Beavis and Butt-Head is an American adult animated sitcom created by Mike Judge. The series originated from Frog Baseball, a 1992 short film by Judge aired on Liquid Television. After seeing the short, MTV signed Judge to develop the short into a full series; the series ran for seven seasons from March 8, 1993 to November 28, 1997. During its initial run and Butt-Head received widespread critical acclaim for its satirical, scathing commentary on society, it was a subject of controversy for its violent content. Fourteen years following the end of the series, the series was revived for an eighth season airing from October 27 to December 29, 2011. A theatrical feature-length film based on the series titled Beavis and Butt-Head Do America was released in 1996 by Paramount Pictures; the series centers on two socially-incompetent, teenage delinquent, couch potatoes named Beavis and Butt-Head. They go to school at Highland High located in Texas. If they are not at school or out causing mayhem, they will be in front of the TV.
Beavis and Butt-head have no adult supervision at home and are literate. Both lack any empathy or moral scruples when it regards to each other, they will deem their encounters as "cool" if they are associated with heavy metal, sex, destruction, or macabre. While inexperienced with females, they both share an obsession with sex and tend to chuckle whenever they hear words or phrases that could be vaguely interpreted as sexual, carnal or scatological; each episode features frequent interstitial scenes in which they critique music videos using commentary improvised by Judge The remainder of the episodes depict the duo embarking on some kind of scheme or adventure. The staff at Highland High are at a loss as to how to deal with them and, in many episodes and Butt-Head skip school altogether, their actions sometimes result in serious consequences, sometimes for themselves but for others in which they themselves do not express any remorse. Over its run and Butt-Head drew a notable amount of both positive and negative reactions from the public with its combination of lewd humor, implied criticism of society.
It became the focus of criticism from some social critics, such as Michael Medved while others such as David Letterman and the National Review, defended it as a cleverly subversive vehicle for social criticism and a creative and intelligent comedy. Either way, the show captured the attention of many young television viewers and is considered a classic piece of 1990s youth culture and Generation X. Trey Parker and Matt Stone, creators of South Park, cite the series as an influence and compared it to the blues. In 1997, Dan Tobin of The Boston Phoenix commented on the series' humor, saying it transformed "stupidity into a crusade, forcing us to acknowledge how little it takes to make us laugh." In 1997, Ted Drozdowski of The Boston Phoenix described the 1997 Beavis and Butt-Head state as "reduced to self-parody of their self-parody." In December 2005, TV Guide ranked the duo's distinct laughing at #66 on their list of the 100 Greatest TV Quotes and Catchphrases. In 2012, TV Guide ranked Butt-head as one of the top 60 Greatest TV Cartoons of All Time.
Mike Judge himself is critical of the animation and quality of earlier episodes, in particular the first two—Give Blood/Blood Drive and Door to Door—which he described as "awful, I don't know why anybody liked it... I was burying my head in the sand." Early episodes depicted a juvenile obsession with fire and other dangerous behaviors, summed up with Beavis's chanting of "Fire! Fire!". The show was blamed for the death of two-year-old Jessica Messner in Moraine, Ohio, in October 1993; the girl's five-year-old brother, set fire to his mother's mobile home with a cigarette lighter, killing the two-year-old. In response, MTV pulled the episode temporarily; the mother claimed that her son watched one of the fire-related segments shortly before he burned down the home. However, neighbors claimed that the family didn't have cable television, was unable to view the show; as a result, all references to fire were removed from subsequent airings and prompted the show to a time slot. The creators found a censorship loophole and took delight in sometimes making Beavis scream things that sounded similar to his previous "Fire!
Fire!" and having him say the forbidden word. There was a music video where a man runs on fire in slow motion. Beavis is hypnotized by it and can say "fire". However, MTV removed the episode entirely. References to fire were cut from earlier episodes — the original master tapes were altered permanently. Other episodes MTV opted not to rerun included "Stewart's House" and "Way Down Mexico Way". Copies of early episodes with the controversial content intact are rare, the copies that exist are made from home video recordings of the original broadcasts. In an interview included with the Mike Judge Collection DVD set, Judge said he is uncertain whether some of the earlier episodes still exist in their original, uncensored form; when the series returned in 2011, MTV allowed Beavis to use the word "fire" once again uncensored. During the first video segment, "Werewolves of Highland", the first new episode of the revival, Beavis utters the word "fire" a to
Fidel Velázquez Sánchez was the preeminent Mexican union leader of the 20th century. In 1936 he was one of the original founders, along with Vicente Lombardo Toledano, of the Confederation of Mexican Workers, the national labor federation most associated with the ruling party, the Institutional Revolutionary Party, he replaced Lombardo as the leader of the CTM in 1941 expelled him from it in 1948. He led the CTM, which grew corrupt and conservative, until his death in 1997. Velázquez was born in State of México, his father was the mayor of the town. The family moved to Puebla, during the Mexican Revolution. After his father's death in 1920 Velázquez moved to the Azcapotzalco area of Mexico City, where he worked, among other things, delivering milk. In 1923 he organized a union of milk industry workers, which he affiliated with the Confederación Regional Obrera Mexicana, the largest and most powerful union confederation of the day and a key supporter of the regimes of Plutarco Elías Calles and Álvaro Obregón.
In 1928 former President Obregón was assassinated by a right-wing Roman Catholic associated with the Cristero movement. While neither CROM nor its leader, Luis Morones, had any connection to the crime, Calles considered Morones the intellectual author of the assassination because he had denounced Obregón's plans to amend the constitution to allow himself to serve another term as President of Mexico. Obregón's successor, Emilio Portes Gil – a forced ally of Calles due to the upheaval created by Obregón's assassination – fired CROM officials from their government posts and threw the government's support to rival union groups, such as the Confederación General de Trabajadores, a nominally anarchist group, the Confederación Sindical Unitaria de México, a group associated with the Mexican Communist Party; the CROM began to disintegrate. Velázquez and Jesús Yuren, head of the Union of Cleaning and Transport Workers, withdrew their unions from the CROM and, on February 25, 1929, organized the Confederación Sindical de Trabajadores del Distrito Federal, a federation of unions within the Federal District.
The CSTDF was a hodgepodge, much like the Knights of Labor in the United States in the nineteenth century: it included the two unions led by Velázquez and Yuren, street vendors and merchants organizations, the "unión blanca" or company union of streetcar workers composed of strikebreakers, a union of homeopathic doctors, grave diggers and bottling plant workers. Three other union leaders, Fernando Amilpa, Alfonso Sanchez Madriaga and Luis Quintero, took their unions out of CROM to affiliate with the CSTDF shortly thereafter; when Morones stated that he was glad to be rid of these "worms," a CGT union leader said, "They are not worms, but wolves and will soon eat up the chickens in the hutch." The five were thereafter known as los cinco lobitos, or "the five little wolves". Velázquez played an active role in trade union affairs in the early 1930s: he was a member of the commission that edited the new Federal Labor Law in 1931, took part in proceedings before the Federal Labor Board, which had the power to register unions or declare a strike legal or illegal, established ties with both the governmental representatives on the Board and with the employers.
As a wave of labor militancy came to México in the wake of the worldwide depression of the 1930s, Velázquez, leaders of the CGT, Lombardo Toledano, who had left CROM, founded the Confederación General de Obreros y Campesinos de México or General Confederation of Workers and Peasants of Mexico, on June 28, 1933. The CGOCM became the most important union body in Mexico, leading a number of strikes in 1934; when President Lázaro Cárdenas del Río called on unions for support in resisting a threatened coup by Calles and opposing an employers' strike in Monterrey, the CGOCM and the PCM rallied to his defense. Cárdenas called on these unions to form a single unified body; the CGOCM transformed itself into CTM, in response. The CTM disintegrated at the moment of its formation. While Lombardo Toledano was a convinced Stalinist and the most important representative of the Soviet Union in Mexico and Latin America for the decade after his visit to the Soviet Union in 1935, he was never a member of the PCM.
At the founding convention of the CTM, the PCM and the industrial unions it had organized had been promised the position of organizational secretary, the second most powerful position within the CTM. When Lombardo Toledano gave that position to Velázquez, the left unions walked out of the convention. Under pressure to preserve unity, they returned and grudgingly assented to Velázquez's election; the PCM and its unions walked out of the CTM a second time the following year. Earl Browder head of the Communist Party USA, urged them to accept "unity at all costs", they returned; the CTM formally aligned with the Partido Revolucionario Mexicano, the precursor of the PRI. as its "labor sector" in 1938. As part of the party, therefore part of the state, the CTM received a number of tangible benefits; the Federal Labor Boards, which had the power to determine which unions could represent workers and which strikes were legal favored the CTM against its rivals. Over time, the CTM became dependent on the PRI and the state for financial support as well: the PRI provided CTM with subsidies, while the CTM in return required al
D. W. Field Park is a municipal park managed by the parks department of the city of Brockton, Massachusetts; the park consists of 650 acres of fields and water bodies in northern Brockton and southern Avon, is owned by both municipalities. It was created in 1925 as a bequest from Brockton businessman Daniel W. Field, was designed by Frederick Law Olmsted and his son, John Charles Olmsted, its landscape is dominated by a chain of seven water bodies, all but one of which are man-made, impounding Beaver Brook. The oldest of them, Cross Pond, was created in the 1790s. Waldo Lake was created in the 1930s as part of the park's design. Access to the park's interior is via a narrow road 6 miles long that winds through the grounds, providing access to its major features; this circuit road is accessible from the surrounding public roadways at a number of points, with gates built from locally gathered fieldstone. There is no formalized network of pedestrian paths; as a result, activities tend to be concentrated at the places where there are parking facilities, resulting in some environmental and scenic degradation.
The park's most prominent landmark is a fieldstone observation tower, built at the park's high point, known as Indian Cave Hill or Tower Hill. It was built in 1928 from fieldstones gathered from the park grounds. Inside 90 steps 18 per landing, lead to an observation deck with a visage as far as Blue Hills in all directions; the park is open everyday dawn til dusk. At the foot of Tower Hill is a concrete pad, in which are embedded Daniel Field's handprints and footprints, the inscription "Please Enjoy, Do Not Destroy D. W. Field Park." The other major structure in the park is the gatehouse of the Brockton Reservoir, built in the 1880s. The park includes an eighteen-hole golf course; the park was listed on the National Register of Historic Places in 2000. National Register of Historic Places listings in Plymouth County, Massachusetts National Register of Historic Places listings in Norfolk County, Massachusetts
Goin' a Buffalo is a 1968 play by Ed Bullins, in which a group of black people in early 1960s Los Angeles try to escape the cycle of crime that dominates their lives and start over in Buffalo, New York. The play premiered at The American Place Theatre in New York City in 1968 as a rehearsed reading. In keeping with Bullins' style of Black-Oriented Realism, it is not intended to have clear resolution or message. Bullins intentionally never wrote a character representative of his own views, an intention in line with the Black Aesthetic. In that vein, Goin' a Buffalo had no specific political views: it was a'theatre of reality' wherein audiences were permitted to come to their own conclusions about the lives and experiences of some African Americans. Many of Bullins's plays contained revolutionary themes such as this, it is for this reason that his "rueful defian writing was an enormous contribution to the off-Broadway scene for more than a decade, his characters dreamt of Buffalo, but audiences understood the painful reality that their lives would not be any different.
As one of the characters puts it, "It's cats like you and your boss who make us all the time have to act like thugs and leeches just to make it out here in the world." Act I begins in his wife Pandora's apartment in West Adams, Los Angeles. Curt and his friend Rich drink play chess, their game is interrupted by the arrival of Curt's friend from prison, Art. Rich goes on to tell the story of how Art, uninvolved in any gang, stepped in to miraculously save Rich's life in a prison brawl and how Curt has been indebted to him since. Rich and Curt inquire as to how Art did not feel the need to become involved in any group during prison, what landed him in jail in the first place. Art reveals that he was in for attempted murder of a woman's husband, stating "I guess girls are my main weakness." Pandora's friend and coworker Mamma Too Tight arrives. She is white, a heroin addict, a prostitute like Pandora, just released from jail. Pandora, Rich, Mamma Too Tight and her boyfriend/pimp Shaky eat chicken and drink beer.
They discuss Mamma Too Tight's stay in prison, how Shaky did not visit her for fear of getting locked up himself for possible warrants out for his arrest. Curt tells Mamma that it's a man's job to protect and provide for his woman, if he can't do that, the woman who looks at him "should have her funky ass run into the ground like a piece of scum!". Rich and Shaky leave. Mamma starts flirting with Art, she tells him that her name is Queenie Bell Mack, but changed it to Mamma Too Tight because she felt it fit better. Pandora descends the stairs with a cardboard box. Pandora, Curt and Art sit around Pandora's box. Curt and Mamma pass around a joint, talking about moving to Buffalo, New York and beginning again. However, their plan involves still doing all the same things they were doing in Los Angeles, including having Shaky sell heroin. Art, having little money and only a car to his name, is excited at the idea of coming with them. Mamma tries to pass Art the joint, when he refuses, Pandora mocks Curt for bringing a "square" into the house.
He starts hitting her. Art leaps to her defense. Getting suspicious that Art is a cop, Curt gets defensive. Art assures the group he is not, after prying from Pandora, reveals that he had a bad experience with marijuana, got caught by a cop with six joints while in Philadelphia a few years ago; the group muses on Pandora's box, about prostitution, about their upcoming departure. They are interrupted by a phone call from Deeny, the owner of the strip club where Pandora and Mamma work, he wants Pandora to come in early to rehearse a new number. Pandora mentions; the group leave. Act II takes place in the strip club in which Pandora work; the musicians are setting up to practice a new song, when they discover that the brass section quit that morning after being refused pay by Deeny. One of the musicians tells the rest of the group that Deeny is in trouble with the union, so it's the rest of the band's last night at the club, as well. Pandora, Art, Mamma enter and ask for drinks from the bartender; the phone rings.
A fight ensues as Curt and the musicians all try to get the phone to talk to Deeny, on his way. Pandora and Art talk about the frustrating present. Curt tells Art, he recounts. Shaky arrives and urges Mamma to pull in $100, to which Mamma says she needs more time, that he's pushing her too hard. Art seduces Mamma Too Tight by telling her that Shaky doesn't understand her, that he pushes her too hard. Deeny and the bouncer arrive, a fight breaks out when he announces the club is closing. Curt gets a glass broken on his face; the group leaves in panic. Three days back at Pandora and Curt's apartment. Mamma sleeps while Curt play chess. Rich tells Curt. Mamma wakes up and asks Curt for a fix, to which he answers that since Shaky got busted by the cops at the
James Robson is Professor of East Asian Languages and Civilizations at Harvard University and the President of the Society for the Study of Chinese Religions. He specializes in the history of Medieval Chinese Buddhism and Daoism, is interested in issues of sacred geography, local religious history, religious art, the historical development of Chan Buddhism, he is engaged in a long-term collaborative research project with the École française d'Extrême-Orient studying a large collection of local religious statuary from Hunan province. Robson received his BA in religious studies from the University of California, Santa Barbara in 1987, thereafter studied in China and Taiwan for several years before pursuing his PhD at Stanford University. After completing his doctorate in 2002, he worked at Williams College from 2002–2004, University of Michigan from 2004–2008, where he received tenure in 2008. Robson became a Harvard faculty in 2008 and was promoted to full professor in 2012. Robson's book Power of Place: The Religious Landscape of the Southern Sacred Peak in Medieval China received the Stanislas Julien Prize for 2010 by the French Academy of Inscriptions and Belles-Lettres and the 2010 Toshihide Numata Book Prize in Buddhism.
"Faith in Museums: On the Confluence of Museums and Religious Sites in Asia." PMLA, 125, 1: 121–128. Buddhist Monasticism in East Asia: Places of Practice. London: Routledge, 2010; the Religious Landscape of the Southern Sacred Peak in Medieval China. Harvard University Asia Center, 2009. Winner of the 2010 Stanislas Julien Prize and 2010 Toshihide Numata Book Prize in Buddhism."Signs of Power: Talismanic Writing in Chinese Buddhism." History of Religions, 48, 2: 130–169. "Buddhism and the Chinese Marchmount System: Excavating the Strata of Mt. Nanyue’s Religious History." In John Lagerwey, ed. Religion and Chinese Society: Volume 1 Ancient and Medieval China. Hong Kong: The Chinese University Press, 2004. "A Tang Dynasty Chan Mummy and a Modern Case of Furta Sacra? Investigating the Contested Bones of Shitou Xiqian." Bernard Faure, ed. Chan Buddhism in Ritual Context. London: RoutledgeCurzon, 2003. "The Polymorphous Space of the Southern Marchmount: An Introduction to Nanyue's Religious History and Preliminary Notes on Buddhist and Daoist Interaction."
Cahiers d'Extrême-Asie 8: 221–64. Homepage at Harvard
Antonio Aldo Caracciolo is an Italian footballer who plays for Pisa. Caracciolo was a youth product of Lombard club F. C. Internazionale Milano, he was a player of the under-16 team in 2005–06 season. Caracciolo left for fellow Lombard club A. C. Pavia, at first on loan, he made his professional debut in the second half of 2007–08 Serie C2 season. On 29 January 2010 A. S. Bari signed the defender on loan until 30 June 2010, he was selected as a substitute once under coach Giampiero Ventura, on 16 May 2010, but did not come off the bench. On 20 July 2010 he was signed by Genoa, he left the club on loan with Gubbio. In July 2011 he suffered a minor injury in pre-season. In summer 2012 Caracciolo was farmed to Serie B club Brescia Calcio on a 4-year contract on a co-ownership deal; the club acquired half of the registration rights of the player for a peppercorn fee. In June 2013 Brescia acquired Caracciolo outright. On 19 July 2013 Caracciolo was transferred to Lega Pro Prima Divisione club U. S. Cremonese on a temporary deal.
The club had an option to sign him outright. In summer 2014 Caracciolo returned to Brescia. On 1 December 2015, Caracciolo signed a new contract with Brescia, adding 2 more year to his current contract. However, he was sold in summer 2016. On 11 August 2016 Caracciolo was signed by Hellas Verona F. C.. He was criticized for this by the Brescia's supporters because Brescia and Verona are huge rivals. After playing 33 matches he gave his contributions to help Verona to get back to Serie A after 2016 relegation, he did his Serie A debut in an home 0-0 against U. C. Sampdoria where he played the full 90 minutes, he scored his first goal in Serie A in a surprising 3-0 home win against A. C. Milan. On 10 March 2018 he scored the winning goal in a 1-0 win in the Derby della Scala against Chievo. On 16 January 2019, Caracciolo joined to Cremonese on loan with an obligation to buy. On 27 January 2020, he signed with Pisa; as of match played 30 January 2018 Antonio Caracciolo at FootballDatabase.eu AIC profile Antonio Caracciolo at Soccerway