Podcast appearances and mentions of Richard Deacon

If we were playing television trivia and said "Sally Rogers" you would say "Rose Marie" -- this week's legend. But there was a whole lot more to Rose Marie than her role as a comedy writer on The Dick Van Dyke show. A child singing sensation, Rose Marie spent time on the vaudeville circuit, eventually making it to Broadway with a featured role in South Pacific. She frequently guested on early tv sitcoms before she landed the role of a lifetime and became part of television history along with Dick Van Dyke, Mary Tyler Moore, Morey Amsterdam, Carl Reiner, and Richard Deacon. In particular, Rose Marie's Sally Rogers and Morey Amsterdam's Buddy Sorrell were fan favorites and appeared from time to time as a duo act. When Rose Marie died, Nell Scovell, creator of Buffy the Vampire Slayer, said that Rose Marie's Sally Rogers was the "patron saint of female comedy writers." Not a bad way to be remembered! As always find extra clips below and thanks for sharing our shows! Want more Rose Marie? Rose Marie got her start as a child singing sensation (known as Baby Rose Marie) -- and here is one of her hits. https://youtu.be/XGBqxkqAvMk?si=4yB0AhtS2YppRZfW Rose Marie landed a prime role in the Broadway production of Top Banana back in 1951 as well as the 1954 movie version. Here she is at a 1978 Johnny Mercer retrospective, singing her spotlight song from that show.https://youtu.be/NYWcwPMArXg?si=QyT0ebw4dZL_CC-2 Rose Marie and Morey Amsterdam sometime reprised their Sally and Buddy act for live audiences including this fun spot on the Hollywood Palace. You even get Groucho Marx as the host. https://youtu.be/cQik0KEpgZY?si=Qn_SQ8hT2WHEZYIP Rose Marie and Morey Amsterdam appeared together in a sweet episode of Caroline in the City in 1996. (It also turned out to be one of Morey's final appearances).https://youtu.be/zMNHiXrGqDk?si=7VO-SABFUGUTK2An

EPISODE 61 - “FAVORITE CLASSIC FILMS OF THE 1960s” - 11/11/2024 The decade of the 1960s was an exciting time in filmmaking. The stodgy studio contract system was starting to give way to a new crop of independent cinematic auteurs, often associated with the "New Hollywood" era, include: Stanley Kubrick, Robert Altman, Sam Peckinpah, Arthur Penn, John Cassavetes, Francis Ford Coppola, Martin Scorsese, and Peter Bogdanovich. These films were edgier and pushed the creative boundaries and social themes to reflect the changing times. In this episode, Steve and Nan discuss some of their favorite films of the decade and why they had such an impact!  SHOW NOTES:  Sources: Some Like It Cool (2002), by Michael Freehand; Mike Nichols: A Life (2021), by Mark Harris; Jean Simmons: Her Life and Career (2022), by Michelangelo Capua; “Veronica Cartwright talks about ‘The Birds',” February 8, 2008, YouTube; “Here's to You, Mr. Nichols: The Making of ‘The Graduate',” February 25, 2008, by Sam Kashner, Vanity Fair; “Tippi Hedren On Alfred Hitchcock's ‘The Birds',” April 29, 2009, The American FIlm Institute; “The Revenge of Alfred Hitchcock's Muse,” October 5, 2012, New York Magazine; “Tippi Hedren: Hitchcock Ruined My Career,” December 7, 2012, Huffington Post; “Throwback Thursday: Shirley MacLaine Recalls Filming Lesbian Drama ‘Children's Hour' in 1961,” June 4, 2015, Hollywood Reporter;  “The Underappreciated Genius of ‘Planet of the Apes',” May 18, 2024, by Janelle Bouie, New York Times; “The Children's Hour,” October 16, 2024, Episode 257, Feminist Frequency Podcast; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  The Graduate (1967), starring Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Elizabeth Wilson, Murray Hamilton, Buck Henry, Marion Lorne, Alice Ghostly, Brian Avery, William Brooke, and Norman Fell; The Birds (1963), Starring Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette, and Veronica Cartwright, Ethel Griffies, Charles McGraw, Richard Deacon, and Elizabeth Wilson; Days of Wine and Roses (1962), starring Jack Lemmon, Lee Remick, Charles Bickford, Jack Klugman, Alan Hewitt, Maxine Stuart, Debbie Megowan, and Jack Albertson; Planet of the Apes (1968), starring Charlton Heston, Kim Hunter, Roddy McDowell, Maurice Evans, Linda Harrison, James Whitmore, and James Daly; The Happy Ending (1969), starring Jean Simmons, John Forsyth, Shirley Jones, Lloyd Bridges, Teresa Wright, Bobby Darin, Kathy Fields, Dick Shawn, Nanette Fabray, and Tina Louise; The Children's Hour (1961), starring Audrey Hepburn, Shirley MacLaine, James Garner, Miriam Hopkins, Faye Bainter, Karen Balkin, Veronica Cartwright, and Hope Summers; In The Heat Of the Night (1967), starring Rod Steiger, Sidney Poitier, Lee Grant, Warren Oats, Beah Richards, William Schallert, and Larry Gates; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Filomena Borecká (1977) je česká kreslířka, sochařka a multimediální umělkyně žijící od roku 1998 převážně v Paříži. Původně studovala hořickou sochařskou školu, poté byla krátce na pražské AVU a později ji přijali na École nationale supérieure des beaux-arts v Paříži. Jejími profesory byli Joel Fischer, Guiseppe Penone, Erik Dietman i Richard Deacon. Absolvovala též prestižní roční stáž Master Fine Arts Program na Hunter College v New Yorku a další stáže a programy.Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Filomena Borecká (1977) je česká kreslířka, sochařka a multimediální umělkyně žijící od roku 1998 převážně v Paříži. Původně studovala hořickou sochařskou školu, poté byla krátce na pražské AVU a později ji přijali na École nationale supérieure des beaux-arts v Paříži. Jejími profesory byli Joel Fischer, Guiseppe Penone, Erik Dietman i Richard Deacon. Absolvovala též prestižní roční stáž Master Fine Arts Program na Hunter College v New Yorku a další stáže a programy.

In this episode of The Perry Pod, I look at Season 4 Episode 11: The Case of the Red Riding Boots. This episode includes: Law Library: Tennessee marriage laws Plot: Episode plot Trivia: Lividity science, Richard Deacon, Perry's friends The Theme: Impulse control The Perry Proverb: "It's much easier to hide..." The Water Cooler: Deleted Scenes, last ep's Paul Prompt, PLUS listener letters Contact me at theperrypod@gmail.com. Keep on walking that Park Avenue Beat!   Survey on the Farwells' fate! bit.ly/farwellfate

Last week's comics Chilling Adventures Presents Jinx A Cursed Life #1 (One Shot) from Archie Comics | Writer(s): Magdalene Visaggio  | Artist(s): Craig Cermak | $3.99 Little Monsters #13 from Image | Writer(s): Jeff Lemire  | Artist(s): Dustin Nguyen | $3.99 House Of Slaughter #15 from BOOM! Studios | Writer(s): James TynionIV Tate Brombal  | Artist(s): Antonio Fuso Werther Dell'Edera | $3.99 No/One #3 from Image Comics (W) Kyle Higgins, Brian Buccellato (A) Geraldo Borges $3.99 The Seasons Have Teeth #2 from BOOM! Studios (W)  Dan Watters (A) Sebastian Cabrol  $3.99 Ice Cream Man #35 from Image | Writer(s): W. Maxwell Prince  | Artist(s): Martin Morazzo Chris OHalloran | $3.99 Shudder Magazine #11 from Warrant Publishing Company | Writer(s): Various  | Artist(s): Various | $6.99 Miss Truesdale And The Fall Of Hyperborea #1 from Dark Horse | Writer(s): Mike Mignola  | Artist(s): Jesse Lonergan | $3.99 Dark Spaces Good Deeds #1 from IDW Publishing | Writer(s): Che Grayson  | Artist(s): Kelsey Ramsay | $3.99 End After End #7 from Vault Comics | Writer(s): Tim Daniel David Andry  | Artist(s): Sunando C | $4.99 The Gimmick #3 from Ahoy Comics (W)  Joanne Starer (A)  Elena Gogou $3.99 This Week's Comics All Eight Eyes #2 from Dark Horse | Writer(s): Steve Foxe  | Artist(s): Piotr Kowalski | $3.99 Blue Book #4 from Dark Horse | Writer(s): James Tynion IV Steve Foxe  | Artist(s): Michael Avon Oeming John McCrea | $4.99 Ambassadors #5 from Image | Writer(s): Mark Millar  | Artist(s): Matteo Buffagni  | $3.99 Dead Romans #3 from Image | Writer(s): Fred Kennedy  | Artist(s): Nick Marinkovich | $3.99 Indigo Children #3 from Image | Writer(s): Curt Pires Rockwell White  | Artist(s): Dee Cunniffe | $3.99 Night Club (2022) #5 from Image | Writer(s): Mark Millar  | Artist(s): Juanan Ramirez | $1.99 Radiant Pink #5 from Image | Writer(s): Meghan Camarena Melissa Flores  | Artist(s): Emma Kubert | $3.99 Whats The Furthest Place From Here #13 from Image | Writer(s): Matthew Rosenberg  | Artist(s): Tyler Boss | $3.99 Harrower #4 from BOOM! Studios | Writer(s): Justin Jordan  | Artist(s): Brahm Revel | $4.99 The Neighbors #3 from BOOM! Studios  (W)  (W) Jude Ellison S. Doyle (A) Letizia Cadonici  Supermassive #1 from Image Comics (W) Kyle Higgins & Various (A) Daniele Di Nicuolo $5.99 This week's that guy that was in that show is Richard Deacon

“Marion Verboom” Chryséléphantineà La Verrière – Fondation d'entreprise Hermès, Bruxellesdu 9 février au 22 avril 2023Interview de Marion Verboom, artiste, et de Joël Riff, chargé de la programmation de La Verrière,par Anne-Frédérique Fer, à Bruxelles, le 8 février 2023, durée 10'02.© FranceFineArt.https://francefineart.com/2023/02/09/3382_marion-verboom_la-verriere-fondation-d-entreprise-hermes/Communiqué de presse Commissariat :Joël Riff, chargé de la programmation de La VerrièreAvec Richard Deacon, Tjok Dessauvage, Henri Laurens, Amélie Lucas-Gary, Maude Maris, touche-touche et Chloé VernereyPremière exposition de Joël Riff en tant que commissaire de La Verrière, « Chryséléphantine » célèbre la sculpture composite. Son foisonnement tient autant de la combinaison gourmande de matériaux que de la compilation encyclopédique de motifs. L'événement marque la première exposition personnelle en Belgique de l'artiste française Marion Verboom, et se propose de mettre en perspective sa production en présentant le travail de sept autres personnalités. Articulant prêt d'oeuvres existantes et nouvelles productions inspirées par un séjour bruxellois, l'accrochage embrasse une diversité de médiums, et associe statuaire cubiste, huile sur toile, céramique tournée, mobilier et texte, au travail de modelage et de moulage de Marion Verboom. Cette étape inaugurale de la nouvelle programmation de La Verrière coïncide avec la réinvention de sa publication, conçue comme un prolongement à part entière de l'espace d'exposition.Le terme « chryséléphantine » est employé dans l'entretien de Marion Verboom, publié dans les pages de sa monographie tout récemment imprimée(1). Et elle rajoute : « Ce qui m'avait interloquée dans ce terme découvert sur un cartel à Delphes, c'est la dichotomie entre la petite fleur légère et le pachyderme épais, synthétisée en un seul mot. »Ce solo de Marion Verboom manifeste une décennie de familiarité avec le commissaire Joël Riff, marquée par une première collaboration en 2012 pour l'exposition collective « Outre-forêt #4 » à l'espace indépendant 6b à Saint-Denis, suivie des projets « Duetto » en 2020 puis « Faire essaim » en 2021 à Moly-Sabata (Sablons, France). Joël Riff a rédigé un portrait alors qu'il nommait l'artiste au Prix Aware en 2019. Il a mentionné ses actualités dans une dizaine de chroniques Curiosité ainsi que dans la Revue de la céramique et du verre et a mené l'entretien de sa monographie aux éditions Dilecta en 2022. Déjà complice d'Amélie Lucas-Gary et de Maude Maris, il amorce à l'occasion de « Chryséléphantine » de premières conversations avec Richard Deacon, Tjok Dessauvage, touche-touche et Chloé Vernerey.(1.) Marion Verboom, éditions Dilecta, Paris, 2022 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

GGACP celebrates the birthday (February 4th) of veteran stage and screen actor John Schuck by revisiting this memorable interview from 2021. In this episode, John looks back at his six-decade career in show business and talks about turning down movie roles, guesting on game shows, canoodling with Elizabeth Taylor, portraying both Herman Munster and Daddy Warbucks and working alongside icons Robert Altman, Warren Beatty, George Burns, Richard Burton and Rock Hudson. Also, Bud Cort takes flight, James Mason goes bowling, Jack Riley and Pat McCormick whistle the national anthem and John pens a love letter to Betty Grable. PLUS: “Holmes and Yoyo'! The Old Philosopher! The magnificent mind of Leonard Stern! In praise of “Dick Tracy”! And John shares memories of Richard Deacon, Jack Gilford, James Karen and Werner Klemperer! Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Rod Serling with Ed Nelson, Barbara Anderson, and Richard Deacon in The Blessing Way

Imagine coming across one of the many works of public art in streets of the city. Something catches your eye, and you want to know more about it. You may wonder what the artist intended when creating it, or what it represents. Listen to this audio excerpt to hear Richard Deacon discuss his sculpture "Between the Eyes", which is included as part of ArtBuzz, an audio tour of Toronto's public art. Using your smartphone, ArtBuzz makes it easy to hear from the artists themselves as they share some of the secrets and stories behind their art. ArtBuzz is spearheaded by Media Producer/Designer, David Tarnow.

Hi Everybody,Welcome to 2ZQ Hot takes, where we discuss issues both big and small; I am your host TVHTim Kirk and today I'll be talking about Five Gay Actors From The 60's - Paul Lynde, Victor Buono, Charles Nelson Reilly, Richard Deacon and Roger C. Carmel. They were extremely talented, unforgettable and had an enormous impact on young minds, including mine. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Watch on youtube at https://youtu.be/fEl3BMaz2VkA really rare and funny, but highly visual episode, Jack Tries to Get a Passport with Richard Deacon, Mel Blanc, and Frank Nelson!

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date with an Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date with an Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

This episode reviews the career of Richard Deacon. This episode is also available as a blog post: http://thewritelife61.com/2017/09/18/the-amazing-but-much-too-short-career-of-richard-deacon/

This episode reviews the career of Richard Deacon. This episode is also available as a blog post: http://thewritelife61.com/2017/09/18/the-amazing-but-much-too-short-career-of-richard-deacon/

Veteran stage and screen actor John Schuck joins Gilbert and Frank for a look back at his 6-decade career in show business and a lively conversation about turning down movie roles, guesting on game shows, canoodling with Elizabeth Taylor, portraying both Herman Munster and Daddy Warbucks and working alongside icons Robert Altman, Warren Beatty, George Burns, Richard Burton and Rock Hudson. Also, Bud Cort takes flight, James Mason goes bowling, Jack Riley and Pat McCormick whistle the national anthem and John pens a love letter to Betty Grable. PLUS: "Holmes and Yoyo'! The Old Philosopher! The magnificent mind of Leonard Stern! In praise of "Dick Tracy"! And John shares memories of Richard Deacon, Jack Gilford, James Karen and Werner Klemperer! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Life Transformer Show, Tara brings on a super special guest. Her partner Deaks, Richard Deacon. They answer some of your questions about their life behind the scenes. How they manage their time. The key thing is communication with each other and planning out their week and having a chat daily about home life. How to get past the 3pm slump especially after getting up early. They look at sleeping habits and how much sleep they need and bedtime routines. Environment dictates performance, sometimes the people you hang around with don't help you to reach your goals.   What You Will Learn In This Episode: The behind the scenes of Tara and Deaks life. Why communication is mega important. How to manage and beat the 3pm slump. The importance of sleep. How your environment dictates performance.   How To Contact Tara Hammett: tarahammett.com Facebook

Madeline Brumby joins Jim for another look at an influential Sci-Fi film from 1956 "Invasion Of The Body Snatchers," starring Kevin McCarthy, Dana Wynter, King Donovan, Carolyn Jones, Larry Gates, Richard Deacon and Whit Bissell. Considered one of the greatest Science Fiction movies of all time, this gem is celebrating its 65th Anniversary and is still entertaining audiences. Join us for a second look at this classic on this episode of "Monster Attack!"

March 16-22, 1968 March 16-22, 1968 This week Ken welcomes Cartoonist and co-author of the new book (along with friend of the show and future guest Bob Eckstein) "The Elements of Stress and the Pursuit of Happy-ish in this Current Sh*tstorm", Michael Shaw to the show. Ken and Michael discuss MST3k, Wisconsin, The Mid-West, Ken's scholarly attempts, the sweet spot of 1968, growing up outside of St. Louis, Three Stooges, hurting your eyesight, The Flying Nun, TV Service Man talking back, bananas, writing letters, The Prisoner, Hollywood Palace, Nick at Nite, My Three Sons, Hogan's Heroes, Gitmo: The Sitcom, Don Knotts, Wild Kingdom, statutes of Monkey and Man, Eve Arden, vintage radio shows, the greatest of Merrill Markoe, poodles, Danny Thomas, Burlesque, Sam Jones, Andy Griffith, Maybury RFD, Baloney, Swedish Sex documentaries, preferring the replacement casts, I Dream of Jeanie, the weirdest Larry Hagman stories, Matlock vs. Ironsides, homages, English Gardens, not discussing the Beverly Hillbillies as much as you'd think, breaking the 4th wall, the genius of Green Acres, Jonathan Winters, vanilla ice cream, Dragnet, Harry Morgan, Leave it to Beaver, Tarzan, Gomer Pyle, Jerry Van Dyke's performance anxiety, murderers, variety shows, Mary Tyler Moore, Richard Deacon, avoiding dark TV and watching shows you've never watched but should watch.

Rod Serling hosting Zero Hour is always a pleasure!

Wie ist das Verhältnis von Kunst und Sprache? Welche Rolle spielen die Schrift und die Stimme in der bildenden Kunst? Lässt sich ein Kunstwerk vollständig in Sprache übersetzen? Gemeinsam mit einer Bildhauerin und Grafikerin gehen wir auf Kunstwerke ein, die ganz unterschiedlich mit Sprache arbeiten: in Form von Gedichten und Filmsynchronisationen, chorischem Sprechen und Schreibmaschinen-Typografie.

A conversation with our friend Mark Ross Mulkeen, covering a 40-year friendship: Early days at Los Angeles City College (1980-1982), his friendship with Peggy Lee, that time Peggy and Tony Bennett greeted Chris at Peggy's front door - and so much more, including Chris' song for Rogue Alley, "I See September." SHOW NOTES: 0:00 - "I See September" - Chris Yale 4:25 - Mark Ross Mulkeen - Friends for 40 years this month. 5:03 - Roger was the "ugly chick" in yellow at LACC. 5:35 - More about LACC days.  7:00 - Blimpie and the arcade on Vermont Avenue. 8:10 - Daniel Murphy High School 11:18 - More LACC Memories. 13:33 - Getting trashed at The Old Spaghetti Factory. 15;45 - Crestline, Ca. 19:30 - COVID-19 and the rise of virtual firms. 21:20 - Rents in LA/San Francisco/New York City 22:35 - Cedarhurst and Hillside Terrace 25:14 - Mark's friendship with Peggy Lee. 31:37 - That time Peggy Lee and Tony Bennett answered the door when Chris went to Peggy's house. 33:03 - Gaga versus Madonna 35:45 - Mark and Roger's crush on Tatum O'Neal 37:16 - Richard Deacon, Rock Hudson at The Rose Tattoo 38:32 - Rock Hudson at The Magic Hotel 39:30 - Face the Music game show. 41:09 - Trashed at Fisherman's Wharf and the trip to Walnut Creek - after 'shrooming the night before. 43:31 - Does there really need to be a Build-A-Bear Workshop on Hollywood Boulevard?

Finishing February on a high, we're back with another art-filled episode. Exhibition highlights include France-Lise McGurn at Simon Lee Gallery, '9th St. Club' at Gazelli Art House, and a sculptural double-billing at Lisson Gallery in the form of Richard Deacon and Tony Cragg. We were saddened to hear of the closure of commercial power-house Blain Southern. Known for representing the likes of Jake and Dinos Chapman, Mat Collishaw, and Sean Scully, the gallery announced its closure of all three spaces this month following the departure of co-founder Graham Southern in late 2019. We dissect what went wrong and what it means for the art world. And from the sad to the ridiculous, we couldn't pass by the story of the disgruntled art critic who accidentally destroyed an artwork she openly disliked at Zona Maco fair in Mexico. Finally, breaking from tradition our Artist Focus is actually a group: the Women Impressionists. We welcome the long-overdue attention given to the female artists who contributed to famous art movements, and this episode we celebrate two key Impressionists: Berthe Morisot and Mary Cassatt. SHOW NOTES: France-Lise McGurn 'Percussia' at Simon Lee Gallery: https://www.simonleegallery.com/exhibitions/176/ France-Lise McGurn 'Sleepless' at Tate Britain: https://www.tate.org.uk/whats-on/tate-britain/exhibition/france-lise-mcgurn'9th St. Club' at Gazelli Art House: https://gazelliarthouse.com/exhibition/9th-st-club/ Richard Deacon 'Deep Space' at Lisson Gallery until 29 February 2020: https://www.lissongallery.com/exhibitions/richard-deacon-deep-stateTony Cragg 'Stacks' at Lisson Gallery until 29 February 2020: https://www.lissongallery.com/exhibitions/tony-cragg-stacksBlain Southern closes all three galleries: https://www.theartnewspaper.com/news/blain-southern-shuts-all-three-galleries $20,000 artwork destroyed by a critic in Mexico: https://www.theguardian.com/artanddesign/2020/feb/10/gabriel-rico-a-20000-artwork-has-been-destroyed-by-a-critic-thats-nothing7 Female Impressionists every Art History Lover should know: https://www.artsy.net/article/artsy-editorial-7-female-impressionists-art-history-lover The women impressionists forgotten by history: http://www.bbc.com/culture/story/20180807-the-women-impressionists-forgotten-by-history

Episode 8 of CRYSTALCAST features Richard Deacon of Masthaven Bank.Now available on APPLE PODCASTS!https://apple.co/2WuDoxFCrystal Specialist Finance's podcast series continues with another guest from the world of specialist finance providing you with expert insight and helping you to either write more sector business or start for the first time.Episode 8 features Masthaven Bank's Sales Director Richard Deacon who joined Kris Corns to talk about bridging finance and how far it has come, Masthaven's Bank status, technology, sourcing systems and improvements in education for brokers.Richard said: "All brokers and advisors should have a knowledge of bridging finance. The armoury of products they offer their clients needs to have an easy to set up, quick to complete, short term lending solution which can be utilised when more traditional lending methods are unavailable”Support the show (https://www.crystalsf.com/)

LISTEN HERE: ITUNES | OVERCAST My guest today is Paul Cooper, who spends his days exploring ancient and modern ruins.  I’m going to begin this introduction with a hot take: Paul has one of the best Twitter accounts in the world. Ruins are special. They freeze a moment in time forever. They remind us of the shortness of life and the inevitable entropy of history. Paul's book, River of Ink, is predicated on the idea of bringing ancient cities back to life in a fictional context. In this episode, we talk about the academy in the internet age, compare functional and sacred architecture, and dream about time travel. We explore the strange and perplexing history of the Roman Colosseum and investigate letters written on clay tablets in ancient Mesopotamia. And now, I invite you to enjoy this journey through space and time, as we explore the many shades of human history. Note: Since I enjoyed this podcast so much, I wrote a short blog post about it. Useful Links Paul’s Book, River of Ink    Find Paul Online Twitter  Facebook Instagram  Paul’s Website   Learn More About Paul The Timeless Allure of Ruins, Paul’s BBC Feature Paul’s The Atlantic Articles   Show Notes   1:00 How Paul’s childhood, surrounded by castles in South Wales, inspired him to study ancient ruins   1:53 Paul’s first novel, River of Ink, depicts a fictional story of the events that could have taken place during a real thirty-year gap in Sri Lankan history    3:31 Paul’s most surprising takeaway from his year living abroad in Sri Lanka   4:07 Paul is captivated by the spark in imagination that occurs when walking through ancient ruins, a passion he shares with his 39,000 Twitter followers   5:29 Paul questions the transition a building undergoes from functioning structure to ancient ruin   7:26 Why are there flowers in the Colosseum that don’t exist anywhere else in Europe? Paul explains the answer botanist Richard Deacon discovered explaining the ancient mystery   10:38 Ruins: A place where the future is spontaneously canceled. Paul’s observation on ruins and their story as a place where the future was spontaneously canceled   12:34 Paul explains the tension between a building’s first few years and the inevitability that one day it will have to be torn down   15:14 Paul asks: "At what point can you say a ruin is "finished" and it’s permitted to destroy it?"   25:32 Paul talks about the invention of writing and how it has shaped ancient architecture, philosophy, and mathematics   28:24 Get a short peek into Paul’s second book, set in the Assyrian Empire   29:33 If Paul could travel back in time, what would he see? These are his top three choices   31:29 Paul explains the similarity between ancient ruins and ghost towns   39:32 Paul talks about the interplay between ruins in time and what they represent today, explaining how these structures feel oddly static when you enter them   41:40 Paul’s eerie story of a haunted church in Norfolk and why he believes these stories exist   43:55 Paul’s realization that for thousands of years, each person visiting a ruin has brought a different perspective, causing a continuous variation from the truth of ancient structures and historical stories   45:42 Paul’s opinion on what people in the year 5,000 will find the most interesting about today’s civilization   49:57 How the Internet is reshaping academia   53:03 Paul’s observation of the new self-education movement You can support the North Star Podcast by leaving a review on iTunes. Or you can share the podcast on Twitter or Facebook. To listen to other episodes or learn more about the North Star, you can connect with me directly at perell.com and you can always reach out on Twitter at david_perell. And if you enjoyed this episode, you’ll like the episode with Tyler Cowen, a columnist at Bloomberg who writes about economics, history and culture. In the Two Blundering Fools episode, Tyler shares seriously counterintuitive points on travel, the millennial generation and how he thinks about the future. Quotes “Every ruin is a place where a physical object was torn apart and that happened because of some historical force. If a building is ruined, an economic ruin, a closed down factory, it’s been blown up by a bomb, or it’s been abandoned because people moved away-It’s because huge historical forces have washed over it. Each ruin shows a place where the future was just suddenly cancelled. The next day didn’t happen, it was just a ruin. So, each one is a window into a particular historical moment where something changed. That’s what really fascinates me everyday about them.”  “Writing is such an incredible thing. It restructures the way we think. Once you know how to read, it’s impossible not to. If I showed you a page of words and said don’t read this, you wouldn’t be able to. Your brain has been forever changed by being taught the ability to read. The ability to store information outside of our brains suddenly frees us up to do a whole load of incredible things. A pre-literate society has a certain amount of knowledge passed down from the ancestors, who have gathered that knowledge very carefully. And we have to expand so much effort to keep that knowledge together. We have to put it in lists, make it rhyme, do it in patterns. All of these things simplify and help us remember the knowledge passed down from the ancestors. Once we can write down on clay or paper and make the material remember for us, we’re freed up to do a whole load of interesting things like examine philosophy or mathematics.” “When people in previous ages have looked at ruins, what they see is what we’ve been describing. There was a cataclysmic event, something went wrong here, and they try to tell stories about why that might have happened…Ruins don’t mean anything by themselves. They seem like a kind of place that slightly resists meaning. People try to give meaning to them. They try to tell stories about them that make sense about what must have happened.” “Everyone who comes to a ruin brings a different perspective and a different story and a different meaning. And all the time, the ruin is just sitting there, kind of meaning nothing. It doesn’t mean anything by itself. It needs somebody to come along and give it meaning. And so in that way, the ruin forms a battle ground. Everybody is in this five way tug of war about what this crumbling mass of bricks in the desert means and that’s what makes them incredible places to study.”  

Der 1949 in Wales geborene Richard Deacon kann auf ein vier Jahrzehnte umspannendes, breites bildhauerisches Werk zurückblicken, was ihm letztes Jahr die Ehre einer Retrospektive in der Tate Britain in London zuteil werden liess. In Winterthur ist er auf verschiedene Weise präsent, am augenfälligsten durch die grosse Aussenskulptur Footfall, die auf Initiative des Galerievereins, Freunde des Kunstmuseums Winterthur, im Frühling 2013 zur Hundertjahrfeier des Vereins aufgestellt wurde und seither den kleinen Platz neben dem Kunstmuseum prägt. 2014 publizierte das Kunstmuseum eine Ausgabe von Deacons Schriften, und auch in der Sammlung des Museums ist er mit einer Gruppe von Werken präsent, so dass die aktuelle Ausstellung mit der Präsentation von über 40 Arbeiten des Künstlers aus den letzten beiden Jahrzehnten hier anschliessen kann.Der Titel der Ausstellung, On The Other Side, wurde vom Künstler selbst gewählt und weist darauf hin, dass seine Werke nicht den üblichen Gesetzen der Bildhauerei folgen. Anstatt für eine vorgefasste Formidee das passende Material zu suchen, geht Deacon genau umgekehrt vor und entwickelt seine Skulpturen ausgehend von verschiedenen Materialien in einer spielerischen Auseinandersetzung mit deren Eigenschaften und den Techniken ihrer Verarbeitung. Dabei ist sein Vorgehen ziemlich unkonventionell, denn er lotet nicht nur die einem Material inhärenten Möglichkeiten aus, sondern findet darin vielmals Eigenschaften anderer Materialien, nötigt sie seinen Werkstoffen zuweilen geradezu ab – Holz zeigt sich so flexibel wie Metall, Keramik so geschmeidig wie Textil. Er sei kein klassischer Bildhauer oder Plastiker, meinte er einmal, sondern einer, der etwas fabriziert. Da er den Materialien in seinen aufwendigen Arbeiten einiges abverlangt, benötigt er Partner: Beim Holzbauer werden Bretter und Balken verformt und zu komplexen Gebilden zusammengesetzt, in Stahlbaufirmen werden in aufwendigen Verfahren Bleche geschnitten, miteinander verschweisst und poliert, und in der Keramikwerkstatt werden nach kleinen Modellen grosse Tonformen gebaut, die durch Glasieren und Brennen ihre endgültige Gestalt erhalten – monumental oder klein und zierlich, in organischen oder in konstruierten Formen. Bei aller Unterschiedlichkeit in der Anmutung zeigen die Skulpturen doch eine Gemeinsamkeit, denn sie erweisen sich als logisch organisierte und dennoch überraschende Objekte: “What you see is what you get”, so kommentierte Deacon seine Arbeiten. Doch ebenso wichtig wie sein Verständnis für technische Prozesse ist sein poetisches Interesse an den metaphorischen Bedeutungen der Formen, das ihn immer wieder zum Verfassen von Werktiteln und Texten veranlasst.

Dame Angela Lansbury on returning to London theatre, Swedish actress Sofia Helin and Danish actor Kim Bodnia from TV show The Bridge; sculptor Richard Deacon on his career and actor Reece Shearsmith discusses his latest post-Gentleman project. Kirsty Lang talks to author Hanif Kureishi about a novel that isn't about VS Naipaul and to actress Isabella Rossellini about dramatising the sex lives of insects

Mark Lawson talks to Dame Angela Lansbury, who returns to the West End stage after 40 years to play Madame Arcati in Noel Coward's Blithe Spirit. She discusses her mother, an actress, her wish to return to Murder She Wrote, and her ambivalence about Hollywood. Philip Seymour Hoffman's death was announced yesterday. Anton Corbijn - who directed him recently in A Most Wanted Man - pays tribute to the actor, whose films include The Master, Doubt, Happiness and Capote, for which he won an Oscar. Mark talks to the Turner Prize-winning artist Richard Deacon, whose exhibition of sculptures and drawings is about to open at Tate Britain. For more than four decades he has used materials ranging from laminated wood and polycarbonate to leather, cloth and ceramic.

Richard Deacon, 1949 in Wales geboren, bezeichnet sich selbst nicht als Bildhauer, sondern als “fabricator”. Damit weist er darauf hin, dass er nicht an ein klassisches Bildhauermaterial gebunden ist – Holz, Stein, Bronze –, sondern dass er Gegenstände aus verschiedensten Materialien baut oder eben fabriziert. Und wie er selbst sagt, versteht er das Fabrizieren in seinen mehrfachen Bedeutungen, er stellt etwas her, er erfindet etwas. Das heisst, dass er in bald vierzig Jahren Arbeit immer wieder neue Ansätze gefunden hat, anstatt sich einem bestimmten Stil oder image zu verschreiben. Mit Deacon zu arbeiten, ist deshalb spannend, denn es gibt kein Werk ab der Stange, er beginnt stets von vorn und ganz praktisch – nicht mit Zeichnungen, er arbeitet unmittelbar mit Material, bis daraus ein Modell wird. Ob er für die Winterthurer Skulptur von einem Kegelschnitt oder einfach von einem gefalteten und zusammengeklebten Kartonstreifen ausging, ist unerheblich. Jedenfalls erzeugen die Knicke im Material eine zickzackförmige in sich geschlossene Silhouette. Dann wird es aber bereits komplizierter, assymetrisch, divergierend..., doch es macht nicht viel Sinn, das formale Raffinement zu beschreiben, wenn man nicht vor der Skulptur steht. Was nämlich an ihr vor allem fasziniert, ist die Tatsache, dass sie einen Schritt für Schritt überrascht. Von der einen Seite her gesehen, zeigt sie eine hart konturierte Oeffnung, bildet eine Linie, von der anderen her erscheint sie als Volumen – der Uebergang vollzieht sichunmerklich. Die Figur richtet sich steil auf, wirkt stabil wie eine Wand und unversehens scheint sie aus dem Gleichgewicht geraten und dem Kippen nahe. Sie ist kein stilles Monument, sie will gesehen werden und gibt dem Betrachter vielerlei Ansichten zurück.Was wäre aber eine Aussenskulptur ohne ihren Standort. Ihre Wirkung beruht nicht allein auf ihrer Form, sie entfaltet sich erst, wenn sie richtig plaziert ist. Eine Skulptur stellt man sich meist auf einer Wiese vor. Doch Deacon suchte für sein Werk etwas anderes als die beschauliche Ansicht aus der Distanz, er war aus auf das, was er mit dem schönen englischen Wort “thoroughfare” benennt, den Durchgang, den Verkehr, das Hin und Her der Leute. Dafür war der Asphaltstreifen zwischen Alt- und Neubau wie geschaffen, der eigentlich weder dem Parkieren, noch der Feuerwehr noch einem anderen Zweck diente, sondern ein von den Architekten der Renovation geschaffenes Niemandsland war. Auf diesem Grund begegnet man der Skulptur auf Augenhöhe, und sie wiederum zeigt einem weder eine Vorder- noch eine Rückseite, sie ist allseitig zugänglich, steht allseitig im Licht.

Curious adolescent boy David MacLean (Jimmy Hunt) confronts aliens who have set up base in his backyard. The extraterrestrials intend to use mind control on the local townsfolk. Determined to stop the invaders, who have already co-opted his father (Leif Erickson), he attempts to warn others. But when local law officers also succumb, David teams up with astronomer Stuart Kelston (Arthur Franz) and Dr. Pat Blake (Helena Carter), and the trio must fight together to repel the insidious intruders. Stream online: https://amzn.to/2wRT3f1 Become a Patron: https://www.patreon.com/mfrbooksandfilm?fan_landing=true

Like many of his generation, Richard Deacon adopted Marcel Duchamp’s proposition that titles were an extra colour on the artist’s palette. In using language in this way the younger artists of the 1970s put distance between themselves and the abstract artists who came before them (who often labelled everything ‘Untitled’). ‘Listening to reason’ is a case in point.1 The shape of the work describes five double loosely ear-shaped curves, connected by twisting pieces of laminated wood to make one continuous line. The title encourages us to think of a circle of people listening to an argument, each connected to the other but all slightly differently. It is far from being a symmetrical form; each section is joined by twisting connections that appear to be arranged at random. The line is made up of multiple layers of laminated ply, which have been glued together in sections and clamped onto forms that give them their twisting motion. Deacon has left the hardened glue that squeezed out of the laminations as a trace of the process, thereby adhering to a principle of truth to materials and processes. The plain, glowing yellow surface of the ply against the beige colour of the glue in the side grain of the wood helps to reveal the twisting body of the loops. The sections were then bolted together through offset joints, once again making a virtue out of the visible process to articulate the form. The resulting curves and loops defy imagination. The piece is like a five-fold moebius strip but some-how it all comes together into a convincing whole. When asked how he had visualised this complex form in order to be able to make up the necessary jigs and formwork, he acknowledged that he never visualised it as a whole. It seems that he had the twisting straight sections lying around waiting to become a star-shaped work. On the other side of the studio were the five ear shapes destined for another work. Living with these forms, he eventually realised that they would fit together with a few minor modifications and the resulting sculpture is what we see here.2 There is an interesting parallel between this accidental juxtaposition and the working methodology of assemblage artists such as Haim Steinbach or Janet Laurence. Sculptors of this kind accumulate objects and materials in the studio and one day bring them together to make something new. This aspect of chance encounters belies the purely formal aesthetic that most American art aspired to at this time and leans towards a history of European surrealism, in particular to Duchamp’s theory of chance.3 1. This work was first reserved by the AGNSW in 1986 but only acquired when it was brought out for the 1988 Biennale of Sydney 2. Conversation noted by the author after a studio visit with Deacon in 1987 3. Duchamp believed in allowing chance to play a part in the creation of his works, for example the accumulation of dust that he used to colour the sieves in his ‘The large glass’ 1915–23 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

During the 1980s Anish Kapoor, along with his British counterparts Richard Deacon, Tony Cragg, Antony Gormley and others, significantly challenged prevailing sculptural practices. Referred to as New British Sculpture, their respective work (although largely unrelated) shifted away from the purely conceptual or minimal art that had dominated the previous decades to embrace lyricism and metaphor, and to reconfigure the relationship between subject, object and viewer. Kapoor was an influential figure in this development. From brightly coloured pigments spread over abstract bodily forms to concave mirror pieces and enormous sculptural installations, Kapoor’s sculpture is about sensory experiences. He makes sculptural forms which pervade or hold physical space and which deliberately explore metaphysical dualities such as light and darkness, earth and sky, mind and body. For Kapoor, space is not empty; rather it is full of meaning and potential, and it is this paradox that he explores in material and abstract terms. Since the 1990s Kapoor’s work has been concerned with the expression of negative space: openings and cavities which are often referred to as voids. While his earlier pigment works were shapes with luminously coloured surfaces, ‘Void field’, a sculptural installation of four craggy blocks of quarried Northumbrian sandstone, elaborates an internal space of darkness. At the centre of each stone is a deep velvety hole coated with black pigment, which figuratively signifies a threshold, a space that portends to infinity. Peering into the aperture of each stone, the space within appears beyond measure, revealing a balanced tension between the earthly weight of rock and the nothingness suggested by the dark opening, or void. Kapoor’s voids have been likened both to wombs and to contemporary notions of the sublime. About his understanding of a ‘modern sublime’ Kapoor has said: ‘I have always been drawn toward some notion of fear in a very visual space, towards sensations of falling, of being pulled inwards, of losing one’s sense of self’.1 The black holes at the centre of each stone in ‘Void field’ function in this way; their darkness is conspicuous and entrancing, denoting the amorphous margins between human perception and cognition. Similar sensations are invoked by Kapoor’s suite of prints ‘Blackness from her womb’ 2001 (AGNSW collection). Here, the void is literally associated with the womb, whose function is to harbour life. The yellows and reds that dominated Kapoor’s early work return, transformed more obviously into abstracted female sexual iconography. The aquatint bleeds into forms, dissolving and sometimes imploding their structure. In the unresolved play and metamorphosis between interior and exterior spaces and darkness and light, ‘Blackness from her womb’ is a graphic synthesis of Kapoor’s ideas. 1. Martin Caiger-Smith, ‘Anish Kapoor’, Hayward Gallery, London 1998, unpaginated © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

Mice can be used to mimic Alzheimer's disease in humans. Alzheimer's disease is the most common type of dementia. Currently there are no effective treatments so mice models offer one approach to both understanding and developing treatments for Alzheimer's. Here we see mice digging and burrowing. Find more information about Alzheimer's disease here: http://alzheimers.org.uk/ More science here: Deacon, R.M.J. Digging and marble burying in mice: simple methods for in vivo identification of biological impacts. Nat. Protocols 1, 122 - 124 (2006). http://www.nature.com/nprot/journal/v1/n1/full/nprot.2006.20.html

Gunsmoke. February 13, 1954. CBS net. "The Killer". Sustaining. Crego is a cowardly killer who's very particular about whom he shoots. The script was used on the Gunsmoke television series on May 19, 1956. William Conrad, John Meston (writer), Lawrence Dobkin, Howard Culver, Vic Perrin, Richard Deacon, Parley Baer, Georgia Ellis, Norman Macdonnell (director), Rex Koury (composer, conductor), George Walsh (announcer).

Gunsmoke. February 13, 1954. CBS net. "The Killer". Sustaining. Crego is a cowardly killer who's very particular about whom he shoots. The script was used on the Gunsmoke television series on May 19, 1956. William Conrad, John Meston (writer), Lawrence Dobkin, Howard Culver, Vic Perrin, Richard Deacon, Parley Baer, Georgia Ellis, Norman Macdonnell (director), Rex Koury (composer, conductor), George Walsh (announcer).