Word: monogrammed
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Dates: during 1950-1959
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James McNeill Whistler's monogram was a butterfly, which appears in medallion form in his portrait of Thomas Carlyle (see spread). In his landscapes, Whistler was a butterfly, gently sipping the sweetness of nature and making it the subject of canvases so subtle and thinly brushed as to seem evanescent. He lived in London, made his mission "revealing the Thames to the people who lived on it but had previously only seen it as a stretch of water...
...work as a librarian. Between his bookish chores, Producer Wanger hoped to swing back into the old stride that had helped him turn out such hit movies as Algiers. His own occupational therapy project: working on a movie called Kansas and Pacific, which he plans to produce at Monogram after his release...
...TIME, Oct. 29). Republic Pictures cleared its throat, announced that it had set aside $1,000,000 to enlarge its sound stage space for TV film production and to finance its first pictures for television (one character already on tap: Commando Cody, Sky Marshal of the Universe). Next day, Monogram Pictures fell in line, announced that it had set up a wholly owned subsidiary to make movies for TV. Still to be heard from: any of Hollywood's major studios, now riding the crest of a new movie box-office boom...
...Thin Edge. A score of smaller Hollywood competitors are already aboard the TV bandwagon. They range from shoestring producers to such established companies as Jerry Fairbanks, Inc., which employs a timesaving three-camera technique (TIME, March 6, 1950). Broidy Productions (owned by a brother of the head of Monogram Pictures) makes Wild Bill Hickok films for TV, and turns out a 30-minute religious show with such titles as Sister Martha Bets 'Em Big. Bing Crosby Enterprises hopes to captivate televiewers with a new series featuring a cast of chimpanzees enacting Sherlock Holmes thrillers...
...going swimmingly. In the role of Cupid was none other than the A.F.L.'s imperious James Caesar Petrillo, who watches over his American Federation of Musicians with all the protective zeal of an ambitious mother with a marriageable daughter. Sitting down with the representatives of Republic and Monogram studios, he quickly cleared away one obstacle that has prevented film companies from supplying television with movies made since 1946. Petrillo agreed to raise no objections to televising films, provided the studios 1) rescored them (i.e., started all over again with union musicians), and 2) paid 5% of TV profits into...