CALIFORNIA | LOCAL
October 16, 1998
Re "Patients Are the Losers When Medical Practice Is Free of Liability," Commentary, Oct. 9: I don't want to defend managed care, only common sense. Linda Peeno states, "Surgery would do no good," yet she "argued against this kind of thinking." It is unnecessary surgery, in part, that has led to the need for managed care. STANLEY RUBIN MD Orange
June 30, 1985 |
A catering truck is dispensing soda pop and tacos behind home plate. A young boy is making his way through the stands, raffling off a bottle of brandy. Under the trees on the hill in right field, a family is resting on a blanket. It's the sixth inning of a muni-league baseball game at Hazard Park in Boyle Heights. Suddenly, the serenity is broken momentarily by the commotion on the field. The team at bat is accusing the opposing pitcher of throwing spitballs.
September 27, 2005 |
During World War II, hundreds of actors (including Ronald Reagan), directors, producers, writers, editors, cameramen, makeup artists and even musicians enlisted in the Army Air Force found themselves stationed not in the European front or the Pacific theater but at the old Hal Roach Studios in Culver City. As members of the First Motion Picture Unit, these soldiers contributed to the war effort by making more than 400 training films and documentaries. Friday at Warner Bros.
April 19, 2014 |
Award-winning producer-writer-director George Schlatter is a kind of P.T. Barnum of the small screen. An innovative showman, the 81-year-old Schlatter turned the comedy genre on its head with the hip, groundbreaking series "Rowan & Martin's Laugh-In" (1968-73) and helped usher in the reality show format with "Real People" (1979-84) But that's not all, folks. He also created the "American Comedy Awards," produced countless TV specials, including "A Party for Richard Pryor" and "Sinatra: 80 Years My Way," and earned more than a few honors for his work, including Emmys and Golden Globes.
CALIFORNIA | LOCAL
November 25, 2012 |
Using a newly developed editing machine that he dubbed the "three-headed monster," Dann Cahn pioneered multi-camera editing on sitcoms in the 1950s while helping to craft a classic, "I Love Lucy. " "Lucy" broke ground in television by employing three cameras instead of one for filming, a then-novel system that allowed an episode to be filmed as though it were a stage play -- continuously and in sequence. But the abundance of footage overwhelmed editors, who quickly sought out a cutting-edge contraption that was being created for the game show "Truth or Consequences," Cahn later recalled.