#roosevelt collier

[offtheleashart]

Sounds Like Savannah

2023 Savannah Music Festival Lucas Theater for the Arts Today is the last day of the 2023 Savannah Music Festival. The 17-day event, now in its 34th year, took place at a half-dozen venues, both indoor and out, in Savannah’s Historic District. While maybe not as well known outside the Savannah area as some other festivals, all the performances I attended drew large and enthusiastic crowds. The…

[lonestarbattleship]

Battleship Squadron Leaves For Mexico, 1914

A newspaper photograph of Atlantic Fleet battleships deploying from Hampton Roads to Mexico, April 15, 1914. It should be noted that the newspaper's caption have the wrong ship names.

"One hundred years ago yesterday, acting on instructions from President Woodrow Wilson, Secretary of the Navy Josephus Daniels ordered the Hampton Roads-based ships of the Atlantic Fleet to mobilize and head to the east coast of Mexico. The first squadron to deploy included the new battleships USS Arkansas (BB-33), USS Utah (BB-31), and Florida (BB-30); the older battleships USS New Jersey (BB-16) and USS New Hampshire (BB-25); and the dispatch boat/armed yacht USS Yankton. Daniels had specifically ordered the squadron to Tampico and Vera Cruz. Daniels deployed the squadron of heavy ships to reinforce a smaller squadron already on the scene.

The deployment of American battleships came from a culmination of a series of international incidents. A few days before, Mexican authorities had arrested several American sailors in Tampico, and later a Marine who got lost while trying to deliver official mail. These arrests occurred during the latest civil war in Mexico. There was also an American belief that European powers were attempting to intervene in the war. Thus, tensions between Mexico and the United States were high.

Mexican authorities agreed to release the American servicemen, but some senior U.S. Naval officers, and later President Wilson himself, beleived American honor had been insulted. They demanded official apology and a 21-gun salute to the American flag by the Mexican government. When the Mexican reply to the American demands was not forthcoming quickly enough, Wilson put the Navy's ships on alert.

While Assistant Secretary of the Navy Franklin Roosevelt commented to the press that the Navy was prepared for anything, there is evidence that the mobilization order caught the Atlantic Fleet somewhat off guard. Several of the ships were not prepared for an extended deployment. New Hampshire's sailors, for example, worked through the night and early morning of April 15 loading 1,600 tons of coal on board. The Navy quickly called up all sailors stationed at St. Helena Naval Training Station and on board the local receiving ships Franklin and Richmond, regardless of rate, sea experience, or enlistment status, to fill in personnel gaps. Many other ships in the Atlantic Fleet were not ready, including the battleships Texas (BB-35) and Delaware (BB-28) and several repair vessels and coal colliers.

Even though the initial operation was only a partial mobilization of the Atlantic Fleet, the five battleships' deployment raised American jingoism to a fever pitch. Most Americans fully supported the deployment and even offered to help in their own special way. The Governor of Texas, for example, offered to invade Mexico on behalf of the United States. The President politely declined."

Article by the Hampton Roads Naval Museum: link

[alinagentry90]

Inspiring Quotes For Students

Here are 10 inspiring quotes for students:

"The only way to do great work is to love what you do." – Steve Jobs

"Education is the most powerful weapon which you can use to change the world." – Nelson Mandela

"Success is not the key to happiness. Happiness is the key to success. If you love what you are doing, you will be successful." – Albert Schweitzer

"Your time is limited, so don’t waste it living someone else’s life." – Steve Jobs

"The beautiful thing about learning is that no one can take it away from you." – B.B. King

"Believe you can and you're halfway there." – Theodore Roosevelt

"Don’t let what you cannot do interfere with what you can do." – John Wooden

"The expert in anything was once a beginner." – Helen Hayes

"The future belongs to those who believe in the beauty of their dreams." – Eleanor Roosevelt

"Success is the sum of small efforts, repeated day in and day out." – Robert Collier

These quotes can help inspire students to stay motivated and pursue their goals!

[xtruss]

How Did the Teddy Bear Get Its Name? President Theodore Roosevelt Had Something To Do With It. So Did A Real Bear.

— By Erin McCarthy | August 30, 2024

The Teddy Bear Has a Very Specific Origin Story. Carol Yepes, Getty Images

Perhaps the question first occurred to you in the toy aisle when you were picking out a present for the kid in your life. Or maybe it was when you were cleaning out your old toys from the attic of your childhood home that you asked yourself, “How did stuffed bears come to be called ‘teddy bears,’ anyway?”

It’s a story involving President Theodore Roosevelt, a bear hunt, a political cartoon, and a candy shop owner in New York.

The Hunt

The Cartoons

The Toy

The Hunt

In November 1902, Mississippi governor Andrew H. Longino invited Roosevelt on a bear hunt, and the president—who would be in the state to try to settle a border dispute it was having with Louisiana—eagerly accepted.

His luck, however, was terrible: For the first few days, there was not a bear to be found near Roosevelt, let alone shot. Anyone on the hunting party who did spot an ursine was forced to hold their fire. According to biographer Edmund Morris in Theodore Rex, Roosevelt “insisted on first blood,” writing ahead of the trip, “I am going on this hunt to kill a bear, not to see anyone else kill it.”

President Theodore Roosevelt speaking to onlookers in Vermont. Historical, GettyImages

(Roosevelt had an interesting history with bears: He was nearly killed by a grizzly on a solo hunt in Montana in 1889, and some of his supporters from West Virginia sent him “a small bear”—which his children named Jonathan Edwards, after the revivalist preacher—as a pet in 1900. He wound up giving the bear to the Bronx Zoo the next year because “we do not have the accommodations to keep him.”)

Things came to a head on November 14. Holt Collier—a formerly enslaved man and legendary bear hunter who was serving as Roosevelt’s tracker—and his dogs flushed out a black bear into a clearing where the president was supposed to be waiting. The dogs chased the bear into a pond, where, Morris wrote, “Collier threw a lariat over the shaggy neck and pulled tight … and cracked the bear’s skull with the butt of his gun—carefully, because he wanted it to stay alive.”

Unfortunately, Roosevelt was not where Collier thought he would be. After waiting in the designated area for hours, the president and his hunting companion assumed no bear was coming and returned to camp for lunch. A messenger was dispatched to get Roosevelt, who rushed back to the scene to kill the bear—but when he saw that the scrawny creature was tied to a tree, he refused to shoot it. Someone else ended up killing the bear (not with a gun, but with a knife).

Ultimately, Roosevelt didn’t bag a single bear on the trip—but in a strange twist, he would soon end up lending his name to one.

The Cartoons

Reporters checked in on the hunt once a day, and it wasn’t long before reports of Roosevelt’s refusal to kill a restrained bear made the papers; the president was lauded for his sportsmanlike behavior. (The papers had harsher words for the bear, derided as “incorrigible and uncultured,” and for “these Mississippi people,” which one paper opined “seem as ignorant of modern methods as they are lacking in the finesse and technique of true sport.”)

Washington Post political cartoonist Clifford K. Berryman, reading about the event, found himself struck by inspiration: He drew a black bear—“a poor measly little cub with most of its fur rubbed off,” he would later write—with a white handler holding its leash. Roosevelt holds one hand out; in the other is his gun, butt on the ground, muzzle up. The illustration appeared on November 16, 1902, and was captioned “Drawing the Line in Mississippi.”

“Drawing the Line in Mississippi” by Clifford K. Berryman. Library of Congress//Public Domain

“I drew the cartoon of it from the description as sent by the Associated Press,” Berryman recounted later. One senator “thought it so good that he ’phoned to me and asked me to make another bear cartoon when Roosevelt returned to the city.” The resulting illustration, published November 19, was captioned “After a Twentieth Century Bear Hunt.”

“It seemed to make a hit,” Berryman said, “with the result that I continued the bear in all future cartoons in which the President appeared.” The bear got more adorable with time; you can see all of Berryman’s bear illustrations in this collection from the Theodore Roosevelt Center.

The Toy

As Berryman created illustration after illustration featuring Roosevelt and an adorable bear, Morris Michtom sensed an opportunity. The Brooklyn-based candy store owner had his wife Rose hand-sew a cuddly stuffed bear, which he placed in their store window; it quickly sold. Rose made more, ultimately selling so many that the Michtoms began mass producing what they called “Teddy’s Bears” in 1903 (apparently with Roosevelt’s blessing, though the president apparently believed the toy would amount to nothing). Around the same time, the German toy company Steiff made its own stuffed bears, shipping 3000 of them to U.S. toy stores. Soon, the cuddly toys were going by “Teddy Bears.”

Teddy Bear With Teddy Roosevelt Tag. Hulton Archive, GettyImages

Roosevelt himself used the teddy bear in his 1904 re-election campaign, even though he hated the nickname Teddy (perhaps because it was used by his first wife, Alice, who died after giving birth to their daughter, also named Alice). When a lawyer used the nickname in his presence, Roosevelt declared it an “outrageous impertinence.”

The toy took off, selling in the tens of thousands, enduring a brief controversy, and paving the way for beloved bears like Winnie the Pooh, who was inspired by a teddy bear purchased for A.A. Milne’s son Christopher.

There was also an unsuccessful imitator: Billy Possum, which was presented to then-President William Taft, Roosevelt’s successor, on a trip to Atlanta in January 1909 and was, according to the Theodore Roosevelt Center, “designed to replace Theodore Roosevelt’s ‘Teddy Bear.’ ” Taft endorsed the cause, and soon, there were Billy Possum stuffed animals, buttons, and posters. But Billy Possum was ultimately a failure; the toy’s time in the spotlight was over by the time the holiday season rolled around in December.

The teddy bear, however, has never ceased to be popular. Today, the stuffed animal remains a popular gift and the industry was valued at about $6.4 billion in 2022. It’s also the state toy of Mississippi, and a Michtom-made bear owned by Roosevelt’s descendants has a spot in the Smithsonian’s National Museum of American History.

[antonny51]

Motivacao

Claro! Às vezes, todos precisamos de um pouco de motivação. Aqui estão algumas frases inspiradoras para te animar: “O sucesso é a soma de pequenos esforços repetidos dia após dia.” – Robert Collier “Acredite que você pode, assim você já está no meio do caminho.” – Theodore Roosevelt “A única maneira de fazer um excelente trabalho é amar o que você faz.” – Steve Jobs Lembre-se de que cada…

[mareislandfoundation]

School Board Inflames Passions

In 1906 there was an immigration crisis in California, and some predicted with certainty that it would lead to war with Japan. It didn’t, at least not for nearly 40 years, but in an odd way it proved to be a tipping point in a cascade of events establishing Mare Island Naval Shipyard as a major new construction building yard. Up to that point Mare Island was primarily a repair yard and had only built a few, mostly small, ships such as tugs and training ships.

On September 11, 1906, the San Francisco School Board voted to segregate Asian children from other students to protect those other students from undue influence “by association with pupils of the Mongolian race.” The discrimination against Asian’s had its roots in the Chinese Exclusion Act of 1882. The act was ostensibly aimed at reversing declining wages and economic ills that were blamed on the despised Chinese workers. Then in 1904 the Japanese Navy stepped on the World stage as a major power when they overwhelmingly destroyed the Russian Navy at Port Arthur, China, during the Russo-Japanese War.

Meanwhile in 1905 the first organized effort to exclude Japanese from the United States began when the Asiatic Exclusion League was formed in San Francisco to ratchet up anti-Japanese sentiment. All these actions against what was termed the “Yellow Peril” infuriated the Japanese citizenry ultimately leading some to speculate that war was imminent. Should war break out analysts speculated that Japan would move against the US possessions in the Philippines or Hawaii. The United States possessed a one ocean battleship navy at the time and the fleet was based in the Atlantic. There was no Panama Canal and, therefore, the fleet would be unable to respond in a timely manner should the Japanese decide to move on the US possessions.

The anti-Asian actions were of great concern to President Roosevelt who was philosophically opposed to the discriminatory sentiments on the west coast, and he had no interest in a war with Japan. Therefore, he worked to defuse the situation diplomatically and he succeeded through what was termed the “Gentlemen’s Agreement.” In that agreement the Japanese committed to denying passports to laborers intending to enter the United States and in exchange the San Francisco school board order segregating Japanese pupils was formally withdrawn on March 13, 1907. The crisis was defused, but the US vulnerability in the Pacific remained a prime concern of President Roosevelt and became part of the strategic purpose for his ordering the famous round the world cruise by the “Great White Fleet.” Roosevelt had also placed his support behind the development of the Panama Canal to facilitate the more rapid movement of battle fleets from the Atlantic to the Pacific.   Roosevelt popularized the African proverb “Speak softly but carry a big stick.” And the round the world cruise was designed to showcase the US big stick to any potential advisories.

Later in 1907 16 battleships and assorted escort vessels with 14,000 sailors departed Hampton Roads Virginia bound for San Francisco by way of the Straits of Magellan. The purposes of the deployment not only included sending a message to any potential adversary in the Pacific, but it was viewed as an opportunity to exercise the fleet to sharpen skills and identify deficiencies. One big deficiency was identified. The US fleet was powered by coal and the fleet depended on commercial colliers to deliver that coal. A collier was a ship that carried coal for refueling other ships. The lack of adequate coaling stations, the poor performance of commercial colliers, and the fact that access to coal would be even more constrained during time of war due to neutrality laws, daylighted the fact that Navy needed another way to be supplied with coal.

The solution the Navy adopted was to acquire and operate its own colliers. Mare Island’s reputation resulting from several massive repair jobs led to contracts to build two colliers. Unlike the small tugs and other boats Mare Island had built, the colliers were massive steel riveted ships.  Mare Island built the first ship, the USS Prometheus, in competition with the premier navy yard in the nation, the New York Naval Shipyard. This was a competition Mare Island Naval Shipyard could not possibly be expected to win.

After all, the New York Naval Shipyard was an experienced builder of steel battleships, and Mare Island had never built a steel ship. In addition, Mare Island’s labor costs were 25% higher than in New York, the costs and schedule impacts of shipping steel and equipment from the east coast had to be absorbed, and Mare Island was deficient in the shop facilities needed for such a project, whereas the New York yard had all the necessary facilities to maximize efficiency. Despite the constraints Mare Island delivered Prometheus at a lower cost than the New York Naval Shipyard delivered her ship.

While the successful completion of the Prometheus was undoubtedly a source of great pride for the Mare Island workforce, its significance went way beyond that. World War I was looming, and Mare Island’s image was transformed from not only a highly efficient shipyard, but also that of a major building yard. Mare Island’s performance on the Prometheus and the exigencies of World War I led to the ever-increasing workload and investment in infrastructure that led President Franklin Roosevelt (FDR) to refer to Mare Island as the Nation's #1 public yard when he visited during World War II. Mare Island Naval Shipyard would ultimately go on to build 517 ships, 502 following the successful construction of Prometheus. Perhaps Mare Island’s role as a successful and major building yard can be traced back to the cascading events that followed the action of the San Francisco School Board in 1906.

Dennis Kelly

[bunkerblogwebradio]

Crises financeiras foram desencadeadas pelo intervencionismo estatal

Os anticapitalistas têm antecipado a grande crise que traria o colapso final e irreversível do capitalismo desde o início de sua existência. Karl Marx acreditava ter descoberto uma série de “leis” econômicas que inevitavelmente levariam à queda do capitalismo, como a “tendência da taxa de lucro a cair” ou o empobrecimento do proletariado.

Para os anticapitalistas, as crises econômicas sempre, acima de tudo, foram uma fonte de esperança – de que o capitalismo finalmente entraria em colapso sobre si mesmo. Infelizmente para eles, suas esperanças foram frustradas inúmeras vezes. Em muitos aspectos, os anticapitalistas são um pouco como um culto apocalíptico, anunciando destemidamente novas datas para o fim do mundo depois que suas profecias anteriores não foram cumpridas e a vida continuou normalmente.

Na crise financeira de 2008, os anticapitalistas acreditavam que o tão esperado fim do capitalismo havia finalmente chegado. Quando o capitalismo sobreviveu a essa crise, eles foram forçados a ter esperanças  na crise do coronavírus de 2020-21. Mesmo nos primeiros dias da pandemia de Covid-19, os intelectuais de esquerda frequentemente expressavam suas esperanças de que a pandemia finalmente alcançasse o que eles sonhavam durante a crise financeira de 2008, ou seja, uma reorganização fundamental da sociedade e a derrota final do capitalismo. William Davies, um sociólogo britânico, publicou um artigo no The Guardian sob o título: “A Última Crise Global Não Mudou o Mundo. Mas Esta Poderia”.

As crises fazem parte do capitalismo e, mesmo que os efeitos de curto prazo tragam grandes problemas para as empresas e seus trabalhadores, elas têm efeitos muito positivos a médio e longo prazo, que é o a que o economista político austríaco Joseph Schumpeter estava se referindo quando criou o termo “destruição criativa”.

Porém, quando os políticos interferem, as crises muitas vezes pioram e duram mais do que o necessário. O economista dos EUA Thomas J. DiLorenzo compara a abordagem adotada pelo governo americano sob o presidente Martin Van Buren para lidar com a depressão de 1837 com a resposta do presidente Franklin D. Roosevelt para a Grande Depressão de 1929. Van Buren seguiu uma política de laissez-faire inequívoca e resistiu a todas as propostas de ação direta do governo e intervencionismo, o que levou a um fim muito rápido da crise.

Em contraste, Franklin D. Roosevelt lançou seu “New Deal [Novo Acordo]”, que contou com uma série abrangente de programas governamentais e seguia uma política anticapitalista e intervencionista. Ao contrário do mito espalhado pelos anticapitalistas de que o “New Deal” encerrou a crise, as políticas de Roosevelt, na verdade, a prolongaram. O desemprego, que tinha sido tão baixo quanto 3,2% em 1929, subiu para 14,6% em 1940. A taxa média de desemprego de 1933 a 1940 foi de 17,7%. O PIB per capita nos Estados Unidos era de US$ 857 em 1929 e ainda estava pouco acima desse nível onze anos depois, à US$ 916, em 1940. As despesas de consumo pessoal, que totalizaram US$ 78,9 bilhões em 1929, caíram para US$ 71,9 bilhões em 1940.

E a crise financeira global de 2008? Os políticos e a mídia culparam a “desregulamentação” dos mercados financeiros, mas mesmo os economistas britânicos Paul Collier e John Kay, que argumentaram erroneamente que o “fundamentalismo de mercado” chegou a dominar a política econômica nas sociedades ocidentais nas últimas décadas, são forçados a admitir: “Aqueles que culpam a desregulamentação pela crise financeira não reconhecem que há hoje, e houve em 2008, muito mais regulamentação financeira do que nunca: o Estado era cada vez mais ativo, mas cada vez menos eficaz.”

Em nenhum lugar há menos princípios econômicos de livre mercado do que no mundo das finanças. Nenhum setor é tão fortemente regulamentado e supervisionado pelo Estado, com a possível exceção do setor de saúde. O fato de que precisamente as duas áreas da economia que são mais estritamente reguladas pelo Estado são as mais instáveis deve dar aos críticos do capitalismo um motivo de reflexão. É claro que os regulamentos são necessários em ambas as áreas, mas o slogan “mais regulamentação ajuda mais” está claramente errado.

A grande maioria das crises são simplesmente características do fluxo e refluxo regular de ondulações econômicas normais, ou seja, as intensificações e desacelerações cíclicas do crescimento econômico, que desaparecem após alguns meses ou até mesmo um ano. Inegavelmente, muitas das crises que ocorreram nos últimos 120 anos foram desencadeadas, ou pelo menos consideravelmente agravadas e prolongadas, pelo intervencionismo populista de líderes políticos.

Rainer Zitelman

[iamzainrefat]

10 Success Quotes That Will Help You to Grow

1. "Success is not the key to happiness. Happiness is the key to success. If you love what you are doing, you will be successful." 

- Albert Schweitzer

2. "The only place where success comes before work is in the dictionary." 

- Vidal Sassoon

3. "Success is not final, failure is not fatal: It is the courage to continue that counts."

 - Winston Churchill

4. "Success is not how high you have climbed, but how you make a positive difference to the world."

 - Roy T. Bennett

5. "Success is walking from failure to failure with no loss of enthusiasm." 

- Winston Churchill

6. "Success is the sum of small efforts, repeated day in and day out." 

- Robert Collier

7. "Successful people do what unsuccessful people are not willing to do. Don't wish it were easier, wish you were better." 

- Jim Rohn

8. "The only limit to our realization of tomorrow will be our doubts of today."

 - Franklin D. Roosevelt

9. "The only thing that stands between you and your dream is the will to try and the belief that it is actually possible." 

- Joel Brown

[meghchowdhury]

big teddy bear price in bd

3 Feet teddy bear is a stuffed toy in the form of a bear. Developed apparently simultaneously by toymakers Morris Michtom in the U.S. and Richard Steiff under his aunt Margarete Steiff's company in Germany in the early 20th century, the teddy bear, named after President Theodore Roosevelt, became a popular children's toy and has been celebrated in story, song, and film.

Since the creation of the first teddy bears which sought to imitate the form of real bear cubs, "teddies" have greatly varied in form, style, color, and material. They have become collector's items, with older and rarer teddies appearing at public auctions. Teddy bears are among the most popular gifts for children and are often given to adults to signify affection, congratulations, or sympathy.

The name teddy bear comes from former United States President Theodore Roosevelt, who was often referred to as "Teddy" (though he loathed being referred to as such). The name originated from an incident on a bear hunting trip in Mississippi in November 1902, to which Roosevelt was invited by Mississippi Governor Andrew H. Longino. There were several other hunters competing, and most of them had already killed an animal. A suite of Roosevelt's attendants, led by Holt Collier, cornered, clubbed, and tied an American black bear to a willow tree after a long exhausting chase with hounds. They called Roosevelt to the site and suggested that he shoot it. He refused to shoot the bear himself, deeming this unsportsmanlike, but instructed that the bear be killed to put it out of its misery, and it became the topic of a political cartoon by Clifford Berryman in The Washington Post on November 16, 1902. While the initial cartoon of an adult black bear lassoed by a handler and a disgusted Roosevelt had symbolic overtones, later issues of that and other Berryman cartoons made the bear smaller and cuter.

Morris Michtom saw the Berryman drawing of Roosevelt and was inspired to create a teddy bear. He created a tiny soft bear cub and put it in his candy shop window at 404 Tompkins Avenue in Brooklyn with a sign "Teddy's bear." The toys were an immediate success and Michtom founded the Ideal Novelty and Toy Co.

A little earlier in 1902 in Germany, the Steiff firm produced a stuffed bear from Richard Steiff's designs. Steiff exhibited the toy at the Leipzig Toy Fair in March 1903, where it was seen by Hermann Berg, a buyer for George Borgfeldt & Company in New York (and the brother of composer Alban Berg). He ordered 3,000 to be sent to the United States. Although Steiff's records show that the bears were produced, they are not recorded as arriving in the U.S., and no example of the type, "55 PB", has ever been seen, leading to the story that the bears were shipwrecked. However, the shipwreck story is disputed – author Günther Pfeiffer notes that it was only recorded in 1953 and says it is more likely that the 55 PB was not sufficiently durable to survive until the present day. Although Steiff and Michtom were both making teddy bears at around the same time, neither would have known of the other's creation due to poor transatlantic communication.

North American educator Seymour Eaton wrote the children's book series The Roosevelt Bears, while composer John Walter Bratton wrote an instrumental "The Teddy Bears' Picnic", a "characteristic two-step", in 1907, which later had words written to it by lyricist Jimmy Kennedy in 1932.

[the-plushie-friendships]

👨‍🏫“You see, when a man named Collier cornered and stunned a Louisiana black bear for the president's benefit, Roosevelt refused to shoot the bear. After the incident was publicized nationally in an editorial cartoon, a New York store owner created a stuffed toy he called Teddy's bear, and that’s where the name comes from!”👨‍🏫

*Ames had decided to secretly follow her dada to his school, she was planning to have some mischievous fun within his classroom*

*Jeff was teaching about the invention of Vehicles*

[nofatclips]

Shrinking Violet by Ani DiFranco from the album Revolutionary Love

[mce-photography]

This is called a Guitargasm. 5.4.19 Carrollton Station. New Orleans. Corky Hughes - Roosevelt Collier - Grayson Capps - Mike Doussan - Brian Stoltz 

[nwbeerguide]

Oskar Blues Brewery announces the lineup for the 17th annual CANiversary.

Press Release

Longmont, Colo.  ... Oskar Blues Brewery celebrates their 17th CANiversary on Nov. 16 with live music at the Oak Room. The party marks 17 years since Oskar Blues became the first brewery to package craft beer in portable, crushable, infinitely recyclable cans - an innovation that started a revolution in craft canning. The party’s going down at the Oak Room in Longmont, with stellar live music starting at 6 p.m., tasty food from the Oskar Blues Boulder Taproom and an exclusive on-site merchandise sale.

Doors will open at 5 p.m., then Crick Wooder will warm up the crowd at 6 p.m. with a unique, Owsley-grade Grateful Dead Experience. The four-piece band has made a name for itself jamming on The Dead all along the Front Range.

From 7:30 p.m. to 8:30 p.m., Papa Mali Duo With Bobby Vega will get the crowd moving with bass, guitar and vocals that push the minimalist possibilities of acoustic string music. The duo has a combined experience of over four decades of touring, recording and exploration of American roots, rock, folk, psychedelic blues, funk, jazz, gospel and world music.

Roosevelt Collier Band will headline the 17th CANiversary celebration, with a soul-shaking live performance from 9 p.m. to 10:30 p.m. Known as “The Dr.,” Roosevelt Collier cures what ails a crowd with sacred steel guitar sounds. Collier has performed alongside acts like the Allman Brothers, the Funky Meters, Los Lobos and the Del McCoury Band.

Don’t miss the opportunity to see this stellar musical line-up in the intimate Oak Room concert venue - one of the best spots in Longmont to see live music. The 4,275 square foot space is attached to Oskar Blues Brewery on the Northwest side of the building and includes a beer bar where your favorite Oskar Blues beers will be served. Guests are offered a view into the barrel room, where rare and specialty Oskar Blues beers are aged. Click here to see more information about the Oak Room.

Entry to the 17th CANiversary celebration is $25 plus taxes and fees. See ticket info here. This much-anticipated annual event at the Oak Room was sold out in 2017 and 2018, so don’t miss your chance to get your hands on tickets for this year’s bash.

...

About Oskar Blues Brewery Founded by Dale Katechis in 1997 in Lyons, Colorado, Oskar Blues Brewery launched the craft-beer-in-a-can apocalypse with their hand-canned flagship brew, Dale’s Pale Ale. Today, Oskar Blues operates breweries in Colorado, North Carolina and Texas featuring Dale’s Pale Ale as the nation’s #3 top-selling craft can six-pack at U.S. supermarkets. Oskar Blues is available nationwide in the US and in over 20 countries. Oskar Blues Brewery is a proud member of CANarchy, a disruptive collective of like-minded craft brewers dedicated to bringing high-quality, innovative flavors to drinkers in the name of independent craft beer.

[sojibhoque318]

https://hqlivehdtv.com/roosevelt-collier-live-stream-concert/

[aesthethos]

"Collier's with Roosevelt in Panama by Frederick Palmer", illustration by Albert Sterner (1863-1946), lithograph, 1906.

[timeless-hollywood-classics]

Ida Lupino (4 February 1918 – 3 August 1995) was an English-American actress, singer, director, and producer. She is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system. With her independent production company, she co-wrote and co-produced several social-message films and became the first woman to direct a film noir with The Hitch-Hiker in 1953. Among her other directed films the best known are Not Wanted about unwed pregnancy (she took over for a sick director and refused directorial credit), Never Fear (1949) loosely based upon her own experiences battling paralyzing polio, Outrage (1950) one of the first films about rape, The Bigamist (1953) (which was named in the book 1001 Movies You Must See Before You Die) and The Trouble with Angels (1966).

Throughout her 48-year career, she made acting appearances in 59 films and directed eight others, working primarily in the United States, where she became a citizen in 1948. As an actress her best known films are The Adventures of Sherlock Holmes (1939) with Basil Rathbone, They Drive by Night (1940) with George Raft and Humphrey Bogart, High Sierra (1941) with Bogart, The Sea Wolf (1941) with Edward G. Robinson and John Garfield, Ladies in Retirement (1941) with Louis Hayward, Moontide (1942) with Jean Gabin, The Hard Way (1943), Deep Valley (1947) with Dane Clark, Road House (1948) with Cornel Wilde and Richard Widmark, While the City Sleeps (1956) with Dana Andrews and Vincent Price. and Junior Bonner (1972) with Steve McQueen.

She also directed more than 100 episodes of television productions in a variety of genres including westerns, supernatural tales, situation comedies, murder mysteries, and gangster stories. She was the only woman to direct an episode of the original The Twilight Zone series ("The Masks"), as well as the only director to have starred in an episode of the show ("The Sixteen-Millimeter Shrine").

Lupino was born in Herne Hill, London, to actress Connie O'Shea (also known as Connie Emerald) and music hall comedian Stanley Lupino, a member of the theatrical Lupino family, which included Lupino Lane, a song-and-dance man. Her father, a top name in musical comedy in the UK and a member of a centuries-old theatrical dynasty dating back to Renaissance Italy, encouraged her to perform at an early age. He built a backyard theatre for Lupino and her sister Rita (1920–2016), who also became an actress and dancer. Lupino wrote her first play at age seven and toured with a travelling theatre company as a child. By the age of ten, Lupino had memorised the leading female roles in each of Shakespeare's plays. After her intense childhood training for stage plays, Ida's uncle Lupino Lane assisted her in moving towards film acting by getting her work as a background actress at British International Studios.

She wanted to be a writer, but in order to please her father, Lupino enrolled in the Royal Academy of Dramatic Art. She excelled in a number of "bad girl" film roles, often playing prostitutes. Lupino did not enjoy being an actress and felt uncomfortable with many of the early roles she was given. She felt that she was pushed into the profession due to her family history.

Lupino worked as both a stage and screen actress. She first took to the stage in 1934 as the lead in The Pursuit of Happiness at the Paramount Studio Theatre.[10] Lupino made her first film appearance in The Love Race (1931) and the following year, aged 14, she worked under director Allan Dwan in Her First Affaire, in a role for which her mother had previously tested.[11] She played leading roles in five British films in 1933 at Warner Bros.' Teddington studios and for Julius Hagen at Twickenham, including The Ghost Camera with John Mills and I Lived with You with Ivor Novello.

Dubbed "the English Jean Harlow", she was discovered by Paramount in the 1933 film Money for Speed, playing a good girl/bad girl dual role. Lupino claimed the talent scouts saw her play only the sweet girl in the film and not the part of the prostitute, so she was asked to try out for the lead role in Alice in Wonderland (1933). When she arrived in Hollywood, the Paramount producers did not know what to make of their sultry potential leading lady, but she did get a five-year contract.

Lupino starred in over a dozen films in the mid-1930s, working with Columbia in a two-film deal, one of which, The Light That Failed (1939), was a role she acquired after running into the director's office unannounced, demanding an audition. After this breakthrough performance as a spiteful cockney model who torments Ronald Colman, she began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s, and she jokingly referred to herself as "the poor man's Bette Davis", taking the roles that Davis refused.

Mark Hellinger, associate producer at Warner Bros., was impressed by Lupino's performance in The Light That Failed, and hired her for the femme-fatale role in the Raoul Walsh-directed They Drive by Night (1940), opposite stars George Raft, Ann Sheridan and Humphrey Bogart. The film did well and the critical consensus was that Lupino stole the movie, particularly in her unhinged courtroom scene. Warner Bros. offered her a contract which she negotiated to include some freelance rights. She worked with Walsh and Bogart again in High Sierra (1941), where she impressed critic Bosley Crowther in her role as an "adoring moll".

Her performance in The Hard Way (1943) won the New York Film Critics Circle Award for Best Actress. She starred in Pillow to Post (1945), which was her only comedic leading role. After the drama Deep Valley (1947) finished shooting, neither Warner Bros. nor Lupino moved to renew her contract and she left the studio in 1947. Although in demand throughout the 1940s, she arguably never became a major star although she often had top billing in her pictures, above actors such as Humphrey Bogart, and was repeatedly critically lauded for her realistic, direct acting style.

She often incurred the ire of studio boss Jack Warner by objecting to her casting, refusing poorly written roles that she felt were beneath her dignity as an actress, and making script revisions deemed unacceptable by the studio. As a result, she spent a great deal of her time at Warner Bros. suspended. In 1942, she rejected an offer to star with Ronald Reagan in Kings Row, and was immediately put on suspension at the studio. Eventually, a tentative rapprochement was brokered, but her relationship with the studio remained strained. In 1947, Lupino left Warner Brothers and appeared for 20th Century Fox as a nightclub singer in the film noir Road House, performing her musical numbers in the film. She starred in On Dangerous Ground in 1951, and may have taken on some of the directing tasks of the film while director Nicholas Ray was ill.

While on suspension, Lupino had ample time to observe filming and editing processes, and she became interested in directing. She described how bored she was on set while "someone else seemed to be doing all the interesting work".

She and her husband Collier Young formed an independent company, The Filmakers, to produce, direct, and write low-budget, issue-oriented films. Her first directing job came unexpectedly in 1949 when director Elmer Clifton suffered a mild heart attack and was unable to finish Not Wanted, a film Lupino co-produced and co-wrote. Lupino stepped in to finish the film without taking directorial credit out of respect for Clifton. Although the film's subject of out-of-wedlock pregnancy was controversial, it received a vast amount of publicity, and she was invited to discuss the film with Eleanor Roosevelt on a national radio program.

Never Fear (1949), a film about polio (which she had personally experienced replete with paralysis at age 16), was her first director's credit. After producing four more films about social issues, including Outrage (1950), a film about rape (while this word is never used in the movie), Lupino directed her first hard-paced, all-male-cast film, The Hitch-Hiker (1953), making her the first woman to direct a film noir. The Filmakers went on to produce 12 feature films, six of which Lupino directed or co-directed, five of which she wrote or co-wrote, three of which she acted in, and one of which she co-produced.

Lupino once called herself a "bulldozer" to secure financing for her production company, but she referred to herself as "mother" while on set. On set, the back of her director's chair was labeled "Mother of Us All".[3] Her studio emphasized her femininity, often at the urging of Lupino herself. She credited her refusal to renew her contract with Warner Bros. under the pretenses of domesticity, claiming "I had decided that nothing lay ahead of me but the life of the neurotic star with no family and no home." She made a point to seem nonthreatening in a male-dominated environment, stating, "That's where being a man makes a great deal of difference. I don't suppose the men particularly care about leaving their wives and children. During the vacation period, the wife can always fly over and be with him. It's difficult for a wife to say to her husband, come sit on the set and watch."

Although directing became Lupino's passion, the drive for money kept her on camera, so she could acquire the funds to make her own productions. She became a wily low-budget filmmaker, reusing sets from other studio productions and talking her physician into appearing as a doctor in the delivery scene of Not Wanted. She used what is now called product placement, placing Coke, Cadillac, and other brands in her films, such as The Bigamist. She shot in public places to avoid set-rental costs and planned scenes in pre-production to avoid technical mistakes and retakes. She joked that if she had been the "poor man's Bette Davis" as an actress, she had now become the "poor man's Don Siegel" as a director.

The Filmakers production company closed shop in 1955, and Lupino turned almost immediately to television, directing episodes of more than thirty US TV series from 1956 through 1968. She also helmed a feature film in 1965 for the Catholic schoolgirl comedy The Trouble With Angels, starring Hayley Mills and Rosalind Russell; this was Lupino's last theatrical film as a director. She continued acting as well, going on to a successful television career throughout the 1960s and '70s.

Lupino's career as a director continued through 1968. Her directing efforts during these years were almost exclusively for television productions such as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Gun – Will Travel, Honey West, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Rifleman, The Virginian, Sam Benedict, The Untouchables, Hong Kong, The Fugitive, and Bewitched.

After the demise of The Filmakers, Lupino continued working as an actress until the end of the 1970s, mainly in television. Lupino appeared in 19 episodes of Four Star Playhouse from 1952 to 1956, an endeavor involving partners Charles Boyer, Dick Powell and David Niven. From January 1957 to September 1958, Lupino starred with her then-husband Howard Duff in the sitcom Mr. Adams and Eve, in which the duo played husband-and-wife film stars named Howard Adams and Eve Drake, living in Beverly Hills, California.[22] Duff and Lupino also co-starred as themselves in 1959 in one of the 13 one-hour installments of The Lucy–Desi Comedy Hour and an episode of The Dinah Shore Chevy Show in 1960. Lupino guest-starred in numerous television shows, including The Ford Television Theatre (1954), Bonanza (1959), Burke's Law (1963–64), The Virginian (1963–65), Batman (1968), The Mod Squad (1969), Family Affair (1969–70), The Wild, Wild West (1969), Nanny and the Professor (1971), Columbo: Short Fuse (1972), Columbo: Swan Song (1974) in which she plays Johnny Cash's character's zealous wife, Barnaby Jones (1974), The Streets of San Francisco, Ellery Queen (1975), Police Woman (1975), and Charlie's Angels (1977). Her final acting appearance was in the 1979 film My Boys Are Good Boys.

Lupino has two distinctions with The Twilight Zone series, as the only woman to have directed an episode ("The Masks") and the only person to have worked as both actor for one episode ("The Sixteen-Millimeter Shrine"), and director for another.

Lupino's Filmakers movies deal with unconventional and controversial subject matter that studio producers would not touch, including out-of-wedlock pregnancy, bigamy, and rape. She described her independent work as "films that had social significance and yet were entertainment ... base on true stories, things the public could understand because they had happened or been of news value." She focused on women's issues for many of her films and she liked strong characters, "[Not] women who have masculine qualities about them, but [a role] that has intestinal fortitude, some guts to it."

In the film The Bigamist, the two women characters represent the career woman and the homemaker. The title character is married to a woman (Joan Fontaine) who, unable to have children, has devoted her energy to her career. While on one of many business trips, he meets a waitress (Lupino) with whom he has a child, and then marries her.[25] Marsha Orgeron, in her book Hollywood Ambitions, describes these characters as "struggling to figure out their place in environments that mirror the social constraints that Lupino faced".[13] However, Donati, in his biography of Lupino, said "The solutions to the character's problems within the films were often conventional, even conservative, more reinforcing the 1950s' ideology than undercutting it."

Ahead of her time within the studio system, Lupino was intent on creating films that were rooted in reality. On Never Fear, Lupino said, "People are tired of having the wool pulled over their eyes. They pay out good money for their theatre tickets and they want something in return. They want realism. And you can't be realistic with the same glamorous mugs on the screen all the time."

Lupino's films are critical of many traditional social institutions, which reflect her contempt for the patriarchal structure that existed in Hollywood. Lupino rejected the commodification of female stars and as an actress, she resisted becoming an object of desire. She said in 1949, "Hollywood careers are perishable commodities", and sought to avoid such a fate for herself.

Ida Lupino was diagnosed with polio in 1934. The New York Times reported that the outbreak of polio within the Hollywood community was due to contaminated swimming pools. The disease severely affected her ability to work, and her contract with Paramount fell apart shortly after her diagnosis. Lupino recovered and eventually directed, produced, and wrote many films, including a film loosely based upon her travails with polio titled Never Fear in 1949, the first film that she was credited for directing (she had earlier stepped in for an ill director on Not Wanted and refused directorial credit out of respect for her colleague). Her experience with the disease gave Lupino the courage to focus on her intellectual abilities over simply her physical appearance. In an interview with Hollywood, Lupino said, "I realized that my life and my courage and my hopes did not lie in my body. If that body was paralyzed, my brain could still work industriously...If I weren't able to act, I would be able to write. Even if I weren't able to use a pencil or typewriter, I could dictate."[31] Film magazines from the 1930s and 1940s, such as The Hollywood Reporter and Motion Picture Daily, frequently published updates on her condition. Lupino worked for various non-profit organizations to help raise funds for polio research.

Lupino's interests outside the entertainment industry included writing short stories and children's books, and composing music. Her composition "Aladdin's Suite" was performed by the Los Angeles Philharmonic Orchestra in 1937. She composed this piece while on bedrest due to polio in 1935.

She became an American citizen in June 1948 and a staunch Democrat who supported the presidency of John F. Kennedy. Lupino was Catholic.

Lupino died from a stroke while undergoing treatment for colon cancer in Los Angeles on 3 August 1995, at the age of 77. Her memoirs, Ida Lupino: Beyond the Camera, were edited after her death and published by Mary Ann Anderson.

Lupino learned filmmaking from everyone she observed on set, including William Ziegler, the cameraman for Not Wanted. When in preproduction on Never Fear, she conferred with Michael Gordon on directorial technique, organization, and plotting. Cinematographer Archie Stout said of Ms. Lupino, "Ida has more knowledge of camera angles and lenses than any director I've ever worked with, with the exception of Victor Fleming. She knows how a woman looks on the screen and what light that woman should have, probably better than I do." Lupino also worked with editor Stanford Tischler, who said of her, "She wasn't the kind of director who would shoot something, then hope any flaws could be fixed in the cutting room. The acting was always there, to her credit."

Author Ally Acker compares Lupino to pioneering silent-film director Lois Weber for their focus on controversial, socially relevant topics. With their ambiguous endings, Lupino's films never offered simple solutions for her troubled characters, and Acker finds parallels to her storytelling style in the work of the modern European "New Wave" directors, such as Margarethe von Trotta.

Ronnie Scheib, who issued a Kino release of three of Lupino's films, likens Lupino's themes and directorial style to directors Nicholas Ray, Sam Fuller, and Robert Aldrich, saying, "Lupino very much belongs to that generation of modernist filmmakers." On whether Lupino should be considered a feminist filmmaker, Scheib states, "I don't think Lupino was concerned with showing strong people, men or women. She often said that she was interested in lost, bewildered people, and I think she was talking about the postwar trauma of people who couldn't go home again."

Author Richard Koszarski noted Lupino's choice to play with gender roles regarding women's film stereotypes during the studio era: "Her films display the obsessions and consistencies of a true auteur... In her films The Bigamist and The Hitch-Hiker, Lupino was able to reduce the male to the same sort of dangerous, irrational force that women represented in most male-directed examples of Hollywood film noir."

Lupino did not openly consider herself a feminist, saying, "I had to do something to fill up my time between contracts. Keeping a feminine approach is vital — men hate bossy females ... Often I pretended to a cameraman to know less than I did. That way I got more cooperation." Village Voice writer Carrie Rickey, though, holds Lupino up as a model of modern feminist filmmaking: "Not only did Lupino take control of production, direction, and screenplay, but [also] each of her movies addresses the brutal repercussions of sexuality, independence and dependence."

By 1972, Lupino said she wished more women were hired as directors and producers in Hollywood, noting that only very powerful actresses or writers had the chance to work in the field. She directed or costarred a number of times with young, fellow British actresses on a similar journey of developing their American film careers like Hayley Mills and Pamela Franklin.

Actress Bea Arthur, best remembered for her work in Maude and The Golden Girls, was motivated to escape her stifling hometown by following in Lupino's footsteps and becoming an actress, saying, "My dream was to become a very small blonde movie star like Ida Lupino and those other women I saw up there on the screen during the Depression."

Lupino has two stars on the Hollywood Walk of Fame for contributions to the fields of television and film — located at 1724 Vine Street and 6821 Hollywood Boulevard.

New York Film Critics Circle Award - Best Actress, The Hard Way, 1943

Inaugural Saturn Award - Best Supporting Actress, The Devil's Rain, 1975

A Commemorative Blue Plaque is dedicated to Lupino and her father Stanley Lupino by The Music Hall Guild of Great Britain and America and the Theatre and Film Guild of Great Britain and America at the house where she was born in Herne Hill, London, 16 February 2016

Composer Carla Bley paid tribute to Lupino with her jazz composition "Ida Lupino" in 1964.

The Hitch-Hiker was inducted into the National Film Registry in 1998 while Outrage was inducted in 2020.