#Paul Harvey

[reality-detective]

Paul Harvey warned everyone in 1965 and people ignored it, I was 7. We're healing ancestral trauma for letting it slide. Just know it ends right here, right now. 🤔

[ireton]

Paul Harvey - "If I Were the Devil" - Broadcast from 1965

[oldshowbiz]

It was only on my radio between 11pm and 4am, but KFBK 1530 AM Sacramento was one of the key stations that came in staticky, but strong in rural British Columbia back in the 1980s and 1990s.

As a kid I would go up and down the dial on my clock radio when I was supposed to be asleep searching for far off worlds. KFBK Sacramento and KGO San Francisco were always the most powerful signals.

I remember hearing Larry King's late night radio show, Sally Jesse Raphael's call-in show, When Radio Was hosted by Art Fleming, and of course the ABC News updates from Joe Vaughn.

[citizenscreen]

Birthday remembrance - Paul Harvey #botd

[lobbycards]

Sabrina, Italian Lobby Card (Fotobusta). 1954

[kf4rws-actual]

... --- ... We've all heard the dits and dahs of the morse code signal for S.O.S. ... --- ... It's been used in every type of entertainment medium. It's also the name of steel wool cleaning pads. ... --- ... S.O.S. wasn't formally adopted by the International Telecommunications Union until around 1908, so did no one need help before then? Before the ITU adopted ... --- ... there was -.-. --.- -.., or CQD. Come Quick Danger was the common call for help prior to the S.O.S. ... --- ... The radio operator aboard the Titanic had sent out various calls for help over morse code with CQD DE MGY, MGY being the callsign of the ship, before alternating between CQD and S.O.S. ... --- ... Alot folks have thought the meaning of the S.O.S. is "save our ship," or "save our souls," but the letters have no real meaning. The meaning can be found in the simplistic and easily remembered dit dit dit dah dah dah dit dit dit tones. The ITU believed that operators and listeners alike would better hear and understand the call for help. CQD lives on in amateur radio though. A general call of CQ can be heard over the airwaves for other stations to hear and respond. And now, ... --- ... you know ... --- ... the rest of the story, --. --- --- -.. -.. .- -.--!

73

Artwork by F. Allen Gilbert, 1909

[americanmarketplace]

A warning From 1965 | Paul Harvey

[skrytch]

[gatutor]

Eve Miller-Paul Harvey "Abril en París" (April in París) 1952, de David Butler.

[fuckyeahquotesposts]

In times like these it is good to remember that there have always been times like these.

Paul Harvey

[reality-detective]

Paul Harvey 🤔

[ireton]

Audio - 1965 Paul Harvey - If I Were The Devil

Video - 2023 Version 

[oldshowbiz]

and now you know the rest of the right-wing story

[motionpicturelover]

"Petrified Forest, The" (1936) - Archie Mayo

"February Film Favourites" Day 16/28

This film provided Humphrey Bogart with his breakthrough role as the gangster Duke Mantee. Bogart had played the role opposite Leslie Howard on stage and when the time came to make the movie Leslie Howard told the studio that unless they cast Bogart as Mantee, he'd refuse to be in it. Howard was a major star at the time and Warner Brothers acquiesced.

One of my Top 10 films of all time.

Full film on Archive.org.

[letterboxd-loggd]

The Whole Town's Talking (1935) John Ford

September 24th 2024

[twittercomfrnklin2001-blog]

The Whole Town's Talking

John Ford’s THE WHOLE TOWN’S TALKING (1935, TCM, Criterion Channel, YouTube) has been called the director’s only screwball comedy. That depends on how serious you like your screwballs. The film manages to poke fun at romantic comedy, gangster films and the notion of celebrity, but it lacks the consistently pixilated charm of the best comedies of Frank Capra, Howard Hawks and Preston Sturges.

Edward G. Robinson stars as Jonesy, a clerk with a crush on tough-talking colleague Bill (Jean Arthur). When a lookalike gangster, Killer Mannion, escapes from the pen, the police mistakenly take Jonesy and Bill into custody. Realizing their mistake, they give him a letter explaining that he’s not the gangland chief, which brings the real crook to Jonesy’s apartment and sets up a string of mistaken identity gags at the same time Jonesy becomes a local hero simply because of his face.

The film’s main screwball element is the liberation of Jonesy. His boss (Paul Harvey), who wants to use the publicity to promote his advertising firm, gets him drunk, leading Jonesy to confess his love for Bill. Later he finds an outlet for his own repressed anger by impersonating the crook. Robinson has the wisdom to play this almost totally straight. He doesn’t reach for comic effect, which makes him both very real and very funny. Some of his reactions, as when Harvey asks him to sign his son’s autograph book right under Mae West’s signature, are priceless. When Jonesy meets Mannion, Robinson differentiates the two so simply and clearly you can easily tell which is which, even when they start impersonating each other. When the focus isn’t on Jonesy, however, the film often gets too serious for its own good. There are a pair of comic policemen (Arthur Hohl and James Donlan), but the authority figures aren’t very funny, so their scenes start making the film look more like a real gangster picture. Ford needed to throw a Billy Gilbert or an Edgar Kennedy into the mix to keep things buoyant. And there are also two murders played relatively straight that seem to have wandered in from another film.

That didn’t bother contemporary audiences, and the picture was a big hit that revitalized Robinson’s career by letting him poke fun at the gangster roles in which he had become typed. It also marked Arthur’s rise to stardom, and she’s quite wonderful, particularly when Bill spins fanciful yarns about her exploits when the police think she’s Mannion’s moll. There’s also funny work from Etienne Giradot as Jonesy’s fussy supervisor and Donald Meek as the man who first turns Jonesy in and keeps trying to collect the reward. When the two bump into each other at police headquarters, it’s thirty seconds of character actor heaven.