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Lucille Ball. Born in Jamestown Lucille went to New York City Lucille in pursuit of a career to act in films. She played many roles in the small movies during 1930s and by 1940s she was regarded as one of the 'B-grade' cine star. Lucille is acknowledged to be the hardest working person on the stage. She had yet to attain the place that would discharge her to super-stardom in films in spite of her performances. Ball gradually shifted her performance to a new medium of television after a couple of successful years of 'My Favorite Husband' along with Desi Arnaz, the contemporary Cuban band leader who later became her husband. Her debut television program was 'I Love Lucy'. Ball felt perfectly accommodative in I Love Lucy where she could accomplish the true opportunity to exhibit her expertise on physical comedy simultaneously working with her loved one.
And 'I Love…
'A Tribute to Lucille Ball" Retrieved from http://www.classicmovies.org/articles/aa080501a.htm Accessed on 11 December, 2004
"Ball, Lucille: U.S. Actor/Comedienne" Retrieved from http://www.museum.tv/archives/etv/B/htmlB/balllucille/balllucille.htm Accessed on 11 December, 2004
"Lucille Ball biography" Retrieved from http://fl.essortment.com/lucilleballbi_rtkn.htm Accessed on 11 December, 2004
"Lucille Ball" Retrieved from http://www.pbs.org/wnet/americanmasters/database/ball_l.html Accessed on 11 December, 2004
Soon thereafter, she started working with CNN channel in handling their Washington bureau. For the forthcoming seven years, Couric was engaged with CNN bureaus across the nation as a producer and also as an on-air reporter. She returned to Washington in 1987 taking up job as a reporter at an NBC affiliate station. She rose from her ranks to hold the number two position as a reporter at the Pentagon for the Washington bureau of the NBC news. ("Katie Couric Biography," n. d.)
For the next three years she was in charge of covering the U.S. invasion of the Panama as also Persian Gulf War in her Pentagon position as also as a new post at the NBC's morning newspaper, Today. In the early part of 1991, she discharged her role as a co-anchor of Today. Her immense popularity with the viewers was because of her pleasant and charming demeanor…
Banting, Erninn. (2007) "Katie Couric"
Weigl Publishers Inc.
Clarke, Kristin. (2002) "First Among Equals: Barbara Walters on Leadership" Executive
Update, Retrieved 21 March, 2009 at http://www.asaecenter.org/PublicationsResources/articledetail.cfm?ItemNumber=13267
ove ucy" Analysis
I ove ucy was an outstanding 1950's sitcom that ultimately supported 1950's non-threatening gender roles. Though the show differed from other 1950's sitcoms in that ucy was a 40+-year-old physical comedian married to a Cuban, ucy still supported the mainstream idea that a wife should be happy at home, doing housework and subservient to her husband. ucy's attempts to leave the mainstream by seeking a career in "show business" against her husband's wishes or seeking a job "outside the home" generally ended in comical disaster and sent the clear message that ucy and her audience were better off in their traditional gender roles.
ucy's character is quite a bit like other TV housewives of the 1950s in some respects, yet quite different in other respects. June Cleaver (Gelman, 2012), Kathy Thomas (Plath, Make room for daddy, 2008), Margaret Anderson (Plath, Father knows best (TV series) - DVD…
Lucy's character is quite a bit like other TV housewives of the 1950s in some respects, yet quite different in other respects. June Cleaver (Gelman, 2012), Kathy Thomas (Plath, Make room for daddy, 2008), Margaret Anderson (Plath, Father knows best (TV series) - DVD review, 2008) and Lucy were all attractive, housebound, knew how to dress attractively, did housework and were subservient to their husbands. Those were supposedly the ideal traits of the 1950's housewife and Lucy often showed that she was a mainstream housewife in those respects. At the same time, Lucy was quite different. For example, Lucille Ball was the only physical comedian: much of the comedy in I Love Lucy was based on her physical comedic skills and willingness to look messy and ridiculous. Lucy also differed in that she had a constant sidekick played by Vivian Vance, who was also a skilled physical comedian and accomplished actress. Lucy was also more ambitious than the other housewives in that she actively sought a career outside her home and sang, danced and performed comedy skits within the show. Finally, Lucy was married to a Cuban rather than a standard white guy, which opened the comedy to additional bits and themes based on Ricky Ricardo's ethnicity.
"I Love Lucy" was very successful during such a conservative time in terms of proper gender representations because the show ultimately upheld those representations: Lucy was within the mainstream in that she was attractive, knew how to dress well, was housebound, did housework and was ultimately subservient to her husband; whenever Lucy and Ethel ventured outside of the mainstream by looking for a job, the results were disastrous and comical; whenever Lucy ventured outside of the mainstream by trying to break into "show business" against Ricky's wishes, the results were disastrous and comical; whenever Ricky and Fred tried to venture outside of the mainstream by doing "women's work" such as housework, the results were disastrous and comical. For example, when Lucy and Ethel go to work in the "Job Switching" episode, they are fired from every job at the candy factory and ultimately end up in a very comical scene at the conveyor belt because they cannot keep up with the fast tempo of regular work (YouTube, 2010). At the same time, Ricky and Fred are completely incompetent and ignorant at all the types of housework shown in that episode, ultimately attempting to boil 4 lbs. Of rice at once in a single pot (YouTube, 2010). I Love Lucy gave a clear message: venture outside of traditional gender roles and the results will be disastrous and comical.
Lucy's character was non-threatening to 1950's society because she supported the "TV housewife" stereotype. She was mainstream by being attractive, knowing how to dress, primarily engaging in housework and ultimately being subservient to her husband. In addition, her
She notes that "the laughter from the women in the group led to a pretty obvious bleeding of mascara" (2006). During this uproar, a male voice from the audience piped up and said he didn't find any of it funny. A few more men murmured sounds of agreement. The man said these women were nothing more than a couple of drunks. He ended with the comment, "I don't get the joke" (2006). Umberto Eco has a theory on comedy and cathartic pleasure, "the rule has to be completely understood and, according to Eco, 'inviolable'" (2006).
For women to be able to express themselves freely without worrying if men get the joke or not is important and about time. Sex has always been a part of a discursive notion of 'fun', one with rigidly drawn boundaries which position readers in specific ways. "Men were in on the joke; women could play…
Arthurs, Jane. (1999). Women's bodies (Sexual politics). Continuum International
Berman, Garry. (1999). Best of the Britcoms: From Faulty Towers to Absolutely
Fabulous. Taylor Trade Publishing.
Life for omen in the 1950's Compared To Life Today
Life for women in the 1950's was certainly different from life today in many arenas including political, social, and economic, however, while women in the 1950's were expected to be the epitome of the domestic homemaker, today they are expected to be the epitome of the super-mom.
In "The Feminine Mystique," Betty Friedan writes about the typical lifestyle of the 1950's woman. According to Friedan, women were expected to make the beds, have dinner on the table, chauffeur the children, and as Freudian experts told them, "they could desire no greater destiny than to glory in their own femininity" (Friedan 15). This meant that only neurotic, unhappy women wanted to be writers or politicians, and that truly feminine women did not want careers, higher education or political rights -- all the things the suffragettes fought for (Friedan 16). The proportion…
Friedan, Betty. The Feminine Mystique. W.W. Norton & Company. 2001;
Pp. 15, 16, 17
Critical Mass. http://www.erinoconnor.org/archives/000628.html
"Profile of U.S. Single Mom is Changing Study Shows."
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the studios in order to see them. They made movies in a profitable manner for the sake of the studios, but placed the entire industry under their control and dominated over it. The discussion here is about some of those famous studios inclusive of that of names like Metro Goldwyn Mayer, Culver, RKO, Paramount Studios, Warner Bros, 20th Century Fox, Walt Disney Studios, Universal Studios, Raleigh Studio, Hollywood Center Studio, Sunset Gower Studio, Ren-Mar Studios, Charlie Chaplin Studios and now, Manhattan Beach Studio.…
"What better way to annoy the Hollywood liberals than to remind them every single day that
George W. Bush is STILL the President?" Retrieved from https://www.donationreport.com/init/controller/ProcessEntryCmd?key=O8S0T5C8U2 Accessed 15 September, 2005
"What's interesting about the business is that it's no longer the movie business" Retrieved from http://www.pbs.org/wgbh/pages/frontline/shows/hollywood/picture/corptown.html Accessed 14 September, 2005
Pop is tomorrow's Classical"- Paul McCartney. Discuss this contention within the context of rock/classical music collaborations since the early 1950s.
Classical Rock and Popular Prophecy
To the average music-listener, musical genres are easily divided into homogenous groupings without any danger of overlapping one another. Certainly, there are rare occurrences of "cross-over" hits on the radio that find airplay on both Adult Contemporary and Country stations, or those releases which find an audience among both Easy Listening and Rock fans. Another seemingly strange occurrence that may be observed by the slightly more alert music consumer is that time shifts musical pieces from one genre to another, and yesterday's Alternative Rock is today's Easy Listening, yet even this phenomenon is considered an anomaly of the music industry. A simplicity is desired among musical elitists that preserves some musical forms as valid, labeling others as mere fads. However, the deep impact of musical…
"Classical Music." Heart & Soul. World Book. 2004. http://www2.worldbook.com/features/aamusic/html/classical.htm
Duxbury, Janell R. "The Nexus of Classical and Rock." Progression, no. 39, p70-74. Summer, 2001. http://www.geocities.com/Vienna/8660/article.html
Duxbury, Janell R. Rockin' the Classics and Classicizin' the Rock: A Selectively Annotated Discography. Greenwood Press, 1991.
Fissinger, Laura. "Jim Steinman: To 'Hell' & Back." BMI MusicWorld. Spring 1994. http://jimsteinman.com/bmi.htm