in postwar America. This is Dick York at his dorkiest. Dick's father is especially strange in this classic. Shy Guy is the film that established Coronet as THE social guidance filmmaker. Required viewing. Self-Conscious Guy (10:22) -1951 Shows how feelings of self-consciousness keep a high school boy from doing his classwork well or making friends easily. Shows how the feelings of self-consciousness keep a high school boy from doing his class work well or making friends easily. The boy discovers many of his classmates suffer from similar feelings, but that several of them have overcome these feelings and developed poise and self-assurance. If you watch this bland film expecting to see another Shy Guy you'll be disappointed. It follows the tribulations of "Marty," who wants a part in the school play but whose self-consciousness dooms him to the inferior role of stage hand. He feels, he explains, "as if there was a spotlight on me," and the inferior stage hands at Coronet help us understand this by shining a spot on Marty whenever he has a nervous moment. Cheap, but effective. Happily, Marty's life turns around when he discovers that he's more confident than leading man "Jack" when it comes to ping pong. Marty, who also starred in How To Say No, has a swath of shaved skin around his ears so wide you could park a truck on it. How Honest Are You? (13:50) -1950 For teenagers, honesty can come easy or hard, depending on the stakes. Did basketball star Bob really steal money out of Ben's locker? Since this is a Coronet film he probably didn't, but the characters in this production have to flesh out the truth for themselves. Lots of deep self-examination of motives and what was and wasn't seen, lots of interplay with the camera, and acting that's actually pretty good. There's even a plot twist, when "Rose" confesses her real reason for ratting to the coach about Bob. "I can just see it," she says, as the camera dollies in for a CU of her glazed eyes. "You'll get Bob off the team and Terry will become the regular center. MY Terry. He'll be the star of the team. And I'll be sitting on top of the world!" Whew, pretty heady stuff for Coronet. Snap Out of It! (Emotional Balance) (12:06) -1951 Discusses why an achievement-conscious boy becomes emotionally upset when he fails to get an expected 'A' in a history course. This film follows the frustrations of confused teen Howard Patterson, who won't show his report card to his parents because he "should've gotten" an A in social studies. "Sometimes we expect great things," Mr. Edmunds reflects, leaning back in his chair as Howard looks on. "And when we're severely disappointed, we become emotionally upset." Mr. Edmunds counsels Howard against "expecting too much" and tells him to keep his emotions "in balance." "If your emotions are in balance, you channel your emotional energy into a direct attack on your problem!" Howard promises to lower his expectations and be more balanced, and another member of the Silent Generation leaves a Coronet film to paint the world gray. Benefits of Looking Ahead, The (10:30) -1950 Nick cannot plan ahead, but is convinced to do so after imagining himself as a drifter or a bum. "Nick Baxter" is a sloppy teen with greasy hair and a poorly-knotted necktie. His clean-cut friend, "Don," tells him that he'll end up on skid row if he doesn't come up with some detailed plans for his future. Nick's hammy acting make this a fun film. The fantasy sequences -- where Nick imagines himself as a bum and then a successful businessman -- are high points. "Who are the people most likely to succeed?" asks the narrator. Well, not Nick Baxter, a senior in high school and slacker in the making, who can't plan ahead. Whether it's building a table in shop class or planning his life's future, he's clueless and, unless he gets his act together, destined to be a bum. Let's assume for just a moment that Nick is a real person. Since this 1950 film shows him at age 17 or 18, he would have been born in 1932 or 1933--the two hardest years of the Great Depression. This makes him one of the left-behinds--one of the Depression children who didn't get to fight in the war, a sort of middle child between two groups of people who underwent profound experiences completely beyond their control. Is it any wonder that, for Nick, reality bites? Of course, the other, perhaps more valid, argument is that Nick just doesn't understand what it takes to make it in the fabulous Fifties. Don: "To succeed in something, you have to have a purpose, and make plans for reaching it, and work at it all the time." Nick: "Sounds crazy to me." But Nick's friends get the message, and even Nick sees their futures are pretty much assured already. When Don blithely tells Nick that he's "least likely to succeed," and well on the way to becoming a drifter or a bum, this is the kick in the pants Nick has been waiting for. "That could be me...nothing but a bum." Nick finds a worthy metaphor for all of his unfinished business in the school shop. Realizing that drawing up a plan is necessary to building a table that can stand on its four legs, he decides to draw up a plan for his own life. "Plans...sketches...measurements...that's what I have to do with my own future...I've got to look ahead and imagine...what I want it to be like...". He is shortly back on course and in command of his future, and fantasizes himself telling his father that he's been elected chairman of the "Community Club." "Yes, I want a future that's something like that. I want to be happy. Be somebody. Have a good job. Friends. A home. A wife and kids. But how do I get there? If that's my purpose, how do I reach it. How? A detailed plan. How to achieve my purpose. And I'd better be getting at it right now." Although Nick does lack a detailed plan, he's already got something much more important--a sense of middle-class entitlement peculiar to that postwar period. This is the feeling that the world is made to help him achieve his goals, that it can offer him what he needs if he can only figure out how to take it. I'm not so sure Nick (or even Don) would feel the same way in the 1990s. What's going to take the place of a "future that's something like that?" This film represents a whole culture of vocational guidance, a panorama of alternative futures for the young that has given life to thousands of books, films and training aids. In this visually minded century, these publications have focused on visual means of expressing abstract ideas like planning ahead, avoiding vocational deadends, and measuring progress towards concrete objectives. But whether it's little cartoons about the "steps to success" or parables taking place in the carpentry shop, the prejudices and kitschiness of this culture have hardly been explored and urgently await the attention of historians. Understand Your Emotions 2 (12:54) -1950 Biology teacher explains emotions, voluntary and involuntary behavior. Friendship Begins At Home (15:40) -1949 How a strong family group helps teenagers learn to form strong friendships. Barry is a teenager who doesn't appreciate his family. "Everybody's always picking on me," he whines. "I declare, Barry," replies mom. "I do wish you'd show as much consideration for the members of your own family as you do for your outside friends!" "Maybe I would," he snorts, "if my family'd show me as much consideration as my friends do!" Barry decides to be a brat and not accompany his family on their annual two-week fishing trip. "I'd rather stay here with my friends," he mutters, sulking. "Don't you consider your FAMILY your friends?" asks kid sister Diana. "How can a guy be friends with his family?" Barry snaps back. But dad is agreeable; Barry is left money for food and the family departs. "We're going away to have FUN," dad declares. Barry's first few hours of freedom are glorious, but he quickly discovers that his "friends" aren't as dependable as his family. George won't invite him over for dinner (Barry eats canned beans and soup for two weeks). Heartthrob Lorraine gets sick and cancels her party. The rest of Barry's friends are either away, working, or on vacation (with THEIR families, no doubt). This mid-section of the film is a thespian tour-de-force for Barry, as his non-stop internal sentence fragment monologue takes the place of a narration, saying things that no outside voice over could get away with. The Coronet "wistful" theme builds as the camera dollies in for close ups of Barry at critical points; he affects these moments of deep thought by suddenly raising his head, narrowing his eyes, and looking up and off-camera at a 45 degree angle. "Why haven't any of my friends called me?" he muses. "Not much fun spending the day alone." (NOTE: No TV in Barry's home) "Nobody to do things with. What are friends FOR, anyway?" Though Barry is a "free man," his friends can't match the "thoughtfulness" of his family. "I never before listened to an -- empty house," he reflects. And now he's visited by ghosts! -- double-exposure images of his family doing thoughtful things that Barry had, until now, not appreciated. Barry realizes that he probably took away some of his dad's "fun" by staying home. "That's a selfish thing to do," he concludes. Mom offers ice cream, Diana offers to get his suit pressed, and kid brother Dick plaintively asks to play checkers. "Boy," Barry cries, "how I'd like to play checkers with you right now!" "They're swell people!" Barry declares, scales falling from his eyes. "ALL of them! They do the kinds of things you expect of your friends! FRIENDS! That's it!!!" Now Barry is a changed young man. His family returns to find him scrubbing the kitchen floor ("You know, mother, you never really appreciate your family until they're not around"), he's bought Dick a new tennis racket ("Gee, Barry, you're swell!"), and he takes his kid sister to a dance when her date backs out ("Wow! Is that my sister? Well -- no WONDER all those fellows telephoned while you were away!"). The gulf between the America that applauded this production and the America that cheered Tom Cruise in Risky Business is what the study of these films is all about. Understanding Your Ideals (13:37) -1950 A high school boy primarily concerned with automobiles, dates, and parties learns from his father's example that ideals are really based on honesty, sincerity, and good sportsmanship. What About Juvenile Delinquency? (11:27) -1955 Jim leaves the gang after it attacks his father, and joins other teenagers at City Hall to argue against the imposition of a curfew. Drama filmed in Lawrence, Kansas. What Makes A Good Party? (10:33) -1950 Shows teenagers how to plan and attend a party, suggesting games to play and songs to sing ("Jimmy Crack Corn"). This film creates a world so innocent that it's embarrassing. Jean, Nora and Eileen are high school girls who want to throw a "coming out" party to introduce college boy "Steve" to the rest of the gang. But whoa, let's not be impulsive, the narrator cautions, for "a successful party needs planning and skill." Accordingly, every detail of the get-together is mapped out beforehand, from the refreshments (hot chocolate and sandwiches) to the "well-chosen games" (a hat-making contest and Charades). "Everyone's out to have fun and to help OTHERS have fun," the narrator emphasizes. This need to do everything collectively, to allow no room for individual interests, to "help keep the party fun for all," is shown when Nora attempts pull Steve aside for some conversation. Nuh-uh! Who knows where that behavior would lead! Jean drags the two rebels back into the group, and the gang soon has a grand time singing Jimmy Crack Corn around the piano. The narrator offers one last nugget of wisdom -- "Part of a good party is knowing when to go home" -- and the kids do just that. The disapproval of anything impulsive or individual in this film shows a really warped sense of "democracy," and more closely resembles socialism, if you think about it. According to Ted Peshak, "This whole part of the north Chicago area has changed because of that film." Writing Better Social Letters (10:31) -1950 While a teenage brother and sister write a thank-you note to their grandmother after visiting her on vacation, we learn the five parts of a friendly letter and more about why and how to write one.

Social Guidance for Children

Developing Responsibility (10:06) -1949 Tells story of how frank assumes his everyday responsibilities at home, at school, & on his paper route, & is rewarded by being given a pedigreed dog by a man on his paper route who has observed his acceptance of responsibility. Why We Respect The Law (12:54) -1950 Ken and three friends steal boards to make backstop for baseball field. Ken suffers from guilt & sees family lawyer who helps him develop respect for laws. Ken then helps other boys settle accounts with the construction company. Explains the importance of law in keeping order in a society. Shows that respect for the law is developed by a realization that law represents accumulated wisdom, that it is in harmony with laws of nature and that it is necessary to prevent trouble In the most jaw-droppingly awful defense of the law ever put to film, the lawyer steals Ken's shoes, imagines a world where hillbillies attack homes at random, and makes the following deductions: - The universe has physical laws, therefore laws are a part of nature. - A child who starts out stealing pennies from his mother's change will end up an armed felon. He actually says, "Peace and happiness are impossible unless our individual possessions are secure." So remember kids, things = happiness. Joan Avoids a Cold (10:26) -1947 How young children must behave to avoid transmitting germs to one another. Ways to Settle Disputes (10:07) -1950 Everyday incidents at school and at play teach Alice, Jerry and Eddie to resolve conflicts by compromise, by obeying rules, by finding facts, or finding opinions. Fun of Making Friends, The (9:19) -1950 Discusses the values of friendships and how to make and keep friends. Beginning Responsibility: Taking Care of Things (9:20) -1951 Instructs children how to care for toys, clothing and other property; to have a definite place to keep belongings, and how to store and handle possessions properly. Young Andy learns that "cleaning up after yourself is a grown-up way to behave." The narrator helps us become motivated by reminding us that as long as we're messy, we'll be shunned (loners were always given a wide berth in the fifties). The best moment occurs when Andy comes home from school to his messy room: Narrator: "And here are Andy's tadpoles." CU of bowl. "Aw. They're dead." How to Study (8:50) -1946 Jim prepares a civics report on labor unions. He uses four different types of reading: scanning, rapid reading, careful slow reading & re-reading. He organizes his information, collects further data, writes his report. Good Sportsmanship (9:30) -1950 How sportsmanship enriches daily living: a lesson for teens. This film for pre-teens teaches youngsters to "think of what's best for the group." Even if things don't work out the way you'd like, the narrator explains, "it's more pleasant just to take what happens." And if you don't put up a fuss, "everyone will like you better." 1950 must have been a strange year to be a kid. Build Your Vocabulary (10:37) -1947 Dramatizes the story of a father, who, after finding himself at a loss for words at a public meeting, follows his son's lead and starts a campaign of vocabulary improvement. The film opens at a "civic association" meeting, probably a familiar setting for its late forties audience. "Mr. Willis" wants to speak his mind, but he lacks the vocabulary he needs to articulate his thoughts properly. Afterward, as he sulks at home, dutiful son Pete asks him to read his term paper before he hands it in -- a paper about the need to turn public parks into "playgrounds for the direction of youthful energy into character-building channels." Mr. Willis is impressed with Pete's "explicitness," and Pete encourages him to keep a "vocabulary notebook" in "a business-like way." "People can be interested in new ideas," the narrator explains, but apparently only if they're articulated correctly. Mr. Willis doesn't find building his vocabulary easy ("Nobody can learn all these words!" he yells at one point, "I'm going to bed!"), but in the end it pays and he becomes the star of the next civic association meeting. Who says the young can't teach the old? All interiors. Some nice low-light photography as dad struggles at his desk at night. Some actual intended humor as dad's secretary flees from his silent scowling. Nice use of layered voices echoing inside dad's head as he wrestles with his conscience. The camera actually dollies in for reaction shots; unusual, tricky and effective. Let's Play Fair (8:43) -1949 Sharing, taking turns and obeying rules are the basic elements of fair play. If Coronet would ever make a German Expressionistic film, it would certainly look like this. Let's Share With Others (10:27) -1950 A kid-centered pitch for fair play and thoughtfulness. This film is an excellent window on the weird fifties concept of profit through communal living. Young "Jimmy Blake" has a lemonade stand that he wants to run all by himself, even though the narrator warns us that "when we share things there is often more for everybody." Sure enough, Jimmy's off-the-job responsibilities start cutting into his lemonade sales and he quickly realizes that the way to success is through shared effort. Jimmy calls in his friends to help and soon "EVERYONE is having fun. Sharing with others certainly is a good idea, isn't it?" This may not be a very exciting film to watch, but its equating of "fun" with profit, "sharing" with a business, and group action with popularity make it worth viewing. "Learn to share with others. You'll like it. Your friends will like you, too!" Developing Self-Reliance (10:20) -1951 Social guidance film showing how necessary self-reliance is to all successful endeavors and happiness. The narrator explains that some people like "being dependent," but that those who do "never do any more than just 'get by'." Alan understands this, and after being chided by his dad ("Haven't you read Emerson's Essay On Self-Reliance?") Alan develops leadership qualities and becomes "a happier and better person." As he becomes more and more confident, he starts wearing ties on dates (Does he bring flowers, if it's a ritzy affair?.. oops, wrong movie) and settling school issues on his council. Am I Trustworthy? (10:22) -1950 How a child learns to return borrowed items, keep promises and fulfill assignments. his film follows young "Eddie" as he learns to become trustworthy. Actually, "trustworthiness" in this film is pretty loosely defined -- it seems to be synonymous with "obedience" and "conformity." Eddie, at the prodding of his dad and the narrator, quickly and eagerly sees the value of trust (he even makes his own Trustworthiness Chart), and we leave the film knowing that Eddie is well on his way to normalcy. "People have to show they can be trusted with little things if they want to be trusted with big things." Family Life (9:48) -1949 Impossible drama proving that proper management of schedules, responsibilities, privileges and finances leads to a happier home. Another winner from Coronet Instructional Films! Get a little organized and you too will be able to afford those major medical expenses and finally get your hair under control! Sharing Work At Home (10:21) -1949 A family cooperates to an unbelievable degree. The Taylor family -- Mom, Dad, Howard and Martha -- live in a messy house and, what's worse, they don't seem to care. But Martha has culled some modern ideas from her home economics textbook and the Taylor renaissance is about to begin. "General housekeeping is made much easier if each person picks up after himself," Martha reads to Howard; he thinks for a moment and responds, "Hey, sis...maybe we should get organized!" As anyone familiar with postwar Coronet films knows, "get organized" is an unresistable rallying cry. Soon, the Taylors are making neat, handwritten lists for everything, and smiling so broadly that it must hurt. "Here! It's all organized!" cries Howard as he holds aloft yet another list. "That's the idea! Each of us picks up after himself!" echoes Dad. In less time than it takes to pull a tally sheet out of the Job Jar, the Taylors have become "a far happier and better family." "This is more than just a story of wallpaper and slipcovers," the narrator proclaims. "It's a story of improvement in the Taylors themselves!" Your Thrift Habits (10:35) -1948 Modern-day moral tale resembling Ben Franklin's autobiography. Irresponsible "Jack" is envious of the camera that sensible "Ralph" has just purchased. How can Jack possibly save the money he needs to buy one for himself? "Are budgets just for parents?" the narrator asks, mockingly. "If he'd do without extravagances he could save every week!" Jack concedes that he should learn to budget his income, so he devises a "cameragraph" and attempts to follow it. This isn't always easy, but the narrator is always on hand to humiliate Jack whenever greed and gluttony surface. "Too many movies! Too much candy!" he chides. "You can't have EVERYTHING you want!" Needless to say, Jack does finally save enough money to buy his camera -- and probably had a good laugh at this film once the unthrifty fifties got rolling. Your Family (7:37) -1947 Family values in action bring happiness and concord. "Your Family" details a happy go-lucky family willing to jump through hoops to do family chores so they could get dinner over with so they can watch their home movies of them shoveling snow. All the family has duties, Mom takes care of the house, Tony takes care of the unfortunately-named terrier Fluffy, Nancy sets the table, and Dad, well, he doesn't deserve to do anything, as he's of course had a hard day at the office. How Quiet Helps at School (10:28) -1953 Social guidance film for young children suggesting that they take their noise out to the playground. This film starts off dull, but then it gets pretty strange. First, we're taken on a tour of a typical, boisterous grade school classroom ("You couldn't be proud to be part of such a noisy room, could you?" asks the narrator), and then we're taken into the classroom of "Miss Bradley" -- a place where all sound has apparently been banished. Miss Bradley tells us that keeping a classroom this quiet is good because it's "like an office," and that "knowing when to be quiet is a part of growing up." A cheerful geek named "Bobby" then gives several demonstrations of quiet behavior, and the narrator ends the film by asking, "This is a good room, isn't it?" Pretty weird stuff; lots of dead air. Watch for the scenes displaying the strange, tabletop "model farm." Good Table Manners (10:20) -1951 A bad-mannered 14-year-old meets himself as a young man of 21, and learns the fundamentals of good table manners. The best of the table manners films. "Chuck" has terrible table manners. But then he's visited by himself, several years older (and with even less acting ability), and Chuck-from-the-future teaches Chuck-of-the-present how to "park your fork" and countless other details of table etiquette. "People judge many things about you just by the way you eat!" School Rules: How They Help Us (10:13) -1953 Shows everyday scenes in which rules influence our behavior. Shows ways new student can learn rules, why exceptions can't be granted. Discusses rules and stresses the point that rules are ways of making life more pleasant, smooth and safe. Rules are good for you. Obey. Obey. Social Courtesy (10:17) -1951 Dramatic film offering instruction in basic social graces. Sour-puss "Bill" is invited to a "hard times" party with his girlfriend Carol, but he believes that social courtesy is "old fashioned." Whoa, just a minute there, says the feisty interactive narrator, who soon sets Bill on a proper course. Bill takes the narrator in stride, as he does being teleported through space and backward in time (repeatedly) in this very bizarre Coronet production. "Let's take a picture of this situation," the narrator says as a strobe flashes from behind the camera and the scene we just saw is transformed into a photo on a wall in the next scene. "You'd better back up and start all over again. Maybe you'd better try to be more FRIENDLY this time." Bill beckons the invisible narrator closer so that he can discuss things in private, and the camera obligingly dollies in while the other teens at the party remain utterly oblivious. "You discourage others when they want to be friendly," the narrator scolds. "You're supposed to rise when an adult speaks to you; everybody knows that." "Come on, Bill. Sit up! That's a chair, not a bed." You have to wonder why Bill, who is so rude to his friends, puts up with this invisible nagging narrator (you also have to wonder why he has any friends, period). Even the party is surreal. Signs such as "hobo jungle" and "bum's rest" (over the couch) hang on the wall, which is spotted with weird, unexplained stains. One of the girls, suddenly aware that Bill is having a solo conversation, asks "Are you talking to yourself?" which, in the early fifties, was much worse than talking to an invisible narrator. "Learn from watching others," the narrator concludes. "You can even get a book on courtesy from the library. Be friendly. Thoughtful. YOU'LL get along!" It works; the mom chaperon exclaims "Isn't that the boy who used to be so rude?" and Bill is accorded the ultimate symbol of fifties' conformist success; he's invited to another party. "Those changes made a big difference, didn't they!" he exclaims in wonder. "Social courtesy DOES pay! Thanks!!!" Certainly one of the most inventive Coronet films ever made. Good camera work by Bruce Colling. Appreciating Our Parents (10:00) -1950 Shows Tommy's development into responsible family member after he is brought to realize depth of parent's affection for him and their sacrifices. He tries to help family by saving money, putting things away, drying dishes and repairing broken furniture.

Science & Health

Nature of Light, The (8:28) -1948 Demonstrates light as a form of radiant energy. Explains the principles of reflection & refraction & shows how these principles apply to the science of optics. Shows how 2 boys on early a.m. Fishing trip discover principles of reflection and refraction of light through simple experimentation. Diagrams explain the operation of camera & human eye. Nature of Sound, The (10:45) -1948 Boy uses his radio equipment to demonstrate how sound is produced and transmitted. Attitudes and Health (9:56) -1949 Demonstrates how self-confidence and right attitudes are necessary to good health. This film tells the story of "Marvin Baker" -- "an average fellow from an average home in an average town" -- who learns that having an "attitude" can make him sick and a failure in life. Happily, by the end of the film, Marv has adopted a "better perspective" and makes the first team in basketball. Watch for the montage of people with bad attitudes, including a woman with giant shoulders and scary eyebrows, and a fat-faced man with a "tick." Exercise and Health (9:51) -1949 How exercise will make you healthy and popular. Ernie, Jean, and Hal are three teens who have problems: Ernie is in "a run down condition," Jean is "shy and withdrawn," and Hal is "tense and irritable." But then all three join the Acrobatics Club at school and get into shape. Now Ernie, Jean and Hal "make friends easier" and have "outlets for their emotional tensions." But they're still painfully dull. Good Eating Habits (9:46) - 1951 Drama focusing on gluttony and "hidden hunger," where well-nourished people eat poorly and malnourish themselves. Rest and Health (10:36) -1949 Dick York plays a high-school track star whose running lags because of his lack of sleep.

Geography

Alaska: A Modern Frontier (Revised edition) (10:20) -1948 Views of the Territory of Alaska. Life in the Central Valley of California (10:23) -1949 Shows the agriculture, trade and infrastructure of California's Central Valley, all made possible by irrigation. Mighty Columbia River, The (9:59) -1947 Hydroelectric power, shipping, irrigation and salmon fishing. Rivers of the Pacific Slope (10:39) -1947 The Columbia, Sacramento, San Joaquin and Colorado river systems. Who Are the People of America? (10:07) -1953 Explains how the United States came to be a diversely populated nation. Not a very exciting film, but one with an interesting, transitional attitude -- forties' One-Worldism diluted by fifties' "sharing." The narrator tells us that Americans are "a mixture of the people of the world" and that "much of that which is American is of the world." We're shown a montage that includes spaghetti, baseball, a jukebox, and hot dogs, and the narrator explains that "these are some of the things we share as Americans. For we have become Americans through the process of sharing." Lots of stock shots from previous Coronet films litter this production (along with the obligatory cheap animated lines and arrows converging on a map of the U.S.), but it's all incidental eye candy to hold our attention while the narrator delivers his social utopian blarney. "Playing together, growing together, learning together," he declares. "America is a land whose people shared what they knew." This film is one of Mel Waskin's favorites; he claims he wrote the script and then assembled the film "rhythmically" at home using footage from the Coronet stock library. According to Mel, this film brought tears to Jack Abraham's eyes when he first viewed it.

Work

Work of the Stock Exchange (15:40) -1941 Examines each step of incorporation and listing of stock. Illustrates the details of buying and selling operations on the exchange floor and in the broker's office, showing how these operations bring to land, labor and management the necessary capital for production. Corporations: "What Is A Corporation" (10:26) -1949 Discusses the principal forms of business ownership-single proprietorship, partnership and corporation-and explains the advantages and disadvantages of each. Selling as a Career (10:34) -1953 Typical Day Of Work Of Art Williams, Salesman Of Sporting Goods. Preparations At Home For Next Day's Work, Fills Out Reports, Estimates Sales Prospects, Schedules Calls. Focuses On Procedures & Personal Characteristics. How to Keep a Job (11:23) -1949 What you need to do to stay employed: choose the right job, get along with colleagues, maintain positive attitude, etc. "Ed" is a teen seeking employment at the "Star Products Company." His interviewer, Mr. Wiley, is a little leery of Ed, since the brash teen had the audacity to quit his prior job. "Nobody thinks very much of a man who talks against the company he works for," Mr. Wiley explains. However, Ed "might really amount to something," so Mr. Wiley tells him the story of identical twins Bob and Walter Anderson, who worked in the Star Products shipping room. Through the miracle of split screen photography (pretty daring for Coronet), we see that teen actor Bob is presentable and conscientious (he gets a promotion) while identical teen actor Walter is sloppy and ungrateful (he gets the boot). "Wouldn't you like to have Bob working for you?" asks Mr. Wiley. Ed is humbled and promises to be a good corporate man from now on. Let's hope he didn't rush out and buy a suit jacket with lapels as wide as Mr. Wiley's. I Want to Be a Secretary (15:52) -1941 Follows a young woman through her clerical training and job search. Shows pre-World War II offices and office workers, primarily women. One of Coronet's earliest educational films. Great title, but the muddled soundtrack and bargain basement production of this early Coronet effort make it less satisfying than other "career woman" films. The stilted interaction between the aspiring secretary and her various elders is okay, but nothing to write a memo about. This film's soundtrack was re-recorded when it was re-scripted and re-edited down to a 10-minute version in 1951. It was then remade in 1954 as the less-dogmatic Do I Want To Be A Secretary? Supervising Women Workers (10:37) -1944 Management addresses the special problems of women workers with concern and a heavy dose of sexism. Secretary's Day, The (10:47) -1947 Compares daily activities of a secretary with those of a stenographer. This film takes us through a typical work day of "Jean Carroll," a professional secretary who is tactful, courteous, poised, alert, personable, efficient, prompt, neat, and orderly. We learn that Jean's morning dictation period is "the foundation of secretarial skill," and are given many opportunities to view her invaluable calendar pad. A more or less typical secretarial film. Jean's boss, "Mr. Williams," plays the young politician in Political Parties.

Economics

Banks And Credits (10:36) -1948 Coronet Instructional Films (a division of Esquire Inc.) presents Banks and Credit. Educational collaborator James Harvey Dodd, PhD., Professor of Economics and Business Administration, Mary Washington College at University of Virginia Understanding The Dollar (9:39) -1953 A dramatization which explains the essential purposes of money as a medium of exchange, analyzes factors which affect the value of the dollar, and shows the effects of rising prices on people with various types of income. Capitalism (9:24) -1948 A group of teenagers on a high-school radio program discuss just what capitalism is, seizing onto the example of the butcher who supplies the weenies for their picnic. Capitalism is one of many "free-enterprise education" films released in the first few years of the Cold War. Unlike many films produced under corporate sponsorship, it avoids taking jabs at socialism, Russia or New Deal government programs. Nonetheless, it uses the common Coronet device of showing a group collectively engaged in coming to terms with an idea -- a process with predetermined conclusions. In this respect, I imagine that it's not so different from Soviet educational films. Introduction to Foreign Trade (10:38) -1951 Cold War-era treatise on globalization. Trading Centers of the Pacific Coast (10:38) -1947 The Pacific Rim at the start of the air age. What Is Money? (10:33) -1947 Following the journey of a five-dollar bill through many transactions, the film shows how money functions as a standard of value and future payment, a storehouse of value and a convenient medium of exchange. This film follows a five-dollar bill (Federal Reserve Note G12463089B, series 34E) as it flows from person to person and performs different functions in the money channels of America. The narrator explains that money is "a quick and easy medium of exchange," which we use because "life today is too complex." Actually, money is a pretty abstract concept, and this film does a good job of making us aware of it. Watch for the cameo by "Mrs. Moore," who later played roles in Making Your Own Decisions and Political Parties. What Is Business? (9:49) -1948 Business produces Mother's pen, the bread on the breakfast table, and the pop-up toaster into which the bread goes. "The world we live in is a world of business." This postwar paean for the glories of free enterprise showers much praise on the Trinity of production, distribution and communication, which "have made the world of business TRULY one world." There's no narrative story line in this film, just a general overview, and much impressive talk about how business is "essential to our modern mode of living" and "helps fulfill our desires for a better way of life." As the camera pans down the storefronts of Main Street, the narrator cries, "Just think what it would mean if all this were taken away!" The battle lines of the Cold War couldn't have been drawn more succinctly.

War

Communism (10:41) -1952 Educational film on the Cold War conflict. Unlike Capitalism, this Coronet film has no dorky teenagers or weenies in it. Classic cold war propaganda film. Starting Now (10:44) -1951 High school students anticipate and prepare for the military draft. (Are You Ready for Service? No. 4) Getting Ready Emotionally (10:25) -1951 (Are You Ready for Service? No. 6) Getting Ready Morally (10:43) -1951 (Are You Ready for Service? No. 7) Getting Ready Physically (10:29) -1951 Korean War-era film encouraging high school boys to use the physical training, health and recreational resources of their communities so as to be ready for military service. Service and Citizenship (11:03) -1951 Korean War-era film points out that military service should be understood as part of citizenship and that training in the everyday duties of citizenship is a part of the preparation for military service. Powers of Congress, The (10:30) -1947 Mr. Williams drops off to sleep for a few minutes to find himself confronted with a world in which Congress has been suspended and federal authority dissolved. This film marks Coronet's earliest excursion into surrealism. It opens in the living room of "Charles Bentley," whose checked suit and zebra-striped tie clash maddeningly with the room's bulls-eye wallpaper pattern, and give some hint of the strange sights to come. "Congress this! Congress that!" Bentley snorts as he throws down his newspaper. "I've got more things to think about than Congress!" He stomps down to the post office to mail his tax return, and continues his tirade for the benefit of his strange-looking friend, "Williams." "What's Congress ever given me except a lot of trouble?" Bentley grunts. "You know what I think? I think we'd be better off if there WASN'T any Congress!" CUs of soap bubbles suddenly appear as Bentley is catapulted into a black void nightmare world where all the sets are built on German Expressionist angles and everyone's voice has an echo. "LOTS of things are different without the powers of Congress!" cackles Williams, who has been transformed (thanks to low-angle lighting) into a kind of omnipresent demon. "YOU'LL see! Hee hee hee hee...." Bentley quickly discovers that, without Congress, his money is worthless, his court system is in ruins, and, worst of all, Social Security is bankrupt. "You'll have to look out for yourself when you lose your job!" Williams crows. Next, Bentley's wife arrives, sobbing that without Congress "our FHA loan was no good" and that now the Bentley's have been thrown out on the street! Thankfully, the soap bubbles reappear and Bentley wakes up back is his nightmare-inducing living room. It was all a dream! "NOW I know what to put in my speech for the club!" he chuckles, and we leave him with a better attitude and a Social Security system that his beloved Congress would eventually leverage into bankruptcy anyway.

Race

Plantation System in Southern Life, The (10:39) -1950 Eurocentric view of the plantation system and its effect on Southern U.S. culture. Palmour Street (23:54) -1957 Everyday aspects of mental health in an African American community in Gainesville, Georgia.

Much of the annotation of this post was written by shaggylocks and the good folks at the Internet Archive - where all of these videos should be accessible in perpetuity if their current links die.

Southern California in the 1940's

marxchivist — Tue, 02 Oct 2012 09:50:47 -0800

Travel: My Father’s Color Images of Southern California in the 1940′s. Pretty much what it says on the tin. Some nice color snaps. The main reason I posted this is I can't stop looking at this shot of the Universal Studios' back lot.

Spare the rod

roomthreeseventeen — Sun, 30 Sep 2012 07:44:30 -0800

California has become the first state in the country to ban the so-called "reparative" ex-gay therapy for people under the age of 18 years old. "This bill bans non-scientific 'therapies' that have driven young people to depression and suicide. These practices have no basis in science or medicine and they will now be relegated to the dustbin of quackery," Brown said in a statement to The San Francisco Chronicle. American Psychological Association, American Counseling Association and American Psychiatric Association are just three of the many groups which have repeatedly criticized the practice, which is often referred to as "conversion" or "ex-gay" therapy.

From Abstraction to Zeitgeist.

xowie — Sat, 29 Sep 2012 08:22:54 -0800

The SCI-Arc Media Archive features 600+ video lectures on modern architecture and design, with an emphasis on Southern California.

Annotated Filmography of Charlie Chaplin

Blasdelb — Mon, 17 Sep 2012 11:27:01 -0800

Director and/or star of many of the greatest films ever made including The Great Dictator (2:05:16) [Globe scene and the eternally goosebump providing Final speech], The Immigrant (20:01), The Gold Rush (1:11:49), City Lights (1:22:40), Modern Times (1:27:01), and Monsieur Verdoux (1:59:03), Charlie Chaplin's movies have entered the public domain in most countries. Below the fold is an annotated list of all 82 of his official short and feature films in chronological order, as well as several more, with links to where you can watch them; it's not like you had work to do right? Keystone Pictures, where Chaplin got his start in the film industry "I wanted everything to be a contradiction: the pants baggy, the coat tight, the hat small and the shoes large ... I added a small moustache, which, I reasoned, would add age without hiding my expression. I had no idea of the character. But the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born."

Making a Living (8:51) Released February 2, 1914. The first film starring Charlie Chaplin. Chaplin plays Edgar English, a lady-charming swindler who runs afoul of the Keystone Kops. Chaplin wore a large moustache and a top hat in this film, he also carries a walking cane. Whilst not "the tramp" the character is somewhat reminiscent of the tramp, having hat, cane, moustache and baggy trousers; his famed screen persona of "The Little Tramp" did not appear until his next film. Kids Auto Race At Venice (5:59) Released February 7, 1914. Made by Keystone Studios and directed by Henry Lehrman, in it Chaplin plays a spectator at a 'baby-cart race' in California. The spectator keeps getting in the way of the camera and interferes with the race, causing great frustration to the public and participants. The film was shot during the Junior Vanderbilt Cup, an actual race with Chaplin and his co-stars improvising gags in front of real-life spectators. Unusually the camera "comes out of shot" to show a second camera filming (as though it were the first), to better explain the joke. At this stage Chaplin only gets in the way of the visible camera on screen, not the actual filming camera. In so doing it takes on a spectator's viewpoint and becomes one of the first public films to show the film camera and cameraman in operation. Mabel's Strange Predicament (10:23) Released February 9, 1914. In a hotel lobby a heavily drunk Charlie runs into an elegant lady, Mabel, gets tied up in her dog's leash, and falls down. He later runs into her in the hotel corridor, locked out of her room. They run through various rooms. Mabel ends up in one of an elderly husband where she hides under the bed. Enters the jealous wife, soon attacking Mabel, her husband, and Mabel's lover, not to mention the staggeringly drunken Tramp. A Theif Catcher (6:01) Released February 19, 1914. Stars Charlie Chaplin as the theif catcher, the film was believed lost and Chaplin's appearance unknown until a vintage 16mm print was discovered by director and film historian Paul E. Gierucki in 2010 at a Michigan antique sale. Between Showers (9:00) Released February 28, 1914. Chaplin and Sterling play two young men, Masher and Rival Masher, who fight over the chance to help a young woman (Clifton) cross a muddy street. Sterling first sees the woman trying to cross and offers her an umbrella he stole from a policeman, and asked her to wait for him as he goes to get something to help her. Then Chaplin comes along and offers the woman to help her cross as well and wait for his return. While Sterling and Chaplin go to get the logs, a policeman (Conklin) lifts the woman across the street. When Sterling returns with the log, he was indignant that the woman did not wait for him to come back to help her cross the muddy street, and demands the umbrella back. When the woman refused, they engage in a fight which eventually involves Chaplin. A Film Johnnie (11:27) Released March 2, 1914. Charlie goes to the movie and falls in love with a girl on the screen. He goes to Keystone Studios to find her. He disrupts the shooting of a film, and a fire breaks out. Charlie is blamed, gets squirted with a firehose, and is shoved by the female star. Tango Tangles (9:39) Released March 9, 1914. Chaplin appears with no moustache. The action takes place in a dance hall, with a drunken Chaplin, Ford Sterling, and the huge, menacing, and acrobatic Arbuckle fighting over a girl. His Favorite Pastime (13:25) Released March 16, 1914. Charlie gets drunk in the bar. He steps outside, meets a pretty woman, tries to flirt with her, only to retreat after the woman's father returns. Returning to the bar, Charlie drinks some more and engages in rogue behaviors with others. He finally leaves the bar, sees the woman leaving, follows the woman home, and proceeds to make a nuisance of himself, eventually getting kicked out of the house. Editors note: About as bad as it sounds. Cruel, Cruel Love (8:58) Released March 26, 1914. This early Chaplin film has him playing a character quite different from the Tramp for which he would become famous. He is a rich, upper-class gentleman whose romance is endangered when his girlfriend oversees him being embraced by a maid. Chaplin's romantic interest in this film, Minta Durfee, was the wife of fellow Keystone actor, Roscoe "Fatty" Arbuckle. The Star Boarder (12:37) Released April 4, 1914. Chaplin is the favorite of his landlady, and the other boarders are jealous. Mabel at the Wheel (14:38) Released April 18, 1914. Charlie, competing with his rival's race car, offers Mabel a ride on his motorcycle but drops her in a puddle. He also kidnaps his rival before the race. But Mabel decides to take the wheels in his place, thus causing a threat to Charlie. As the race progresses, despite a very late start, Mabel manages to gain a lead of three laps. Charlie with his henchmen, tries to sabotage the race by using oil and bombs on the track. They seem to succeed for a while, but their dirty tricks were not enough to stop the high-spirited Mabel from winning the race. Twenty Minutes of Love (10:00) Released April 20, 1914. Charlie is hanging around in the park, finding problems with a jealous suitor, a man who thinks that Charlie has robbed him a watch, a policeman and even a little boy, all because our friend can't stop snooping. Caught in a Cabaret (15:47) Released April 27, 1914. Chaplin plays a waiter who fakes being a Greek Ambassador to impress a girl. He then is invited to a garden party where he gets in trouble with the girl's jealous boyfriend. Mabel Normand wrote and directed comedies before Chaplin and mentored her young co-star. Caught in the Rain (10:24) Released May 4, 1914. When a married couple become separated in the park, Charlie takes up with the lady and is beat up when her husband rejoins her. He takes a room in their hotel, and she sleepwalks into his room so that when her husband returns from his walk he must go out again to look for her. Charlie returns the lady to her room but must climb out onto the window ledge in a downpour. A Busy Day (6:04) Released May 7, 1914. A wife becomes jealous of her husband's interest in another woman. On her way to attack the couple, the wife interrupts the set of a film, knocking over a film director and a police officer. Finally, the husband pushes the wife off of a pier and she falls into the harbor. Editor's note: The wife is identified as a militant suffragette and mocked throughout, but appears to pack a satisfyingly mean punch. The Fatal Mallet (9:47) Released June 1, 1914. Three men will fight for the love of a charming girl. Charlie and one suitor teams up against the third, and play dirty, throwing bricks and using a mallet. However, Charlie double-crosses his partner, thus losing his trust and the girl in the end. The film was written and directed by Mack Sennett, who also portrays one of Chaplin's rivals for Normand's attention, Sennett and Normand were offscreen lovers during this period. Her Friend the Bandit (~16 minutes) Released June 4, 1914. This is Chaplin's only known that remains lost. It starred Chaplin as the Bandit, Mabel Normand as Miss De Rock, and Charles Murray as Count De Beans and was aclaimed by newspaper critics. The Knockout (23:59) Released June 11, 1914. Chaplin only has a small role, and Fatty Arbuckle takes up the main role (it is one of only a few films in which Chaplin's Little Tramp character appears in a secondary role; Chaplin doesn't even appear until the second half of the film). It also stars Arbuckle's wife, Minta Durfee, Edgar Kennedy and Keystone owner, Mack Sennett in a minor role as a spectator. Mabel's Busy Day (9:35) Released June 13, 1914. Mabel (Mabel Normand) tries to sell hot dogs at a car race, but isn't doing a very good job at it. She sets down the box of hot dogs and leaves them for a moment. Charlie (Charles Chaplin) finds them and gives them away to the hungry spectators at the track as Mabel frantically tries to find her lost box of hot dogs. Mabel finds out that Charlie has stolen them and sends the police after him. Chaos ensues. Mabel's Married Life (14:40) Released June 20, 1914 Mabel goes home after being humiliated by a masher whom her husband won't fight. The husband goes off to a bar and gets drunk. Note the banana that Charlie eats at the beginning, it is of the Gros Michel cultivar that is no longer commonly available having been replaced by the Cavendish cultivar after the outbreak of Panama Disease made commercial production impossible. Editors note: About as bad as it sounds. Laughing Gas (13:30) Released July 9, 1914. Although only a dental assistant, Charlie pretends to be the dentist. After receiving too much anesthesia, a patient can't stop laughing, so Charlie knocks him out with a club. Charlie is then sent to the drug store by the dentist, gets in a fight with a man who receives a brick in the face, thus becoming another dental patient. He also pulls the skirt off of the dentist's wife while she is outside walking. At one point Charlie pulls the wrong tooth from an unfortunate patient, using over sized pliers. The Property Man (18:24) Released August 1, 1914. Charlie is in charge of stage "props" and has trouble with actors' luggage and conflicts over who gets the star's dressing room. Small caricatures on the wall indicate both the stars and the head of what can only be Charlie Chaplin with the word "PROPS" below. Once the dressing-room issue is resolved the next issue is getting everyone on stage with the correct backdrop. The order of performance, all of which we see is: The "Goo-Goo Sisters", billed as comediennes; two young girls dancing "Garlico" and his Feets of Strength (sic); a strong-man aided by his beautiful assistant who gets knocked out just before she goes on stage, allowing Charlie to step in. "Sorrow" a drama performed by a man and woman. During the performances we see the audience reaction throughout, ranging from delight to booing. Backstage Charlie and an old man fight, often distrupting the on-stage performances. The audience also break into a fight, and a hose brought out behind the scenes ends up squirted over them. The Face on the Bar Room Floor (11:37) Released August 10, 1914 A painter turned tramp, devastated by losing the woman he was courting as a wealthy man, finds himself drunk and getting drunker by the minute with some sailors at a bar until he's literally falling down. He keeps futilely trying to draw the woman's picture on the floor with a piece of chalk until he finally passes out cold (or perhaps dies, as in the poem) at the end of the film. Chaplin stars in this film, loosely based on the poem of the same name by Hugh Antoine d'Arcy. Recreation (6:29) Released August 13, 1914 Charlie is walking in the park. A girl leaves a seaman on one bench and joins Charlie on another. The seaman wakes up. He and Charlie stage a brick fight. Policemen get hit and arrest both men. During an ensuing fight on the dock the policemen, the seaman, Charlie and the girl wind up in the water. The Masquerader (9:12) Released August 27, 1914 Charlie plays an actor who bungles several scenes and is kicked out. He returns convincingly dressed as a lady and charms the director, but Charlie never makes it into the film. The plot involving a man dressing up as a woman is quite popular in old silent movies. The Good for Nothing, aka His New Profession (13:42) Released August 31, 1914 Charlie meets a couple and agrees to care for the man's crippled uncle. After the couple breaks up the man's new girl drops some eggs which Charlie slips on while trying to control the wheelchair. Charlie sets up the uncle near another wheelchair on a jetty, from which he lifts a beggar's cup and "invalid" sign. These he places with the uncle, and money begins to roll in. Charlie takes the money and buys himself a drink. Returning, he gets to know the abandoned young woman. After pushing the uncle and his chair into the drink and battling the beggar and two policemen (one of whom arrests the uncle), Charlie beats up his rival and gets the girl. The Rounders (9:35) Released September 7, 1914. Two drunks live in the same hotel. One beats his wife, the other is beaten by his. They go off and get drunk together. They try to sleep in a restaurant using tables as beds and are thrown out. They lie down in a row boat which fills with water, drowning them (a fate apparently better than going home to their wives). The New Janitor (10:59) Released September 14, 1914. The hero, a janitor played by Chaplin, is fired from work for accidentally knocking his bucket of water out the window and onto his boss the chief banker (Tandy). Meanwhile, one of the junior managers (Dillon) is being threatened with exposure by his bookie for gambling debts unpaid. Thus the manager decides to steal from the company. He is caught in the act of raiding the vault by the bank secretary (Carruthers) who rings the downstairs for help. Chaplin comes to the rescue only to be misjudged by the Chief Banker as the thief. The Secretary fingers the manager and Charlie receives a just reward and a handshake for foiling the robbery. The Rival Mashers, aka Those Love Pangs (12:09) Released October 10, 1914 Charlie and a rival vie for the favors of their landlady. In the park they each fall different girls, though Charlie's has a male friend already. Charlie considers suicide, is talked out of it by a policeman, and later throws his girl's friend into the lake. Frightened, the girls go off to a movie. Charlie shows up there and flirts with them. Later both rivals substitute themselves for the girls and attack the unwitting Charlie. In an audience-wide fight, Charlie is tossed from the screen. Dough and Dynamite (12:23) Released October 26, 1914 The story involves Chaplin and Chester Conklin working as waiters at a restaurant where the cooks go on strike. When the two are forced to work as bakers, the striking cooks put dynamite in the dough, with explosive results. Gentlemen of Nerve (10:03) Released October 29, 1914. Mabel and her beau go to an auto race and are joined by Charlie and his friend. As Charlie's friend is attempting to enter the raceway through a hole, the friend gets stuck and a policeman shows up. Musical Tramp, aka His Musical Career (11:27) Released November 7, 1914. Charlie and his partner are to deliver a piano to 666 Prospect St. and repossess one from 999 Prospect St. His Trysting Place (15:57) Released November 9, 1914 Charlie and his friend Ambrose meet in a restaurant and accidentally leave with each other's coats. Charlie was going to pick up a baby bottle and Ambrose was going to mail a love letter that was in his coat pocket. Charlie's wife finds the letter and thinks he has a secret lover and Ambrose's wife believes he has an illegitimate child. Controversy arises in the park between Charlie and his wife and Ambrose and his wife. It is resolved at the end, but Charlie sparks another fight between the other couple by showing his friend's wife the love letter that was in his pocket. Tillie's Punctured Romance (1:11:32) Released November 14, 1914. The first feature-length comedy film from Keystone Film Company and the Christie Film Company, produced in 1914. A silent film directed by Mack Sennett, the film stars Marie Dressler, Mabel Normand, Charles Chaplin, and the Keystone Cops. The film is based on Dressler's stage play Tillie's Nightmare. It is notable as being the last Chaplin film which he did not write nor direct himself. Chaplin also plays an utterly different role from his recently created Tramp character in this movie. Chaplin portrays a womanizing city man who meets Tillie (Dressler) in the country after a fight with his girlfriend (Normand). When he sees that Tillie's father has a very large bankroll for his workers, he persuades her to elope with him. In the city, he meets the woman he was seeing already, and tries to work around the complication to steal Tillie's money. He gets Tillie drunk in a restaurant and asks her to let him hold the pocketbook. Since she is drunk, she agrees, and he escapes with his old girlfriend and the money. Later that day, they see a picture show entitled "A Thief's Fate," which illustrates their thievery in the form of a morality play. They both feel guilty and leave the theatre. While sitting on a park bench, a paperboy asks him to buy a newspaper. He does so, and reads the story about Tillie's Uncle Banks, a millionaire who died while on a mountain-climbing expedition. Tillie is named sole heir and inherits three million dollars. The man leaves his girlfriend on the park bench and runs to the restaurant, where Tillie is now forced to work to support herself, as she is too embarrassed to go home. He begs her to take him back and marries her. Although she is skeptical at first, she believes that he truly loves her. They move into the uncle's mansion and throw a big party, which ends horribly when Tillie finds her husband with his old girlfriend, smuggled into the house and working as one of their maids. The uncle is found on a mountaintop, and didn't die after all. He goes back to his mansion, which was in disarray after Tillie instigated a gunfight (a direct result of the husband smuggling the old girlfriend into the house) which, luckily, didn't harm anyone. Uncle Banks insists that Tillie be arrested for the damage she has caused to his house. The three run from the cops all the way to a dock, where a car "bumps" Tillie into the water. She flails about, hoping to be rescued. She is eventually pulled to safety, and both Tillie and the man's girlfriend realize that they are too good for him. He leaves, and the two girls become friends. Getting Acquainted (13:06) Released December 5, 1914. Charlie and his wife are walking in the park when they encounter Ambrose and his wife where they become attracted to each other's wife and start chasing them around the park. The policeman is looking for a masher. His Prehistoric Past (12:01) Released December 7, 1914. Set in the stone age, King Low-Brow rules the land and a harem of wives. When Charlie arrives in this land (where every man has one thousand wives), he falls in love with the King's favorite wife. When the King falls over a cliff, he is presumed dead and Charlie crowns himself King. The King, however, is not dead and comes back and bashes Charlie over the head with a rock. It turns out it was a dream and a police man bashed Charlie over the head with his club because he was sleeping in the park.

Essanay Film Manufacturing Company then hired Chaplin, who had made a name for himself at the unheard of sum of $1,250 a week with a signing bonus of $10,000. "All I need to make a comedy is a park, a policeman and a pretty girl."

His New Job (20:34) Released February 1, 1915. When one of the actors on a movie set doesn't show up, Charlie gets his chance to be on camera and replaces the actor. While waiting, he plays in a dice game and gets on many people's nerves. When he finally gets to act, he ruins his scene, accidentally destroys the set, and tears the skirt of the star of the movie. A Night Out (16:38) Released February 15, 1915. Charlie and Ben pay a visit to a pub, then decide to visit a swanky restaurant. Now intoxicated, they come into conflict with a French dandy and his ladyfriend. The large head waiter violently ejects Ben, and later ejects Charlie also. The pair pay another visit to a pub, then make their way to their hotel. They become interested in a pretty young woman staying in the room across the hall, but when Charlie spies on her through the keyhole a bellboy makes him stop. Charlie is taken aback to realize that the young woman's husband is the head waiter from the restaurant. He promptly checks out and moves to another hotel. Meanwhile, the head waiter and his wife, dissatisfied with the service, also decide to move to another hotel-- and, unfortunately, choose the same one Charlie has chosen, and once more wind up in the room across the hall from him. When the young woman's dog runs into Charlie's room she follows in her pajamas... The Champion (30:50) Released March 11, 1915. Walking along with his bulldog, Charlie finds a "good luck" horseshoe just as he passes a training camp advertising for a boxing partner "who can take a beating." After watching others lose, Charlie puts the horseshoe in his glove and wins. The trainer prepares Charlie to fight the world champion. A gambler wants Charlie to throw the fight. He and the trainer's daughter fall in love. In the Park (12:21) Released March 18, 1915. A tramp steals a girl's handbag, but when he tries to pick Charlie's pocket loses his cigarettes and matches. He rescues a hot dog man from a thug, but takes a few with his walking stick. When the thief tries to take some of Charlie's sausages, Charlie gets the handbag. The handbag makes its way from person to person to its owner, who is angry with her boyfriend who didn't protect her in the first place. The boyfriend decides to throw himself in the lake in despair, so Charlie helps him out. A Jitney Elopement (26:19) Released April 1, 1915. Edna's father wants her to marry wealthy Count He-Ha. Charlie, Edna's true love, impersonates the Count at dinner, but the real Count shows up and Charlie is thrown out. Later on Charlie and Edna are chased by her father, The Count, and three policeman. The pursuers drive off a pier. The Tramp (29:43) Released April 11, 1915. The Tramp, Chaplin, finds the girl of his dreams and works on a family farm. He helps defend the farm against criminals, and all seems well, until he discovers the girl of his dreams already has a boyfriend. Unwilling to be a problem in their lives, he takes to the road, though he is seen skipping and swinging his cane as if happy to be back on the road where he knows he belongs. By the Sea (9:29) Released April 29, 1915. It is windy at a bathing resort. After fighting with one of the two husbands, Charlie approaches Edna while the two husbands themselves fight over ice cream. Driven away by her husband, Charlie turns to the other's wife. Work (22:18) Released June 21, 1915. Charlie and his boss have difficulties just getting to the house they are going to wallpaper. The householder is angry because he can't get breakfast and his wife is screaming at the maid as they arrive. The kitchen gas stove explodes, and Charlie offers to fix it. The wife's secret lover arrives and is passed off as the workers' supervisor, but the husband doesn't buy this and fires shots. The stove explodes violently, destroying the house. A Woman (41:08) Released July 12, 1915. Mother, Father and Daughter go to the park. The women dose off on a bench while the father plays a hide-and-seek game with a girl, blindfolded. Charlie leads him into a lake. Both dozing ladies on the bench fall for Charlie and invite him for dinner. The father returns home with a friend. Charlie rushes upstairs and dresses like a woman, shaving his moustache. Both men fall for Charlie. The Bank (14:33) Released August 9, 1915. Charlie does everything but an efficient job as janitor. Edna buys her fiance, the cashier, a birthday present. Charlie thinks "To Charles with Love" is for him. He presents her a rose which she throws in the garbage. Depressed, Charlie dreams of a bank robbery and his heroic role in saving he manager and Edna ... but it is only a dream. There doesn't appear to be any evidence that this film was received any differently from the bulk of Chaplin's early work, but today this film is often considered one of his most fascinating efforts. Charlie Shanghaied (23:11) Released October 4, 1915. A shipowner intends to scuttle his ship on its last voyage to get the insurance money. Charlie, a tramp in love with the owner's daughter, is grabbed by the captain and promises to help him shanghai some seamen. The daughter stows away to follow Charlie. Charlie assists in the galley and attempts to serve food during a gale. A Night in the Show (18:04) Released November 20, 1915. Mr. Pest tries several theatre seats before winding up in front in a fight with the conductor. He is thrown out. In the lobby he pushes a fat lady into a fountain and returns to sit down by Edna. Mr. Rowdy, in the gallery, pours beer down on Mr. Pest and Edna. He attacks patrons, a harem dancer, the singers Dot and Dash, and a fire-eater. Burlesque on Carmen (43:43) Released December 18, 1915. This is the original two-reel parody of Bizet's Carmen by Chaplin. Darn Hosiery, a goofy Spanish officer, is seduced by the gypsy girl Carmen, leading to disgrace and downfall. Police (8:45) Released May 27, 1916. Charlie is released from prison and immediately swindled by a fake parson. A fellow ex-convict convinces Charlie to help burglarize a house, but Edna, the house's owner, catches them and calls the police. Charlie, however, manages to charm his way out of trouble .... at least for the moment. Triple Trouble (27:24) Released August 11, 1918. As Colonel Nutt is experimenting with explosives, a new janitor is joining his household. The inept janitor proceeds to make life difficult for the rest of staff. Meanwhile, a foreign agent arrives at the house in hopes of getting Col. Nutt's latest invention. The inventor throws him out, so the agent then employs a thug to get the formula. When police head to the Nutt home to start an investigation, a complicated fracas ensues. This film was not an official Chaplin film, even though it has many Chaplin directed scenes; it was edited together out of outtakes and newly shot footage by the Essanay Film Manufacturing Company, with Leo White as director for the new scenes. Since Chaplin did not have legal control over the films made during his time with Essanay, he could not prevent its release.

Mutual Film Corporation "Life is a tragedy when seen in close-up, but a comedy in long-shot."

The Floorwalker (31:10) Released May 15, 1916. After causing havoc on the sales floor Charlie goes to the office floor. There he runs into the store inspector (who looks exactly like him) who has just robbed the safe and knocked out the manager. Charlie thinks he is in front of a mirror till he notices he holds a stock and his "image" the bag of loot. The Fireman (15:47) Released June 12, 1916. Charlie is a fireman who always does everything wrong. A man talks the Fire Chief into ignoring his burning home (he wants the insurance money) unaware that his daughter (the love of the Chief) is upstairs in the house. When the house next door catches fire its owner rouses Charlie who rouses the force. The Vagabond (25:53) Released July 10, 1916. After passing the hat and taking the donations intended for German street musicians Charlie heads for the country. Here he finds and rescues a girl from a band of gypsies. The girl falls in love with an artist whose portrait is later seen in a shop by the girl's real mother. The mother and the artist arrive in a chauffeured auto and offer Charlie money for his services, money which he rejects. One A.M. (16:49) Released August 7, 1916. A one-man mime show. Charlie comes home drunk. Forgetting his key, he climbs in through the window, climbs back out with the key, and goes through the door. The rest are equilibrium gags, the central one being with his collapsible wall-bed. The Count (20:11) Released September 4, 1916. Charlie burns a count's trousers while ironing them and is fired. The tailor finds an invitation to dinner at Miss Moneybags and goes in place of the count. Charlie goes to the kitchen of the same house; he is attracted to the cook, and so are the butler and a policeman. Once discovered by the tailor-count, Charlie must pretend to be the count's secretary. The real count shows up. The Pawnshop (20:22) Released October 2, 1916. Charlie competes with his fellow shop assistant. He is fired by the pawnbroker and rehired. He nearly destroys everything in the shop and and himself. He helps capture a burglar. He destroys a client's clock while examining it in detail. Behind the Screen (19:54) Released November 13, 1916. Three movies are being shot simultaneously and Charlie is an overworked scene shifter. The foreman is waited on hand and foot until all the shifters but Charlie go on strike. A girl looking for work pretends to be a man and helps Charlie. Charlie discovers her gender and falls in love with her. The foreman thinks they are homosexual and in the ensuing fight they become involved in a long pie throwing scene from one of the movies in production. The frustrated workers dynamite the studio. The film is significant to the history of homosexuality in the cinema, as it contains a joke about the subject, which was relatively unusual at the time. After Chaplin learns that Purviance is really a woman, he kisses her while on the set; at this point, a male stagehand enters and, thinking that Chaplin has kissed a man, starts acting in an overtly effeminate way until Chaplin kicks him. The Rink (23:37) Released December 4, 1916. After amusements working in a restaurant, Charlie uses his lunch break to go roller skating. Mr. Stout makes advances toward the unwilling Edna (whose father and Mrs. Stout had earlier carried on in the restaurant). After a roller skate ballet, Charlie (now as Sir Cecil Seltzer) is invited to a party at Edna's. All the "couples", including a new partner for Mr. Stout. show up. Easy Street (23:26) Released January 22, 1917. When Charlie the Tramp wanders into a mission he is smitten by Edna and puts back the collection box which he has taken. Reformed, he becomes a policeman and is assigned to rough-and-tumble Easy Street. Unable to trick or beat Eric the Tough, he puts Eric's head in a gas pipe and anesthetizes him. A hero, he now helps many poor people living on Easy Street. Eric escapes jail, Edna is kidnapped, but Charlie (recharged after sitting on a doper's needle) conquers all. Easy Street is transformed as is Eric. The Cure (19:08) Released April 16, 1917. Charlie goes to a spa to dry out, but he takes a trunk of liquor with him. He tangles with another's gouty foot in a revolving door. Later he thinks the gouty man is making love signs to him (he doesn't Edna, the real object of the man's efforts), so he signs back. He interpets a massage to be a wrestling match. When management throws his liquor into the fountain, when flow the healthful waters, everyone gets drunk. The Immigrant (20:01) Released June 17, 1917. Charlie is on his way to the USA. He wins in a card game, puts the money in Edna's bag (she and her sick mother have been robbed of everything). When he retrieves a little for himself he is accused of being a thief. Edna clears his name. Later, broke, Charlie finds a coin and goes into a restaurant. There he finds Edna, whose mother has died, and asks her to join him. When he reaches for the coin to pay for their meals it is missing (it has fallen through a hole in his pocket). The Adventurer (18:59) Released October 22, 1917. Charlie escapes from prison. After rescuing a girl and her mother from drowning, Charlie is invited to their home where a big party is held and he is treated like a hero. However, as a result Charlie's photo is printed in the newspapers and the prison guards come after him.

First National Films "It is paradoxical that tragedy stimulates the spirit of ridicule...ridicule, I suppose, is an attitude of defiance; we must laugh in the face of our helplessness against the forces of nature – or go insane."

A Dog's Life (35:18) Released April 14, 1918. Poor Charlie lives in a vacant lot. He tries to get a job but when he gets to the head of the employment line the jobs are gone. Back "home" he rescues Scraps, a bitch being attacked by other strays. Together they manage to steal some sausages from a lunch wagon. They enter a dance hall where Edna is a singer and unwilling companion to the clientele. He is thrown out when he can't pay. Back "home" Scraps digs up a money-filled wallet buried by crooks. They return to the dance hall to find Edna fired. The wallet goes back and forth between Charlie and the crooks. Charlie, Edna and Scraps end up very happily. The Bond (10:52) Released September 29, 1918. Half-reel made for the Liberty Loan Committee and distributed free throughout the country. The actors show that bonds of friendship, love and marriage are inspiring but the most important bonds of all are Liberty Bonds, the blockbuster which will knock out the Kaiser. Shoulder Arms (35:37) Released October 20, 1918. Charlie is in boot camp in the "awkward squad." Once in France he gets no letters from home. He finally gets a package containing limburger cheese which requires a gas mask and which he throws over into the German trench. He goes "over the top" and captures thirteen Germans ("I surrounded them"), then volunteers to wander through the German lines disguised as a tree trunk. With the help of a French girl he captures the Kaiser and the Crown Prince and is given a statue and victory parade in New York and then ... fellow soldiers wake him from his dream. Sunnyside (28:41) Released May 15, 1919. Charlie works on a farm from 4am to late at night. He gets his food on the run (milking a cow into his coffee, holding an chicken over the frying pan to get fried eggs). He loves the neighbor's daughter Edna but is disliked by her father. He rides a cow into a stream and is kicked off. Unconscious, he dreams of a nymph dance. Back in reality a city slicker is hurt in a car crash and is being cared for by Edna. When Charlie is rejected after attempting to imitate the slicker, the result is ambiguous--either tragic or a happy ending. Critics have long argued as to whether the final scene is real or a dream. A Day's Pleasure (17:26) Released December 15, 1919. Father takes his family for a drive in their falling-apart Model T Ford, gets in trouble in traffic, and spends the day on an excursion boat. As the boat is about to leave Charlie rushes ashore for cigarettes. As he returns the boat is leaving, but a fat lady has fallen forward with feet on the dock and hands on the deck so Charlie is able rush aboard across her back. One of Chaplins less sucessful films. The Kid (1:07:59) Released February 6, 1921. The opening title reads: "A comedy with a smile--and perhaps a tear". As she leaves the charity hospital and passes a church wedding, Edna deposits her new baby with a pleading note in a limousine and goes off to commit suicide. The limo is stolen by thieves who dump the baby by a garbage can. Charlie the Tramp finds the baby and makes a home for him. Five years later Edna has become an opera star but does charity work for slum youngsters in hope of finding her boy. A doctor called by Edna discovers the note with the truth about the Kid and reports it to the authorities who come to take him away from Charlie. Before he arrives at the Orphan Asylum Charlie steals him back and takes him to a flophouse. The proprietor reads of a reward for the Kid and takes him to Edna. Charlie is later awakened by a kind policeman who reunites him with the Kid at Edna's mansion. The Idle Class (31:04) Released September 25, 1921. The conflict here is between Charlie the wealthy and alcoholic husband and Charlie the Tramp: the idle rich and the idle poor. In the opening scene wealthy Edna descends from a Pullman car while the Tramp crawls out from under another one. At a fancy masquerade ball Edna's husband appears as a knight whose visor is stuck closed. The Tramp shows up, running from the law, and is mistaken for the husband. Edna finds the new "husband" more to her liking than the real one. When true identities are revealed, a fight breaks out and the Tramp is ejected. Pay Day (21:06) Released April 2, 1922. Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin. The Pilgrim (39:31) Released February 26, 1923. When Charlie escapes from prison he dons a preacher's clothes. By mistake he becomes the new minister for the town of Devil's Gulch. Later, discovered as the convict, the sheriff takes Charlie to the Mexican border where he can choose to return, a convict, or face Mexican bandits at war with each other.

United Artists "I was determined to continue making silent films ... I was a pantomimist and in that medium I was unique and, without false modesty, a master."

A Woman of Paris (1:21:06) Released September 26, 1923. Marie St. Clair believes she has been jilted by her artist fiance Jean when he fails to meet her at the railway station. She goes off to Paris alone. A year later, mistress of wealthy Pierre Revel, she meets Jean again. Misinterpreting events she bounces back and forth between apparent security and true love. Also misinterpreting, Jean commits suicide. The Gold Rush (1:11:49) Released June 26, 1925. A lone prospector ventures into Alaska looking for gold. He gets mixed up with some burly characters and falls in love with the beautiful Georgia. He tries to win her heart with his singular charm The Circus (1:08:36) Released January 6, 1928. Charlie's Tramp character finds himself at a circus where he is promptly gets chased around by the police who think he is a pickpocket. Running into the bigtop, he is an accidental sensation with his hilarious efforts to elude the police. The ringmaster/owner immediately hires him, but discovers the Tramp cannot be funny on purpose, so he takes advantage of the situation by making the Tramp a janitor just happens to always in the Bigtop at showtime. Unaware of this exploitation, the Tramp falls for the owner's lovely acrobatic daughter, who is abused by her father. His chances seem good, until a dashing rival comes in and Charlie feels he has to compete with him. City Lights (1:22:40) Released February 6, 1931. A tramp falls in love with a beautiful blind girl. Her family is in financial trouble. The tramp's on-and-off friendship with a wealthy man allows him to be the girl's benefactor and suitor. Modern Times (1:27:01) Released February 5, 1936. Chaplins last 'silent' film, filled with sound effects, was made when everyone else was making talkies. Charlie turns against modern society, the machine age, (The use of sound in films ?) and progress. Firstly we see him frantically trying to keep up with a production line, tightening bolts. He is selected for an experiment with an automatic feeding machine, but various mishaps leads his boss to believe he has gone mad, and Charlie is sent to a mental hospital... When he gets out, he is mistaken for a communist while waving a red flag, sent to jail, foils a jailbreak, and is let out again. We follow Charlie through many more escapades before the film is out. The Great Dictator (2:05:16) Released October 15, 1940. Twenty years after the end of WWI in which the nation of Tomainia was on the losing side, Adenoid Hynkel has risen to power as the ruthless dictator of the country. He believes in a pure Aryan state, and the decimation of the Jews. This situation is unknown to a simple Jewish-Tomainian barber who has since been hospitalized the result of a WWI battle. Upon his release, the barber, who had been suffering from memory loss about the war, is shown the new persecuted life of the Jews by many living in the Jewish ghetto, including a washerwoman named Hannah, with whom he begins a relationship. The barber is ultimately spared such persecution by Commander Schultz, who he saved in that WWI battle. The lives of all Jews in Tomainia are eventually spared with a policy shift by Hynkel himself, who is doing so for ulterior motives. But those motives include a want for world domination, starting with the invasion of neighboring Osterlich... Monsieur Verdoux (1:59:03) Released April 11, 1947. Monsieur Verdoux is a bluebeard, he marries women and kills them after the marriage to get the money he needs for his family. But with two ladies he has bad luck. Co-written with Orson Wells. "Wars, conflict, it's all business. One murder makes a villain. Millions a hero. Numbers sanctify." Limelight (2:11:05) Released October 16, 1952. Chaplin's final American film tells the story of a fading music hall comedian's effort to help a despondent ballet dancer learn both to walk and feel confident about life again. The highlight of the film is the classic duet with Chaplin's only real artistic film comedy rival, Buster Keaton.

British Productions "Friends have asked how I came to engender this American antagonism. My prodigious sin was, and still is, being a non-conformist. Although I am not a Communist I refused to fall in line by hating them. Secondly, I was opposed to the Committee on Un-American Activities — a dishonest phrase to begin with, elastic enough to wrap around the throat and strangle the voice of any American citizen whose honest opinion is a minority of one."

A King in New York 1 2 3 4 5 6 7 (1:40:03) Released September 12, 1957. Due to a revolution in his country, King Shahdov comes to New York - almost broke. To get some money he goes to TV, making commercials and meets the child from communist parents. Due to this he is suddenly a suspected as a communist himself and has to face one of McCarthy's hearings. A Countess from Hong Kong 1 2 3 4 5 6 7 (1:43:29) Released January 5, 1967. Natascha, a White Russian countess, stows away on a luxury liner at Hong Kong, determined to seek a new life in America. Natascha hides in the cabin of Ogden Mears, a millionaire diplomat, thereby causing an endless stream of misunderstandings and complications; particularly when his wife, Martha, joins the trip at Honolulu, necessitating a 'marriage' to Ogden's valet, Hudson, a saronged-dive overboard and more subterfuge on the part of Ogdon and his associate, Harvey.

I'd like to acknowledge imdb and their editor Ed Stephan in particular for the excellent exhastively provided synopses that I borrowed for the annotation of this list.

Death and Politics in the Great American Water Wars

Afroblanco — Fri, 14 Sep 2012 10:16:50 -0800

LA : What's that smell? The Salton Sea! previously, previously, and previously

"But what will I wear in jail?"

zarq — Tue, 04 Sep 2012 09:28:50 -0800

The Gangster Princess of Beverly Hills. (Single page version) "Lee would go on to tell federal authorities a lot of things about herself: that she was a famous Korean pop star as well as the heiress to the Samsung electronics fortune; she was so emphatic on this last point that on police paperwork agents listed ‘heiress’ as her occupation. Back at home in L.A., Lee called herself the ‘Korean Paris Hilton’ and played the part of the spoiled socialite, with two Bentleys, a purse-size lap dog and, especially, her commanding, petulant personality that kept her posse of sycophants in check. It was as though Lisette Lee had studied some Beverly Hills heiress’s handbook: how to dress, how to behave, how to run hot and cold to keep people in her thrall – in short, how to be a modern celebrity. But all of that would begin to unravel – amid the crowd and confusion on the Columbus tarmac that June 2010 evening – once a drug-sniffing German shepherd padded over to the van and sat down, signaling a hit."
Lisette Lee was arrested by federal authorities in June 2010 after she and her associates tried to bring 500+ pounds of marijuana on a private jet from California to Ohio -- their fourteenth trafficking trip. The US Drug Enforcement Administration would ultimately estimate that in just eight months Lee's ring moved 7,000 pounds of weed and made $3 million in profits. Her response to the article, with the author's rebuttal.

The Breaking Bad Art Project

Egg Shen — Tue, 21 Aug 2012 15:18:38 -0800

The Breaking Bad Art Project is on exhibit at Gallery 1988 in Los Angeles through August 26. The acclaimed television drama has also inspired derivative works in other media.