The Many Loves of Dobie Gillis is an American sitcom that aired on CBS from September 29, 1959, to June 5, 1963. The series and several episode scripts were adapted from the "Dobie Gillis" short stories written by Max Shulman since 1945, first collected in 1951 under the same title as the subsequent TV series. Shulman wrote a feature film adaptation of his "Dobie Gillis" stories for Metro-Goldwyn-Mayer in 1953, entitled The Affairs of Dobie Gillis which featured Bobby Van in the title role. Dobie Gillis is significant as the first American television program produced for a major network to feature teenagers as leading characters. In other series, such as Father Knows Best and Leave It to Beaver, teenagers were portrayed as supporting characters in a family story. An earlier 1954 series, Meet Corliss Archer, featured teenagers in leading roles and aired in syndication. Dobie Gillis broke ground by depicting elements of the current counterculture the Beat Generation embodied in a stereotypical version of the "beatnik".

Series star Dwayne Hickman would say that Dobie represented “the end of innocence of the 1950s before the oncoming 1960s revolution”. The series revolved around teenager Dobie Gillis, who aspired to have popularity and the attention of beautiful and unattainable girls, he did not have any of these qualities in abundance, the tiny crises surrounding Dobie's lack of success made the story in each weekly episode. In question, by Dobie and others, was Dobie's future, as the boy proved to be a poor student and an aimless drifter, his sidekick and de facto best friend was American television's first beatnik, Maynard G. Krebs, who became the series' breakout character. An enthusiastic fan of jazz music, Maynard plays the bongos, collects tinfoil and petrified frogs, steers clear of romance, authority figures, work. Always speaking with the vernacular and slang of the beatniks and jazz musicians he admired, Maynard punctuates his sentences with the word "like" and has a tendency towards malapropisms.

The main running gag on Dobie Gillis would have Dobie or one of the other characters rattling off a series of adjectives describing something undesirable or disgusting, at which point a unseen Maynard would appear, saying "You rang?" Dobie Gillis is set in a fictitious city in the Midwestern United States. One of the show's running gags is the reference by Maynard, to a movie called The Monster that Devoured Cleveland and its sequels, one of which always seems to be playing at the local cinema. Dobie's apoplectic father, Herbert T. Gillis, owned a grocery store and was only happy when Dobie was behind a broom. Dobie's mother, was a calm and serene woman who protected Dobie to the best of her ability and tended to baby him. Herbert Gillis, a proud, hard-working child of the Great Depression and World War II veteran, was heard to declare, in relation to Dobie, "I gotta kill that boy, I just gotta!" The Gillis family originally included an older son, Davey Gillis, who made three appearances during the first season while home on break from college before being written out of the show.

Dobie's two main antagonists were rich kids Milton Armitage, who appeared in five episodes, after Beatty's departure, Chatsworth Osborne, Jr. Milton's cousin. Both characters represented the wealth and popularity to which Dobie aspired, but served as romantic and competitive rivals for Dobie. Beatty's Milton was taller, better looking, more athletic than Chatsworth. Doris Packer played Chatsworth's overbearing and snobbish mother. Dobie was hopelessly attracted to the greedy blonde Thalia Menninger. Thalia was written out of the series after the first season and was succeeded by a endless stream of women for whom Dobie hankered. Weld returned as a wiser Thalia for two guest appearances in season 3 and 4. Zelda Gilroy was a brilliant and eager young girl, hopelessly in love with Dobie, much to his annoyance. Zelda did not find Dobie attractive, but fell in love with him because she found him helpless and needing of her care, because of the concept of "propinquity". Despite his protests, Dobie was fond of Zelda, Zelda claimed Dobie loved her but just had not realized it yet.

To prove this, she would wrinkle her nose at Dobie, who would reflexively do the same back to Zelda and protest "now cut that out!" Dobie and Zelda would appear as a middle-aged married couple in the two spin-off Dobie Gillis reunion projects of the 1970s/1980s. Leander Pomfritt was Dobie's English and science teacher at Central High School and when Dobie went to S. Peter Pryor Junior College, Pomfritt was on the faculty there as well. A stern educator fond of deadpan quips, Pomfritt referred to his pupils as "my young barbarians" and served as a father figure to both Dobie and Maynard. Most of the action for the first season-and-a-half of Dobie Gillis centered on the Gillis grocery store, Central High School

The Leyenda de Plata was professional wrestling tournament produced by the Mexican wrestling promotion Consejo Mundial de Lucha Libre that ran from July 26, 2002, over the course of three of CMLL's Friday night shows in Arena México with the finals on August 9, 2002. The annual Leyenda de Plata tournament is held in honor of lucha libre legend El Santo and is one of CMLL's most important annual tournaments; the torneo cibernetico qualifier for the 2002 Leyenda de Plata took place on July 26, 2002 and once again saw two teams of eight face off to determine the semi-finalists. Team "A" consisted of Atlantis, Blue Panther, El Felino, Safari, Satánico and Virus. Team "B" was Black Tiger, Fuerza Guerrera, Hombre Sin Nombre, Negro Casas, Olímpico, Tony Rivera and Volador Jr.. The two semi-finalists were El Felino and Black Tiger, making Black Tiger the first wrestler to qualify for the semi-final more than once. On August 2, 2002 El Felino defeated Black Tiger in the semi-final and a week he defeated Black Warrior to win the tournament.

The Leyenda de Plata is an annual lucha libre tournament scripted and promoted by the Mexican professional wrestling promotion Consejo Mundial de Lucha Libre. The first Leyenda de Plata was held in 1998 and was in honor of El Santo, nicknamed Enmáscarado de Plata from which the tournament got its name; the trophy given to the winner is a plaque with a metal replica of the mask that El Santo wore in both wrestling and lucha films. The Leyenda de Plata was held annually until 2003, at which point El Santo's son, El Hijo del Santo left CMLL on bad terms; the tournament returned in 2004 and has been held on an annual basis since then. The original format of the tournament was the Torneo cibernetico elimination match to qualify for a semi-final; the winner of the semi-final would face the winner of the previous year's tournament in the final. Since 2005 CMLL has held two cibernetico matches and the winner of each meet in the semi-final. In 2011, the tournament was modified to eliminate the final stage as the previous winner, Místico, did not work for CMLL at that point in time The 2002 edition of La Leyenda de Plata was the fifth overall tournament held by CMLL.

The events featured a total of number of professional wrestling matches with different wrestlers involved in pre-existing scripted feuds and storylines. Wrestlers were portrayed as either heels or faces as they followed a series of tension-building events, which culminated in a wrestling match or series of matches

Frances Borzello is a British art historian and scholar, feminist art critic and author. Her work specializes in the social history of art, includes study on the social position of European woman artists in the context of their society, the study of female self-portraits and female nudes, she authored the book Seeing Ourselves: Women's Self Portraits, continuously published since 1998 and has 30 editions. Her work recognized as contribution to the fields of art history and women's studies. Borzello earned her PhD from the University College London in 1980, her dissertation published in 1981 and was titled, "The relationship of fine art and the poor in late nineteenth century England". Borzello was a member of a women's photography group founded in the 1970s called Second Sight, which included members such as Annette Kuhn, Jill Pack, Cassandra Wedd. Borzello's writing "Preaching to the converted? Feminist art publishing in the 1980s," was included in the 1995 book New Feminist Art Criticism: Critical Strategies.

Her book first published in 1998, Seeing Ourselves: Women's Self Portraits discusses women creating their own images and the power of self-portrait rather than being portrayed as objects, as well as a historical look at gender and representation. The book is an in-depth look at history, starting with the self-portraits of Medieval nuns and ending in the 21st century, the book is acknowledging themes in the self portraits including motherhood, female beauty, musical talents as seen in early work and in the 20th century themes of sexuality, race and disease; some artists in the book Seeing Ourselves: Women's Self Portraits include: Judith Leyster, Anna Dorothea Therbusch, Marie-Nicole Dumont, Hortense Haudebourt-Lescot, Suzanne Valadon, Gwen John, Paula Modersohn-Becker, Charlotte Berend-Corinth, Frida Kahlo, Wanda Wulz, Charlotte Salomon, Judy Chicago, Jo Spence, Hannah Wilke, Carolee Schneemann, Cindy Sherman, Tracey Emin and more. The 2016 edition of Seeing Ourselves: Women's Self Portraits is revised and includes a new afterword by the author about selfies.

The 2010 book, Frida Kahlo: Face to Face was co-authored with American artist Judy Chicago, focused on Frida Kahlo's career as well as Kahlo's artwork in relation to topics like female self portraiture and commercialization. Seeing Ourselves: Women's Self-Portraits. Thames & Hudson, 2016. ISBN 0500239460 The Naked Nude. Thames & Hudson, 2012. ISBN 0500238928 Frida Kahlo: Face to Face. Co-authored with Judy Chicago, Prestel, 2010. ISBN 3791343602 At Home: The Domestic Interior in Art. Thames & Hudson, 2006. ISBN 0500238316 Reclining Nude. co-authored with Lidia Guibert Ferrara, Thames & Hudson, 2002. ISBN 0500237972 Mirror Mirror: Self-Portraits by Women Artists. By Liz Rideal and contributions by Frances Borzello and Whitney Chadwick, Watson-Guptill, 2002. ISBN 0823030717 A World of Our Own: Women as Artists Since the Renaissance. Watson-Guptill, 2000. ISBN 0823058743 Seeing Ourselves: Women's Self-Portraits. Harry N. Abrams, 1998. ISBN 0-8109-4188-0 Civilizing Caliban: The Misuse of Art, 1875-1980. Routledge Kegan & Paul, 1987.

ISBN 0710206755 The New Art History. Co-authored with A. L. Rees. Camden Press, May 1986. ISBN 0948491078 Women Artists: A Graphic Guide. Co-authored with Natacha Ledwidge, Camden Press, 1986. ISBN 0948491051 Auchmuty, Borzello, Davis Langdell, Cheri. “The Image of Women's Studies.” Women's Studies International Forum, vol. 6, no. 3, 1983, pp. 291–298, doi:10.1016/0277-539590054-7. Borzello, Frances. “Helene Schjerfbeck: And Nobody Knows What I'm Like.” Woman's Art Journal, vol. 25, no. 1, 2004, pp. 48–50. JSTORS, doi:10.2307/3566500. Borzello, Frances. “Tea, Toilets & Typewriters: Women's Clubs in London.” History Today, vol. 58, no. 12, Dec. 2008. Women in the art history field Article: "Nude awakening" by Borzello, from 2 November 2002, The Guardian newspaper Article: "Kenneth Clark - Changing the Way We See", an interview with Borzello discussing art historian Kenneth Clark, from 20 March 2005, Sunday Morning on Radio National

Kʼinich Janaab Pakal I known as Pacal, Pacal the Great, 8 Ahau and Sun Shield, was ajaw of the Maya city-state of Palenque in the Late Classic period of pre-Columbian Mesoamerican chronology. He ruled until his death. During a reign of 68 years—the fourth-longest verified regnal period of any sovereign monarch in history, the longest in world history for more than a millennium, still the longest in the history of the Americas—Pakal was responsible for the construction or extension of some of Palenque's most notable surviving inscriptions and monumental architecture. Pakal is best-known in popular culture for his depiction on the carved lid of his sarcophagus, which has become the subject of pseudoarchaeological speculations. Before his name was securely deciphered from extant Maya inscriptions, this ruler had been known by an assortment of nicknames and approximations, including Pakal or Pacal, Sun Shield, 8 Ahau, as Pacal the Great; the word pakal means "shield" in the Classic Maya language.

In modern sources his name is sometimes appended with a regnal number, to distinguish him from other rulers with this name, that either preceded or followed him in the dynastic lineage of Palenque. Confusingly, he has at times been referred to as either "Pakal I" or "Pakal II". Reference to him as Pakal II alludes to his maternal grandfather being named Janahb Pakal. However, although his grandfather was a personage of ajaw ranking, he does not himself appear to have been a king; when instead the name Pakal I is used, this serves to distinguish him from two known successors to the Palenque rulership, Kʼinich Janaab Pakal II and Janaab Pakal III, the last-known Palenque ruler. Kʼinich Janaab Pakal I was born on 9.8.9.13.0 - March 603. This was a violent time in the history of Palenque. Again Kaan sacked Palenque when he was eight and nine. Pakal ascended the throne at age 12 and lived to the age of 80, he was preceded as ruler of Palenque by his mother, Lady Sak Kʼukʼ as the Palenque dynasty seems to have had Queens only when there was no eligible male heir.

In 626 Pakal married Ix Tzʼakbu Ajaw, born in Uxteʼkʼuh. Tzʼakbu Ajaw was a descendant of the original dynasty of Palenque. Pakal expanded Palenque's power in the western part of the Maya states and initiated a building program at his capital that produced some of Maya civilization's finest art and architecture. In 628, one of Pakal's officials, was captured by Piedras Negras. Six days Nuun Ujol Chaak, ajaw of Santa Elena, was captured and taken to Palenque. Santa Elena became a tributary of Palenque. Having been appointed ajaw at the age of twelve, Pakal's mother was a regent to him. Over the years she ceded power until she died in September 640. In 659 Pakal captured six prisoners, One of them, Ahiin Chan Ahk, was from Pipaʼ associated with Pomona. In 663 Pakal killed another lord of Pipaʼ. At this time he captured six people from Santa Elena. In 647 Kʼinich Janaab Pakal began his first construction project; the first project was a temple called El Olvidado called the forgotten temple because it's far away from Lakamhaʼ.

Of all Pakal's construction projects the most accomplished is the Palace of Palenque. The building was in existence, but Pakal made it much larger than it was. Pakal started his construction by adding monument rooms onto the old level of the building, he constructed Building E, called Sak Nuk Naah "White Skin House" in Classic Maya for its white coat of paint rather than the red used elsewhere in the palace. The east court of the palace is a ceremonial area marking military triumphs. Houses B and C were built in 661 and house A in 668. House A is covered with frescos of prisoners captured in 662; the monuments and text associated with Kʼinich Janaab Pakal I are: Oval Palace Tablet, Hieroglyphic Stairway, House C texts, Subterranean Thrones and Tableritos, Olvidado piers and sarcophagus texts. After his death, Pakal was said to communicate with his descendants, he was succeeded by his son, Kʼinich Kan Bahlam II. Pakal was buried in a colossal sarcophagus in the largest of Palenque's stepped pyramid structures, the building called Bʼolon Yej Teʼ Naah "House of the Nine Sharpened Spears" in Classic Maya and now known as the Temple of the Inscriptions.

Though Palenque had been examined by archaeologists before, the secret to opening his tomb — closed off by a stone slab with stone plugs in the holes, which had until escaped the attention of archaeologists—was discovered by Mexican archaeologist Alberto Ruz Lhuillier in 1948. It took four years to clear the rubble from the stairway leading down to Pakal's tomb, but it was uncovered in 1952, his skeletal remains were still lying in his coffin, wearing a jade mask and bead necklaces, surrounded by sculptures and stucco reliefs depicting the ruler's transition to divinity and figures from Maya mythology. Traces of pigment show that these were once colorfully painted, common of much Maya sculpture at the time. Whether the bones in the tomb are those of Pakal is under debate because analysis of the wear on the skeleton's teeth places the age of the owner at death as 40 years younger than Pakal would have been at his death. Epigraphers insist that the inscriptions on the tomb indicate that it is indeed Kʼinich Janaabʼ Pakal entombed within, that he died at the age of 80 after ruling for around 70 years.

Some contest that th

Barbara Reagan was an American economist. From 1967 - 1990, she was a professor at the Southern Methodist University, Texas, her areas of specialization included analysis and methodology of national surveys of income and expenditure, labour migration of African and Mexican Americans, occupational segregation by sex and factors affecting women’s labour supply. She was a founding member of the Committee on the Status of Women in the Economics Profession. After her retirement from Southern Methodist University, she was a director of the American Savings Bank and The Texas Guaranteed Student Loan Corporation, her daughter, Patricia Reagan, is a professor of economics. Martha Blaxall. Women and the Workplace: The Implications of Occupational Segregation. University of Chicago Press. ISBN 978-0-226-05822-1. OCLC 2303332. Reagan, B. B.. Two supply curves for economists? Implications of mobility and career attachment of women; the American Economic Review, 65, 100-107. JSTOR 1818839 "Barbara B. Reagan". JSTOR

Mária Szepes was a Hungarian author. She worked as a journalist and screenwriter, as well as an independent author in the field of hermetic philosophy since 1941, she would sometimes write under the pseudonyms Mária Mária Orsi. Szepes was born Magdolna Scherbach into a Hungarian family of theater stars in Budapest, her father, Sándor Papir, was a bon great star of Budapest's stages. Her mother was primadonna, her parents and her brother were to her like "brothers and sisters in spirit", as well as she admitted only spiritual relationship: "Everything else is just experience, disengagement – karma."From 1916 to 1933, she appeared as a film actress. One year after marrying Béla Szepes on 2 January 1931, she accompanied him to Berlin, where they lived until Hungary's German occupation towards war's end. In her book Magie der Liebe, Szepes writes about the marriage, which lasted 56 years, discusses the so-called "Alchemistic Marriage", the dissolution of the ego in the other. Szepes studied literature, art history, biology in Berlin.

Back in Hungary she first worked as a journalist, screenplay writer, author. Her first novel The Red Lion was written in a hideout during World War II and became a worldwide bestseller of esoteric literature; the two Raguel volumes are referred to as her chief work by Szepes herself. The Red Lion, Mária Szepes' first novel, was published in 1946 in Hungary. During the communist regime Rákosi The Red Lion was considered to be nonconformist and therefore was prohibited. All copies of the book were ordered to be destroyed. However, the librarian and novelist Béla Hamvas managed to save four copies. Several supporters of the author typed up the novel, made templates for printing, released the self-made copies through the underground. 40 years the novel arrived at the desk of the Heyne publishing company via the agency Utoprop. The book was translated into German by Gottfried Feidel and was published as a paperback in 1984. More details regarding the history of origin are reported by Hans Joachim Alpers in his preface of the 2002 re-issue.

The Red Lion is performed in various theaters of the United States. Szepes tells the story of a miller's son born in the 16th century. After the death of his weak father and of a miserable but beloved teacher, he becomes afraid of the unavoidable death of all living things. Driven by a monomania fed by persistent rumors of an Elixir of Immortality, he becomes an apprentice of a mysterious physician and alchemist. However, instead of listening to the Alchemist's compassionate counsel and warnings, Burgner is driven by feverish greed to murder him; this is the starting-point of a journey through the centuries: while Burgner can physically die, the Elixir enables him to retain the full memory of his previous lives as he reincarnates into a variety of different circumstances. It bestows upon him a profound spiritual sensitivity. Several times he attempts the Great Transmutation in order to deliver himself from his self-imposed curse. Hans Burgner is refined through his various incarnations. Against the backdrop of the last five centuries of European history, he undergoes dramatic personal development: beginning as a spiritually unawakened character, he matures spiritually through the various challenges he is led to confront.

He is first an initiate and Aspirant attaining the perfection of human personality which characterizes the Magus, or spiritual Adept. The Frozen Child Greetings and Kisses, Veronika Mária Szepes in the German National Library catalogue Mária Szepes on IMDb