GrizlyAdams

Fresh squeezed lemonade. One lemon, 1/2 cup sugar, 2 cups water. Refreshing and delicious.internet #Fresh #Squeezed #Lemonade internet money lemonadehow to make lemonadehomemade lemonadelemonade recipedon toliver lemonadehomemade lemonade recipehow to make homemade lemonadefresh lemonadeeasy lemonade recipehomemade lemonade recipe with real lemonsbest lemonade recipeSimple lemonadeold fashioned lemonadefresh squeezed lemonade recipehomemade lemonade with lemon juicelemonade lyricsinternet money lemonade lyrics

One 8oz cream cheese room temp for easy mixing . one cup crushed pineapple, drain all the liquid. Fresh is better but can is okay. Mix and eat with celery. Make sure to wash the celery and cut the white end and the leaves off. #how to #cream cheese frosting pineapple penpineapple plantcream cheese recipeCreem cheesethanksgiving foodthanksgiving sideseasy thanksgiving recipesholiday recipesholiday recipes 2020thanksgiving dinnerfunny momentsBenefits of celeryhealth benefits of celery juicethanksgiving side dishes

Recipe for curing the munchies.

You got the hunger and the cottonmouth Funny

How to use your long beard to block the adds on your tee shirts.

Meet King Joe by Sutherland (John) Productions, Inc. Publication date 1949 Usage Public Domain Topics Cold War, Animation: Advertising, Capitalism Digitizing sponsor Harding College, Extension Department / Alfred P. Sloan Foundation Cold War cartoon aimed at American workers with the objective of convincing them of their good fortune. Shotlist Presents 'KING JOE' as the average American working man who, by virtue of his high wages and short hours, is king of the world's workers. Ken Smith sez: "American labor, management and capital -- the greatest production team in the history of mankind -- have made the United States the industrial master of the world." This theatrical cartoon is one of the "fun and facts about America" series, made "to create a deeper understanding of what has made America the finest place in the world to live." Actually, it was financed by the Alfred P. Sloan Foundation, created by the chairman of General Motors, and its message in the labor-unruly late forties is clear. Joe, who wears overalls and talks with a pseudo-Brooklyn accent, is "king of the workers of the world" NOT because he is worthy, but because the machinery in his factory "multiplies strength and efficiency." This is part of "the "American way of doing things," the narrator tells us. We also learn that Joe is "king" not because he can exert power over anything (union rabble-rousers take note), but because "he can buy more with his wages than any other worker on the globe." Joe dutifully goes on a shopping spree to demonstrate. As proof that the American system is the most wonderful on earth, the narrator informs us that Americans own 72% of the cars in the world, 92% of the bathtubs, and "practically all the refrigerators in existence." In the end, Joe sits atop a giant machine that spits out futuristic cars, TVs and washing machines at the yank of a lever. While America The Beautiful plays underneath, the narrator sums up the attitude industrial America was pushing: "Labor and management must continue to increase the production of better goods at lower prices so that more people will be able to buy the things that make life easier and happier for all of us." A well-financed Technicolor cartoon. <BR>

It's Everybody's Business by Sutherland (John) Productions, Inc. Publication date 1954 Usage Public DomainCreative Commons Licensepublicdomain Topics Cold War, Capitalism, Animation: Advertising Digitizing sponsor U.S. Chamber of Commerce / E.I. duPont de Nemours & Co., Inc. Corporate Cold War-era cartoon linking Bill of Rights to free-enterprise ideology. Shotlist The end of World War II did not bring peace at home. Nuclear anxiety, anti-Communism and international political realignments fueled the Cold War and turned our country's media landscape into a battleground from the late 1940s on. In the press, on the radio, and increasingly through the newly emerging medium of television, business and labor struggled for power over the national consciousness. Seeking a prize worth much more than public consent, these opposing forces fought to redefine the economic structure of the nation. To most working people, postwar "normalcy" meant a final farewell to Depression-induced privation, access to consumer goods unavailable during the war years, and a redistribution of the economic pie through the newly powerful labor movement. To business, however, the end of hostilities promised freedom from New Deal liberalism. Corporations sought an end to planning and government influence, to communist, socialist and labor movements, and above all, shrinkage of the public sector, swollen in sixteen years of economic depression and war. Both sides characterized their points of view as patriotic and their opponents as un-American. Business fought for influence through organizations like the U.S. Chamber of Commerce and the National Association of Manufacturers. Their intentions were presented as lofty and neutral: to educate Americans about our economic system and its benefits. Launching a giant propaganda offensive, these organizations pumped out press releases, published books, organized public and private meetings, bought advertising and produced motion pictures. It's Everybody's Business links the Bill of Rights to the tenets of free-enterprise ideology, "interlocking inseparably the blocks of our political and economic freedom." This strategy expresses not only the opinions of the film's sponsors, but is also a skillful attempt to co-opt liberal discourse, which sought to champion the Bill of Rights against McCarthyite excesses. By linking freedom and patriotism with the market economy the movie tries to manufacture universal consensus. Like other Sutherland productions (Make Mine Freedom, Meet King Joe and A Is For Atom), this employs a "stealth" strategy. Self-deprecating humor prevails, perhaps because the films were made to play before distracted and highly skeptical audiences, and the targets of this humor include our consumer culture and the dubious innovations it creates. Aside from self-deprecating humor, this film features several memorable visual devices: the "tax monster," the tidal wave of war, and the animated paper money riding on the train. Ken Smith sez: This John Sutherland cartoon glorifies the American consumption economy, and tells its viewers that it would be unpatriotic not to "risk your savings in our competitive business system." Watch for the many scenes where anthropomorphized dollar bills run around frantically, and don't miss the relentless, money-sucking tax monster. The Freedoms Foundation awarded this film its gold honor medal as "the best film developed in the United States during 1954 to further better understanding of the American way of life." In Technicolor. U.S. Chamber of Commerce Cartoons Animation Accents (Scottish) Capitalism Business Free enterprise Economics Advertising Sales Competition Money (animated) Money Distribution Manufacturing Consumerism Gender roles Graphs Surrealism Blood Football (huddles) Huddles (football) Executives (animated) Marketing Manufacturing Assembly lines (animated) Parades (commercial) Wars (effect on business)

Philly cheese steak, How to recipe part 2 of Stovetop Baked Beans.

Simple, easy stovetop baked beans. My first cooking video,

The Devil and Daniel Mouse by Nelvana Publication date 1978-10-05 Topics Animation, Stephen Vincent Benet, Halloween, CBC, John Sebastian, 1970s Language English When a young female mouse makes a deal with the devil to become a rock star and learns the price, her boyfriend has to help her avoid damnation.

Opportunities Unlimited by Transfilm Usage Public DomainCreative Commons Licensepublicdomain Topics Motion Pictures: Sponsored, Consumerism, Economics, Animation: Advertising Presented by LIFE and Fortune Magazines, an animated economic overview of the rise of the "middle income consumer." Directed by Steve Muffatti,animated by Ben Farish, Bill Hudson, Keith Robinson, and Howard Smith. Produced by Transfilm. 0661 PA8718 Opportunities Unlimited 16 Koda comp print;

Why Play Leap Frog? by Sutherland (John) Productions, Inc. Publication date 1949 Usage Public DomainCreative Commons Licensepublicdomain Topics Economics, Cold War, Animation: Advertising Digitizing sponsor Harding College Cold War-era cartoon aimed at convincing workers that increased productivity brings about greater purchasing power. Shotlist WHY PLAY LEAPFROG?, the fourth in a series of economics films, shows through an animated Technicolor cartoon how increased wages based on increased productivity bring about increased purchasing power. The film begins with a brief introductory sequence showing two cartoon figures -- one representing prices and the other representing wages -- playing leapfrog as each successively rises on the cost-of-living index. It then shifts to show Joe, a worker in the Dilly Doll Company, slightly down in the mouth because of a steady rise in the cost of living without an accompanying increase in wages. His joy over an increase in wages fades when he discovers that the price of a doll which he planned to buy for his little girl for a birthday present has also gone up. The manager of the store explains to Joe that he has had to increase the price because the factory is charging more. As Joe is reflecting upon the thought that the raw materials for the doll which markets for two dollars cost only ten cents, a voice asks him whether or not he knows the value of the raw materials in a $1900 car. When Joe guesses $300, the voice tells him that the materials are worth only $22. An animated pictogram shows the raw materials in an automobile and the countless number of men needed to transform it into the finished product. A circle graph shows the proportionate costs involved in the manufacturing and marketing of the car. The direct and indirect labor costs are shown to be $1200. Joe admits that he can understand this cost analysis for an automobile but still wonders what factors account for beef steak's costing one dollar per pound. The direct and indirect labor costs of feeding, fencing, housing, caring for, shipping, butchering and marketing "Bully Boy" are shown. As a butcher sells a pound of beef, his scales register each of these costs. In the case of this item, as in the case of the car, 85% of the selling price is attributable to direct and indirect labor costs. The offstage voice helps Joe arrive at the conclusion that increased productivity would result in greater buying power and lower costs. Joe presents to his supervisor the idea of painting four dolls at once. The supervisor thinks it is a good idea and is shown going to the bank to borrow money to purchase new equipment. The increase in production results in another increase in Joe's wages and a decrease in the price of dolls. The summarizing statement points out that under this arrangement wages can keep ahead of prices. [Educational Screen Jan. 52] Ken Smith sez: The third sharp-looking cartoon in the "fun and facts about American business" series, beautifully animated by John Sutherland Productions. "Joe" (see MEET KING JOE) works at the Dilly-Doll factory as a face painter, and is upset because nearly every one of his raises is offset by an increase in the cost of goods. But the narrator explains that labor costs are to blame (not excessive profits or executive bonuses) and Joe quickly learns to use the system to his own benefit. A Freedoms Foundation award-winner. In Technicolor. Charts Graphs Animation Labor costs Workers Economics Money Cold War Anti-communism Capitalism Economic education

Working Dollars by Sutherland (John) Productions, Inc.. Publication date 1957 Usage Public DomainCreative Commons Licensepublicdomain Topics Finance, Investing, Animation: Advertising Digitizing sponsor Members of the New York Stock Exchange Animated explanation of how the stock market works, told through the story of an Everyman named Mr. Finchley Shotlist Many people, like Mr. Finchley, the hero of this film, may have wondered how to go about owning a share of American business, or about the new "pay-as-you-go" Monthly Investment Plan. Or, perhaps they'd just like to know more about how the stock market works -- about market opportunities and risks, stocks, bonds and dividends. If so, they will find the adventures of Fred Finchley as one of the best ways to find out what goes on at the Stock Exchange. Mr. Finchley is a likeable, average sort of fellow. His wife calls him "Fred" ... and his boss calls him "FINCHLEEEEEY!" -- like that! He has a comfortable, well-equipped house in an attractive suburb ... insurance (just in case) ... and a savings account for emergencies. But there was never anything extra left over for those special dreams until one day, Mr. Finchley's boss bellowed "FINCHLEEEEEY!" even louder than usual. And when Mr. Finchley returned from his employer's office -- with a cigar and a slightly dazed look on his face -- his salary was $60 fatter every month! What Mr. Finchley did with his extra $60, the perils of his ventures in "Utopium, Unlimited," and how he finally caught on to a sensible way to become the man of his dreams is the essence of this sparkling cartoon story of WORKING DOLLARS. [Business Screen, Vol. 17, No. 5, 1956]