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CBS RADIO MYSTERY THEATER, "The Passing of Black Eagle,"starring Robert Dryden and Larry Haines with E.G. Marshall, host. O. Henry's short story about how a New York City hobo who, through a series of unbelievable circumstances, becomes the most feared outlaw in all of Taxes. New York City's foremost panhandler whom everyone calls Chicken, because he looks like one, is a meek fellow when drunk, but when sober has delusions of grandeur. Forced to sober up while wintering in the sunny southwest, Chicken is mistaken by people in Texas for the legendary outlaw, Black Eagle, and is feared by everyone -- until the leader of a band of outlaws decides to challenge him. CAST: O. Henry.......................ROBERT DRYDEN Barkeeper..........................Earl Hammond Chicken..........................LARRY HAINES Faith-Hope Alabaster............Evie Juster
1979 PR Synopsis
When he's drunk, he's a mild mannered panhandler. When he's sober, he's a desperado named Black Eagle. The two meet when Black Eagle robs a train.
Harvey Yorace


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Russian President Vladimir Putin gave these remarks before the Russian parliament, stating that Crimea could become a part of Russia. After the speech, Russian and Crimean officials signed a treaty to unify the two regions. On April 17, 2014, President Putin held a question-and-answer session with the Russian public about the treaty. The United Nations passed a resolution on March 27, 2014, on Ukraine's territory.
In people's hearts and minds, Crimea has always been an inseparable part of Russia. This firm conviction is based on truth and justice and was passed from generation to generation, over time, under any circumstances, despite all the dramatic changes our country went through during the entire 20th century.
After the revolution, the Bolsheviks, for a number of reasons – may God judge them – added large sections of the historical South of Russia to the Republic of Ukraine. This was done with no consideration for the ethnic make-up of the population, and today these areas form the southeast of Ukraine. Then, in 1954, a decision was made to transfer Crimean Region to Ukraine, along with Sevastopol, despite the fact that it was a city of union subordination. This was the personal initiative of the Communist Party head Nikita Khrushchev. What stood behind this decision of his – a desire to win the support of the Ukrainian political establishment or to atone for the mass repressions of the 1930's in Ukraine – is for historians to figure out.
What matters now is that this decision was made in clear violation of the constitutional norms that were in place even then. The decision was made behind the scenes. Naturally, in a totalitarian state nobody bothered to ask the citizens of Crimea and Sevastopol. They were faced with the fact. People, of course, wondered why all of a sudden Crimea became part of Ukraine. But on the whole – and we must state this clearly, we all know it – this decision was treated as a formality of sorts because the territory was transferred within the boundaries of a single state. Back then, it was impossible to imagine that Ukraine and Russia may split up and become two separate states. However, this has happened.
Unfortunately, what seemed impossible became a reality. The USSR fell apart. Things developed so swiftly that few people realised how truly dramatic those events and their consequences would be. Many people both in Russia and in Ukraine, as well as in other republics hoped that the Commonwealth of Independent States that was created at the time would become the new common form of statehood. They were told that there would be a single currency, a single economic space, joint armed forces; however, all this remained empty promises, while the big country was gone. It was only when Crimea ended up as part of a different country that Russia realised that it was not simply robbed, it was plundered.
At the same time, we have to admit that by launching the sovereignty parade Russia itself aided in the collapse of the Soviet Union. And as this collapse was legalised, everyone forgot about Crimea and Sevastopol – the main base of the Black Sea Fleet. Millions of people went to bed in one country and awoke in different ones, overnight becoming ethnic minorities in former Union republics, while the Russian nation became one of the biggest, if not the biggest ethnic group in the world to be divided by borders.
Now, many years later, I heard residents of Crimea say that back in 1991 they were handed over like a sack of potatoes. This is hard to disagree with. And what about the Russian state? What about Russia? It humbly accepted the situation. This country was going through such hard times then that realistically it was incapable of protecting its interests. However, the people could not reconcile themselves to this outrageous historical injustice. All these years, citizens and many public figures came back to this issue, saying that Crimea is historically Russian land and Sevastopol is a Russian city. Yes, we all knew this in our hearts and minds, but we had to proceed from the existing reality and build our good-neighbourly relations with independent Ukraine on a new basis. Meanwhile, our relations with Ukraine, with the fraternal Ukrainian people have always been and will remain of foremost importance for us.

subset: commoncrawl


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Get your ticket for Friday, August 29 and connect with the Arizona Diamondbacks on Facebook, Twitter, Instagram, and Snapchat to learn how you can participate in this can't-miss event at the first-ever #DbacksSocial Speakeasy in the new Coors Light Strike Zone!
All fans in attendance will be eligible to stop by the newly-redesigned bar but will be required to follow specific instructions from the team's Facebook, Twitter, Instagram or newly launched Snapchat account to gain entrance.
Doors to the #DbacksSocial Speakeasy will open at 5:00 PM. Before the game, several D-backs players will stop by to sign autographs and take photos, so get there early! Throughout the evening, fans can enjoy exclusive drink specials and win prizes such as autographed items, limited-edition throwback bobbleheads, and game-used memorabilia. There will also be several interactive events, including trivia, bean bag toss and billiards.


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Universal Fit
Spider "realvoice" Vertical in the Ear Headphone
" First off the disclaimer, the Realvoice IEM'S were given to me a month or two back for reviewing. I would like to thank Spider Cable for the review sample and my apologies for taking so long in writing this review. Since I have had these I have used them about 75% of the time when I am using earphones, which probably averages about two hours per day. So I have put quite a few hours..." --Carlsan
Audeo Phonak PFE112 Revision II Earphones
" From my point of view these are excellent, both in terms of sound and isolation, plus they look extremely elegant. I am not a 'golden ear' and can't really say much about the harmonics and sound spectrum as I'm really a complete noob here. However even for me I think I'd like a bit more punchy and powerful bass. Nevertheless the sound is basically music to the ears. I..." --iXpertMan


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Not me, I've seen the Patriots in enough Superbowls it's time for another team.
Love Ray Lewis. Don't mind his dance whatsoever.
Apparently there's a party planned for Sunday in Boston, anyone going?
I don't like Ray Lewis or his stupid dance but I hate New England more. Go BAL or ATL!
Last edited by DuderinoN703; 01-16-2013 at 11:49 PM.


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While Modigliani is today known primarily as a painter, it is clear from the accounts of his contemporaries that he had a deep-seated ambition to be a sculptor. He trained as a painter and yet, curiously, introduced himself as a sculptor when he first arrived in Paris.1 The German critic Curt Stoermer, who met Modigliani in 1909, believed the artist 'felt destined to be a sculptor. There were certain periods when the urge started and thrusting all painting tools aside, he snatched up the hammer'.2 Nina Hamnett, who met Modigliani in the spring of 1914 observed: 'He always regarded sculpture as his real "metier" and it was probably only lack of money, the difficulty of obtaining materials, and the amount of time required to-complete a work in stone that made him return to painting during the last five years of his life'.3
Some time during the first six months of 1909 Modigliani moved to the warren of studios known as the Cité Falguiere at 54 rue du Montparnasse, and through his friend and patron Dr Paul Alexandre sought an introduction to his neighbour, Constantin Brancusi (1876-1957). The meeting with Brancusi seems to have galvanised Modigliani's sculptural ambitions and for about the next five years he devoted himself to sculpture and related drawings. Although an exact chronology of the sculpture has not been established, it is generally agreed that the twenty-five stone carvings that have survived were all made in this period, that is, roughly between 1909 and 1914. Of these sculptures, all are carvings of the human head, with the exception of the Caryatid in the Museum of Modern Art, New York, and the Australian National Gallery's Standing nude, the largest sculpture by Modigliani.
The idea for a sculpture of a standing female nude can be found in a number of Modigliani's drawings which are dated by the artist, but are generally thought to have been executed around 1910-11.4 The drawings present a remarkable diversity of types of vaguely archaic inspiration, no doubt reflecting Modigliani's various enthusiasms; in 1909 he is supposed to have talked endlessly of African art, while in 1911 he 'was raving about Egypt' and sketching the Russian poet Anna Akhmatova 'in the headdress of Egyptian queens and dancers.5
Standing nude is an anthology of archaic motifs. The gesture of arms folded high across the abdomen is a pose common to the earliest known sculpture, prehistoric votive figurines and Cycladic idols. The elaborate coiffure, recalls the bag wig of Egyptian art, while in the suggestion of earrings and incised necklace there may be an echo of early Cambodian or Khmer sculpture which Modigliani admired in the Musée Guimet. African sculpture plays an important part in the form of the head with its extreme elongation and hatchet chin. The long narrow nose, now broken, and the heavy lidded eyes appear to follow the example of Baule masks from the Ivory Coast while the tiny tube-like mouth and delicately incised eyebrows are characteristic of Senufo masks from region. Although some of Modigliani's drawings of a standing figure have the stance and proportions of early Greek sculpture-a source of inspiration that survives intact in his Caryatid — the bold, rhythmic contours of Standing nude appear to be closer to African sculpture. This is an impression often confirmed, albeit inadvertently through a drawing traditionally entitled Nude with African statue c.1913 (Mrs James W. Alsdorf collection, Chicago). 'I have been unable to find an African statue resembling it', one historian has written, referring to the so-called African statue in the drawing, 'and yet it is the most African of all his works: the interplay of forms, the broken rhythms of the curves recall Africa without any specific reference'.6 The African statue is actually a drawing of Standing nude.7
This drawing clearly made after the sculpture, is revealing also in that it shows Modigliani contemplating some additions to the sculpture, notably a crown or capital that rises above the existing height of the sculpture marked by a horizontal pencil line. The curlicue volutes at the top of this capital are echoed at the base of the sculpture. Architectural terms seem the most appropriate when describing these additions, and reflect a conception of the figure as a standing caryatid, beginning as plinth and culminating in capital. Standing nude conforms to this notion with its massive lower torso and legs merging into a plinth, and its head-dress, extending back in concertinaed volutes and squared off at the top like a platform ready to take a capital. It has often been observed that many of Modigliani's carvings of heads, with their columnar necks and squared off tops and backs, have a similar architectural association; in one sketch Modigliani made this analogy explicit, drawing a half column with its plinth alongside the lower part of the face and neck of one of his elongated heads. On other occasions he drew his heads as supporting capitals.8
Contemporary reports suggest that Modigliani intended his sculptures for an architectural setting. According to Paul Guillaume, his dealer at one time, Modigliani dreamed of creating a temple to mankind which would be surrounded by hundreds of 'columns of tenderness'.9 Such thinking, though on a more modest scale, is probably reflected in his arrangement of seven of his carved heads at the Salon d'Automne of 1912 as 'Têtes ensemble décoratif'10 and was also sensed by Jacob Epstein when he visited Modigliani in 1912: His studio at that time was a miserable hole within a courtyard, and here he lived and worked. It was then filled with nine or ten of those long heads which were suggested by African masks, and one figure [perhaps Standing nude]. They were carved in stone; at night he would place candles on top of each one and the effect was that of a primitive temple.11
Michael Lloyd & Michael Desmond European and American Paintings and Sculptures 1870-1970 in the Australian National Gallery 1992 p.110.