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TCM USA's full monthly schedule for January, 2020. (It's Shoah-memorial month.)

Wednesday, January 01, 2020
(12:45 AM) That’s Entertainment! III (1994/120m/Michael J. Sheridan)
(3:00 AM) That’s Dancing (1985/104m/Jack Haley, Jr.)
(5:00 AM) Hollywood My Hometown (1965/53m/?)
(6:00 AM) The Future Is Now (1955/15m/Larry O’Reilly)
(6:30 AM) Beyond the Time Barrier (1960/75m/Edgar G. Ulmer)
(8:00 AM) Forbidden Planet (1956/98m/Fred McLeod Wilcox)
(10:00 AM) World Without End (1955/80m/Edward Bernds)
(11:45 AM) The Time Machine (1960/103m/George Pal)
(1:45 PM) Logan’s Run (1975/118m/Michael Anderson)
(4:00 PM) Soylent Green (1973/97m/Richard O. Fleischer)
(6:00 PM) Westworld (1973/89m/Michael Crichton)
(8:00 PM) The Roaring Twenties (1939/107m/Roul Walsh)
(10:00 PM) The Public Enemy (1931/84m/William A. Wellman)
Thursday, January 02, 2020
(12:30 AM) The Rise and Fall of Legs Diamond (1960/101m/Budd Boetticher)
(2:30 AM) King of the Roaring 20s: The Story of Arnold Rothstein (1961/Joseph M. Newman)
(4:30 AM) Mad Dog Coll (1961/87m/Burt Balaban)
(6:00 AM) The Private Lives Of Elizabeth and Essex (1939/106m/Michael Curtiz)
(8:00 AM) Fort Apache (1948/128m/John Ford)
(10:15 AM) The Letter (1940/95m/William Wyler)
(12:00 PM) Suspicion (1941/99m/Alfred Hitchcock)
(1:45 PM) A Streetcar Named Desire (1951/125m/Elia Kazan)
(4:00 PM) Adam’s Rib (1949/101m/George Cukor)
(5:45 PM) The Treasure of the Sierra Madre (1948/126m/John Huston)
(8:00 PM) Road To Morocco (1942/82m/David Butler)
(9:30 PM) Road To Utopia (1946/90m/Hal Walker)
(11:15 PM) Sorrowful Jones (1949/88m/Sidney Lanfield) (P)
Friday, January 03, 2020
(1:00 AM) My Favorite Brunette (1947/86m/Elliott Nugent)
(2:45 AM) Alias Jesse James (1959/92m/Norman Z. McLeod)
(4:30 AM) I Shot Jesse James (1949/81m/Samuel Fuller)
(6:00 AM) Hollywood Without Make-Up (1966/50m/?)
(7:00 AM) Badman’s Territory (1946/98m/Tim Whelan)
(8:45 AM) The Thief of Bagdad (1940/107m/Ludwig Berger)
(10:45 AM) Coquette (1929/76m/Sam Taylor)
(12:15 PM) Conquest of the Air (1936/66m/Zoltan Korda)
(1:30 PM) The Black Book (1949/89m/Anthony Mann)
(3:15 PM) Address Unknown (1944/72m/William Cameron Menzies)
(4:45 PM) The Whip Hand (1951/82m/William Cameron Menzies)
(6:15 PM) Things To Come (1936/97m/William Cameron Menzies)
(8:00 PM) Planet of the Apes (1968/112m/Franklin J. Schaffner)
(10:00 PM) Beneath The Planet Of The Apes (1970/95m/Ted Post)
Saturday, January 04, 2020
(12:00 AM) Escape From The Planet Of The Apes (1971/98m/Don Taylor)
(2:00 AM) Chopping Mall (1986/76m/Jim Wynorski) (P)
(3:30 AM) Keep Off The Grass (1969/21m/Ib Melchior)
(3:30 AM) Drug Stories (2019/?/?) (P)
(3:30 AM) Narcotics Pit Of Despair, Part 1 (1967/29m/Mel Marshall)
(6:00 AM) The Shop Around The Corner (1940/99m/Ernst Lubitsch)
(8:00 AM) MGM CARTOONS: To Spring (1936/9m/Hugh Harman) (P)
(8:11 AM) The Boss Didn’t Say Good Morning (1937/10m/Jacques Tourneur)
(8:22 AM) A Word For The Greeks (1951/8m/James A. FitzPatrick)
(8:31 AM) Go Down Death (1944/54m/Spencer Williams)
(9:30 AM) THE MYSTERIOUS MR. M: Flood of Flames (SERIAL) (1946/?/?)
(10:00 AM) POPEYE: Wimmin Is A Myskery (1940/7m/Dave Fleischer)
(10:07 AM) Fighting Trouble (1956/61m/George Blair)
(11:30 AM) King For A Day (1934/21m/Roy Mack)
(12:00 PM) King Solomon’s Mines (1937/80m/Robert Stevenson)
(1:30 PM) The Gunfighter (1950/85m/Henry King)
(3:00 PM) The Great Escape (1963/172m/John Sturges)
(6:00 PM) Every Which Way But Loose (1978/115m/James Fargo)
(8:00 PM) Sounder (1972/105m/Martin Ritt)
(10:00 PM) Louisiana Story (1948/81m/Robert Flaherty )
(11:30 PM) Romance of Louisiana (1937/18m/Crane Wilbur)
Sunday, January 05, 2020
(12:00 AM) The Big Sleep (1946/114m/Howard Hawks)
(2:15 AM) The Kiss Of Death (1947/99m/Henry Hathaway)
(4:00 AM) Touch Of Evil (1958/111m/Orson Welles)
(6:00 AM) The Broadway Melody (1929/100m/Harry Beaumont)
(8:00 AM) Sally (1930/102m/John Francis Dillon)
(10:00 AM) The Big Sleep (1946/114m/Howard Hawks)
(12:15 PM) The Major and the Minor (1942/101m/Billy Wilder)
(2:15 PM) Bus Stop (1956/94m/Joshua Logan)
(4:00 PM) Beach Party (1963/98m/William Asher)
(5:45 PM) Annie (1982/127m/John Huston)
(8:00 PM) Fiddler On The Roof (1971/181m/Norman Jewison)
(11:15 PM) Bachelor Bait (1934/75m/George Stevens)
Monday, January 06, 2020
(12:45 AM) Bardelys The Magnificent (1926/90m/King Vidor)
(2:30 AM) The Shop On Main Street (1965/126m/Ján Kadár )
(4:45 AM) Hollywood My Hometown (1965/53m/?)
(6:00 AM) A Ticklish Affair (1963/88m/George Sidney)
(7:45 AM) You For Me (1952/71m/Don Weis)
(9:15 AM) Too Young To Kiss (1951/89m/Robert Z. Leonard)
(11:00 AM) Air Force (1943/124m/Howard Hawks)
(1:15 PM) Hunt The Man Down (1950/68m/George Archinbaud)
(2:30 PM) Slaughter Trail (1951/77m/Irving Allen)
(4:00 PM) The Tunnel Of Love (1958/98m/Gene Kelly)
(5:45 PM) Old Acquintance (1943/110m/Vincent Sherman)
(8:00 PM) Imitation Of Life (1934/111m/John M. Stahl)
(10:15 PM) Body and Soul (1947/106m/Robert Rossen)
Tuesday, January 07, 2020
(12:30 AM) Intruder In The Dust (1949/87m/Clarence Brown)
(2:15 AM) The Tall Target (1951/78m/Anthony Mann)
(3:45 AM) Abe Lincoln In Illinois (1940/110m/John Cromwell)
(6:00 AM) MGM Parade Show (1955/29m/?)
(6:45 AM) Boots and Saddles (1937/57m/Joe Kane)
(8:00 AM) A Face In The Crowd (1957/126m/Elia Kazan)
(10:15 AM) Spade Cooley: King of Western Swing (1945/10m/Jack Scholl)
(10:30 AM) Hootenanny Hoot (1963/92m/Gene Nelson)
(12:15 PM) Your Cheatin’ Heart (1964/98m/Gene Nelson)
(2:00 PM) Bob Wills and His Texas Playboys (1944/11m/Le Roy Prinz)
(2:15 PM) The Fastest Guitar Alive (1967/87m/Michael Moore)
(3:45 PM) Outlaw Blues (1977/101m/Richard Heffron)
(5:45 PM) Honeysuckle Rose (1980/119m/Jerry Schatzberg)
(8:00 PM) The Fountainhead (1949/113m/King Vidor)
(10:00 PM) Bright Leaf (1950/110m/Michael Curtiz)
Wednesday, January 08, 2020
(12:00 AM) John Loves Mary (1949/96m/David Butler)
(1:45 AM) The Hasty Heart (1950/102m/Vincent Sherman)
(3:30 AM) The Group (1966/152m/Sidney Lumet)
(6:15 AM) The Woman In White (1948/109m/Peter Godfrey)
(8:15 AM) Two On A Guillotine (1965/107m/William Conrad)
(10:15 AM) The Terror (1963/79m/Roger Corman, et. al.)
(11:45 AM) The Haunting (1963/112m/Robert Wise)
(1:45 PM) Before Dawn (1963/61m/Irving Pichel)
(2:45 PM) That’s The Spirit (1933/11m/Roy Mack
(3:00 PM) The House On Haunted Hill (1958/William Castle)
(4:30 PM) Tormented (1960/75m/Bert I. Gordon)
(6:00 PM) Poltergeist (1982/114m/Tobe Hooper)
(8:00 PM) Some Like It Hot (1959/122m/Billy Wilder)
(10:15 PM) The St. Valentine’s Day Massacre (1967/100m/Roger Corman) (P)
Thursday, January 09, 2020
(12:15 AM) Scarface (1932/Howard Hawks)
(2:00 AM) Al Capone (1959/Richard Wilson)
(4:00 AM) The Doorway To Hell (1930/78m/Archie Mayo)
(5:30 AM) MGM Parade Show #29 (1955/29m/?)
(6:00 AM) Anthony Adverse (1936/141m/Mervyn Le Roy)
(8:30 AM) The Story Of Louis Pasteur (1936/86m/William Dieterle)
(10:15 AM) First Lady (1937/83m/Stanley Logan)
(11:45 AM) The Phantom Of Crestwood (1933/76m/J. Walter Ruben)
(1:15 PM) Millie (1931/85m/John Francis Dillon)
(2:45 PM) Everything’s Rosie (1931/67m/Clyde Bruckman)
(4:00 PM) The Firebird (1934/74m/William Dieterle)
(5:30 PM) Personal Maid’s Secret (1935/58m/Arthur Greville Collins)
(6:45 PM) Brides Like That (1936/67m/William McGann)
(8:00 PM) The Phenix City Story (1955/100m/Phil Karlson)
(10:00 PM) I Am Somebody (1970/28m/Madeline Anderson) (P)
(10:45 PM) Gaslight (1944/114m/George Cukor)
Friday, January 10, 2020
(2:45 AM) Girlfriends (1978/88m/Claudia Weill)
(4:30 AM) Body and Soul (1925/93m/Oscar Micheaux)
(6:00 AM) Armored Car Robbery (1950/68m/Richard Fleischer)
(7:15 AM) The Lost Squadron (1932/79m/Geoge Archainbaud)
(8:45 AM) Angel and the Badman (1947/100m/James Edward Grant)
(10:30 AM) The Strawberry Blonde (1941/99m/Raoul Walsh)
(12:15 PM) The Burning Hills (1956/92m/Stuart Heisler)
(2:00 PM) Danger Signal (1945/78m/Robert Florey)
(3:30 PM) Flamingo Road (1949/94m/Michael Curtiz)
(5:15 PM) Indestructible Man (1956/71m/Jack Pollexfen)
(6:30 PM) Act Of Violence (1949/82m/Fred Zinnemann)
(8:00 PM) Written on the Wind (1957/99m/Douglas Sirk )
(10:00 PM) Magnificent Obsession (1954/108m/Douglas Sirk)
Saturday, January 11, 2020
(12:00 AM) All That Heaven Allows (1955/89m/Douglas Sirk )
(2:00 AM) Multiple Maniacs (1970/90m/John Waters ) (P)
(3:45 AM) Female Trouble (1975/92m/John Waters ) (P)
(5:30 AM) Wonderful World of Tupperware (1965/29m/George J. Yarbrough)
(6:00 AM) Mr. Blandings Builds His Dream House (1948/94m/H. C. Potter )
(8:00 AM) MGM CARTOONS: Tale of the Vienna Woods (1934/8m/Hugh Harman) (P)
(8:10 AM) Bravest of the Brave (1938/11m/Edward L. Cahn)
(8:21 AM) Zeeland "The Hidden Paradise" (1935/7m/?)
(8:29 AM) The Adventures of Jane Arden (1939/58m/Terry Morse )
(9:30 AM) The Mysterious Mr. M, The: Double Trap (SERIAL) (1946/?/?) (P)
(10:00 AM) Popeye: Nurse Mates (1933/7m/Dave Fleischer) (P)
(10:07 AM) Clipped Wings (1953/64m/Edward Bernds )
(11:30 AM) Maid for a Day (1936/21m/Joseph Henabery)
(12:00 PM) Gentleman's Agreement (1947/118m/Elia Kazan )
(2:15 PM) Godzilla, King of the Monsters! (1956/81m/Ishirō Honda and Terry O. Morse)
(3:45 PM) Zorba the Greek (1964/142m/Michael Cacoyannis )
(6:15 PM) Ride the High Country (1962/94m/Sam Peckinpah)
(8:00 PM) Rashomon (1950/89m/Akira Kuosawa)
(10:00 PM) The Outrage (1964/96m/Martin Ritt)
Sunday, January 12, 2020
(12:00 AM) The Big Night (1951/75m/Joseph Losey)
(1:45 AM) Frankie and Johnny (1966/87m/Frederick De Cordova)
(3:30 AM) Elvis: That’s The Way It Is (1970/95m/Denis Sanders)
(5:30 AM) MGM Parade Show #29 (1955/29m/?)
(6:00 AM) Huddle (1932/103m/Sam Wood)
(8:00 AM) The Roaring Twenties (1939/107m/Raoul Walsh)
(10:00 AM) The Big Night (1951/75m/Joseph Losey)
(11:30 AM) A Woman’s Face (1941/106m/George Cukor)
(1:30 PM) Black Narcissus (1947/101m/Michael Powell and Emeric Pressburger)
(3:30 PM) The V.I.P.S. (1963/119m/Anthony Asquith)
(5:45 PM) Cabaret (1972/124m/Bob Fosse)
(8:00 PM) Harry and Tonto (1974/115m/Paul Mazursky)
(10:15 PM) The Late Show (1977/93m/Robert Benton)
Monday, January 13, 2020
(12:00 AM) The Lodger (1927/100m/Alfred Hitchcock)
(2:00 AM) Kapo (1959/117m/Gillo Pontecorvo)
(4:00 AM) The Bridge (1959/106m/Bernhard Wicki)
(6:00AM) Souls For Sale (1923/90m/Rupert Hughes)
(7:45 AM) Show Girl In Hollywood (1930/78m/Mervyn Le Roy)
(9:15 AM) Show People (1928/79m/King Vidor)
(10:45 AM) Make Me A Star (1932/86m/William Beaudine)
(12:15 PM) What Price Hollywood? (1932/88m/George Cukor)
(2:00 PM) The Perils Of Pauline (1947/92m/George Marshall)
(3:45 PM) Hearts of the West (1975/102m/Howard Zieff)
(5:30 PM) The Boy Friend (1971/136m/Ken Russell)
(8:00 PM) The Search (1948/104m/Fred Zinnemann)
(10:00 PM) The Diary Of Anne Frank (1959/180m/George Stevens)
Tuesday, January 14, 2020
(1:15AM) The Juggler (1953/86m/Edward Dmytryk
(3:00 AM) The Stranger (1946/95m/Orson Welles)
(4:45 AM) To Be Or Not To Be (1942/99m/Ernst Lubitsch)
(6:30 AM) The Of Your Life (1948/105m/H.C. Potter)
(8:30 AM) The Babe Ruth Story (1948/106m/Roy Del Ruth
(10:30 AM) Race Street (1948/79m/Edwin L. Marin)
(12:00 PM) Gambling House (1951/80m/Ted Tetzlaff)
(1:30 PM) The Big Steal (1949/71m/Don Siegel)
(3:00 PM) A Girl In Every Port (1952/87m/Chester Erskine)
(4:00 PM) The Deep Six (1958/108m/R. Maté )
(6:30 PM) The Young and the Brave (1963/84m/Francis D. Lyon)
(8:00 PM) The Day The Earth Stood Still (1951/92m/Robert Wise)
(9:45 PM) Weekend With Father (1951/83m/Douglas Sirk)
(11:15 PM) The Breaking Point (1950/97m/Michael Curtiz)
Wednesday, January 15, 2020
(1:00 AM) Washington Story (1952/82m/Robert Pirosh)
(2:30 AM) It’s A Great Feeling (1949/85m/David Butler)
(4:00 AM) Without Reservations (1946/101m/Mervyn Le Roy)
(6:00 AM) Noah’s Ark (1929/100m/Michael Curtiz)
(7:45 AM) Rasputin and the Empress (1932/121m/Richard Boleslavsky)
(9:45 AM) The Big Sky (1952/138m/Howard Hawks)
(12:00 PM) Doctor Zhivago (1965/200m/David Lean)
(3:30 PM) The Last Days Of Pompeii (1935/96m/Ernest B. Schoedsack)
(5:15 PM) How The West Was Won (1962/165 m/John Ford)
(8:00 PM) The Wet Parade (1932/117m/Victor Fleming)
(10:15 PM) Once Upon A Time In America (1984/227m/Sergio Leone) (P)
Thursday, January 16, 2020
(2:15 AM) The Purple Gang (1960/85m/Frank Mcdonald)
(4:00 AM) The Secret Six (1931/84m/George Hill)
(6:00 AM) Affair With A Stranger (1953/87m/Roy Rowand)
(7:30 AM) Weekend at the Waldorf (1945/129m/Robert Z. Leonard)
(9:45 AM) Is My Face Red? (1932/66m/William Seiter)
(11:00 AM) Talk About A Stranger (1952/65/David Bradley)
(12:15 PM) Blessed Event (1932/80m/Roy Del Ruth)
(2:00 PM) My Reputation (1946/94m/Curtis Bernhardt)
(3:45 PM) The Reluctant Debutante (1958/96m/Vincente Minnelli)
(5:30 PM) The Women (1939/133m/George Cukor)
(8:00 PM) New York, New York (1977/163m/Martin Scorsese)
(11:00 PM) Mean Streets (1973/112m/Martin Scorsese)
Friday, January 17, 2020
(1:00 AM) True Confessions (1981/108m/Ulu Grosbard)
(3:00 AM) The Gang That Couldn’t Shoot Straight (1971/96m/James Goldstone)
(4:45 AM) Gang Busters (1955/71m/Bill Karn)
(6:00 AM) I Am A Fugitive From A Chain Gang (1932/93m/Mervyn Le Roy)
(7:45 AM) The World Changes (1933/90m/Mervyn Le Roy)
(9:30 AM) Hi, Nellie! (1934/75m/Mervyn Le Roy)
(11:00 AM) Black Fury (1935/94m/Michael Curtiz)
(12:45 PM) Bordertown (1935/90m/Archie Mayo )
(2:30 PM) Dr. Socrates (1935/70m/William Dieterle)
(3:45 PM) The Good Earth (1937/138m/Sidney Franklin)
(6:15 PM) Angel On My Shoulder (1946/101m/Archie Mayo)
(8:00 PM) Whiskey Galore! (1949/82m/Alexander Mackendrick) (P)
(9:45 PM) Who’s Afraid of Virginia Woolf? (1966/131m/Mike Nichols)
Saturday, January 18, 2020
(12:15 AM) The Big Hangover (1950/82m/Norman Krasna)
(2:00 AM) The Private Files Of J. Edgar Hoover (1977/112m/Larry Cohen) (P)
(4:00 AM) It’s Alive (1974/91m/Larry Cohen)
(5:45 AM) When You Grow Up (1973/11m/Jerry Kurtz)
(6:00 AM) Where The Boys Are (1960/99m/Henry Levin)
(8:00 AM) MGM CARTOONS: The Unwelcome Guest (1945/7m/George Gordon) (P)
(8:09 AM) The Courtship Of The Newt (1938/8m/?/Roy Rowland)
(8:18 AM) Wandering Through Wales (1948/9m/?)
(8:28 AM) Night Spot (1938/60m/Christy Cabanne)
(9:30 AM) The Mysterious Mr. M: Highway Execution (SERIAL) (1946/?/?) (P)
(10:00 AM) POPEYE: Fightin’ Pals (1933/6m/Dave Fleischer)
(10:08 AM) Smuggler’s Cove (1948/66m/William Beaudine)
(11:30 AM) Ups and Downs (1937/22m/Roy Mack)
(12:00 PM) Laura (1944/88m/Otto Preminger)
(1:45 PM) The Man Who Cheated Himself (1950/82m/Felix E. Feist)
(3:15 PM) From The Earth To The Moon (1958/100m/Byron Haskin)
(5:15 PM) Tora! Tora! Tora! (1970/149m/Richard Fleischer)
(8:00 PM) Les Rendez-vous d’Anna (1978/128m/Chantal Akerman )
(10:15 PM) Two Weeks In Another Town (1962/107m/Vincente Minnelli )
Sunday, January 19, 2020
(12:15 AM) The Captive City (1952/91m/Robert Wise)
(2:15 AM) Creature From The Black Lagoon (1954/79m/Jack Arnold)
(3:45 AM) The Beast From 20,000 Fathoms (1953/80m/Eugene Lourié )
(5:15 AM) The Giant Behemoth (1959/80m/Eugene Lourie )
(6:45 AM) 6 Day Bike Rider (1934/69m/Lloyd Bacon)
(8:00 AM) The Singing Marine (1937/105m/Ray Enright)
(10:00 AM) The Captive City (1952/91m/Robert Wise)
(12:00 PM) Born To Kill (1947/92m/Robert Wise)
(2:00 PM) The Third Man (1949/105m/Carol Reed)
(4:00 PM) The Thin Man (1934/91m/W.S. Van Dyke)
(5:45 PM) Life With Father (1947/118m/Michael Curtiz)
(8:00 PM) All About Eve (1950/138m/Joseph L. Mankiewicz)
(10:30 PM) The Two Mrs. Carrolls (1947/99m/Peter Godfrey)
Monday, January 20, 2020
(12:30 AM) Next Aisle Over (1919/10m/Hal Roach)
(12:30 AM) Young Mr. Jazz (1919/10m/Hal Roach)
(12:30 AM) A Sammy In Siberia (1919/10m/Hal Roach)
(12:30 AM) Bumping Into Broadway (1919/26m/Hal Roach)
(12:30 AM) Lonesome Luke, Messenger (1917/10m/Hal Roach)
(12:30 AM) I Do (1921/25m/Hal Roach)
(2:15 AM) Au Revoir Les Enfants (1987/105m/Louis Malle)
(4:15 AM) Lacombe, Lucien (1974/138m/Louis Malle)
(6:45 AM) Odds Against Tomorrow (1959/96m/Robert Wise )
(8:30 AM) Bright Road (1953/68m/Gerald Mayer )
(10:00 AM) Carmen Jones (1954/105m/Otto Preminger)
(12:00 PM) The World, The Flesh and the Devil (1959/95m/Ranald MacDougall )
(2:00 PM) A Patch Of Blue (1965/105m/Guy Green)
(4:00 PM) Something Of Value (1957/113m/Richard Brooks)
(6:00 PM) Blackboard Jungle (1955/101m/Richard Brooks)
(8:00 PM) The Member of the Wedding (1952/89 m/Fred Zinnemann)
(10:00 PM) Edge of the City (1957/85m/Martin Ritt)
(11:45 PM) A Raisin in the Sun (1961/128m/Daniel Petrie)
Tuesday, January 21, 2020
(2:15 AM) The Landlord (1970/110m/Hal Ashby)
(4:30 AM) Within Our Gates (1920/74m/Oscar Micheaux)
(6:00 AM) Andy Hardy Meets Debutante (1940/88m/George B. Seitz)
(7:45 AM) Andy Hardy’s Private Secretary (1941/101m/George B. Seitz)
(9:45 AM) Life Begins For Andy Hardy (1941/101m/George B. Seitz)
(11:30 AM) The Courtship Of Andy Hardy (1942/95m/George B. Seitz)
(1:15 PM) Andy Hardy’s Double Life (1942/92m/George B. Seitz)
(3:00 PM) Andy Hardy's Blonde Trouble (1944/107m/George B. Seitz)
(5:00 PM) Love Laughs At Andy Hardy (1946/93m/Willis Goldbeck)
(6:45 PM) Hollywood My Hometown (1965/53m/?)
(8:00 PM) A Face In The Crowd (1957/126m/Elia Kazan)
(10:15 PM) Hud (1962/112m/Martin Ritt)
Wednesday, January 22, 2020
(12:15 AM) Raton Pass (1951/84m/Edwin L. Marin)
(2:00 AM) Operation Pacific (1951/109m/George Waggner )
(4:00 AM) Up Periscope (1959/111m/Gordon Douglas)
(6:00 AM) Nazi Agent (1942/84m/Jules Dassin)
(7:30 AM) A Woman’s Face (1941/106m/George Cukor)
(9:30 AM) Above Suspicion (1943/91m/Richard Thorpe)
(11:15 AM) Whistling In The Dark (1941/78m/S. Sylvan Simon)
(12:45 PM) The Spy In Black (1939/82m/Michael Powell)
(2:15 PM) Escape (1940/98m/Mervyn Le Roy)
(4:00 PM) Casablanca (1942/103m/Michael Curtiz)
(6:00 PM) All Through The Night (1942/107m/Vincent Sherman)
(8:00 PM) Incendiary Blonde (1945/113m/George Marshall )
(10:00 PM) Bugsy Malone (1976/93m/Alan Parker) (P)
(11:45 PM) Robin and the 7 Hoods (1964/123m/Gordon Douglas)
Thursday, January 23, 2020
(2:00 AM) Pete Kelly’s Blues (1955/95m/Jack Webb)
(4:00 AM) Love Me Or Leave Me (1955/122m/Charles Vidor)
(6:15 AM) Sombrero (1953/103m/Norman Foster)
(8:15 AM) Romeo and Juliet (1937/125m/George Cukor)
(10:30 AM) Storm Over Wyoming (1950/61m/Lesley Selander)
(11:45 AM) Manpower (1941/103m/Raoul Walsh)
(1:30 PM) The Painted Desert (1931/75 m/Howard Higgin)
(3:00 PM) Beneath The 12-Mile Reef (1953/101m/Robert D. Webb )
(4:45 PM) Pure Feud (1934/10m/Joseph Henabery)
(5:00 PM) The Voice Of Bugle Ann (1936/72m/Richard Thorpe)
(6:30 PM) Sporting Blood (1940/82m/S. Sylvan Simon )
(8:00 PM) Scandal: The Trial Of Mary Astor (2018/?/Alexa Foreman) (P)
(9:15 PM) Red Dust (1932/83m/Victor Fleming)
(11:00 PM) The Maltese Falcon (1941/100m/John Huston)
Friday, January 24, 2020
(1:00 AM) Scandal: The Trial Of Mary Astor (2018/?/Alexa Foreman)
(2:15 AM) Little Women (1949/122m/Mervyn Le Roy)
(4:30 AM) Act Of Violence (1949/82m/Fred Zinnemann)
(6:00 AM) Not With My Wife, You Don't! (1966/119m/Norman Panama)
(8:15 AM) Doctor, You've Got to be Kidding! (1967/95m/Peter Tewksbury)
(10:00 AM) Promise Her Anything (1966/97m/Arthur Hiller)
(11:45 AM) Sunday In New York (1963/105m/Peter Tewksbury )
(1:45 PM) The Chapman Report (1962/125m/George Cukor)
(4:00 PM) The Wild Affair (1963/88m/John Krish)
(5:45 PM) Boys’ Night Out (1962/113m/Michael Gordon)
(8:00 PM) The Wrath Of God (1972/111m/Ralph Nelson)
(10:00 PM) Farewell, My Lovely (1975/97m/Dick Richards) (P)
Saturday, January 25, 2020
(12:00 AM) The Yakuza (1974/112m/Sydney Pollack)
(3:30 AM) The Texas Chainsaw Massacre 2 (1986/95m/Tobe Hooper) (P)
(5:15 AM) MGM Parade Show #29 (1955/29m/?)
(6:00 AM) My Dream Is Yours (1949/101m/Michael Curtiz)
(8:00 AM) MGM CARTOONS: The Winning Ticket (1938/9m/?) (P)
(8:11 AM) Don’t You Believe It (1943/10m/Edward L. Cahn)
(8:22 AM) Touring Northern England (1950/9m/?)
(8:32 AM) Night Waitress (1936/57m/Lew Landers)
(9:30 AM) The Mysterious Mr. M, The: Heavier than Water (SERIAL) (1946/?/?) (P)
(10:00 AM) POPEYE: Doing Impossikible Stunts (1940/7m/Dave Fleischer) (P)
(10:08 AM) Blues Busters (1950/68m/William Beaudine)
(11:30 AM) The Song Of Fame (1934/21m/Joseph Henabery)
(12:00 PM) The Grapes Of Wrath (1940/129m/John Ford)
(2:15 PM) The Desert Fox (1951/88m/Henry Hathaway)
(4:00 PM) Act One (1963/111m/Dore Schary)
(6:00 PM) Wise Blood (1979/106m/John Huston)
(8:00 PM) A Warm September (1972/101m/Sidney Poitier)
(10:00 PM) Buck and the Preacher (1972/103m/Sidney Poitier)
Sunday, January 26, 2020
(12:00 AM) Try and Get Me! (1950/90m/Cyril Endfield) (P)
(2:00 AM) The Underworld Story (1950/91m/Cyril Endfield)
(4:00 AM) Hell Drivers (1957/103m/Cyril Endfield)
(6:00 AM) The White Sister (1933/103m/Victor Fleming)
(7:45 AM) Tarzan and His Mate (1934/104m/Cedric Gibbons)
(10:00 AM) Try and Get Me! (1950/90m/Cyril Endfield)
(12:00 PM) An Innocent Affair (1948/87m/Lloyd Bacon)
(1:45 PM) Lust For Life (1956/122m/Vincente Minnelli)
(4:00 PM) Two For The Road (1967/111m/Stanley Donen)
(6:00 PM) Crossing Delancey (1988/97m/Joan Micklin Silver)
(8:00 PM) Three Smart Girls (1937/84m/Henry Koster)
(9:45 PM) Every Sunday (1936/11m/?)
(10:00 PM) It’s A Date (1940/103m/William A. Seiter)
Monday, January 27, 2020
(12:00 AM) The Outlaw and His Wife (1917/73m/Victor Seastrom)
(2:00 AM) The Night Porter (1974/115m/Liliana Cavani) (P)
(4:00 AM) Come and See (1985/146m/Elem Klimov) (P)
(6:30 AM) Katharine Heburn: All About Me (1993/69m/David Heeley)
(7:45 AM) Stage Door (1937/92m/Gregory LaCava)
(9:30 AM) Adam’s Rib (1949/101m/George Cukor)
(11:30 AM) The Philadelphia Story (1940/112m/George Cukor)
(1:45 PM) Woman Of The Year (1942/114m/George Stevens)
(4:00 PM) Bringing Up Baby (1938/102m/Howard Hawks)
(6:00 PM) Pat and Mike (1952/95m/George Cukor)
(8:00 PM) Shoah: Four Sisters (2018/273m/Claude Lanzmann) (P)
Tuesday, January 28, 2020
(12:15 AM) The Sorrow and the Pity (1969/246m/Marcel Ophuls)
(5:00 AM) Night and Fog (1955/33m/Alain Resnais)
(6:00 AM) The Great Sinner (1949/110m/Robert Siodmak)
(8:00 AM) How The West Was Won (1962/165m/John Ford)
(11:00 AM) Days Of Glory (1944/86m/Jacques Tourneur)
(1:00 PM) Designing Woman (1957/118m/Vincente Minnelli)
(3:15 PM) The Valley of Decision (1945/118m/Tay Garnett)
(5:30 PM) The Yearling (1946/128m/Clarence Brown)
(8:00 PM) The Subject Was Roses (1968/108m/Ulu Grosbard)
(10:00 PM) Pat Neal Is Back (1968/8m/Edward Beyer)
(10:15 PM) Psyche 59 (1964/94m/Alexander Singer)
Wednesday, January 29, 2020
(12:00 AM) The Night Digger (1971/96m/Alastair Reid)
(2:00 AM) The Rare Breed (1966/97m/Andrew V. McLaglen)
(4:00 AM) The Far Country (1955/97m/Anthony Mann)
(6:00 AM) Arctic Fury (1949/61m/Norman Dawn)
(7:15 AM) Dr. Crippen (1963/98m/Robert Lynn)
(9:00 AM) I Am A Fugitive From A Chain Gang (1932/93m/Mervyn Le Roy)
(10:45 AM) Escape From East Berlin (1962/89m/Robert Siodmak)
(12:30 PM) Fearless Fagan (1952/79m/Stanley Donen)
(2:00 PM) Triple Cross (1966/126m/Terence Young)
(4:15 PM) Wings and the Woman (1941/95m/Herbert Wilcox )
(6:00 PM) Mrs. Soffel (1984/112m/Gillian Armstrong)
(8:00 PM) Our Dancing Daughters (1928/84m/Harry Beaumont)
(9:45 PM) Why Be Good? (1929/81m/William A. Seiter)
(11:15 PM) Thoroughly Modern Millie (1967/152 m/George Roy Hill)
Thursday, January 30, 2020
(2:00 AM) It (1927/77m/Clarence Badger)
(3:30 AM) Pandora’s Box (1928/133m/G.W. Pabst)
(6:00 AM) Eyes Without A Face (1959/90m/Georges Franju)
(7:45 AM) Another Face (1935/69m/Christy Cabanne)
(9:15 AM) Dark Passage (1947/106m/Delmer Daves)
(11:15 AM) Nora Prentiss (1947/111m/Vincent Sherman )
(1:15 PM) Hollow Triumph (1948/82m/Steve Sekely)
(2:45 PM) A Woman’s Face (1938/101m/Gustaf Molander)
(4:45 PM) The Brain That Wouldn’t Die (1962/82m/Joseph Green)
(6:15 PM) House Of Wax (1953/88m/Andre De Toth)
(8:00 PM) The Magnificent Seven (1960/128m/John Sturges)
(10:15 PM) Return Of The Seven (1966/96m/Burt Kennedy)
Friday, January 31, 2020
(12:00 AM) Guns of the Magnificent Seven (1969/106m/Paul Wendkos)
(2:00 AM) The Magnificent Seven Ride! (1972/100m/George McCowan)
(4:00 AM) The House of the Seven Hawks (1959/92m/Richard Thorpe)
(6:00 AM) Caesar and Cleopatra (1945/128m/Gabriel Pascal)
(8:30 AM) Great Expectations (1946/119m/David Lean)
(10:45 AM) So Long At The Fair (1950/86m/Terence Fisher)
(12:30 PM) Trio (1950/92m/Ken Annakin)
(2:15 PM) The Actress (1953/91m/George Cukor)
(4:00 PM) Affair With A Stranger (1953/87m/Roy Rowland)
(5:45 PM) Young Bess (1953/112m/George Sidney)
(8:00 PM) Moonstruck (1987/102m/Norman Jewison )
(10:00 PM) The Apartment (1960/125m/Billy Wilder)
submitted by tombstoneshadows28 to movies [link] [comments]

Jesuit trained Austin J. Tobin was head of the NY Port Authority when the World Trade Center was built

The multi Jesuit trained Austin J. Tobin who actually thought of the project to build the World Trade Center in 1968 and was the "autocratic" head of the NY Port Authority for over 30 years--the World Trade Center was constructed while Tobin was head of the Port Authority, is never ever brought up in "9/11 Truth" discussions because of his Jesuit affiliations. Its the same reason why the fact that the "9/11 Truth" movement doesn't mention that the director of the CIA during the 9/11 "attacks" was Jesuit trained at Georgetown--George Tenet. The Deputy director of the CIA was none other than Jesuit trained at Fordham--John "Drone Strike" Brennan. The PATRIOT ACT---which legally turned America and the whole western world into a Police State---was drafted BEFORE 9/11--and it was drafted by Jesuit Georgetown professor, devout Catholic, Viet Dinh! The Jesuits would not have been able to pass the Patriot Act without the 9/11 "attacks" as a pretense. Now there is the "Austin J. Tobin plaza" at the new World Trade Center site--of course the Jesuits would honor one of there loyal conspirators. The Austin J. Tobin plaza somehow remained unscathed by the collapse of building 1 and 2 of the old-world-trade center.
Here is the New York Times obituary written for Austin J. Tobin
https://www.nytimes.com/1978/02/09/archives/austin-j-tobin-executive-director-of-port-authority-for-30-years.html

"Austin J. Tobin, Executive Director Of Port Authority for 30 Years, Dies

By Frank J. Prial, 9 February 1978

February 9, 1978, Page 2. The New York Times Archives
Austin J. Tobin, the autocratic Brooklyn‐born lawyer who built the Port Authority of New York and New Jersey into the most powerful agency of its kind in the world, died of cancer yesterday at his Manhattan apartment. He was 74 years old.
When Mr. Tobin joined the agency as a law clerk it had 300 employees. When he retired as executive director in 1972, the agency had 8,000 employees and an investment of $2.6‐billion in bridges, airports, ship terminals and other facilities, including the vast World Trade Center.
At the time of his retirement he was reputed to be the highest‐paid public official in the United States except for the President. His salary was $70,000 a year.
Mr. Tobin saw the agency’s image change from one of benevolent servant of the area’s millions to that of a conservative, money‐oriented, banker-dominated organization bent on defending its profit‐making activities in the face of public demands that it take on such tasks as improving mass transportation.
When Mr. Tobin left the authority at the age of 68, “to allow for the orderly transfer of executive responsibility to other hands,” he was himself the central target of most of the criticism directed at the agency.
At the time, critics of the authority were demanding that its considerable financial surpluses be channeled into mass transit, particularly the region’s ailing commuter railroads. The agency was seen as the creator of many of the region’s transportation problems because it catered, with its tunnels and bridges, to automobiles.
Mr. Tobin’s refusal to involve the authority in rail projects was taken as evidence that the authority’s primary concern was for its investors, mostly the big Wall Street banks.
Mr. Tobin maintained that he did not care what he operated so long as it made money. The Port Authority, he always insisted, had to make money, or it would die.
Unlike other port authorities in this country and elsewhere in the world, Mr. Tobin insisted, the Port Authority had no power to tax and no access to public funds. Its single lifeline was public credit, and unless it dealt only with what he called “self‐supporting” projects, its ability to borrow would disappear.
In the years after Mr. Tobin’s retirement, that is almost what happened. When the Legislatures of New York and New Jersey passed bills that would have permitted the Port Authority to be used for deficit rail projects, the sale of its bonds fell off drastically. The laws later were declared unconstitutional by the United States Supreme Court, and Port Authority bonds have since regained most of their old prestige.
Recent years have seen much of the enthusiasm for commuter rail projects disappear in the face of raging inflation, and many of Mr. Tobin’s predictions that such projects were a “bottomless pit” for either public or private funds have come true.
Whatever Mr. Tobin’s critics said of his policies, few disputed the official’s single‐minded dedication to his job. Mr. Tobin considered it routine to work 12 to 18 hours a day and he expected many of his subordinates to follow a similarly rigorous schedule.
Reserved in manner and dress, the stocky, silver‐haired executive—whose face bore some resemblance to Mickey Walker, the old “Toy Bulldog” of the fight ring—was a devotee of classical music and an ardent bird watcher at his second home in Quogue, L. I. But when he went to Quogue, he usually toted a bulging briefcase with him.
Austin Joseph Tobin was born on May 25, 1903, the son of Clarence J. and Katherine Moran Tobin. His paternal grandfather, an immigrant from Tipperary, worked on the Brooklyn docks and died at the age of 30.
Clarence Tobin learned shorthand and served as secretary to John H. McCooey, a county leader, when Mr. McCooey was president of the Municipal Civil Service Commission in 1901. Later he became court reporter in Brooklyn.
The family moved to Flatbush, where Austin attended St. Francis of Assisi parochial school and St. John’s Preparatory School. After graduating from Holy Cross College(Jesuit) in 1925, he graduated Fordham Law School(Jesuit) and almost immediately joined the fledgling Port Authority as law clerk.
From 1930 to 1935 he was the agency’s real‐estate lawyer, and in 1937 he was named assistant general counsel. In 1942 he became executive director, succeeding John E. Ramsey, the first man to hold that post.
Under Mr. Tobin’s guidance, the agency completed the second and third tubes of the Lincoln Tunnel, added a second level to the George Washington Bridge, undertook the financing and development of the four major airports of the metropolitan district—Kennedy International, Newark International, La Guardia and Teterboro, a general aviation airport—and built the city’s first commercial heliports, at 30th Street and the Hudson River and at Wall Street on the East River.
The agency also constructed and operated the Port Authority Bus Terminal at Eighth Avenue and 41st Street, the largest in the world, and developed the harbor’s waterfront.
Starting with the Brooklyn piers, the Port Authority reconstructed docks in Hoboken, remade Port Newark and Port Elizabeth into modern containership centers and, most recently, designed and built the new passenger ship terminal on the West Side of Manhattan.
Also under Mr. Tobin, the Port Authority embarked on two of its most controversial projects, acquisition and rehabilitation of the former Hudson and Manhattan Railroad, now known as PATH, an acronym for Port Authority Trans Hudson, and the 110‐story, twin towers of the World Trade Center.
Actually, the two were closely allied. New Jersey, which had long felt slighted by the agency, agreed to permit construction of the Trade Center only if the Port Authority took over the decrepit Hudson and Manhattan. Both New York’s and New Jersey’s Governors have the power to veto the authority’s minutes and thus prevent its carrying out plans.
In agreeing to take on the Hudson and Manhattan, the agency got both states to agree that it would never again have to involve itself in a deficit commuter rail project.
It was this pact that so enraged critics of the agency and of Mr. Tobin almost a decade later when the region’s financial difficulties led political and civic leaders to look at the Port Authority’s full coffers with considerable envy.
The World Trade Center has been mired in controversy since it was first proposed in the early 1960’s. It’s enemies have blamed it for most of the real‐estate problems of lower Manhattan in recent years and charged that it has never been a success.
It would have been a disaster, they contend, if the State of New York had not come to its aid by renting most of the space in one of the two towers.
Mr. Tobin’s critics saw the two huge towers, at their completion the tallest in the world, as a manifestation of his ego and of his conception of the Port Authority as larger and more important than almost anything in the region.
Mr. Tobin never even attended the dedication ceremonies of the World Trade Center on April 5, 1973, a year after his retirement. He said at the time that he had decided not to go because it was raining.
Mr. Tobin leaves his wife, Rosaleen C. Skehan, formerly a lawyer for the Port Authority; a son, Austin C. Tobin Jr., an investment hanker; a daughter, Mrs. Martin Carmichael Jr., and seven grandchildren.
His first wife, Geraldine Farley Tobin, the mother of his children, died in 1966.
A funeral mass will be said at 10 A.M. Saturday at St. Vincent Ferrer Church in Manhattan."

Jesuit trained Austin J. Tobin is mentioned quite a bit in the book Empire On The Hudson : Entrepreneurial Vision And Political Power At The Port Of New York Authority, Jameson W. Doig (2001) : https://archive.org/details/thecolumbiahistoryofurbanlifejamesonw.doigempireonthehudsonentrepreneurialvision

pg 18 : " Austin J. Tobin was born in Brooklyn in 1903, son of an active member of the McCooey Democratic machine. He attended Catholic schools in Brooklyn, graduated from Holy Cross College(Jesuit) in 1925 as salutatorian, and joined the Port Authority in 1927, while taking classes at Fordham law school(Jesuit) at night. Tobin served as real estate attorney and as an assistant general counsel at the agency, 1928–1942. From his third-tier position at the Port Authority, he organized a national campaign to block President Roosevelt’s plan to tax municipal bonds. Tobin was appointed executive director of the Authority in 1942. For the next three years, he confronted opposition from influential members of the Port Authority board. Tobin consolidated his power in 1945 and led the Port Authority until he departed at the end of 1971."

pg 202 : " Joined by another young lawyer, William Pallmé, and a legal assistant,Paul Reilly, Tobin carried out more than 80 negotiated purchases and condemnations in 1930–31, displaying the same drive and commitment to success that his classmates had seen at Holy Cross(Jesuit)."
pg 194/197 : "A Son of Brooklyn and the Church
"In these artificial days, there are only a few compelling people who become so sincerely bound up in every task to which they are assigned, that they positively fill the atmosphere with their determination. Austin is of that rare and valued type. . . ."Holy Cross College yearbook, 1925
Politics and the docks of New York harbor were part of the heritage of the Tobin family, which in the late nineteenth century made its home near Prospect Park in Brooklyn. Austin’s grandfather, who had emigrated from Ireland, worked at the Brooklyn docks while the great bridge was under construction. Killed in a dock accident at the age of 30, he left a son, Clarence, and a daughter. To help support the family, young Clarence became a messenger boy, but he soon caught the eye of a member of the Brooklyn Democratic organization, who urged him to “go to school; become a stenographer.” And so he did; and through his political connections Clarence gained appointment, beginning in 1901, as stenographer to local public officials. In 1907 he was named to the staff of the state trial court in Brooklyn, where he served as court stenographer for 42 years, until his retirement in 1949. In 1902 Clarence married Katharine Moran, whose family was in the funeral business in Brooklyn, and they had four sons. Austin Joseph was the first. Born on May 25, 1903, Austin received an education that was in a formal sense thoroughly Catholic but, when mixed with Tobin’s personal chemistry, was also thoroughly emancipating. Austin attended the parochial school of St. Francis of Assisi Roman Catholic Church, and he then entered St. John’s Catholic preparatory school, graduating in 1921. His next four years were spent at Holy Cross College(Jesuit) in Worcester, Massachusetts, from which he graduated near the top of his class in 1925. Later that year he began the study of law at Fordham(Jesuit). Holy Cross was, a college classmate of Tobin’s recalls, a “very rigid Catholic school.” Austin liked parties and he was not averse to a little drinking and gambling; so he sometimes broke college rules, and he accumulated a large number of demerits in his four years at school. At times, he seemed to relish the challenge of breaking the rules, as he worked out complex strategies to defeat the college’s efforts to monitor student behavior. But his challenge to authority was more intellectual than social. Tobin loved reading, and he was a highly rational being (“as his Jesuit teachers had taught him to be,” one friend commented)................At St. John’s Prep, he won awards for oratory, and sixty years later, high school companions could still recall the subjects on which he spoke. At college he walked with friends on the campus hills, reciting Virgil and Horace, and debating with them the great and small issues of the day. And he could write; this talent too was encouraged by Holy Cross, where Austin penned essays and poems for the literary magazine. Like the poet Hart Crane, Tobin was touched by the romance of the harbor and the sometimes destructive intensity of the growing cities. Tobin’s most distinctive qualities during these years were great personal energy, organizing talent, and commitment to a cause, combined with a playful, risk-taking approach to life. The first three of these attributes are illustrated by his fervent support of the football team and other athletic endeavors, and by his leading efforts in organizing college dances in the New York area. These dimensions are also captured in his yearbook entry, whose opening lines are quoted in the headnote to this section. The yearbook comment continues: “No half-way measures for him; do it well, or don’t do it at all—with a vengeance. In fact, we would be inclined to smile at his earnestness, if he had not a wealth of genuine talent to justify his actions.” These sentences capture not only the Tobin of four years at Holy Cross but important elements of his next four decades as well. The playful and risk-taking aspects of Tobin’s character were also on display in much of his college life. Both elements are seen in the stratagems he devised to outwit the watchful Jesuit monitors, and in his enthusiastic response to gambling opportunities. However, the playful side of his personality was most clearly displayed in his half-time activities during football games and in related capers. For one football game during his senior year, he organized and produced a half-time show which parodied British royalty (Austin assigned himself the role of “Lady Mountbatten or Lady Somebody.”) For the Fordham game, he organized a burlesque Spanish dance, and for the St. John’s game, he and other upperclassman planned a half-time entertainment in which “fifty innocent freshmen” were introduced onto the field and asked to capture two well greased pigs. During November of his senior year, Tobin wrote “insane snatches of verse” for the New Jersey Club dance; and he and a compatriot put on a skit for the Freshman Reception. After graduation in 1925, Austin returned to Brooklyn and married Geraldine T. Farley, who had graduated from Adelphi College the same year. That fall he enrolled at Fordham Law School, attending classes in the evening while working as a clerk at Miller & Otis, a New York law firm, and casting about for what he should do next. His father was active in Brooklyn politics, but Austin had no interest in that field. He visited the local Democratic club with his father once or twice, but he felt uncomfortable in the society of party members who kept their hats on indoors and chewed cigars, while they exchanged news about local political issues and devised strategies for the next campaign. Although Tobin was reluctant to throw his energies into local politics, his view of government was highly positive. Like his father, Austin held Woodrow Wilson in high regard, and this favorable view had been reinforced by a brief meeting with the president at the White House. In the tradition of Wilson, Theodore Roosevelt, and young Robert Moses, Austin viewed government as an appropriate instrument in meeting broad social goals, he favored a strong civil service along British lines, and he was optimistic that American society, effectively led, could meet the challenges ahead. One of the newest experiments in active government was the Port of New York Authority. Tobin had heard about the “port authority idea” in 1919–20, when Governor Alfred E. Smith(Papal Chamberlain) campaigned across the region for the creation of the bi-state agency. As Tobin later recalled: “My father . . . took me to hear Al Smith make the closing speech of one of his campaigns in the [Brooklyn] Academy of Music, and it was there that I first heard about the idea and concept of the Port Authority.” In 1925–26 the Authority was still negotiating with the railroads, but it had just received approval to construct three bridges between New Jersey and Staten Island, as well as the vast span across the Hudson River. Ground-breaking ceremonies for the first of these projects took place in September 1926 with much publicity, and the future of this fledgling bi-state enterprise looked promising. Moreover its General Counsel, Julius Henry Cohen, had a national reputation for his innovative approach to important legal and substantive problems. Here was a natural place for an aspiring lawyer interested in the New York region and in complex legal issues. In 1926, a friend of Tobin at Miller & Otis, John Stuart Dudley, was hired by the Port Authority as a real estate attorney, and he soon urged his compatriot to join him. Austin applied for a position, and Cohen liked what he saw. A demand that the position be used to meet patronage needs postponed a decision temporarily, but Cohen resisted that foray. On February 14, 1927, Tobin joined the Port Authority’s small staff as a law clerk. A year later he had his Fordham law degree and was promoted to Assistant Attorney in Cohen’s office. "

pg 475 : " "Three days away from H.C. and in Brooklyn and not a slip-up on either end,” Tobin wrote, after one forbidden absence during term; “for the H.C. triumph over theJebs and their vigilant system I owe a good bit to the maneuvers of Joe and Al.” (A. J. Tobin, letter to G. T. Farley, May 9, 1924.) A year later, facing the mandatory senior retreat, which conflicted with his fiancee’s college graduation, he commented: “If I haven’t amassed enough Jesuit strategy and counter-strategy in four years to out-wit the Jesuits themselves for one all-important evening—I neither deserve nor want my degree.” (Tobin letter to Farley, April 27, 1925.) His efforts to evade Jesuit strictures did not always work, however. His brother Bill recalled that their father was asked to visit the Prefect of Discipline at Holy Cross on one occasion, to hear the details of his son’s behavior while “entertaining” fellow students at a Greek restaurant near the campus; and he thought there were other similar fatherly visits."
submitted by Ainsoph777 to Jesuitworldorder [link] [comments]

gambling machines for sale in port elizabeth video

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Slotlady - YouTube

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