Jak naprawić pompę hydrauliczną zębatą

Jak naprawić pompę hydrauliczną zębatą

Jeżeli uszkodzone są uszczelnienia w pompie, należy je wymienić w następujący sposób. UWAGA! PO KAŻDEJ NAPRAWIE POMPY NALEŻY JĄ ODPOWIEDNIO SPRAWDZIĆ NA TESTERZE! Materiał nie jest filmem instruktażowym. Wszelkie naprawy komponentów hydraulicznych zawsze powinny się odbywać w serwisach hydraulicznach/pod okiem specjalisty z zakresu hydrauliki siłowej. The video is not an instruction! All repairs of hydraulic components should always take place in hydraulic services / under the supervision of a specialist. http://www.hydraulika.trz.pl/

LES INFOS DE LA NASA SEPTEMBRE 2017 (All Subtitles Languages)

LES INFOS DE LA NASA SEPTEMBRE 2017 (All Subtitles Languages)

https://www.tipeee.com/les-videos-de-nicolas-eem

Our Miss Brooks: Cow in the Closet / Returns to School / Abolish Football / Bartering

Our Miss Brooks: Cow in the Closet / Returns to School / Abolish Football / Bartering

Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name. Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School. Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win. Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags. Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections. Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts. Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty. Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend. Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks. Jacques Monet (Gerald Mohr), a French teacher. Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role. Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try. Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very "feline" in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews. Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton," she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne. For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended. http://en.wikipedia.org/wiki/Our_Miss_Brooks

Calling All Cars: Disappearing Scar / Cinder Dick / The Man Who Lost His Face

Calling All Cars: Disappearing Scar / Cinder Dick / The Man Who Lost His Face

The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role. The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station. Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay. Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel. The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach. http://en.wikipedia.org/wiki/LAPD

Calling All Cars: Escape / Fire, Fire, Fire / Murder for Insurance

Calling All Cars: Escape / Fire, Fire, Fire / Murder for Insurance

The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California. The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption. The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role. The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station. Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay. Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel. The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach. http://en.wikipedia.org/wiki/LAPD

The Great Gildersleeve: Gildy's Campaign HQ / Eve's Mother Arrives / Dinner for Eve's Mother

The Great Gildersleeve: Gildy's Campaign HQ / Eve's Mother Arrives / Dinner for Eve's Mother

The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity. On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (Oct. 22, 1940). He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family. Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity. Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog). The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons. http://en.wikipedia.org/wiki/Great_Gildersleeve

Author, Journalist, Stand-Up Comedian: Paul Krassner Interview - Political Comedy

Author, Journalist, Stand-Up Comedian: Paul Krassner Interview - Political Comedy

Paul Krassner (born April 9, 1932) is an author, journalist, stand-up comedian, and the founder, editor and a frequent contributor to the freethought magazine The Realist, first published in 1958. More Krassner: https://www.amazon.com/gp/search?ie=UTF8&tag=tra0c7-20&linkCode=ur2&linkId=0409ec81e89dc273f401e1ad94aaddac&camp=1789&creative=9325&index=books&keywords=paul%20krassner Krassner became a key figure in the counterculture of the 1960s as a member of Ken Kesey's Merry Pranksters and a founding member of the Yippies. The Realist was published on a fairly regular schedule during the 1960s, then on an irregular schedule after the early 1970s. In 1966, Krassner published The Realist's controversial "Disneyland Memorial Orgy" poster, illustrated by Wally Wood, and he recently made this famed black-and-white poster available in a digital color version. The Realist also distributed a red, white and blue Cold War bumper sticker that read "Fuck Communism." Krassner's most notorious satire was the article "The Parts That Were Left Out of the Kennedy Book", which followed the censorship of William Manchester's book on the Kennedy assassination, The Death of a President. At the climax of the grotesque-genre short-story, Lyndon B. Johnson is described as having sexually penetrated the bullet-hole wound in the throat of John F. Kennedy's corpse. According to Elliot Feldman, "Some members of the mainstream press and other Washington political wonks, including Daniel Ellsberg of Pentagon Papers fame, actually believed this incident to be true." In a 1995 interview for the magazine Adbusters, Krassner commented: "People across the country believed - if only for a moment - that an act of presidential necrophilia had taken place. It worked because Jackie Kennedy had created so much curiosity by censoring the book she authorized - William Manchester's 'The Death Of A President' - because what I wrote was a metaphorical truth about LBJ's personality presented in a literary context, and because the imagery was so shocking, it broke through the notion that the war in Vietnam was being conducted by sane men." In 1966, he reprinted in The Realist an excerpt from the academic journal the Journal of the American Medical Association, but presenting it as original material. The article dealt with drinking glasses, tennis balls and other foreign bodies found in patients' rectums. Some accused him of having a perverted mind, and a subscriber wrote "I found the article thoroughly repellent. I trust you know what you can do with your magazine." Krassner revived The Realist as a much smaller newsletter during the mid-1980s when material from the magazine was collected in The Best of the Realist: The 60's Most Outrageously Irreverent Magazine (Running Press, 1985). The final issue of The Realist was #146 (Spring, 2001). Krassner remains a prolific writer. In 1971 he published a collection of his favourite works for The Realist, as How A Satirical Editor Became A Yippie Conspirator In Ten Easy Years. In 1981 he published the satirical story Tales of Tongue Fu, in which the hilarious misadventures of the Japanese-American man Tongue Fu are mixed with a wicked social commentary. In 1994 he published his autobiography Confessions of a Raving, Unconfined Nut: Misadventures in Counter-Culture. In July 2009, City Lights Publishers will release Who's to Say What's Obscene?, a collection of satirical essays that explore contemporary comedy and obscenity in politics and culture. He published three collections of drug stories. The first collection, Pot Stories for the Soul (1999), is from other authors and is about marijuana. Psychedelic Trips for the Mind (2001), is written by Krassner himself and collects stories on LSD. The third, Magic Mushrooms and Other Highs (2004), is by Krassner too, and deals with magic mushrooms, ecstasy, peyote, mescaline, THC, opium, cocaine, ayahuasca, belladonna, ketamine, PCP, STP, "toad slime," and more. http://en.wikipedia.org/wiki/Paul_krassner

Suspense: Summer Night / Deep Into Darkness / Yellow Wallpaper

Suspense: Summer Night / Deep Into Darkness / Yellow Wallpaper

Psychological thriller: In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. Characters, either by accident or their own curiousness, are dragged into a dangerous conflict or situation that they are not prepared to resolve. Characters are not reliant on physical strength to overcome their brutish enemies, but rather are reliant on their mental resources, whether it be by battling wits with a formidable opponent or by battling for equilibrium in the character's own mind. At times, the characters attempt solving, or are involved in, a mystery. The suspense created by psychological thrillers often comes from two or more characters preying upon one another's minds, either by playing deceptive games with the other or by merely trying to demolish the other's mental state.[37] The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as are The Talented Mr. Ripley, The Machinist, Don't Say A Word,[38] House of 9, Trapped, Flightplan, Shutter Island, Secret Window, Identity, Red Eye,[39] Phone Booth, Psycho, The River Wild,[40] Nick of Time,[41] P2,[42] Breakdown, Panic Room,[43] Misery, Straw Dogs and its remake, Cape Fear, The Collector, Frailty,[44] The Good Son and Funny Games.[45] Spy thriller: In which the protagonist is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. The subgenre usually deals with the subject of fictional espionage in a realistic way (such as the adaptations of John Le Carré). It is a significant aspect of British cinema,[46] with leading British directors such as Alfred Hitchcock and Carol Reed making notable contributions and many films set in the British Secret Service. The spy film usually fuses the action and science fiction genres, however, some spy films fall safely in the action genre rather than thriller (e.i. James Bond), especially those having frequent shootouts, car chases and such (see the spy entry in the subgenres of action film).[47] Thrillers within this subgenre include Spy Game, Hanna, Traitor, Tinker Tailor Soldier Spy, The Tourist, The Parallax View, The Tailor of Panama, Taken, Unknown, The Recruit, The Debt, The Good Shepherd and Three Days of the Condor.[3] Supernatural thriller: In which the film brings in an otherworldly element (such as fantasy and/or the supernatural) mixed with tension, suspense and plot twists. Sometimes the protagonist and/or villain has some psychic ability and superpowers. Examples include, Lady in the Water, Fallen,[48] Frequency, Next, Knowing, In Dreams,[49] Flatliners, Jacob's Ladder, Chronicle,[50] The Skeleton Key,[51] What Lies Beneath, Unbreakable, The Gift,[52] and The Dead Zone. Techno thriller: A suspense film in which the manipulation of sophisticated technology plays a prominent part. There is a bit of action and science fiction.[53] Examples include The Thirteenth Floor, Jurassic Park, I, Robot, Eagle Eye, Hackers, The Net, Futureworld, eXistenZ and Virtuosity. Legal thriller: A suspense film in which in which the major characters are lawyers and their employees. The system of justice itself is always a major part of these works, at times almost functioning as one of the characters. Examples include, The Pelican Brief, Presumed Innocent, The Jury, The Kappa File, The Lincoln Lawyer, Hostile Witness and Silent Witness. http://en.wikipedia.org/wiki/Thriller_%28genre%29

The Great Gildersleeve: Audition Program / Arrives in Summerfield / Marjorie's Cake

The Great Gildersleeve: Audition Program / Arrives in Summerfield / Marjorie's Cake

The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity. On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (Oct. 22, 1940). Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity. Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog). The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons. http://en.wikipedia.org/wiki/Great_Gildersleeve

My Friend Irma: Psycholo / Newspaper Column / Dictation System

My Friend Irma: Psycholo / Newspaper Column / Dictation System

My Friend Irma, created by writer-director-producer Cy Howard, is a top-rated, long-run radio situation comedy, so popular in the late 1940s that its success escalated to films, television, a comic strip and a comic book, while Howard scored with another radio comedy hit, Life with Luigi. Marie Wilson portrayed the title character, Irma Peterson, on radio, in two films and a television series. The radio series was broadcast from April 11, 1947 to August 23, 1954. Dependable, level-headed Jane Stacy (Cathy Lewis, Diana Lynn) began each weekly radio program by narrating a misadventure of her innocent, bewildered roommate, Irma, a dim-bulb stenographer from Minnesota. The two central characters were in their mid-twenties. Irma had her 25th birthday in one episode; she was born on May 5. After the two met in the first episode, they lived together in an apartment rented from their Irish landlady, Mrs. O'Reilly (Jane Morgan, Gloria Gordon). Irma's boyfriend Al (John Brown) was a deadbeat, barely on the right side of the law, who had not held a job in years. Only someone like Irma could love Al, whose nickname for Irma was "Chicken". Al had many crazy get-rich-quick schemes, which never worked. Al planned to marry Irma at some future date so she could support him. Professor Kropotkin (Hans Conried), the Russian violinist at the Princess Burlesque theater, lived upstairs. He greeted Jane and Irma with remarks like, "My two little bunnies with one being an Easter bunny and the other being Bugs Bunny." The Professor insulted Mrs. O'Reilly, complained about his room and reluctantly became O'Reilly's love interest in an effort to make her forget his back rent. Irma worked for the lawyer, Mr. Clyde (Alan Reed). She had such an odd filing system that once when Clyde fired her, he had to hire her back again because he couldn't find anything. Useless at dictation, Irma mangled whatever Clyde dictated. Asked how long she had been with Clyde, Irma said, "When I first went to work with him he had curly black hair, then it got grey, and now it's snow white. I guess I've been with him about six months." Irma became less bright as the program evolved. She also developed a tendency to whine or cry whenever something went wrong, which was at least once every show. Jane had a romantic inclination for her boss, millionaire Richard Rhinelander (Leif Erickson), but he had no real interest in her. Another actor in the show was Bea Benaderet. http://en.wikipedia.org/wiki/My_Friend_Irma_%28radio-TV%29 Katherine Elisabeth Wilson (August 19, 1916 -- November 23, 1972), better known by her stage name, Marie Wilson, was an American radio, film, and television actress. She may be best remembered as the title character in My Friend Irma. Born in Anaheim, California, Wilson began her career in New York City as a dancer on the Broadway stage. She gained national prominence with My Friend Irma on radio, television and film. The show made her a star but typecast her almost interminably as the quintessential dumb blonde, which she played in numerous comedies and in Ken Murray's famous Hollywood "Blackouts". During World War II, she was a volunteer performer at the Hollywood Canteen. She was also a popular wartime pin-up. Wilson's performance in Satan Met a Lady, the second film adaptation of Dashiell Hammett's detective novel The Maltese Falcon, is a virtual template for Marilyn Monroe's later onscreen persona. Wilson appeared in more than 40 films and was a guest on The Ed Sullivan Show on four occasions. She was a television performer during the 1960s, working until her untimely death. Wilson's talents have been recognized with three stars on the Hollywood Walk of Fame: for radio at 6301 Hollywood Boulevard, for television at 6765 Hollywood Boulevard and for movies at 6601 Hollywood Boulevard. Wilson married four times: Nick Grinde (early 1930s), LA golf pro Bob Stevens (1938--39), Allan Nixon (1942--50) and Robert Fallon (1951--72). She died of cancer in 1972 at age 56 and was interred in the Columbarium of Remembrance at Forest Lawn Cemetery in Hollywood Hills. http://en.wikipedia.org/wiki/Marie_Wilson_%28American_actress%29

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