AFRO-AMERICAN BLOCK PARTY AFRICAN AMERICAN circa 1977 CHICAGO SOUTH SIDE

--SUPERS--\n:00\nMay 19, 2010\nLos Angeles\n\n:42\nDecember 28, 2016\n\nDallas, Texas\n\n1:30\nDecember 14, 2015\nLos Angeles\n\n\n --VIDEO SHOWS--\n-Mayhew on red carpet\n-interview with Mayhew\n-interivew with Mayhew on red carpet\n\n -----CNN INFO-----\n (CNN) -- Peter Mayhew, the original Chewbacca, has died, according to his agent.\n Mayhew, 74, died on April 30 with his family by his side in his North Texas home. He is survived by his wife, Angie, and three children.\n The Hollywood icon played Chewbacca in the original "Star Wars" trilogy, episode 3 of the prequels and the New Trilogy, according to a statement from his family.\n Mayhew, who once used a wheelchair because of a bum knee, stood tall to portray Chewbacca once more in "Star Wars: The Force Awakens." He also consulted on "The Last Jedi" to help teach his successor.\n "He put his heart and soul into the role of Chewbacca and it showed in every frame of the films from his knock-kneed running, firing his bowcaster from the hip, his bright blue eyes, down to each subtle movement of his head and mouth," his family said. "But, to him, the Star Wars family meant so much more to him than a role in a film."\n Mayhew started the Peter Mayhew Foundation to support people in crisis situations, including providing food and supplies for the children of Venezuela during their recent road to freedom.\n "His kindness, generosity and care will live on in the Peter Mayhew Foundation with Angie taking the helm as his voice," his family said.\n A memorial service for friends and family will be held on June 29. In early December, there will be a memorial in Los Angeles for fans.\n\n Tributes pour in for the 'Star Wars' legend\n\n Just two days before May 4, a day when "May the Fourth" puns run rampant, celebrities and "Star War" fans remember Mayhew as the man who inhabited the Wookie suit dating back to the '70s.\n "He was the gentlest of giants," said Mark Hamill, who played Luke Skywalker in the original trilogy. "A big man with an even bigger heart who never failed to make me smile & a loyal friend who I loved dearly-I'm grateful for the memories we shared & I'm a better man for just having known him. Thanks Pete."\n Fans shared images of meeting Mayhew at different conventions over the years. \n "I am so thankful that Mr. Mayhew found the strength to participate in this year's Star Wars Celebration, even after he had to cancel a day due to health reasons. I was honored that my wife @gokatteego and I could have our picture taken with him. It means so much to us," said Keith Forche, who shared a picture taken on April 13 at the Star Wars Celebration 2019 in Chicago.\n Dan Robinson, who met the legend at San Diego Comic Con 2004, said Mayhew brought life to a character no one could understand, other than Han, of course.\n "Body movements, head tilts, and expressive eyes. He was such a humble softspoken man that always took time for the fans," he told CNN. "He was my first 'Star Wars' actor I got an autograph from. I was in awe of being 6 foot 2 and watching my hand disappear into his when I shook his hand and thanked him for all he brought to 'Star Wars.' I've been a fan since I was 2 years old when I saw it in 1979 [at a drive-in] for a re-release."\n\n\n The man behind the 'Chewie' mask\n\n Standing 7 feet and 3 inches tall, Mayhew once said playing Chewbacca transformed him, according to a statement on the "Star Wars" fanchise site.\n "The attitude was different," he said about acting in the costume. "The walk was different. Do the scenes, come back, take the mask off, Peter was back."\n "Star Wars" first debuted in theaters on May 25, 1977, and ignited a major worldwide fandom.\n "Peter was larger than life in so many ways ... a gentle giant playing a gentle giant. Rest in peace," Disney CEO Robert Iger said.\n\n Mayhew's portrayal of the beloved "Star Wars" character was integral to the trilogy's success, Lucasfilm President Kathleen Kennedy said.\n "When I first met Peter during 'The Force Awakens,' I was immediately impressed by his kind and gentle nature," she said. "Peter was brilliantly able to express his personality through his skillful use of gesture, posture, and eyes. We all love Chewie, and have Peter to thank for that enduring memory."\n\n\n --KEYWORD TAGS--\nPETER MAYHEW CHEWBACCA STAR WARS\n\n

FILM TRANSFER 089270 & 086320B 089270 - 12/07/1977 - GENERAL SHOTS OF INTS OF GREYHOUND BUS TERMINAL. VS PEOPLE AWAITING AND BOARDING BUSES, PEOPLE BUYING, AGENTS SELLING TICKETS. VS HA'S HEAVY TRAFFIC ON SUPERHIGHWAYS OUTSIDE CHICAGO. VS GEN. SCENES INSIDE TRAIN STATION INCL. PEOPLE WALKING TO, BOARDING AND SITTING AROUND TRAINS. VS HEAVY NIGHT TIME TRAFFIC IN DOWNTOWN CHICAGO. 086320B - 8/08/1977 - CONTINUATION OF FTG OF BUS TERMINALS. MORE OF GREYHOUND BUSES MOVING ALONG HIGHWAYS, MAKING REST STOPS. INTVS IN VARIOUS TERMINALS. MORE OF BUSES ON ROAD. VS PASSENGERS.

Aerial Chicago; Shot on 35mm

RICHARD BAILEY PLEADED GUILTY TODAY TO EMBEZZLING FUNDS AND BILKING WIDOWS FROM HORSE INSURANCE MONEY. BAILEY WAS IMPLICATED IN THE DISAPPEARANCE OF HELEN VOORHEES BRACH, THE CANDY HEIRESS. HE HAS DENIED ANY INVOLVEMENT IN THE CASE.

CHICAGO, IT'S A PROMISE

01:26 Excerpt from ""Duck and Cover,"" an educational film advising how to react to an atomic bomb blast. 03:41 ""Back to Normal"" by Jonathan Letchinger. Shot in San Francisco about a week after the devastating earthquake that occurred on October 17, 1989, this video chronicles San Francisco's reactions to the quake. Some are angry, others still in shock. 11:55 ""Alternatives Festival."" A short interview with Mark Johnson, founder of Alternatives Festival, a gathering of punk rock musicians in Washington D.C. that formed to help young people work for change in society. 14:22 ""We Have The Force"" by Youth Force '88 and Branda Miller. A short documentary about an inner city youth group that organized an effort called ""Take Back the Park."" Their efforts included demonstrations to evict drug dealers and drug addicts from a park in New York City. 18:40 ""Henry Moore Sculpture."" A teacher talks to teenagers about the first self-sustained nuclear chain reaction while standing at the site where it occurred on the University of Chicago's campus. ""As we know, the course of mankind - of the world - has been changed as a result of what took place at this spot on December 2nd, 1942."" 19:15 ""Disarmament Survey"" by Skip Blumberg. A boy in New York discusses his fear of world nuclear proliferation. 20:20 ""South Africa and the Bomb"" by Globalvision and South Africa Now. A short segment in which American scientists and analysts discuss the threat posed by South Africa's clandestine nuclear weapons program. Includes 1977 footage of South Africa's former prime minister Johannes Vorster threatening the world to stop meddling in its nuclear plans: ""If these things continue and don't stop, the time will arrive when South Africa will have no option - small as it is - [but] to say to the world. 'So far and no further. Do your damnedest if you so wish!'"" A South African scientist warns, ""The free world hasn't got any way of assessing what South Africa is doing in the nuclear arena."" 24:10 Dr. Helen Caldicott discusses toxicity and carcinogenic nature of plutonium in this 1970's video. Access only 26:07 More from ""Duck and Cover."" 36:02 Excerpt from ""Ambassadors of Cabrini"" by Lilly Ollinger. Documentary about the Jesse White Tumblers, a gymnastic group made up predominantly of kids from the Chicago Housing Authority 's Cabrini Green. In this clip, we watch the Tumblers perform in the hallways of Cabrini and hear them talk about disadvantages they have suffered growing up in the projects. ""We can do the stuff that [the white kids] do. They can do it a little bit better because they have more money."" 37:19 A segment about the ""I Have a Dream"" Program in Chicago's Cabrini Green housing project. This program offers college scholarships, job training, and placement to inner city children in Chicago. 40:37 Sociology professor Bill Sampson discusses the failures of Cabrini Green and public housing in general. 45:08 ""Hudson River"" by Educational Video Center. Residents discuss the waste polluting New York's Hudson River. 51:13 Excerpt from ""Adland."" George Lois, chairman, Lois, Holland, Callaway, New York, explains the power that comes from commercial production - ""Poom! It's like poison gas..Poom! That's sensational. Oh yeah, that's great."" 52:38 More from ""Duck and Cover."

ORIG COLOR 330 SOF / MAG V.S. FORD ASSEMBLY LINE. VO WATTS. V.S. ATT'YS. GENS. FROM INDIANA, IDAHO, IOWA AND A REPRESENTATIVE FROM LA. SIGNING A JOINT LAW SUIT. THEY ARE ASKING THE U.S. SUPREME COURT TO MAKE THE CARTER ADMINISTRATION TO FULLY DISCLOSE THE DETAILS OF PANAMA CANAL TREATY BEFORE IT IS SIGNED. VO WATTS. CUTS OF ATTY. GENS. TO REPORTERS. (UNRELATED FTS.) MORE CAR ASSEMBLY. M.S. OF COBRAS (CAR). CI: BLDGS: FACTORIES AUTO. GOVT: TREATIES PANAMA CANAL. GEO: CHICAGO, ILL.

ADMITTED CON-MAN RICHARD BAILEY HAS BEEN FOUND GUILTY OF ARRANGING THE MURDER OF HELEN BRACH. THE CANDY HEIRESS DISAPPEARED IN 1977 AS SHE ALLEGEDLY WAS ABOUT TO REVEAL BAILEY'S HORSE SELLING SCAMS. BAILEY WAS EXPECTED TO SPEAK IN HIS DEFENSE BEFORE SENTENCING IS PASSED. HIS SENTENCING HEARING LASTED FOR NEARLY TWO AND A HALF WEEKS. DEFENSE ATTORNEYS DUCKED THE NEWS MEDIA FOLLOWING THE HEARING. BAILEY'S SENTENCING, IN THE MEANTIME, WILL HAVE TO WAIT UNTIL LATER IN THE MONTH. THERE IS CONFUSION OVER HOW SENTENCING GUIDELINES SHOULD APPLY IN THIS CASE.

WOMEN AT WORK: CHANGE, CHOICE, CHALLENGE

1970s: Asian girl struggles to hold all her parcels and bags as she walks up a set of stairs, she drops a bag and has to reshuffle the armload

JOHNNIE TAYLOR - WHO'S MAKING LOVE CHICAGO SOUL TV SHOW LIVE PERFORMANCE. 1977

<p><b>**This package/segment contains third party material. Unless otherwise noted, this material may only be used within this package/segment.**</b></p>\n<p></p>\n<p><b>--SUPERS</b>--</p>\n<p>:00-:14 </p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>:18-24</p>\n<p>Getty Images</p>\n<p>106426129 </p>\n<p>50557512</p>\n<p></p>\n<p>:25-:40 </p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>:46 - :51 </p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>:57- 1:01 </p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>1:03-1:04</p>\n<p>Getty Images</p>\n<p>515114448</p>\n<p></p>\n<p>1:04-1:07</p>\n<p>Getty Images</p>\n<p>140901380</p>\n<p></p>\n<p>1:07- 1:10 </p>\n<p>Getty Images </p>\n<p>140901380</p>\n<p></p>\n<p>1:11-1:30</p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>1:31 - 1:33 </p>\n<p>Getty Images </p>\n<p>83234350</p>\n<p></p>\n<p>1:34 - 1:37 </p>\n<p>Getty Images </p>\n<p>79010191</p>\n<p></p>\n<p>1:38-1:42 </p>\n<p>Getty Images</p>\n<p>3343515</p>\n<p></p>\n<p>1:43-1:45</p>\n<p>From Tribune Entertainment</p>\n<p></p>\n<p>1:46-1:47</p>\n<p>From NBC Universal</p>\n<p></p>\n<p>1:47-1:48 </p>\n<p>From Harpo Productions</p>\n<p></p>\n<p>1:49-2:02 </p>\n<p>From Multimedia Entertainment</p>\n<p></p>\n<p>2:03-2:12 </p>\n<p>From MSNBC</p>\n<p></p>\n<p>2:16-2:22</p>\n<p>From Phil Donahue Enterprises</p>\n<p></p>\n<p>2:23 - 2:24 </p>\n<p>Getty Images </p>\n<p>3043428</p>\n<p></p>\n<p>2:25 - 2:27 </p>\n<p>Getty Images </p>\n<p>109206276</p>\n<p></p>\n<p>2:28- 2:30 </p>\n<p>Getty Images </p>\n<p>865542844</p>\n<p></p>\n<p><b>--LEAD IN</b>--</p>\n<p></p>\n<p><b>--REPORTER PKG-AS FOLLOWS</b>--</p>\n<p>(nat) Phil Donahue show </p>\n<p></p>\n<p></p>\n<p></p>\n<p>PHIL DONAHUE CHANGED THE FACE OF DAYTIME TELEVISION FOREVER WITH A TALK SHOW THAT TACKLED CONTROVERSIAL ISSUES IN FRONT OF A LIVE AUDIENCE. </p>\n<p></p>\n<p></p>\n<p></p>\n<p>(Donahue) "We were so different. Everything around us was a soap opera or a game show."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>DONAHUE HONED HIS BROADCASTING SKILLS EARLY IN HIS CAREER AS A RADIO AND TV NEWS ANCHOR IN HIS NATIVE OHIO. HIS BIG BREAK CAME IN 1967, WHEN DAYTON'S W-L-W-D TV LAUNCHED "THE PHIL DONAHUE SHOW."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(natpop) early Phil Donahue show clip</p>\n<p></p>\n<p></p>\n<p></p>\n<p>DONAHUE HAD THE GROUNDBREAKING IDEA OF ASKING THE STUDIO AUDIENCE FOR QUESTIONS.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(Donahue) "suddenly people were watching people just like themselves, stand up, kick tires, complain, and we found that we liked that."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>THE PHIL DONAHUE SHOW BUILT A REPUTATION AS A FORUM FOR HOT BUTTON TOPICS LIKE EQUAL RIGHTS FOR WOMEN.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(Donahue) "Issues that women cared about and talked about amongst themselves we were on the air talking about ///I noticed people in the audience were asking better questions that I was."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>THE SHOW MOVED TO CHICAGO, AND LATER NEW YORK... ALL THE WHILE EXPANDING TO MORE STATIONS ACROSS AMERICA.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>NATIONAL SYNDICATION MEANT HIGHER-PROFILE GUESTS AMONG THEM FUTURE WIFE, ACTRESS MARLO THOMAS.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>IN 1977, AUDIENCES WATCHED THE COUPLE FALL IN LOVE LIVE ON STAGE:</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(1977 Donahue Show w/Marlo)</p>\n<p></p>\n<p>"You are really fascinating."</p>\n<p></p>\n<p>"But you are wonderful. I said it when we are off the air and I want to say you are loving and generous and you like women and it's a pleasure and whoever is the woman in your life is very lucky."</p>\n<p></p>\n<p>"Well thank you very much."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(Donahue) "She was obviously a very exciting person. Not only gorgeous, but she had great facility with language and she had opinions and she was a feminist. She was somebody you could argue with."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>DONAHUE PAVED THE WAY FOR DAYTIME TALK-SHOW HOSTS LIKE GERALDO RIVERA, JERRY SPRINGER, AND OPRAH Winfrey.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>BUT SOON BEGAN LOSING VIEWERS TO THIS NEW LINE-UP...</p>\n<p></p>\n<p></p>\n<p></p>\n<p>IN 1996, AFTER YEARS OF DECLINING RATINGS, THE "PHIL DONAHUE SHOW" ENDED.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(natpop) finale champagne pops; streamers</p>\n<p></p>\n<p></p>\n<p></p>\n<p>DONAHUE RETURNED IN 2002 WITH A SHORT-LIVED INTERVIEW PROGRAM ON MSNBC.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>THE LEFT-LEANING BROADCASTER CLAIMED HIS OUTSPOKEN OPPOSITION TO THE IRAQ WAR LED TO THE SHOW'S CANCELATION.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>IN LATER YEARS, HE APPEARED AS A POLITICAL COMMENTATOR, AND PRODUCED THE 2007 ANTI-WAR DOCUMENTARY, "BODY OF WAR."</p>\n<p></p>\n<p></p>\n<p></p>\n<p>(natpop) Body of War</p>\n<p></p>\n<p></p>\n<p></p>\n<p>PHIL DONAHUE... DAYTIME TALK PIONEER AND AN ENTHUSIASTIC EXAMINER OF SOCIETY'S THORNIEST QUESTIONS.</p>\n<p></p>\n<p></p>\n<p></p>\n<p>"I think everybody ought to have a talk show. It's a wonderful education."</p>\n<p></p>\n<p><b>--KEYWORD TAGS--</b></p>\n<p></p>

In this short promotional film by Zenith, the consumer electronics company touts the many advantages of its new color television sets. The film opens with a father taking his daughter to a Chicago Cubs baseball game (00:30), who are hosting the San Francisco Giants. His daughter’s reaction to seeing her first live baseball game, “in color,” causes him to make the decision to buy a color television set. Interviews with people on the street (02:29), who own Zenith products—including a B&E TV Repair employee (02:56), reinforce the quality associated with Zenith. Zenith is the first company to put color signals on the air in Chicago, paving the way for the expansion of color television. The film shows the Zenith assembly plant for its color TVs (04:15), an R&D facility (04:23), and a color tube plant. Zenith provides the best in appearance, performance, and dependability, and the film goes on to reveal how it hits each of those consumer demands. Zenith’s Plant 2 (06:19) manufactures many components used in color televisions, including the super-gold video guard tuner. At Plant 6 (07:40), Zenith hand-crafts chasses, which are critical to a television set’s performance. The film also discusses Zenith’s color demodular circuitry (10:48), the use and production of phosphor and shadow masks, and other aspects of the TV screen’s production. The final test area (17:00) is where Zenith employees ensure the high quality of Zenith’s color television sets. In the sets themselves, the controls are concealed to protect from children but are easy to use (18:56). Zenith also features the state-of-the-art “space command” remote control (19:50). With Zenith, you get ease of operation, top performance, brighter pictures, dependability, and fine appearance. The film ends with a look at the various cabinet styles of the television sets (20:53), including the Italian and French Provisional styles. <p><p>Zenith Electronics LLC is an American brand of consumer electronics owned by South Korean company LG Electronics. It was previously an American company, a manufacturer of radio and television receivers and other consumer electronics, and was headquartered in Glenview, Illinois. After a series of layoffs, the consolidated headquarters moved to Lincolnshire, Illinois. For many years, their famous slogan was "The quality goes in before the name goes on." LG Electronics acquired a controlling share of Zenith in 1995; Zenith became a wholly owned subsidiary in 1999. Zenith was the inventor of subscription television and the modern remote control, and the first to develop High-definition television (HDTV) in North America.<p><p>The company was co-founded by Ralph Matthews and Karl Hassel in Chicago, Illinois, as Chicago Radio Labs in 1918 as a small producer of amateur radio equipment. The name "Zenith" came from ZN'th, a contraction of its founders' ham radio call sign, 9ZN. They were joined in 1921 by Eugene F. McDonald, and Zenith Radio Company was formally incorporated in 1923. Zenith introduced the first portable radio in 1924, the first mass-produced AC radio in 1926, and push-button tuning in 1927. It added automobile radios in the 1930s with its Model 460, promoting the fact that it needed no separate generator or battery, selling at US$59.95 The first Zenith television set appeared in 1939, with its first commercial sets sold to the public in 1948. The company is credited with having invented such things as the wireless remote control and FM multiplex stereo. Zenith also pioneered in the development of high-contrast and flat-face picture tubes, and the multichannel television sound (MTS) stereo system used on analog television broadcasts in the United States and Canada (as opposed to the BBC-developed NICAM digital stereo sound system for analog television broadcasts, used in many places around the world.) Zenith was also one of the first companies to introduce a digital HDTV system implementation, parts of which were included in the ATSC standard starting with the 1993 model Grand Alliance. They were also one of the first American manufacturers to market a home VCR, selling a Sony-built Betamax video recorder starting in 1977.<p><p>We encourage viewers to add comments and, especially, to provide additional information about our videos by adding a comment! See something interesting? Tell people what it is and what they can see by writing something for example: "01:00:12:00 -- President Roosevelt is seen meeting with Winston Churchill at the Quebec Conference."<p><p>This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com

&lt;p>&lt;b>--SUPERS&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--LEAD IN&lt;/b>--&lt;/p>\n&lt;p>OSCAR-WINNING DIRECTOR WILLIAM FRIEDKIN HAS DIED.&lt;/p>\n&lt;p>&lt;b>--VO SCRIPT&lt;/b>--&lt;/p>\n&lt;p>THAT'S ACCORDING TO THE TALENT AGENCY REPRESENTING HIS WIFE. &lt;/p>\n&lt;p>FRIEDKIN IS BEST KNOWN OF HIS FILMS "THE FRENCH CONNECTION” AND “THE EXORCIST,” &lt;/p>\n&lt;p>&lt;b>-----END-----CNN.SCRIPT-----&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--KEYWORD TAGS--&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--MUSIC INFO---&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;pi>William Friedkin, the Oscar-winning director who brought chilling intensity to two generational touchstones of the 1970s, the gritty police drama “The French Connection” and the demonic-possession freakout “The Exorcist,” died Aug. 7 at 87.&lt;/pi>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;pi>A talent agent at Creative Artists Agency&lt;/pi>, which represents Mr. Friedkin’s wife, former Paramount studios chief Sherry Lansing, &lt;pi>confirmed the death but did not have further details.&lt;/pi>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;pi>Mr. Friedkin — nicknamed Hurricane Billy for his turbulent personality and raging ambition — emerged from the Chicago slums determined to get noticed. He entered show business at 16 as a TV mailroom gofer. He was soon directing programs, and he grabbed the attention of producers with a documentary that helped save the life of a Black death-row inmate in Illinois.&lt;/pi>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>In a checkered filmmaking &lt;pi>career spanning 50 years, &lt;/pi>Mr. Friedkin was regarded as both a cinematic pacesetter, responsible for two box-office juggernauts, and a director who struggled to replicate the commercial and critical highs of his heyday in the early 1970s.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>His commercial breakout was “&lt;pi>The French Connection” (1971&lt;/pi>), &lt;pi>a low-budget crime drama starring the relatively unknown Gene Hackman &lt;/pi>as a New York police detective on the trail of a heroin shipment.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Determined to enhance the routine police procedural he’d been handed, Mr. Friedkin executed one of the most harrowing chase sequences ever filmed as Hackman’s character, driving through actual Brooklyn traffic, chases a suspect aboard an elevated subway train.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Beyond capturing panic in the streets with cinéma-vérité flourishes, the film was an exploration of moral ambiguity. Hackman’s dirty, racist cop, with all his flaws, is contrasted with a debonair and elusive drug kingpin, played by Spanish actor Fernando Rey.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“The French Connection,” which the American Film Institute ranks among the top 100 movies, unexpectedly &lt;pi>won five Oscars, including for best picture, best director and best actor (awarded to Hackman).&lt;/pi>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr&lt;pi>. Friedkin followed with “The Exorcist” (1973), which broke ground in the horror genre with &lt;/pi>(literally) head-spinning sacrilege and bloodcurdling violence perpetrated against an innocent child and all who attempt to help her. Film critic Roger Ebert admiringly called it “exploitation of the most fearsome resources of the cinema.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>With a cast headed by Ellen Burstyn, Max von Sydow and newcomer Linda Blair as the possessed girl, it became one of the highest-earning movies of all time and the first horror drama to earn an Academy Award nomination for best picture. Mr. Friedkin also received a nomination for his directing.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin’s back-to-back triumphs afforded him carte blanche in Hollywood.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“I had come from a one-room apartment in Chicago to the finest hotel suites in the world, first-class air travel, the finest tables in the best restaurants, beautiful women who sought my company, top of the line all the way,” he wrote in his 2013 memoir, “The Friedkin Connection.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>But his rapid ascent to the top of Hollywood’s directing ranks was followed by a succession of high-profile flops, including the action film “Sorcerer” (1977) and the murder mystery “Cruising” (1980). Gay rights groups protested the latter, starring Al Pacino as a cop going undercover in same-sex bars, as an offensive portrayal of gay life.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin’s diminished reputation was not helped, he conceded, by his bridge-burning attitude toward studio executives and his &lt;pi>ruthless treatment of people on set&lt;/pi>. He said he would do anything — he would belittle to even slap an actor — to achieve greater urgency on-screen. He recalled slapping a real priest who appeared in “The Exorcist” and who failed to come through with convincing tears.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>His actions, he explained in his autobiography, were motivated by a drive for artistry and status. “I embody arrogance, insecurity and ambition that spur me on as they hold me back,” he wrote. “My character flaws remain for the most part unhealed. There’s no point in saying I’ll work on them.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin often recounted feeling humiliated as a newcomer to Hollywood in 1965. He was hired to direct an episode of the TV series “The Alfred Hitchcock Hour” and Hitchcock, whom he idolized, arrived on the set, criticized him for not wearing a tie and walked away.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>A few years later, Mr. Friedkin won the top prize from the Directors Guild of America for “The French Connection” and made a point of seeking out Hitchcock in the audience.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“I had a rented tux and one of those snap-on bow ties,” he recalled. “I snapped my tie at him and said, ‘How do you like the tie now, Hitch?’ He just stared at me. He didn’t remember at all, but of course I did.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>‘Bad boy’ discovers cinema&lt;/p>\n&lt;p>&lt;pi>William Friedkin was born in Chicago on Aug. 29, 1935, to Jewish immigrants from Ukraine&lt;/pi>. &lt;pi>His father, a clothing salesman,&lt;/pi> struggled to make a living. &lt;pi>His mother, an operating-room nurse&lt;/pi>, lost an eye in a freak accident involving a tray of surgical instruments.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin rarely cracked a book in school and mostly excelled at &lt;pi>basketball and shoplifting&lt;/pi>. (“My only distinction,” he wrote, “was as the high school’s bad boy.”)&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>He was in his 20s when, after visiting an art-house cinema, he became fascinated by Orson Welles and exciting European filmmakers including Ingmar Bergman, Jean-Luc Godard and Henri-Georges Clouzot.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Inspired by their visual inventiveness to become a movie director, he made a bleakly stylish feature-length documentary, “The People vs. Paul Crump” (1962), about an Illinois man charged with killing a security guard during a botched armed robbery.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The film accused the police of beating a confession out of Crump. “I had the idea that if I could pull this off,” it would be a powerful story, a kind of American ‘J’accuse,’ ” he wrote, referring to the famed open letter by French author Émile Zola in defense of a Jewish soldier unjustly convicted of treason.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The Illinois governor, in part because of the film, agreed to commute Crump’s death sentence to life in prison. The documentary propelled the director to Hollywood when it won the top award at the San Francisco International Film Festival.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Working in movies, Mr. Friedkin proved a capable journeyman with the Sonny and Cher vehicle “Good Times” (1967), the striptease musical “The Night They Raided Minsky’s” (1968) and the landmark gay drama “The Boys in the Band” (1970). He was then offered “The French Connection,” which was not considered a prestige project.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The studio forced him to take Hackman in the central role of Jimmy “Popeye” Doyle, a cop on the brink of burnout. Mr. Friedkin, who faulted the actor for judging the character rather than accepting his darkness, constantly needled Hackman about, perhaps, finding a day job other than acting.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“I would get his anger to a point where he would finish a take filled with rage and then walk off the set for the rest of the day,” Mr. Friedkin once told an interviewer. “That’s exactly what I wanted.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The film’s producer had an earlier hit with “Bullitt” (1968), in which Steve McQueen’s character raced through the largely emptied streets of San Francisco. Mr. Friedkin decided to up the ante for “The French Connection.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin said it took a bribe (“$40,000 and a one-way ticket to Jamaica”) to get a New York City Transit Authority official to look the other way as stunt coordinator Bill Hickman sat behind the wheel of a Pontiac LeMans and floored it for 26 blocks. (Because members of the camera crew were married or had children, Mr. Friedkin got into the back seat to operate the camera during the dangerous stunt.)&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>As the scene plays out, Hackman’s Doyle is seen speeding through the streets, pounding on his horn, bouncing off fenders, barreling through trash cans, almost spinning out of control to a symphony of screeching tires, and nearly striking a pedestrian wheeling a baby carriage.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Aside from the carefully staged baby-carriage scare, much of the dodging and weaving was left to chance, although a flashing police light — not visible in the shot — was placed on the car to warn onlookers.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“The crashes that occurred in the chase were never supposed to occur,” Mr. Friedkin told Variety in 2017. “Human life was in danger, my life was in danger, everybody who’s in that sequence — we could’ve killed somebody. By the grace of God no one was hurt. I would never do something like that ever again.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Made on a budget of about $2?million, “The French Connection” took in more than $50?million.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>‘The Exorcist’ and beyond&lt;/p>\n&lt;p>While making “The Exorcist” — based on William Peter Blatty’s best-selling novel — the director was, by most accounts, a dictatorial perfectionist whose frequent reshooting of scenes to refine picayune details led to skyrocketing costs.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>He also discharged firearms (with blanks) to provoke startled reactions from actors while filming, and Burstyn’s tailbone was injured in a stunt that required her — playing the possessed girl’s mother — to be pulled violently across a room. As Burstyn screamed in agony, Mr. Friedkin kept the cameras rolling.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“I was furious when he did that, exploiting the pain I was feeling,” Burstyn told Peter Biskind for his book about 1970s American cinema, “Easy Riders, Raging Bulls.” “Since then I’ve always had trouble with my back.” (Mr. Friedkin downplayed the incident, noting in one interview, “There was no insurance claim, and she’s worked steadily ever since.”)&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The film — in which the demon possessing the girl sexually assaults her with a crucifix — was steeped in blood, vomit and sacrilege. It repelled some critics and thrilled others. But the publicity, from ecclesiastical denunciations to stories of viewers fainting in shock, yielded astronomical profit. Nominated for 10 Academy Awards, it won for best adapted screenplay (Blatty’s) and for best sound.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Mr. Friedkin next threw himself into a passion project, “Sorcerer” (1977), a remake of Clouzot’s celebrated 1953 French thriller “The Wages of Fear,” about men driving truckloads of nitroglycerin through a jungle. But Mr. Friedkin went $7 million over its $15 million budget. “Sorcerer” bombed, overshadowed by “Star Wars.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>His other credits include the Chevy Chase arms-dealing comedy misfire “Deal of the Century” (1983); the action film “To Live and Die in L.A.” (1985), which featured a memorable backward-on-the-freeway car chase; and the Joe Eszterhas-penned erotic thriller “Jade” (1995), which reportedly cost $50 million and brought in less than $10 million. He also adapted Tracy Letts’s stage shockers “Bug” (2006) and “Killer Joe” (2011).&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>His &lt;pi>marriages to actresses Jeanne Moreau and Lesley-Anne Down and TV news anchor Kelly Lange ended in divorce. He married Lansing in 1991. He had a son, Cecil, from a relationship with Australian dancer Jennifer Nairn-Smith; and a son from his second marriage, Jack&lt;/pi>. A complete list of survivors was not immediately available.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>In addition to his films, Mr. Friedkin worked on music videos and staged operas. “Every one of my films, plays and operas has been marked by conflict, sometimes vindictive,” he wrote. “The common denominator is me, so what does that tell you?”&lt;/p>\n&lt;p>&lt;/p>

THE EQUAL EMPLOYMENT OPPORTUNITY COMMISSION SAYS IT HAS REACHED A TENTATIVE $66 MILLION SETTLEMENT FOR THE VICTIMS OF ILLEGAL PREGNANCY DISCRIMINATION AFFECTING MORE THAN 13 THOUSAND WOMEN. IT'S BEING CALLED THE LARGEST SINGLE CASH RECOVERY IN THE AGENCY'S HISTORY. THE CLASS-ACTION LAWSUIT WAS FILED AGAINST WESTERN ELECTRIC. THE TELEPHONE EQUIPMENT MANUFACTURER, WHICH NOW IS PART OF AT&T, WAS ACCUSED OF DENYING COMPANY BENEFITS BETWEEN 1965 AND 1977 WHEN WORKERS BECAME PREGNANT. THE SETTLEMENT WENT BEFORE A FEDERAL MAGISTRATE TODAY FOR PRELIMINARY APPROVAL. FINAL APPROVAL WILL FOLLOW A FEDERAL COURT HEARING.

Various American Motors Films

11/30/77 C0061275 - COLOR - KINE CHICAGO, ILLINOIS: MUHAMMAD ALI TALKS ABOUT HIS UPCOMING FIGHT WITH SCOTT LE DOUX. LNC ALI CHICAGO" SHOWS: MCU "ALI 76" NUMBER PLATE, PULL TO ROLLS ROYCE: GV STREET WINDY CITY GYM 2 SHOTS: LS ALI TRAINING: MCU ALI AT MICROPHONE, TILT TO BELLY: MS ALI, ZOOM IN TO MCU AS HE SPEAKS: (SHOT 11/29/77 55FT ENG SPEECH & NARRATION) ALI, MUHAMMAD - SOF LE DOUX, SCOTT - (COMMENTED ON) BOXING - 1977 UPITN / 55 FT / 16 COLOR / KINE /

Made in the 1970s, this General Motors corporate film explains some of the supply chain management challenges faced by the company, and the work undertaken to make the delivery of automobiles more efficient and damage-free. The film was made in the wake of a series of complaints by dealers and customers about damage in transit -- either by bad handling on railroads or trucking. GM's new "Logistics Operations" division was tasked with delivering cars as quickly as possible to dealers with a minimum of damage. In March 1970 GM sent a "unit train" from Chicago cross-country, in an experiment designed to see if a non-stop transcontinental delivery would be successful. The result was very positive and led to GM implementing a host of new policies related to non-stop rail delivery of automobiles. <p><p>The film features images of the Vega starting at 5:00 minutes, with images of the automobiles delivered in a vertical position or "Vertipak", and computerized rail car tracing (seen at 7:30 minutes) designed to track automobiles in shipment via Teledyne computers and IBM punch card computers. <p><p>Both railroads and automakers wanted to eliminate theft and damage from vandalism and weather, thus reducing shipping costs. They also wanted to increase the number of vehicles carried per rail car for the same reason. Toward that end, in 1968 General Motors and the Southern Pacific Railroad jointly began work on development of a radical new rail car designed to carry the Chevrolet Vega, a new compact car being developed by GM. Known as "Vert-A-Pac", the rail cars would hold 30 Vegas in a vertical, nose-down position, versus 18 in normal tri-level autoracks. Each Vega was fitted with four removable, cast-steel sockets inserted into the undercarriage that locked into the hooks on the bottom-hinged doors that made up the car side.<p><p>The prototype car, SP 618000 was turned out in December, 1968 and tested through 1969. Chevrolet conducted vibration and low-speed crash tests to make sure nose-down Vegas wouldn't shift or be damaged in railcar collisions. Chevrolet's goal was to deliver Vegas topped with fluids and ready to drive to the dealership. To do this Vega engineers had to design a special engine oil baffle to prevent oil from entering the No. 1 cylinder, batteries had filler caps located high up on the rear edge of the case to prevent acid spilling, the carburetor float bowl had a special tube that drained gasoline into the vapor canister during shipment, and the windshield washer bottle stood at a 45 degree angle. Plastic spacers were wedged in beside the powertrain to prevent damage to engine and transmission mounts. The wedges were removed when cars were unloaded. The rail car doors were opened and closed by means of a forklift truck.<p><p>The first production Vert-A-Pacs entered service in April, 1970, the last ones in January, 1973. Besides Southern Pacific, the B&O, BN, D&RGW, FEC, IC, L&N, MILW, MP, PC (MDT), RI, SCL, SLSF and Southern Railway operated Vert-A-Pacs. All were withdrawn from service at the end of the 1977 Vega model year and were reracked with conventional tri-level racks.<p><p>Another joint General Motors-Southern Pacific automobile rail car was the Stac-Pac. It was designed to carry 12 high end Oldsmobile, Buick, and Cadillac models in four removable fully enclosed tri-level containers per 89-foot flat car. The first production Stac-Pac cars entered service in October, 1971. Beside SP and its Cotton Belt subsidiary (SSW), Stac-Pac flat cars were contributed to the pool by the Santa Fe and Trailer Train, with the containers being supplied by ATSF, BN, D&RGW, FEC, MILW, PC (MDT), RI, Southern, SP, SSW, UP, and by General Motors itself. All of the cars and containers were withdrawn from service at the end of the 1976 model year.<p><p>We encourage viewers to add comments and, especially, to provide additional information about our videos by adding a comment! See something interesting? Tell people what it is and what they can see by writing something for example like: "01:00:12:00 -- President Roosevelt is seen meeting with Winston Churchill at the Quebec Conference."<p><p>This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD and 2k. For more information visit http://www.PeriscopeFilm.com

ROBERTA FLACK & DONNY HATHAWAY 1972 CHICAGO SOUL (1977) STONES ON GOOD NIGHT AMERICA (1975)

1970s: A grocery list written in Chinese. Little Chinese-American girl smiles. Building in Chicago's Chinatown, girl walks down street. She enters a Chinese bakery