#lawrence spivak

[oldshowbiz]

Meet the Press hosted by Lawrence Spivak

[thenewdemocratus]

David Von Pein: Meet The Press: Senator John F. Kennedy (October, 1960)

  Source:The New Democrat  The early 1960s was one of the hottest periods of the Cold War (no pun intended) and spending the first ten minutes of Meet The Press talking about China and other communist activities in Asia should be no surprise to anyone familiar with this period. Senator Kennedy who is a political hero of mine and perhaps my number one political hero and a big reason why I am a…

[kyda]

due sere fa sono rimasta sveglia a studiare fino alle 3 e ieri alle 8 ero già in macchina verso l'università. per fortuna non ero fra i primi dell'appello perché la prof procedeva per verbali e ho aspettato 5 ore prima che toccasse a me. ripassare prima dell'esame è una cosa che ho smesso di fare qualche anno fa e di solito se i prof danno la possibilità di scegliere sono la prima a propormi ma ieri non dovevo ripassare, dovevo studiare. ho studiato fino all'ultimo secondo, con l'acqua alla gola, quando la prof mi ha chiamata alle 14:52 e io ero lì fuori che cercavo di finire le 50 pagine centrali di wide sargasso sea dopo aver provato in tutti i modi a memorizzare opere e date di autori degli ultimi due secoli, mentre leggevo su wikipedia le teorie di godwin e rousseau che hanno influenzato shelley e la storia coloniale dell'impero della regina vittoria e cosa questo avesse a che fare con dracula, associando i punti principali della poetica di lawrence forster e ford a immagini improbabili nella mia mente con giochi di parole che difficilmente dimenticherò. quando mi sono seduta lei si è ricordata di me perché l'altro giorno per letteratura1 aveva notato il mio dilatatore. stava mangiando dei biscotti e mi ha detto dopo gliene offro uno, ora facciamo l'esame. mi ha chiesto di nuovo un solo autore del manuale, blake, l'ultimo preromantico, uno di quelli che ricordavo meglio. poi in italiano mi ha fatto una domanda sugli studi postcoloniali. quando ho preparato letteratura1 sono andata così a fondo in quest'argomento per cercare di capire cose che non capivo (tipo il discorso di foucault e il pensiero della spivak), che a questa domanda ho risposto così bene che mi ha interrotta dicendomi che non c'era bisogno di continuare. poi mi ha chiesto di prendere la mia copia di jane eyre e quando l'ho posata sulla scrivania ha riso e ha detto oh finalmente un libro vissuto, le è piaciuto? mi sono rilassata immediatamente e ho detto di sì, soprattutto perché era la prima volta che lo leggevo, e mentre lo sfogliava per decidere quale parte farmi analizzare pensavo glielo dico o non glielo dico e alla fine ho detto che in realtà però mi ha turbata perché mi dispiace non aver odiato mr rochester e berta è così silenziata in jane eyre che quasi mi dimenticavo di lei e sapevo che era sbagliato e quindi sono stata combattuta e lei ha riso e mi ha chiesto di analizzare un paragrafo e fare un confronto con quello che succede su wide sargasso sea e mi ha chiesto di approfondire quel pensiero e se leggere la riscrittura della rhys mi aveva fatto cambiare idea. poi mi ha fatto un'ultima domanda sulla warner che non ho capito bene ma alla quale ho risposto con tutto quello che mi veniva in mente e poi mi ha fermata e mi ha detto va bene così, le metto 30. ho rifiutato il biscotto che mi aveva offerto perché tanto comunque stavo andando a casa, ho salutato e sono scappata via. non ho preso neanche l'ascensore, ho fatto sette piani piangendo al telefono con mia mamma e quando sono uscita mi sono accorta a contatto con l'aria gelida di non aver messo neanche il cappotto e di avere in mano ancora il raccoglitore le fotocopie jane eyre e sono andata di corsa verso la macchina di mio padre e da lontano gli ho gridato indovina chi ha preso 30 all'ultimo esame? e per tutto il viaggio verso casa ho solo sorriso, sorriso e pensato che non solo ce l'avevo fatta, ma che è stato anche un successo quando io pensavo a come in caso avrei dovuto chiedere un'altra domanda per arrivare al 18. negli ultimi 10 giorni sono stata veramente soffocata dall'ansia di non farcela e dover rimandare la laurea, di sentirmi chiedere cose di cui non avevo la minima idea o, peggio, di cui avrei saputo parlare se avessi studiato meglio. ora devo iniziare la prova finale ma mi sembra incredibile essere arrivata a questo traguardo e in questo modo. ho pensato che in fin dei conti mi piace studiare (assurdo, lo so) e che sono stata veramente brava e sono contenta perché non sono stata davvero sola. quest'ultima in particolare è la mia gioia più grande in questo momento

[spaceintruderdetector]

https://archive.org/details/annette-peltz-mc-comas-the-eureka-years/mode/2up

ix • Introduction (The Eureka Years) • essay by Theodore Sturgeon

xiii • Preface (The Eureka Years) • essay by Annette McComas [as by Annette Peltz McComas]

1 • Autobiographies • essay by Anthony Boucher

2 • Autobiographies [2] • essay by J. Francis McComas

6 • The Birth and Growth • essay by Anthony Boucher and J. Francis McComas and Joseph W. Ferman and Lawrence E. Spivak

26 • The Model of a Science Fiction Editor • (1952) • poem by Anthony Boucher

29 • Sturgeon-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas and Theodore Sturgeon

32 • The Hurkle Is a Happy Beast • (1949) • short story by Theodore Sturgeon

41 • Bradbury-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas and Ray Bradbury

45 • The Exiles • (1949) • short story by Ray Bradbury

60 • Clingerman-Editors Correspondence • essay by Anthony Boucher and Mildred Clingerman

62 • Minister Without Portfolio • (1952) • short story by Mildred Clingerman

69 • Trends • essay by Anthony Boucher and J. Francis McComas

72 • Sorry, But- Rejections and Advice • essay by Anthony Boucher and J. Francis McComas (variant of Sorry, But - Rejections and Advice)

83 • de Camp/Pratt-Editors Correspondence • essay by Anthony Boucher and Fletcher Pratt

85 • Elephas Frumenti • [Gavagan's Bar] • (1950) • short story by L. Sprague de Camp and Fletcher Pratt

91 • Henderson-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas

93 • Come On, Wagon! • (1951) • short story by Zenna Henderson

102 • Bester-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas and Alfred Bester

105 • Of Time and Third Avenue • (1951) • short story by Alfred Bester

114 • Matheson-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas and Richard Matheson

116 • Dress of White Silk • (1951) • short story by Richard Matheson

120 • Epitaph Near Moonport • (1954) • poem by Sherwood Springer

122 • The Trade- The Tricks of and the Art of • essay by Anthony Boucher and J. Francis McComas

128 • Oliver-Editors Correspondence • essay by Anthony Boucher and Chad Oliver

130 • The Boy Next Door • (1951) • short story by Chad Oliver

139 • Knight-Editors Correspondence • essay by J. Francis McComas and Damon Knight

141 • Not With a Bang • (1950) • short story by Damon Knight

147 • Wellman-Editors Correspondence • essay by Anthony Boucher and Manly Wade Wellman

150 • O Ugly Bird! • [John the Balladeer] • (1951) • short story by Manly Wade Wellman

162 • Skiametric Morphology and Behaviorism of Ganymedeus Sapiens • [Ganymedeus Sapiens] • (1951) • shortfiction by Kenneth R. Deardorf (variant of Skiametric Morphology and Behaviorism of Ganymedeus Sapiens: a Summary of Neoteric Hypotheses)

168 • Define Your Terms • essay by Anthony Boucher and J. Francis McComas

173 • Letters to the Editor • (1950) • short story by Ron Goulart

175 • The Foundation of Science Fiction Success • (1954) • poem by Isaac Asimov (variant of The Foundation of S. F. Success)

178 • The Other Inauguration • (1953) • short story by Anthony Boucher

192 • Anderson-Editors Correspondence • essay by Anthony Boucher and J. Francis McComas and Poul Anderson

194 • When Half-Gods Go • (1953) • short story by Poul Anderson

205 • Dick-Editors Correspondence • essay by Philip K. Dick

207 • The Little Movement • (1952) • short story by Philip K. Dick

216 • The Naming of Names • (1953) • poem by Anthony Boucher [as by Herman W. Mudgett]

218 • Lists • essay by Anthony Boucher and J. Francis McComas

224 • Smith-Editors Correspondence • essay by J. Francis McComas and Evelyn E. Smith

226 • The Last of the Spode • (1953) • short story by Evelyn E. Smith

231 • Asimov-Editors Correspondence • essay by Isaac Asimov

235 • Flies • (1953) • short story by Isaac Asimov

242 • Dickson-Editors Correspondence • essay by Gordon R. Dickson

244 • Listen! • (1952) • short story by Gordon R. Dickson (variant of Listen)

251 • Porges-Editors Correspondence • essay by Arthur Porges

255 • The Devil and Simon Flagg • (1954) • short story by Arthur Porges

261 • Limerick • (1951) • poem by Anthony Boucher [as by Herman Mudgett]

264 • Predictions • essay by Anthony Boucher

268 • Brave New Word • (1954) • short story by J. Francis McComas

280 • Norton-Editors Correspondence • essay by Anthony Boucher and Andre Norton

282 • Mousetrap • (1954) • short story by Andre Norton

289 • Bretnor-Editors Correspondence • essay by J. Francis McComas and Reginald Bretnor

292 • Cat • (1953) • short story by Reginald Bretnor [as by R. Bretnor]

[writeforget]

References in Salman Rushdie's "The Golden House"

Lady Chatterley's Lover- D.H. Lawrence

Le Fantôme de l'Opéra

Goodbye to Berlin

Moby-Dick

The Purple Rose of Cairo

Breakfast at Tiffany's

Mémoires d'Hadrien- Marguerite Yourcenar

Woodcarver Steiner- Werner Herzog

Pina- Wim Wenders

The Vagina Monologues - Eve Ensler

Two Philosophers Deep in Meditation - Rembrandt

The Longest Journey - Forster

Auto-da-Fé - Canetti

Wired

The satyricon - Mennipe

Cyclops - Euripides

The Net Fishers - Aeschylus

The trackers - Sophocles

The Trackers of Oxyrhynchus - Tony Harrison

The Golden Ass- Aesop

Rain Man

Sad- Eyed Lady of the Lowlands- Bob Dylan

La Belle Dame sans Merci

The Man who Was Thursday - GK Chesterton

Monty Pythons Flying Circus

Spamalot

Oklahoma!

West Side Story

Dr Mabuse The Gambler - Lang

One Thousand and One Nights

The Diamond as Big as the Ritz

The Privilege of Owning Yourself- Nietzsche

Tokyo Monogatari

Orfeu Negro

Le charme discret de la bourgeoisie

Water Lilies - Claude Monet

Adoration of the Magi - Peter Paul Ruben

Wild is The Wind - Bowie

Famous Blue Raincoat-Cohen

Under the Bridge-RHCP

Pierrot le fou

Arthur Schlesinger

Gayatri Spivak

Baba Yaga

Green Eggs and Ham- Dr Seuss

Twilight

The Silence of The Lambs

The Hunt for Red October

Metamorphosis- F Kafka

The Graduate

Mansoon Wedding

The Deer Hunter

Kill Bill: Vol. 2

The Princess Bride

Yellow Earth- Chen Kaige

The Godfather- the trilogy

Uncle Boonmee Who Can Recall His Past Lives- Apichat Pong

Rosemary's Baby

Fedorovskaya icon of the Mother of God

V for Vendetta -Wachowski

The Great Gatsby- FS Fitzgerald

Jeeves series-PG Woodehouse

Odyssey

Six Feet Under

The Seventh Seal- Ingmar Bergman

Hannah and Her Sisters

Flash Gordon

Invisible Cities- Italo Calvino

Closely Observed Trains- Jiri Menzel

Sanjuro- Kurosawa

Bonnie and Clyde - Arthur Penn

Amarcord- Fellini

L'argent de poche- Truffaut

The Hustles- Rossen

L'année derniere à Marienbad- Resnais

Knife in the Water- Polanski

La belle noiseuse

Breathless

Le mépris

The Jungle Book- R Kypling

Aguirre, the Wrath of God- Herzog

Funes the Memorious. L Borges

The Dignity of Man- Pico della Mirandola

2001: A space Odyssey- S Kubrick

Birdman

The Cabinet of Dr Caligari

Marx Brothers comedy

Reservoir Dogs- Q Tarantino

Within You Without You. Tomorrow Never knows. Norwegian Wood. Love to You- The Beatles

The Inheritors- Golding

Alexander Nevesky. The Battleship Potemkin- Sergei Eisenstein

Seinfeld

Le feu follet- Louis Malle

The Best Bits

La La Land

Arrival

Manchester by teh Sea

Oedipus the King

Sheppey- Somerset Maugham

Night Watch- Rembrandt

Madame Bovary- Flaubert

Beetlejuice

Age of Innocence- Edith Warton

Poetry & Aeroplanes

Mars Attacks!- Tim Burton

The Court Jester

The Golden House (the film)

Citizen Kane

Porky's XXII

Dumb FucksXIX

Titanic

Rear Window

I Confess- Montgomery Clift

Bombay Talkie

Kuch Nahin Kahin Nahin Kabhi Nahin Koi Nahin( Nothing Nowhere Never Nobody)- Maratha Mandir

Company- Raj Gopal Varma

Shootout at Lokhandwala- Sanjay Gupta

Once upon a Time in Mumbaai (1&2) - Milan Luthria

Shakspeare in Love

Psycho- Hitchcock

Ran-Akira Kurosawa

Pather Panchali-Satyajit Ray

The Outcasts of Providence Street/the Exterminating Angel- L Bunuel

Some works might have been missed.

[speromelior]

Dark Academia & The Western Canon

cw. discussion of (post)c/lonialism

as a white person, I wish to first of all acknowledge my privilege of living in a white, able bodied, thin body. having said this, I wish to shine light upon my personal experience with a Western curriculum & Dark academia relating to a literary study.

as many post I have seen like this one have addressed, there is little to no representation of, especially, early non European writers. to this I would like to add the colonized literature that we do see arise in the nineteenth century have gone through layers of mediation and cultural translation (Venuti). This means that the subaltern voice will not be heard no matter how many colonized books we read (Spivak). Having said that, I would like to flag the lack of medieval history & the lack of Arabian literature in the time of the Islamic Golden Age. The argument I have often heard to counter this is the fact that the curriculum is too short. Yet it does not seem too short to talk about a whole list of European writers.

This ties in with the Dark Academia elitist mindset I have seen come by, there is an extreme romantisation of media of white heritage, where it is praised for its originality. Contrary to this, books written by people of colour are often either ignored here or the 'token' novel is read. This is often a well-known novel, for example Buchi Emecheta's Joys of Motherhood (1979), which are often used to not just represent an entire body of literature but often lead to full blown overgeneralizations of culture & literary works.

Sapiro talks about how this spreading of literature is influenced by outside agents in her “How Do Literary Works Cross Borders (Or Not)? A Sociological Approach to World Literature.”, where she discusses factors that are often paratext to the spread of a certain text. Taking Emecheta's novel again for this example, we see this through the publishing house naming it a part of the "African Writers Series" of Penguin Books. This is a rather problematic notion because it removes her individuality as an author by being classified as the overgeneral term 'African'. I would like to contrast this with the way curricula & dark academic posts classify European literature by nation rather than by continent. Here I would thus like to wish for an approach that will do something similar for non-European works. Not all literature by authors of the Global South is just "Commonwealth Literature" as colonized subjects of the UK writing in English were referred to.

To furthermore dive into this subject of the way that literature crosses borders, I would like to touch upon the concept of Apter's "Untranslatability", or the cultural or linguistic translations that do not carry the meaning over from the source language to the target language. Here I want to say, please do be aware of this when reading translated literature, there is always mediation due to the translator's role as an interpretant which makes the translated, target text a whole text on its own (Venuti). This is a thing I could go in to way deeper, how the reader loses agency of the text's interpretation due to the increased agency of the translator, please let me know if you are interested. With this I want to make clear that one should keep in mind that there is always a change in the meaning of a text in translation. Translation does change everything, as Venuti clearly points out. Cultural differences do not translate well enough to Outsiders to literature of people of colour to fully grasp what is going on.

I hope I do make my point clear that there is a whole lot lacking both academically and dark academically when it comes to literature that is written outside of the western tradition. There are enough theories to back up that fact. I hope to entice one to enjoy literature by people of colour and allowing it to circulate in dark academic spaces just as much as a Flaubert or Shelley would be. Thank you for reading, please do let me know your thoughts on this.

Works cited:

Apter, Emily. “Untranslatability and the Geopolitics of Reading.” PLMA, vol.134, no.1, 2019, pp.194-200.

Emecheta, Buchi. The Joys of Motherhood (1979). Pearson Education Limited, 2008 (second press).

Venuti, Lawrence. “Introduction.” Translation Changes Everything: Theory and Practice, Routledge, 2013, pp.1-10.

Sapiro, Giséle. “How Do Literary Works Cross Borders (Or Not)? A Sociological Approach to World Literature.” Journal of World Literature, vol.1, Koninklijke Brill NV, 2016, pp.81-96.

Spivak, Gayatri Chakravorty. ‘How to Read a “Culturally Different” Book.’ An Aesthetic Education in the Era of Globalization, Harvard UP, 2012, pp.73-96.

[perennialessays]

Week 1

Comparative Literature: History, Theories, Ideologies: Introduction.

In the first week of the course we shall discuss what is comparative literature; its origins; the ideologies that are implicated in the discipline; how it has developed, the questions that have been addressed to it in more recent times, the challenges it faces today; what are some of the traditional methods it employs to study texts; how it sees the relationship between language, culture, reading and understanding texts; its relationship with translation and with “world literature”. We shall then consider some brief texts to ‘see’ and ‘do’ comparative literature in practice.

“Narcissus and Echo” episode from Ovid’s Metamorphoses; [Course Pack]

Denise Riley, “Affections of the Ear”; [Course Pack]

Ted Hughes, “Narcissus and Echo”. [Course Pack]

Secondary Reading (* especially recommended)

* Bassnett, Susan, Comparative Literature: A Critical Introduction (Oxford: Blackwell, 1993) * Bernheimer, Charles (ed.), Comparative Literature in the Age of Multiculturalism (Baltimore and London: The Johns Hopkins University Press, 1995)

Eoyang, Eugene C., The Promise and Premise of Creativity: Why Comparative Literature Matters (London: Continuum, 2012) Gifford, Henry, Comparative Literature: Concepts of Literature (London: Routledge & Kegan Paul, 1969) * Guillén, Claudio, The Challenge of Comparative Literature (Cambridge, Mass: Harvard University Press, 1993) Hermans, Theo (ed.), The Manipulation of Literature (London and Sidney: Croom Helm, 1985) Koelb, Clayton and Susan Noakes (eds.): The Comparative Perspective on Literature: Approaches to Theory and Practice (Ithaca and London: Cornell University Press, 1988) Miner, Earl, Comparative Poetic: An Intercultural Essay on Theories of Literature (Princeton: Princeton University Press, 1990) * Saussy, Haun, Comparative Literature in an Age of Globalization (Baltimore and London: Johns Hopkins University Press, 2006) Spivak, Gayatri Chakravorty, Death of a Discipline (New York: Columbia University Press, 2003) Tötösy de Zepetnek, Steven (ed.) Comparative Literature and Comparative Cultural Studies (West Lafayette, Indiana: Purdue University Press, 2003) Tötösy de Zepetnek, Steven, Comparative Literature: Theory, Method, Application (Amsterdam and Atlanta: Rodopi, 1998) Weisstein, Ulrich, Comparative Literature and Literary Theory, trans. William Riggan, (Bloomington and London: Indiana University Press, 1973)

If you are interested in early history and documents of comparative literature: Schulz, H-J. and P. H. Rhein, Comparative Literature: The Early Years. An Anthology of Essays (Chapel Hill: The University of North Carolina Press, 1973)

The following journals will also be relevant - you can browse through them: New Comparison Comparative Criticism Comparative Critical Studies (esp. volume 3, no 1-2, 2006, Comparative Literature at a Crossroads?) Comparative Literature Studies Translation and Literature CLC-Web

Some further reading on World Literature

Apter, Emily, Against World Literature: On the Politics of Untranslatability (London: Verso, 2013)

Casanova, Pascale, The World Republic of Letters, trans. B. B. DeBevoise, (Cambridge, MA, and London: Harvard University Press, 2004) [orig. French ed. 1999] Chow, Rey, 'The Old/New Question of Comparison in Literary Studies: A Post-European Perspective', ELH, Vol. 71, No. 2 (Summer, 2004), pp. 289-311 http://www.jstor.org/stable/30030049 Damrosch, David, What is World Literature? (Princeton and Oxford: Princeton University Press, 2003). Damrosch, David, How to Read World Literature (Chichester, UK and Malden, MA: Wiley-Blackwell, 2009) Moretti, 'More Conjectures', New Left Review 20 (2003), pp. 73-81 (this is a follow up of Moretti's essay, set for this seminar, after the debate it had elicited. This is currently not available in the library and I will request it, but in the meantime, I have a pdf file for this if you want to read it) Prendergast, Christopher, Debating World Literature (London: Verso, 2004). Prendergast, Christopher, 'Negotiating World Literature', New Left Review 8 (2001), pp. 100-121 (this is a response to the essay by Moretti set for the seminar. This is currently not available in the library and I will request it, but I have a pdf file for this if you want to read it)

Rosendhal Thonsen, Mads. Mapping World Literature. International Canonization and Transnational Literatures. New York: Continuum, 2010

Some secondary reading on translation (and comparative literature)

Apter, Emily, The Translation Zone: A New Comparative Literature (Princeton, NJ and Oxford: Princeton University Press, 2006) Bassnett, Susan, and André Lefevere, Translation, History, and Culture (London and New York: Pinter, 1990) Bassnett, Susan, and André Lefevere, eds., Constructing Cultures: Essays on Literary Translation (Clevedon : Multilingual Matters, 1998) Bassnett, Susan, and Harish Trivedi, eds., Post-colonial Translation: Theory and Practice (London and New York: Routledge, 1998) Berman Sandra, and Michael Wood, eds., Nation, Language, and the Ethics of Translation (Princeton and Oxford: Princeton University Press, 2005) Cheyfitz, Eric, The Poetics of Imperialism: Translation and Colonization from the Tempest to Tarzan, rev ed. (Philadelphia: University of Pennsylvania Press, 1997) Copeland, Rita, Rhetoric, Hermeneutics and Translation in the Middle Ages: Academic Traditions and Vernacular Texts (Cambridge: Cambridge University Press, 1991) Cronin, Michael, Translation and Globalization (London: Routledge, 2003) Even-Zohar, Itamar, and Gideon Toury (eds.), Translation Theory and Intercultural Relations (Tel Aviv: Porter Institute for Poetics and Semantics, 1981) Even-Zohar, Itamar, Polysystem Studies, A special issue of Poetics Today 11:1 (1990). (Durham: Duke University Press, 1990). Lefevere, André, Translating, Rewriting, and the Manipulation of Literary Frame (London: Routledge, 1992). Niranjana, Tejaswini, Siting Translation: History, Post-structuralism, and the Colonial Context (Berkeley, Los Angeles and Oxford: University of California Press, 1992) (also contains chapters on Benjamin) Robinson, Douglas, Translation and Empire: Postcolonial Theories Explained (Manchester; St. Jerome Press, 1997) Tymoczko, Maria and E. Gentzler eds., Translation and Power (Amherst, MA: University of Massachusetts Press, 2002) Venuti, Lawrence (ed.), Rethinking Translation: Discourse, Subjectivity, Ideology (London and New York: Routledge, 1992) Venuti, Lawrence, ed., The Translation Studies Reader (London and New York: Routledge, 2000)

[a-dinosaur-a-day]

Erlikosaurus andrewsi

By Ripley Cook 

Etymology: Demon-King Reptile

First Described By: Perle, 1980

Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Theropoda, Neotheropoda, Averostra, Tetanurae, Orionides, Avetheropoda, Coelurosauria, Tyrannoraptora, Maniraptoromorpha, Maniraptoriformes, Maniraptora, Therizinosauria, THerizinosauridea, Therizinosauridae

Status: Extinct

Time and Place: About 90 million years ago, in the Turonian of the Late Cretaceous 

Erlikosaurus is found in the Bayan Shireh Formation in Dornogovi, Mongolia 

Physical Description: Erlikosaurus was a kind of Therizinosaur, the very bulky feathered dinosaurs with long, pointed claws extending from their hands. They’re weird in other ways, too - they have backward-facing hip bones like those of birds and Ornithischians, and giant pot-bellies to let them digest large amounts of plant material. As such, they stood up almost as vertical as people do - rather than horizontally like… all other dinosaurs. Erlikosaurus had a long neck, a squat body, short legs and a short tail; while its arms were normal length, it also had very long curved claws, like other therizinosaurs. It had very large and long nostrils for a therizinosaur, and a very high number of teeth compared to its relatives. Interestingly enough, therizinosaurs like Erlikosaurus also had swollen, pneumatized braincases, which allowed them to be lighter weight and potentially cool off quicker. Erlikosaurus also, unlike other Therizinosaurs, ahd long and slender claws on its feet. It may have been around six meters long. Like other therizinosaurs, it would have been covered with feathers all over its body, and potentially had very primitive long feathers on its arms like wings.

Diet: Erlikosaurus, like other therizinosaurs, was an herbivore. 

By Jack Wood 

Behavior: Erlikosaurus is a fascinating dinosaur behavior-wise because we actually have a decent number of scans of its brain, which may teach us aspects of its behavior. Erlikosaurus had a very well developed sense of smell, hearing, and balanced, which means that it retained a lot of the traits of carnivorous theropods - and probably used them to its advantage as an herbivore. It also probably was able to sense oncoming predators well and have complex social behavior. The range of its mouth, however, was narrower than that of its close carnivorous relatives - indicating that herbivorous dinosaurs, much like herbivorous mammals, had smaller mouth gapes than carnivores. With complicated social behavior, long claws, and good senses, Erlikosaurus would have been incredibly paranoid - and dangerous - ready to fend off anyone that would have threatened their family groups with those long scythe claws. As a social dinosaur, Erlikosaurus would have probably taken care of its young, and been warm blooded. The scythe claws, when not used in defense, would have been helpful in gathering plants down from the trees, much like with sloths today.

Ecosystem: The Bayan Shireh Environment was one of many such ecosystems found in the mid to late Cretaceous, showcasing a wide variety of animals that were almost - but not quite - like their latest Cretaceous counterparts. Here was a braided river environment, going through season wet and dry seasons as the mud and sand interchanged from one another leading to a variety of rock types and depositional environments. There were many water plants and flowering plants lining the shores, giving it a lush and green feel for at least part of the year - and giving Erlikosaurus something to eat! There were also fish, molluscs, the mammal Tsagandelta, and turtles making frequent appearances in the environment. Unnamed crocodylian relatives and Azhdarchid pterosaurs were present, but most of the charismatic animals present were other dinosaurs. Erlikosaurus wasn’t the only Therizinosaur, and also lived with Segnosaurus and Enigmosaurus. The very large, weird, and lopsided sauropod Erketu graced the treetops, slowly foraging on food, while the much smaller Ornithomimosaur Garudimimus scurried about between them all. Ankylosaurs went absolutely wild here, represented by Talarurus, Maleevus, and Tsagantegia. There were two small bipedal Ceratopsians, Graciliceratops and Microceratus, and the early hadrosauroid Gobihadros. There was also a mystery dinosaur, Amtosaurus, which has no affinity beyond “Ornithischian” at this point in time. As for predators, there was the very large raptor Achillobator and the small tyrannosaur Alectrosaurus - both similar in size to one another, and both giant dangers to the roaming herds of Erlikosaurus! 

By Scott Reid 

Other: Erlikosaurus was a very advanced therizinosaur, similar to later members of the group like Therizinosaurus rather than Early Cretaceous varieties. As such, it shows that the more classic therizinosaur body shape was around by the “mid” Cretaceous. In addition, it may or may not be the same animal as the other therizinosaurs found in its home - more research is needed to determine as such.

~ By Meig Dickson

Sources Under the Cut 

Averianov, A. O. 2007. Theropod dinosaurs from Late Cretaceous deposits in the northeastern Aral Sea region, Kazakhstan. Cretaceous Research 28:532-544

Barsbold, R., and A. Perle. 1980. Segnosauria, a new infraorder of carnivorous dinosaurs. Acta Palaeontologica Polonica 25(2):187-195

Barsbold, R. 1981. Bezzubyye khishchnyye dinozavry Mongolii [Toothless carnivorous dinosaurs of Mongolia]. Sovmestnaia Sovetsko-Mongol’skaia Paleontologicheskaia Ekspeditsiia Trudy 15:28-39

Barsbold, R. 1983. Khishchnye dinosavry mela Mongoliy [Carnivorous dinosaurs from the Cretaceous of Mongolia]. Transactions of the Joint Soviet-Mongolian Paleontological Expedition 19:1-117

Barsbold, R. 1997. Mongolian dinosaurs. In P. J. Currie & K. Padian (ed.), Encyclopedia of Dinosaurs 447-450

Carroll, R. L. 1988. Vertebrate Paleontology and Evolution 1-698

Clark, J. M., T. Maryanska, and R. Barsbold. 2004. Therizinosauroidea. In D. B. Weishampel, P. Dodson, and H. Osmolska (eds.), The Dinosauria (second edition). University of California Press, Berkeley 151-164

Clark, J. M., M. A. Norell, L. M. Chiappe and A. Perle. 1995. The phylogenetic relationships of "segnosaurs" (Theropoda, Therizinosauridae). Journal of Vertebrate Paleontology 15(3, supl.):24A  

Clark, J. M., A. Perle, and M. A. Norell. 1993. The skull of the segnosaurian dinosaur Erlikosaurus. Journal of Vertebrate Paleontology 13(3, suppl.):30A-31A  

Clark, J. M., A. Perle, and M. A. Norell. 1994. The skull of Erlicosaurus andrewsi, a Late Cretaceous "segnosaur" (Theropoda: Therizinosauridae) from Mongolia. American Museum Novitates 3115:1-39

Currie, P. J. 1992. Saurischian dinosaurs of the Late Cretaceous of Asia and North America. In N. J. Mateer, P.-j. Chen (eds.), Aspects of Nonmarine Cretaceous Geology. China Ocean Press, Beijing 237-249

Currie, P. J., and D. A. Eberth. 1993. Palaeontology, sedimentology and palaeoecology of the Iren Dabasu Formation (Upper Cretaceous), Inner Mongolia, People's Republic of China. Cretaceous Research 14:127-144

Currie, P. J. 2000. Theropods from the Cretaceous of Mongolia. In M. J. Benton, M. A. Shishkin, D. M. Unwin, & E N. Kurichkin (eds.), The Age of Dinosaurs in Russia and Mongolia 434-455  

Danilov, I. G. 1999. A new linholmemydid genus (Testudines: Lindholmemydidae) from the mid-Cretaceous of Uzbekistan. Russian Journal of Herpetology 6(1):63-71

Eberth, D. A., P. J. Currie, D. B. Brinkman, M. J. Ryan, D. R. Braman, J. D. Gardner, V. D. Lam, D. N. Spivak, and A. G. Neuman. 2001. Alberta's dinosaurs and other fossil vertebrates: Judith River and Edmonton groups (Campanian-Maastrichtian). In C. L. Hill (ed), Society of Vertebrate Paleontology, 61st Annual Meeting, Bozeman. Guidebook for the Field Trips: Mesozoic and Cenozoic Paleontology in the Western Plains and Rocky Mountains, Museum of the Rockies Occasional Paper 3:49-75

"Erlikosaurus." In: Dodson, Peter & Britt, Brooks & Carpenter, Kenneth & Forster, Catherine A. & Gillette, David D. & Norell, Mark A. & Olshevsky, George & Parrish, J. Michael & Weishampel, David B. The Age of Dinosaurs. Publications International, LTD. p. 142.

Gianechini, F. A., P. J. Makovicky, and S. Apesteguía. 2011. The teeth of the unenlagiine theropod Buitreraptor from the Cretaceous of Patagonia, Argentina, and the unusual dentition of the Gondwanan dromaeosaurids. Acta Palaeontologica Polonica 56(2):279-290  

Hendrickx, C., and O. Mateus. 2014. Abelisauridae (Dinosauria: Theropoda) from the Late Jurassic of Portugal and dentition-based phylogeny as a contribution for the indentification of isolated theropod teeth. Zootaxa 3759(1):1-74

Hicks, J.F., Brinkman, D.L., Nichols, D.J., and Watabe, M. (1999). "Paleomagnetic and palynological analyses of Albian to Santonian strata at Bayn Shireh, Burkhant, and Khuren Dukh, eastern Gobi Desert, Mongolia." Cretaceous Research, 20(6): 829-850.

Jerzykiewicz, T. and Russell, D.A. (1991). "Late Mesozoic stratigraphy and vertebrates of the Gobi Basin." Cretaceous Research, 12(4): 345-377.

Kirkland, J. I., D. K. Smith, and D. G. Wolfe. 2005. Holotype braincase of Nothronychus mckinleyi Kirkland and Wolfe 2001 (Theropoda; Therizinosauridae) from the Upper Cretaceous (Turonian) of west-central New Mexico. In K. Carpenter (ed.), The Carnivorous Dinosaurs. Indiana University Press, Bloomington 87-96  

Lautenschlager, Stephan; Rayfield, Emily J.; Altangerel Perle; Zanno, Lindsay E.; Witmer, Lawrence M. (2012). "The Endocranial Anatomy of Therizinosauria and Its Implications for Sensory and Cognitive Function". PLoS ONE. 7 (12): e52289.

Lautenschlager, Stephan (November 4, 2015). "Estimating cranial musculoskeletal constraints in theropod dinosaurs". Royal Society Open Science. 2 (11): 150495.

Li, D., C. Peng, H. You, M. C. Lamanna, J. D. Harris, K. J. Lacovara, and J. Zhang. 2007. A large therizinosauroid (Dinosauria: Theropoda) from the Early Cretaceous of northwestern China. Acta Geologica Sinica 81(4):539-549

Mader, B. J., and R. L. Bradley. 1989. A redescription and revised diagnosis of the syntypes of the Mongolian tyrannosaur Alectrosaurus olseni. Journal of Vertebrate Paleontology 9(1):41-55

Makovicky, P. J., and M. A. Norell. 1998. A partial ornithomimid braincase from Ukhaa Tolgod (Upper Cretaceous, Mongolia). American Museum Novitates 3247:1-16  

Nessov, L. A. 1995. Dinozavri severnoi Yevrazii: Novye dannye o sostave kompleksov, ekologii i paleobiogeografii [Dinosaurs of northern Eurasia: new data about assemblages, ecology, and paleobiogeography]. Institute for Scientific Research on the Earth's Crust, St. Petersburg State University, St. Petersburg 1-156

Paul, G. S. 1984. The segnosaurian dinosaurs: relics of the prosauropod-ornithischian transition?. Journal of Vertebrate Paleontology 4(4):507-515

Perle, A. 1977. O pervoy nakhodke Alektrozavra (Tyrannosauridae, Theropoda) iz pozdnego Mela Mongolii [On the first discovery of Alectrosaurus (Tyrannosauridae, Theropoda) in the Late Cretaceous of Mongolia]. Shinzhlekh Ukhaany Akademi Geologiin Khureelen 3(3):104-113

Perle, A. 1981. Noviy segnozavrid iz verchnego mela Mongolii [A new segnosaurid from Mongolia]. Trudy - Sovmestnaya Sovetsko-Mongol'skaya Paleontologicheskaya Ekspeditsiya 15:50-59

Pu, H., Y. Kobayashi, J. Lu, Y. Wu, H. Chang, J. Zhang, and S. Jia. 2013. An unusual basal therizinosaur with an ornithischian dental arrangement from northeastern China. PLoS ONE 8(5):e63423

Qian, M.-p., Z.-y. Zhang, Y. Jiang, Y.-g. Jiang, Y.-j. Zhang, R. Chen, and G.-f. Xing. 2012. [Cretaceous therizinosaurs in Zhejiang of eastern China]. Journal of Geology 36(4):337-348

Rauhut, O. W. M. 2003. The interrelationships and evolution of basal theropod dinosaurs. Special Papers in Palaeontology 69:1-213  

Russell, D. A. 1997. Therizinosauria. In P. J. Currie & K. Padian (ed.), Encyclopedia of Dinosaurs 729-730

Russell, D. A., and Z.-M. Dong. 1994. The affinities of a new theropod from the Alxa Desert, Inner Mongolia, People's Republic of China. Canadian Journal of Earth Sciences 30(10-11):2107-2127  

Senter, P., J. I. Kirkland, and D. D. DeBlieux. 2012. Martharaptor greenriverensis, a new theropod dinosaur from the Lower Cretaceous of Utah. PLoS ONE 7(8):e43911:1-12

Sereno, P. C. 1998. A rationale for phylogenetic definitions, with application to the higher-level taxonomy of Dinosauria. Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen 210(1):41-83

Sues, H.-D. 1997. On Chirostenotes, a Late Cretaceous oviraptorosaur (Dinosauria: Theropoda) from western North America. Journal of Vertebrate Paleontology 17(4):698-716  

Sukhanov, V. B., and P. Narmandakh. 1975. Cherepakhi gruppy Basilemys (Chelonia, Dermatemydidae) v Asiy [New turtles from the Basilemys group (Chelonia, Dermatemydidae) in Asia]. In N. Kramarenko, B. Luwsandansan, Yu. Voronin, R. Barsbold, A. Rozhdestvensky (eds.), Iskopaemaya Fauna I Flora Mongolii [Fossil Flora and Fauna of Mongolia]. Sovmestnaya Sovetsko-Mongol'skaya Paleontologicheskaya Ekspeditsiya, Trudy [The Joint Soviet-Mongolian Paleontological Expedition, Transactions] 2:94-101

Tsuihiji, T., M. Watabe, R. Barsbold and K. Tsogtbaatar. 2015. A gigantic caenagnathid oviraptorosaurian (Dinosauria: Theropoda) from the Upper Cretaceous of the Gobi Desert, Mongolia. Cretaceous Research 56(1):60-65

Turner, A. H., S. H. Hwang, and M. A. Norell. 2007. A small derived theropod from Öösh, Early Cretaceous, Baykhangor Mongolia. American Museum Novitates 3557:1-27

Weishampel, David B.; Dodson, Peter; and Osmólska, Halszka (eds.): The Dinosauria, 2nd, Berkeley: University of California Press. 861 pp.

Xu, X., Z.-H. Zhang, P. C. Sereno, X.-J. Zhao, X.-W. Kuang, J. Han, and L. Tan. 2002. A new therizinosauroid (Dinosauria, Theropoda) from the Upper Cretaceous Iren Dabasu Formation of Nei Mongol. Vertebrata PalAsiatica 40(3):228-240  

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Zanno, L. 2004. The pectoral girdle and forelimb of a primitive therizinosauroid (Theropoda: Maniraptora): new information on the phylogenetics and evolution of therizinosaurs. Journal of Vertebrate Paleontology 24(3, suppl.):134A

Zanno, L. E. 2006. The pectoral girdle and forelimb of the primitive therizinosauroid Falcarius utahensis (Theropoda, Maniraptora): analyzing evolutionary trends within Therizinosauroidea. Journal of Vertebrate Paleontology 26(3):636-650

Zanno, Lindsay E. (2010). "A taxonomic and phylogenetic re-evaluation of Therizinosauria (Dinosauria: Maniraptora)". Journal of Systematic Palaeontology. 8 (4): 503–543.

Zhang, X.-H., X. Xu, X.-J. Zhao, P. C. Sereno, X.-W. Kuang and L. Tan. 2001. A long-necked therizinosauroid dinosaur from the Upper Cretaceous Iren Dabasu Formation of Nei Mongol, People's Republic of China. Vertebrata PalAsiatica 39(4):282-290

[iobjectfa20]

Ugala Masquerade IOBJECT

Ben Enwonwu

Ugala Masquerade 1940

Medium: Watercolor

Dimensions: 38 by 27.5 cm., 15 by 10¾in.

Private collection

© Courtesy the Ben Enwonwu Foundation

Explanation

Ben Enwonwu is an extremely talented African artist, who paved the way for many Nigerian artists. His painting “Ugala Masquerade” was sold in May of 2017 by Sotheby's, a multinational auction company. It is unknown where this painting currently resides today. In 2017 and 2019, the painting was shown in a group show “Playing Mas” by Vigo Gallery in London.

I chose this painting because I have always liked African art and was always moved by Ben Enwonwu and his pieces. He has a lot of meaningful pieces in regards to colonialism. I’m very passionate about art and colonialism. When I saw “Ugala Masquerade,” I knew that I had to do this piece because it caught my attention. The masks, the trees, the bow and arrows, and the colors  made me want to know more about the context and background of the painting. Enwonwu focuses on colonialism and Nigerian Modernism. Art in the form of Modernism specifically Black modernism  has always been something I was interested in. For an example, Jacob Lawrence and his series about the Great Migration up north caught my eye when I took a course on African American Art. His piece “In the North the Negro had better educational facilities” from his series “The Migration of the Negro” is one that caught my eye when I visited Th Museum of Modem Art in New York. Pictured in the piece are three African American girls who are writing the number two, three, and four on a chalkboard. I thought that this was so interesting because as a Black woman, I've always valued education. If i didn’t have the education I have now, I don’t think i would be as well off as I am. Black struggle is real and it’s something that I never want to face. Knowing that Lawrence talked about girls and education made my heart warm because girls are always devalued. On another note, education for  black students during the reconstruction period was 5 times lower than it was for white students. However, in the North, schools were still segregated, but there was more technology and educators for black students than in the south. Students were also supported more because some white educators saw brightness in their black students.

Drawing back to the original piece, I think that it's interesting for Enwonwu to capture the masks in his piece because the meaning behind masks are usually for people to not be seen. Often, we portray Africans as people who have face makeup and wear tree fabric as clothing. Enwonwu was clever to create this piece to try to decolonize and move away from stereotypes. I personally am glad that he chose to do this because black individuals already have to deal with enough. It’s refreshing to see that an African artist  broke down barriers and paved the way for other black artists. Overall, I'm intrigued by Enwonwu’s decolonization paintings as a whole . In some way, all of the pieces are connected and that's where he also caught my attention.

Original Context and Reframing Resistance

As previously noted, “Ugala Masquerade” was created to talk about colonialism, politics and the anticolonial struggle. Enwonwu wanted his viewers and artists to see and analyze the connection between colonialism and modernism within Nigerian art. He was inspired by his art tutor Kenneth Murray. Kenneth Murray(British artist)  focused on the aspect of indigeneity . His piece “Ibo Musicians and Dancers” Ibo (Nigerian) people dancing and playing instruments on a road guarded by a fence and trees. The Ibo people are wearing indigenous related garments and jewelry. Being under Murray’s wing, Enwonwu sort of took after his style. However, he later realized that he had outgrown his tutor and went into a different direction for his art pieces. He had two phases that categorized his work. The first phase was one, which included epistemology and disobedience during 1937 and 1956.During this phase, viewers were able to see Igbo as symbolism and then his studies of European art . His second phase was mainly focused on pan-Africanism. He used houses, trees, and masquerades as a way to talk about colonialism. Since he moved to European art, he used western figures in combination with Igbo culture. His painting “Agbogho Mmuo” from 1949 solidifies this change. This painting shows a figure in masquerade garments but more so shows the spirits within it. It's important to note that during this time, British people were very dismissive of spirits when it came to art. They thought that they were karmic and harmful.  Enwonwu moves further away from Murray’s style by focusing more on the true African figures and their spirits. He was aware of the dismissive language as well as the institutionalization of colonialism.

It’s important to note that Enwonwu went on a different approach to things unlike Afro Caribbean author Frantz Fanon. Fanon believed that you should analyze the system. Enwonwu on the other hand was more focused on showing how his privilege as an African artist resisted colonialism and colonization. I think that Enwonwu can relate to Gayatri Spivak and her “Can the Subaltern Speak?” book. The subaltern is an indigenous man or woman without agency. Enwonwu’s pieces depict people who don't have agency. In the Ugala Masquerade,” he is showing that the figures in the painting don’t have much agency and that they’re restricted to their villages. Gayatri Spivak states that white people are always trying to save brown individuals. If you take a further look into Enwonwu’s piece you can see that there are eyeballs within the bells on the figures' waists. I think what Enwonwu is saying is that he sees what is happening in the world of art and wants viewers to know that as well. No matter what, people are going to be aware of the difference in the way art is portrayed for African artists.  When I see this piece, I also think about Chinua Achebe’s  book “All Things Fall Apart "and it’s cover. Achebe has many book cover versions, but one stands out the most. The cover includes trees, a village,  a masquerade figure, black men, a colonizer and of course a woman hidden in the back. Achebe and Gayatri Spivak have similar portrayals of women in certain countries and or societies. Women are often seen as weaker than men but because they bear children, they are to be worshiped and protected.

.

In the beginning, I was  intrigued to see that in Enwonwu’s piece, you cannot tell whether the figures in masquerade garments are men or women. This is important because gender roles are huge within the Nigerian and Igbo population. However, the more I look into the image, I see that one masquerade figure is turned with their backs, while the others are faced forward. It made me wonder if in fact this photo does include gender roles. Could it be that the one with the back turned is in fact a woman being protected by men? There needs to be a better explanation for this. It also makes me think that the eyes in the bells are a way of saying that Enwonwu sees that this is the normal in the Igbo community and is bringing this to light. I also see that they are carrying bow and arrows -- I think this could be symbolic  of trying to fight for the acknowledgement and respect  that they should already be getting. As recently mentioned his mentor and tutor was focused on the indigenous figures, but here in this piece I believe he’s telling us that these figures are going to stick together and cannot be silenced or unseen. His other masquerade piece moves more towards the actual African spirits and African masquerades.

By resisting the idea of indigenous people being limited,  I was able to see that Enwonwu is trying to show us that he saw how his mentor didn’t appreciate either  African cultural background or the indigenous cultural background. Enwonwu refused to make gender a role in the painting because in fact he knows that this issue is often pushed to the back of people's minds. Looking at the maturation of his pieces, you see his appreciation for African figures and masquerades. He develops the full picture of what African Masquerades incorporate.

Further looking into the meaning of the word “Ugala” it is said to be something of higher education and or theatre. It could also be that Enwonwu is saying that people with education need to wake up and see African art for what it is -- beautiful and just as good as white art. The figure turning around could signify how many still turn a blind eye to the lack of acknowledgement and appreciation for African art styles  over European art styles. The other figures might be skeptical or maybe even sure  about combating the issues within the art world. Enwonwu being one of the most influential African artists has created these pieces in order to awaken the lack of agency for many individuals. His resistance to colonization through the use of his own privilege was brilliant.

[theonmega]

Meet The Press with Bill Gates (Full) - October 11th, 2020

⛊ Let’s go Watch News Meet the Press: October 11, 2020 with Bill Gates On Mega™ Official TV Series Full Episodes 📺 P.L.A.Y ►► http://onmega.dplaytv.net/tv/4496-2020-1

⛊ Watch Without Limits Your Favourites Recently Watchted ⛊ ►► http://onmega.dplaytv.net/tv/4496-2020-1 News Meet the Press: October 11, 2020 with Bill Gates On Mega™ Official TV Series (Full Episodes)

Bill Gates Disappointed for the COVID-19 Test System in the US, Here's Explanation

⛊ Watch News Meet the Press: October 11, 2020 with Bill Gates On NBC ⛊

⛊ Episode Info

Show: Meet the Press Number: Season 2020, Episode 40 Airdate: Oct 11, 2020 at 09:00 Runtime: 60 minutes

⛊ Meet the Press

For almost as long as there has been television, there's been Meet the Press. The hourlong Sunday morning public affairs program has featured interviews with countless U.S. and world leaders, and has reviewed, analyzed and discussed the news of the week -- all while looking toward the week ahead.

⛊ Show Info

Network: United States NBC (1947 - now) Schedule: Sundays at 09:00 (60 min) Status: Running Show Type: News Created by: Lawrence E. Spivak Martha Rountree Official site: www.nbcnews.com

[ashleybenlove]

Meet the Press! This episode was set in 67, so hosted/presented by Lawrence E. Spivak. He’s been dead since the 90s. 

Also apparently they tried to get Jon Stewart in 2014 to host that. JON STEWART. OF THE DAILY SHOW FAME.

[steve-rogers-new-york]

Chart-Topping Christmas Singles — 1920-1945

Popular Christmas themed songs aren’t a new thing — they saw their infancy in the 1930s, and by the 1940s many popular seasonal songs from films and by popular artists were making the charts. These popular Christmas songs tended to be about not only Christmas, but also wintertime and the season in general and did not typically have overtly religious themes (a change from the carols of the pre-1930s).

Below is a list of chart-topping Christmas singles that would have been radio favorites between 1920 and 1945. Many of those released during WWII would be also been release on V-Disc to US military personnel, so it is highly likely they would be familiar to our boys while they were overseas.

Auld Lang Syne - Peerless Quartet | 1921 

Reached No. 5 on the Pop charts.

Written by Robert Burns. 

Guy Lombardo and His Royal Canadians first performed the song on radio in 1929, then recorded it in 1939.

Parade of the Wooden Soldiers - Vincent Lopez Orchestra | 1922

The Vincent Lopez Orchestra version peaked at No. 3 on the pop singles chart.

Other charted versions include Carl Fenton's Orchestra (1922), and Paul Whiteman and His Orchestra (1923).

Music written in 1897 by Leon Jessel and popularized by Nikita Balieff's 1920s musical revue La Chauve-Souris.

Adeste Fideles (O Come, All Ye Faithful) - Associated Glee Clubs of America | 1925 

Peaked at No. 5 on the pop singles chart. 

Santa Claus Is Comin' to Town - George Hall and the Hotel Taft Orchestra | 1934

Written in 1933 by Haven Gillespie and J. Fred Coots. 

Other notable hit versions were by Bing Crosby and The Andrews Sisters (1943)

Winter Wonderland - Guy Lombardo and His Royal Canadians | 1934 

Lombardo's version peaked at No. 2 on the pop singles chart.

A version by Ted Weems and his Orchestra peaked at No. 13 on the pop singles chart.

Written in 1934 by Felix Bernard (composer) and Richard B. Smith (lyricist).

Jingle Bells - Benny Goodman and his Orchestra | 1935 

B-Side was Santa Claus Is Comin' To Town by the Tommy Dorsey Orchestra.

A version was released in 1941 with by Glenn Miller and his Orchestra, featuring vocals by Tex Beneke, Ernie Caceres and The Modernaires.

Other hit versions recorded by Bing Crosby and The Andrews Sisters (1943)

Silent Night - Bing Crosby | 1935

Written on Christmas Eve in 1818 in Germany by Franz Gruber under the title "Stille Nacht, heilige Nacht". 

Crosby's hit version features the Victor Young Orchestra and backing vocals by the Guardsmen Quartet.

First known recorded version in the U.S. was by Paul Whiteman and His Orchestra in 1928.

What Will Santa Claus Say (When He Finds Everybody Swingin'?) - Louis Prima and his New Orleans Gang | 1936

The Little Boy that Santa Claus Forgot - by Vera Lynn | 1937

(Don't Wait 'Till) The Night Before Christmas - Eddy Duchin and his Orchestra | 1938

Featuring vocals by Stanley Worth. Peaked at No. 9 on the pop singles chart.

Babes in Toyland/March of the Toys - Tommy Dorsey Orchestra | 1939 

Written by Victor Herbert and Glen MacDonough.

Hello, Mr. Kringle - Kay Kyser and his Orchestra | 1939 

Novelty record with Ginny Simms, Ish Kabibble, Sully Mason & Harry Babbitt on vocals.

The Night Before Christmas - Milton Cross | 1939 

Recitation of Clement Moore's famous 1823 poem "A Visit from St. Nicholas" with musical background orchestrated by Victor Salon. 

When Winter Comes - Artie Shaw & his Orchestra | 1939 

Peaked at No. 6 on the pop singles chart.

Featuring vocals by Tony Pastor. 

From the 1939 film Second Fiddle.

Snowfall - Claude Thornhill and His Orchestra | 1941 

Written by Claude Thornhill.

Winter Weather - Benny Goodman | 1941

Peaked at No. 24 on the pop singles chart. 

Featuring Peggy Lee and Art Lund on vocals.

Also recorded in 1941 by Fats Waller.

Happy Holiday - Bing Crosby | 1942

Written by Irving Berlin for the 1942 film Holiday Inn, co-starring Crosby and Fred Astaire. 

Hit versions were recorded by Peggy Lee, Andy Williams, and Steve Lawrence & Eydie Gorme.

White Christmas - Bing Crosby | 1942

Spent eleven weeks at No. 1 on Billboard's National Best Selling Retail Records chart and three weeks at No. 1 on Billboard's Harlem Hit Parade chart in late 1942. 

Written by Irving Berlin. 

This version featured the Ken Darby Singers and John Scott Trotter's Orchestra. 

The song debuted in the 1942 film Holiday Inn (sung by Crosby). 

Other charting recordings by Gordon Jenkins (1942), Charlie Spivak (1942), Frank Sinatra (1944), Freddy Martin (1945)

I'll Be Home for Christmas - Bing Crosby | 1943

Written during World War II by Kim Gannon, Walter Kent and Buck Ram to honor soldiers overseas.

Let's Start the New Year Right - Bing Crosby | 1943

With the Bob Crosby orchestra. 

From the 1942 film Holiday Inn.

Have Yourself a Merry Little Christmas - Judy Garland | 1944 

Peaked at No. 27 on the pop singles chart. 

Featuring orchestration by Georgie Stoll. 

Written by Ralph Blane and Hugh Martin

Introduced in the 1944 film Meet Me in St. Louis starring Garland.

The Bells of St. Mary's - Bing Crosby | 1945 

Written by A. Emmett Adams and Douglas Furber in 1917.

While the song has no lyrical relation to Christmas, its inclusion in the 1945 film of the same name has made it a popular choice for various artists' holiday albums.

Christmas Carols by the Old Corral - by Tex Ritter | 1945

Peaked at No. 2 on Billboard's Most-Played Juke Box Folk Records chart.

Let It Snow! Let It Snow! Let It Snow! - Vaughn Monroe | 1945 

Written by Sammy Cahn and Jule Styne.

Image Sources

Judy Garland and Tom Drake in 1944′s “Meet Me in St. Louis” | Source “White Christmas” and “I’ll be home for Christmas” V-Disc | Source “Sant Claus is Coming to Town” | Source

[ Support SRNY on Patreon! ]

[filmandtvhistory]

November 6, 1947 - Meet the Press premieres on NBC.

This hour long (originally it was a 30 minute program) television news/interview program is the longest running program on network television. There have been 12 moderators to date with the first being Martha Rountree (1947-1953). Rountree co-created the show with Lawrence Spivak (he would serve as a moderator from 1966-1975). The longest serving moderator was Tim Russert (1991-2008). The current moderator is Chuck Todd (2014- ).

[helloonmega]

Meet The Press Broadcast (Full News) - September 27th, 2020 | Meet The Press | NBC News

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September 27, 2020 | NBC's Meet the Press is the longest running show on television, providing insights and analysis into all aspects of politics and the nation's capital. We ask United States and world leaders the tough questions and gather influential voices to critically examine the answers. We delve deep into the polls and tell you how those numbers can affect your life. And we will make you think, because if it's Sunday, it's Meet the Press.

» Watch Meet the Press (Today) September 13, 2020 (Full Episodes) On NBC «

📺 Episode Info

Show: Meet the Press Number: Season 2020, Episode 38 Airdate: Sep 27, 2020 at 09:00 Runtime: 60 minutes

📺 Meet the Press

For almost as long as there has been television, there's been Meet the Press. The hourlong Sunday morning public affairs program has featured interviews with countless U.S. and world leaders, and has reviewed, analyzed and discussed the news of the week -- all while looking toward the week ahead.

📺 Show Info

Network: United States NBC (1947 - now) Schedule: Sundays at 09:00 (60 min) Status: Running Show Type: News Created by: Lawrence E. Spivak Martha Rountree Official site: www.nbcnews.com

[plusorminuscongress]

“The Crown” At the Library

“The Crown” At the Library By Neely Tucker Published November 18, 2019 at 10:10AM

Queen Elizabeth II and Prince Philip disembark from the ship “Susan Constant” at Jamestown, Virginia, 1957. New York World-Telegram and the Sun Newspaper Photograph Collection. Prints and Photographs Division.

This is a guest post by Ryan Reft of the Library’s Manuscript Division.

“On days like today you ask yourself, ‘In the time I’ve been on the throne, what have I actually achieved?’ ” queries the middle-aged Queen Elizabeth II in the trailer for Season 3 of the popular Netflix series “The Crown.”

In that unsettling trailer, over a dirge-like version of the Bob Dylan classic “The Times They Are a-Changin’,” disembodied voices opine about the state of the United Kingdom. “The country is bankrupt. Our national security is in tatters,” notes one grizzled voice, which may or may not be that of Prime Minister Harold Wilson. Miners are on strike. The royal household is filled with strife. “This country was still great when I came to the throne,” the queen intones. “All that’s happened on my watch is the place has fallen apart.”

“The Crown,” which opened its third season last night, follows the long reign of Elizabeth II, which began in 1952 and is still ongoing. Season 3 tracks a period of decline from the mid-1960s into the mid-1970s, a decline that engulfed the government as well as the royal family. For those looking for some of the historical detail, it is well documented in the Anthony Lewis and the Lawrence E. Spivak papers in the Manuscript Division at the Library of Congress. Lewis was the New York Times London bureau chief from 1966 to 1972; Spivak was the co-founder, panelist and co-host of NBC’s “Meet the Press” from 1947 to 1975. Both interviewed key British leaders of the day.

In the immediate post-World War II period, behind the leadership of a Labour government helmed by Clement Attlee, the U.K. provided citizens with a generous welfare state. However, by the mid-1960s, it could no longer be sustained. The British economy “simply would not grow fast enough to keep pace with the ever increasing needs of the welfare state,” noted historian William Hitchcock.

Lewis detected trouble as soon as he took up his London posting. Writing in June 1966 that the atmosphere in London seemed “eerie in its relentless frivolousness,” Lewis noted: “What is bound to worry some who love this country is the feeling of unconcern about the problems that are Britain’s to solve.”

Months later, during an interview with Wilson at 10 Downing Street, his notes reveal the PM’s own, almost willful obliviousness. The interview started in fine high-era English fashion: “Offered drink, scotch and water, and cigar, Jamaican, before conversation began,” Lewis typed in his notes. Yet, the interview ended with a bit of skepticism. “There is no real malaise in Britain and no weakening of British character,” Wilson had asserted again and again. Lewis did not buy it, typing in a personal aside, “He repeated this so often I thought he was trying to reassure himself.”

Lewis’ papers show that he sometimes took to recording interview notes on the menus of London restaurants, such as those located in august hotels like the Dorchester and Claridge’s. These neatly bookend Wilson’s tenure. Lewis wrote in late October 1966 that the prime minister “shows intensely his delight of political triumph.” But three years later, in early December 1969, he wrote that Wilson was “good at jokes, bad when he gets pompous on actual issues.”

Devaluation, a weakening economy, militant labor unions and other forces would help to undo Wilson, as his party lost control of the government. Tory leader Edward Heath ascended to prime minister in 1970, only to be punted out four years later, as Wilson returned to power. Wilson lasted two years before being replaced by James Callaghan. He, of course, was succeeded by Margaret Thatcher, arguably the U.K.’s most famous leader since Churchill.

The queen and the royal family did not emerge unscathed during this period. Spivak’s papers show that in a November 1969 interview on the Meet the Press, Prince Philip acknowledged — evidently humorously — that the Crown too struggled mightily with finances. The joke did not travel well. Lewis Chester and John Whale of the Sunday Times wrote that his attempt at humor transformed what had been an “also ran story” into the front-page variety. “It is difficult to get a smile into print,” the two journalists observed, indicating that his jest had fallen flat when printed.

Still, to some U.K. citizens, the Crown’s cultural cache remained intact.

“I feel infuriated at the question put” to Prince Philip, wrote one North Leeds resident to Meet the Press. “I belong to the British middle class and like thousands of other British people, love our Royal Family and all they stand for. All I can conclude from the interview is envy on the part of countries, who do not have a monarchy,” she argued, adding, “and I have relatives who live in Cleveland.”

The late 1960s and 1970s proved to be challenging times for the West more broadly. Western Europe and America both struggled with widespread student unrest, economic uncertainty and political dissent. In the United States, one could add the travails of deindustrialization, the Vietnam War and the political scandal of Watergate.

Season 3 will no doubt offer fireworks. For historians and others looking for key background insights into the era, few resources provide clearer insights into the dilemmas faced by Britain and the United States than the Lewis and Spivak papers.

Read more on https://loc.gov

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Happy birthday to Eleanor Roosevelt!🌹 #Onthisday: Anna Eleanor Roosevelt was born on October 11, 1884; she was an American political figure, diplomat, and activist. She served as the First Lady of the United States from March 4, 1933, to April 12, 1945, during her husband President Franklin D. Roosevelt's four terms in office, making her the longest-serving First Lady of the United States. Eleanor Roosevelt served as United States Delegate to the United Nations General Assembly from 1945 to 1952. (And) President Harry S. Truman later called her the "First Lady of the World" in tribute to her human rights achievements." (Wikipedia) ---- 📸Photo: Eleanor Roosevelt on NBC's "Meet the Press" at the RCA Exhibition Hall in New York City. With Eleanor Roosevelt are (from left to right) Ned Brooks and Lawrence Spivak. 📖(Photo source: Franklin D. Roosevelt Presidential Library & Museum; Photo ID: 58427(2). Date: September 16, 1956) #books #ww2 #American #history #worldwar2 #America #amwriting #photography #goodreads #writersofinstagram #journals #nonfiction #biography #memoirs #EleanorRoosevelt #writer #postww2 #womenshistory #humanrights #bookstagram 📚🌹 https://www.instagram.com/p/B3f3lsxhdQg/?igshid=78b58f4fvla6