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Advance Indiana amateurs nude "They made millions and millions of dollars by bringing an Asian into Americans' homes every night," Altman said in. "I thought that was the worst taste." Altman never minced words about reproaching. After the Sept. 11 attacks, he said served as a source of inspiration for the terrorists by making violent action that amounted to training films for such attacks. "Nobody would have thought to commit an atrocity like that unless they'd seen it in a movie," Altman said. Altman was written off repeatedly by the establishment, and his reputation for arrogance and hard drinking _ a habit he eventually gave up _ hindered his efforts to raise money for his idiosyncratic films. While critical of studio executives, Altman held in the highest esteem. He joked that on "Go rd Park," he was there mainly to turn the lights on and off for the performers. The respect was mutual. Top-name would clamor for even bit parts in his films. Altman generally worked on shoestring budgets, yet he continually landed marquee performers who signed on for a fraction of their normal salaries. After the mid- s, the quality of Altman's films became increasingly erratic. His musical "Popeye," with, was trashed by critics, and Altman took some time off from film. He directed the Broadway production of "Come Back to the and Dime,," following it with a movie adaptation in. Altman went back and forth from TV to theatrical films over the next decade, but even when his films earned critical praise, such as 's "-," they remained largely unseen. "The Player" and "Short Cuts" re-established Altman's reputation and commercial viability. But other s films _ including his fashion-industry farce "Ready to Wear" and "Kansas City," his reverie on the s jazz and gangster scene of his hometown _ fell flat. Born Feb. 20, , Altman out in his teen years at the jazz clubs of Kansas City, Mo., where his father was an insurance salesman. looking for wayne swimmer
wanted anal Cork woman Found: Old Wall in New York, and It's Blocking the Subway By McGEEHAN Published: December 8, weeks after the Metropolitan Transportation Authority started digging a subway tunnel under Battery Park, the project hit a wall. A really old wall. Possibly the oldest wall still standing in Manhattan. The top of an old wall was discovered by workers digging a new subway tunnel under Battery Park. It was a 45-foot section of a stone wall that archaeologists believe is a remnant of the original battery that protected the Colonial settlement at the southern tip of the island. Depending on which archaeologist you ask, it was built in the 's or as ago as the late 17th century. Either way, it would be the oldest piece of a fortification known to exist in Manhattan and the only one to survive the Revolutionary period, said H. Geismar, president of the Professional Archaeologists of New York City. "To my knowledge, it's the only remain of its kind in Manhattan," Ms. Geismar said. "It's a surviving Colonial military structure. That's what makes it unique." Among the items found around the wall are a well-preserved halfpenny coin dated and shards of smoking pipes and Delft pottery, said Sutphin, director of archaeology for the city's Landmarks Preservation Commission. "It's one of the most important archaeological discoveries in several decades in New York City," said Benepe, commissioner of the city's Department of Parks and Recreation. "Everybody knows that the Bronx is up and the Battery's down. But I don't think anybody anticipated that the Battery was 10 feet down." the rest of the article is here: come to the East Sumter queen with me bbw
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