Archive for March 14th, 2013

Jean Shepherd — Videos

Posted on March 14, 2013. Filed under: American History, Blogroll, Communications, Culture, Education, Entertainment, history, liberty, Life, Links, media, People, Philosophy, Politics, Radio, Raves, Talk Radio, Technology, Video, Wealth, Wisdom | Tags: , , , , , |





Jean Shepherd Tribute

Trailer – A Christmas Story (1983)

“A Christmas Story” is a 1983 Christmas comedy film based on the short stories and semi-fictional anecdotes of author Jean Shepherd. The film centers on 9 year old “Ralphie” Parker, who only wants one thing for Christmas; a Red Ryder BB Gun.

Jean Shepherd: A Christmas Story WOR Radio 1974 1/5

Jean Shepherd: A Christmas Story WOR Radio 1974 2/5 

Jean Shepherd: A Christmas Story WOR Radio 1974 4/5

Jean Shepherd: A Christmas Story WOR Radio 1974 3/5

Jean Shepherd: A Christmas Story WOR Radio 1974 5/5

Jean Shepherd – The Great American Fourth of July – PART 1

Jean Shepherd – The Great American Fourth of July – PART 2

Jean Shepherd – The Great American Fourth of July – PART 3

Jean Shepherd – The Great American Fourth of July – PART 4

Jean Shepherd – The Great American Fourth of July – PART 5

Jean Shepherd – The Great American Fourth of July – PART 6

Jean Shepherd – Route 22

Jean Shepherd – “Call-In Radio”

Jean Shepherd’s Parody of Lawrence Welk

Jean Shepherd’s America – Chicago (White Sox) 

Phantom Of The Open Hearth (Complete) Jean Shepherd

Jean Shepherd on Beer

Jean Shepherd    Cafe Incident     WOR Radio NY 

Jean Shepherd WOR Radio “Train Traffic Jam”

Jean Shepherd Plane Lands     Part 1 of 2

Jean Shepherd     Plane Lands     Part 2 of 2

Jean Shepherd WOR Radio  The Perfect Crime

Jean Shepherd    Uncle Carl’s Essex

Jean Shepherd   WOR Radio    Stoned MG 

Jean Shepherd    The General

Jean Shepherd   WOR Radio  Air Corps Flight

Jean Shepherd   WOR Radio   Japanese  Balloon Bombs 

Jean Shepherd  WOR Radio   Ice Cream War

Jean Shepherd WOR Radio  Troop Train Ernie

Jean Shepherd    Cafe Incident     WOR Radio NY

Jean Shepherd   New York Worlds Fair     Part 1 of 2

Jean Shepherd   New York Worlds Fair    Part 2 of 2

Jean Shepherd     Ham Radio     Part 1 of 2

Jean Shepherd WOR Radio describes getting his Class A Ticket.     Part 1     1-7-64
Jean Shepherd was an American  Radio and TV personality, writer and actor who was often referred to by the nickname “Shep”.    He did a 45 minute nightly live radio show on WOR in New York for over twenty years.    With a career that spanned decades, Shepherd is perhaps best-known to modern audiences for narrating the film A Christmas Story (1983), which he co-wrote, based on his own semi-autobiographical stories.     As a kid he worked briefly as a mail carrier at a  Indiana  steel mill and earned his Amateur Ham radio license when he was 14.    During World War II, he served in the U.S. Army Signal Corps.     In 2005, Shep was posthumously inducted into the National Radio Hall of Fame.

Jean Shepherd     Ham Radio     Part 2 of 2

Jean Shepherd   The Specialist      Part 1 of 2

Jean Shepherd     The Specialist    Part 2of 2

Jean Shepherd      Bums

Jean Shepherd – “Shepherd’s Pie”


Part 1: Jean Shepherd’s “I Libertine” Literary Hoax

Part 2: Jean Shepherd’s “I Libertine” Literary Hoax

Jean Shepherd

Jean Parker Shepherd (July 26, 1921 – October 16, 1999) was an American raconteur, radio and TV personality, writer and actor who was often referred to by the nickname Shep.[1]

With a career that spanned decades, Shepherd is best known to modern audiences[2] for the film A Christmas Story (1983), which he narrated and co-scripted, based on his own semi-autobiographical stories.

Early life

Born on the south side of Chicago, Illinois, Shepherd was raised in Hammond, Indiana, where he graduated from Hammond High School in 1939.[2] The movie A Christmas Story is based on his days growing up in Hammond’s southeast side neighborhood of Hessville. As a youth he worked briefly as a mail carrier in a steel mill and earned his Amateur Radio license, sometimes claiming he got it at 16, other times saying he was even younger. Shepherd was a lifelong White Sox fan.

During World War II, he served in the U.S. Army Signal Corps.[2] Shepherd then had an extensive career in a variety of media.


 Radio career

Shepherd began his broadcast radio career on WSAI in Cincinnati, Ohio in 1948. From 1951 to 1953 he had a late-night broadcast on KYW in Philadelphia, Pennsylvania, after which he returned to Cincinnati for a show on WLW. After a stint on television (see below), he returned to radio. “Shep,” as he was known, settled in at WOR radio New York City, New York on an overnight slot in 1956, where he delighted his fans[3] by telling stories, reading poetry (especially the works of Robert W. Service), and organizing comedic listener stunts. The most famous[4] of the last involved creating a hoax about a non-existent book, I, Libertine, by the equally non-existent 18th century author “Frederick R. Ewing”, in 1956. During a discussion on how easy it was to manipulate the best seller lists, which at that time were based not only on sales but demand, Shepherd suggested that his listeners visit bookstores and ask for a copy of I, Libertine which led to booksellers attempting to purchase the book from their distributors. Fans of the show eventually took it further, planting references to the book and author so widely that demand for the book led to it being listed on The New York Times Best Seller list.[citation needed] Shepherd, Theodore Sturgeon and Betty Ballantine later wrote the actual book, with a cover painted by illustrator Frank Kelly Freas, published by Ballantine Books.[5] Among his close friends in the late 1950s were Shel Silverstein and Herb Gardner. With them and actress Lois Nettleton, Shepherd performed in the revue he created, Look, Charlie. Later he was married to Nettleton for about six years.[6]

When he was about to be released by WOR in 1956 for not being commercial, he did a commercial for Sweetheart Soap, not a sponsor, and was immediately fired. His listeners besieged WOR with complaints, and when Sweetheart offered to sponsor him he was reinstated. Eventually, he attracted more sponsors than he wanted—the commercials interrupted the flow of his monologues. Ex WOR engineer, Frank Cernese, adds: The commercials of that era were on “ETs”—phonograph records about 14” in diameter. Three large turntables were available to play them in sequence. However, Shepherd liked the engineer to look at him and listen when he told his stories. That left little time to load the turntables and cue the appropriate cuts. That’s when he started complaining about “too many commercials”!.[citation needed] He broadcast until he left WOR in 1977. His subsequent radio work consisted of only short segments on several other stations including crosstown WCBS. His final radio gig was the Sunday night radio show “Shepherd’s Pie” on WBAI-FM in the mid-1990s, which consisted of his reading his stories uncut, uninterrupted and unabridged. The show was one of WBAI’s most popular of the period.

In later life he publicly dismissed his days as a radio raconteur as unimportant, focusing more on his writing and movie work. This distressed his legions of fans who fondly remembered nights with Shepherd on WOR.[citation needed] He once made such comments during an appearance on the Tomorrow Show with Tom Snyder. This contrasts with his frequent criticisms of television during his radio programs.

In addition to his stories, his shows also contained, among other things, humorous anecdotes and general commentaries about the human condition, observations about life in New York, accounts of vacations in Maine and travels throughout the world. Among the most striking of his programs was his account of his participation in the March on Washington in August 1963, during which Dr. Martin Luther King gave his “I Have a Dream” speech, and the program that aired on November 25, 1963—the day of President Kennedy’s burial. However, his most scintillating programs remain his oftimes prophetic, bitingly humorous commentaries about ordinary life in America.

Throughout his radio career, he performed entirely without scripts. His friend and WOR colleague Barry Farber marveled at how he could talk so long with very little written down.[citation needed] Yet during a radio interview, Shepherd once claimed that some shows took several weeks to prepare. On most of his Fourth of July broadcasts, however, he would read one of his most enduring and popular short stories, “Ludlow Kissel and the Dago Bomb that Struck Back,” about a neighborhood drunk and his disastrous fireworks escapades. In the 1960s and 1970s, his WOR show ran from 11:15 pm to midnight, later changed to 10:15 pm to 11 pm, so his “Ludlow Kissel” reading was coincidentally timed to many New Jersey and New York local town fireworks displays, which would traditionally reach their climax at 10 pm. It was possible, on one of those July 4 nights, to park one’s car on a hilltop and watch several different pyrotechnic displays, accompanied by Shepherd’s masterful storytelling.


Jean Shepherd posed as Frederick R. Ewing on the back cover of Ballantine’s I, Libertine (1956).

Shepherd wrote a series of humorous short stories about growing up in northwest Indiana and its steel towns, many of which were first told by him on his programs and then published in Playboy. The stories were later assembled into books titled In God We Trust, All Others Pay Cash, Wanda Hickey’s Night of Golden Memories: and Other Disasters, The Ferrari in the Bedroom, and A Fistful of Fig Newtons. Some of those situations were incorporated into his movies and television fictional stories. He also wrote a column for the early Village Voice, a column for Car and Driver, numerous individual articles for diverse publications, including Mad Magazine (“The Night People vs. Creeping Meatballism”, March/April 1957), and introductions for books such as The America of George Ade, American Snapshots, and the 1970 reprint of the 1929 Johnson Smith Catalogue.[7][8]

When Eugene B. Bergmann’s Excelsior, You Fathead! The Art and Enigma of Jean Shepherd was published in 2005, Publishers Weekly reviewed:

This prismatic portrait affirms Shepherd’s position as one of the 20th century’s great humorists. Railing against conformity, he forged a unique personal bond with his loyal listeners, who participated in his legendary literary prank by asking bookstores for the nonexistent novel I, Libertine (when publisher Ian Ballantine had Shepherd, author Theodore Sturgeon, and illustrator Frank Kelly Freas make the fake real, PW called it “the hoax that became a book”). Storyteller Shepherd’s grand theme was life itself… Novelist Bergmann (Rio Amazonas) interviewed 32 people who knew Shepherd or were influenced by him and listened to hundreds of broadcast tapes, inserting transcripts of Shepherd’s own words into a “biographical framework” of exhaustive research.[9]

 Television and films

Early in his career, Shepherd had a television program in Cincinnati called Rear Bumper.[2] He claimed that he was recommended to replace the resigning Steve Allen on NBC’s Tonight Show. Shepherd was reportedly brought to New York City by NBC executives to prepare for the position, but they were contractually bound to first offer it to Jack Paar. The network was certain Paar would hold out for a role in prime time, but he accepted the late-night assignment. However, he did not assume the position permanently until Shepherd and Ernie Kovacs had co-hosted the show.

In 1960 he did a weekly television show on WOR in New York, but it did not last long. Between 1971 and 1994, Shepherd became a screenwriter of note, writing and producing numerous works for both television and cinema. He was the writer and narrator of the show Jean Shepherd’s America, produced by Boston Public Television station WGBH in which he told his famous narratives, visited unusual locales, and interviewed local people of interest. He used a somewhat similar format for the New Jersey Network TV show Shepherd’s Pie. On many of the Public TV shows he wrote, directed and edited entire shows.[citation needed]

He also wrote and narrated many works, the most famous being the feature film A Christmas Story, which is now considered a holiday classic. In the film, Shepherd provides the voice of the adult Ralph Parker. He also has a cameo role playing a man in line at the department store waiting for Santa Claus. Much to Ralphie’s chagrin, he points out to him that the end of the line is much further away.

Ten years later, Shepherd and director Bob Clark returned to the same working-class Cleveland neighborhood to film a sequel, It Runs In The Family (later known as My Summer Story) released by MGM in 1994, with an entirely different cast from the previous film. The PBS series American Playhouse aired a series of television movies based on Shepherd stories, also featuring the Parker family. These included Ollie Hopnoodle’s Haven of Bliss, The Star-Crossed Romance of Josephine Cosnowski, The Great American Fourth of July and Other Disasters,[10] and The Phantom of the Open Hearth.[11]

Live performances and recordings

On Saturday nights for several years, Shepherd broadcast his WOR radio program live from the Limelight Cafe in New York City’s Greenwich Village, and he also performed at many colleges nationwide. His live shows were a perennial favorite[citation needed] at Rutgers to wildly enthusiastic standing room only crowds, and Fairleigh Dickinson Universities (he often referred to the latter as “Fairly Ridiculous University” on his WOR show). He performed at Princeton University annually for 30 years, until 1996. He performed before sold-out audiences at Carnegie Hall and Town Hall. He was also emcee for several important jazz concerts in the late 1950s. Shepherd improvised spoken word narration for the title track on jazz musician Charles Mingus’s 1957 album The Clown. Eight record albums of live and studio performances of Shepherd were released between 1955 and 1975. In 1994, Shepherd recorded the opening narration and the voice of the Audio-Animatronics “Father” character for the updated Carousel of Progress attraction at Walt Disney World Magic Kingdom, still heard today.


On some of his broadcasts he played parts of recordings of such novelty songs as “The Bear Missed the Train” (a parody of the Yiddish ballad “Bei Mir Bist Du Schoen”) and “The Sheik of Araby”. Sometimes Shepherd would accompany the recordings by playing the Jew’s harp, nose flute, or kazoo, and occasionally even by thumping his knuckles on his head.

The theme song of his show was “The Bahn Frei Polka” by Eduard Strauss. The particular version he used was a 1958 recording by Arthur Fiedler and the Boston Pops.

 Ham radio

Shepherd held the ham radio call signs W9QWN (2907 Cleveland St., Hammond, Ind.) and later K2ORS (New York). A 1938 W9QWN QSL card shows him signing the name (handle) “Shep”. This is also confirmed from an early log book. He was very active on ham radio until his death. He is listed in the 1962 Amateur Radio Callbook as K2ORS, 1307 Avenue of the Americas, New York, N.Y.

For a number of years, while married to Lois Nettleton, his address was 340 East 57th Street in New York City. His last residence in NYC was on West 10th Street in Greenwich Village, where he lived for many years. He is also credited as the voice for the ARRL’s tape series Tune In the World with Ham Radio. This series of tapes helped many young people become ham radio operators.

 Marriages, children and death

Jean Shepherd was married four times. A brief first marriage, about which virtually nothing is known, has been confirmed by Shepherd’s son, Randall and by Shepherd’s third wife, Lois Nettleton.

  • Joan Laverne Warner: September 9, 1950 – 1957 (divorced)
    • Son: Randall Shepherd born 1951
    • Daughter: Adrien Shepherd born December 16, 1957.
  • Lois Nettleton: December 3, 1960 – 1967 (divorced)[12]
  • Leigh Brown: March 2, 1977 – July 16, 1998 (her death)

Shepherd spent his final years in relative seclusion on Sanibel Island, Florida, with his wife Leigh Brown. She was also his producer at WOR, and played many roles in his varied career. As Shepherd attained a rotund figure in his later years, Leigh would refer to him as “ma pamplemousse,” or, “my grapefruit.” He died on Sanibel Island in 1999 of “natural causes.”

Fact and fiction

It is unknown to what extent Shepherd’s radio and published stories were fact, fiction or a combination of the two. The childhood friends included in many of his stories were people he claimed to have invented, yet high school yearbooks confirm that many of them did exist. His father was a cashier at the Borden Milk Company. Shepherd always referred to him as “my old man.” During an interview on the Long John Nebel Show—an all-night radio program that ran on WOR starting at midnight—Shepherd once claimed that his real father was a cartoonist along the lines of Herblock, and that he inherited his skills at line drawings. This may well have not been true but Shepherd’s ink drawings do adorn some of his published writings, and a number of previously unknown ones were sold on eBay from his former wife Lois Nettleton’s collection after her death in 2008.

The 1930 Federal Census Record for Hammond, Indiana indicates that Jean’s father did work for a dairy company. His actual occupation reads “cashier.” The 1930 census record (which misspells the last name as “Shephard” when searching) lists the following family members: Jean Shepherd, age 30, head; Anna Shepherd, age 30, wife; Jean Shepherd, Jr, age 8, son; and Randall Shepherd, age 6, son. According to this record, Jean Sr, Anna, Jean Jr, and Randall were all born in Illinois. Jean, Sr’s parents were born in Kansas. Ann’s parents were born in Germany.

Jean Shepherd had two children, a son Randall and a daughter Adrien, but publicly denied this. Randall Shepherd describes his father as having frequently come home late or not at all. Randall had almost no contact with him after his parents’ divorce.[13]


Shepherd’s life and multimedia career are examined in the 2005 book Excelsior, You Fathead! The Art and Enigma of Jean Shepherd by Eugene B. Bergmann (ISBN 0-55783-600-0).

Shepherd’s oral narrative style was a precursor to that used by Spalding Gray and Garrison Keillor. Marshall McLuhan in Understanding Media wrote that Shepherd “regards radio as a new medium for a new kind of novel that he writes nightly.” In the “Seinfeld Season 6” DVD set, commenting on the episode titled “The Gymnast” Jerry Seinfeld says “He really formed my entire comedic sensibility—I learned how to do comedy from Jean Shepherd.” Furthermore, the first name of Seinfeld’s third child is “Shepherd.” On January 23, 2012 the Paley Center for Media (formerly The Museum of Television and Radio) presented a tribute to Jean Shepherd. Jerry Seinfeld was interviewed for the hour and discussed how Shepherd and he had similar ways of humorously discussing minor incidents in life. He confirmed the importance of Shepherd on his career.

Shepherd was an influence on Bill Griffith’s Zippy comic strip, as Griffith noted in his strip for January 9, 2000. Griffith explained, “The inspiration—just plucking random memories from my childhood, as I’m wont to do in my Sunday strip (also a way to expand beyond Zippy)–and Shep was a big part of them”.[14]

In an interview with New York magazine, Steely Dan’s Donald Fagen says that the eponymous figure from his solo album The Nightfly was based on Jean Shepherd.

Though he primarily spent his radio career playing music, New York Top 40 DJ legend Dan Ingram has acknowledged Shepherd’s style as an influence.

An article he wrote for the March–April 1957 issue of MAD magazine, “The Night People vs Creeping Meatballism”, described the differences between what he considered to be “day people” (conformists) and “night people” (non-conformists). In the opening credits of John Cassavetes’ 1959 film Shadows the credits read “Presented by Jean Shepherd’s Night People”.

In 2005, Shepherd was posthumously inducted into the National Radio Hall of Fame.

The Community Center in Hammond, Indiana is named after him.


  • Jean Shepherd in Clinton, New Jersey, in 1977.
  • Jean Shepherd in Boston’s Fenway Park discussing his childhood vis-a-vis baseball, October 14, 1969

Listen to

  • Jean Shepherd’s radio shows from the 50s, 60s and 70s at
  • — The Jean Shepherd Show rebroadcasts are also heard every Sunday night at 11:00 p.m./Eastern on WXRB (95.1 FM/Dudley–Webster, MA)
  • The Brass Figlagee — Nightly podcast of Jean Shepherd shows
  • Jean Shepherd Reads Poems of Robert Service (1975) at Smithsonian Folkways
  • Insomnia Theater — Free 24 x 7 stream of Jean Shepherd shows
  • Shep-A-Day — What was Jean Shepherd talking about on this day in history? Podcast updated daily
  • Shepherd describes how his father personally lost a White Sox game — The voice of the father in Walt Disney’s Carousel of Progress


  • I, Libertine (1956, co-written by Theodore Sturgeon as “Frederick R. Ewing”)
  • The America of George Ade (1960, edited and introduced by Jean Shepherd)
  • In God We Trust, All Others Pay Cash (1966)
  • Wanda Hickey’s Night of Golden Memories: And Other Disasters (1971)
  • The Ferrari in the Bedroom (1972)
  • The Phantom of the Open Hearth (1978)
  • A Fistful of Fig Newtons (1981)
  • A Christmas Story (2003, posthumously)


  • America, Inc. NET Playhouse (1970) (TV)
  • Jean Shepherd’s America (1971) (TV)
  • No Whistles, Bells, or Bedlam (1972) (Rochester Institute of Technology)
  • The Phantom of the Open Hearth (1976) (TV)
  • The Great American Fourth of July and Other Disasters (1982) (TV)
  • The Star-Crossed Romance of Josephine Cosnowski (1983) (TV)
  • A Christmas Story (1983)
  • The Great American Road-Racing Festival (1985) (TV)
  • Ollie Hopnoodle’s Haven of Bliss (1988) (TV)
  • My Summer Story (aka It Runs in the Family) (1994)

See also


  1. ^ Clavin, Jim (2007). “Who Is Jean Shepherd?”. Flick Lives!. Retrieved 2007-11-09.
  2. ^ a b c d “Famous Hammond Personalities: Jean Shepherd”. Retrieved 2006-11-26.
  3. ^ Phillips, McCandlish (August 13, 1956). “400 Hold A Wake For Radio Cult”. The New York Times. Retrieved 2007-11-09.
  4. ^ Wilcock, John (August 1, 1956). “The Book That Wasn’t”. The Village Voice. Retrieved 2007-11-09.
  5. ^ Tricked You: Great Literary Hoaxes Good Reading magazine June 2008 Pg 22
  6. ^ Ramirez, Anthony (October 17, 1999). “Jean Shepherd, a Raconteur Of the Radio, Dies in Florida”. New York Times. Retrieved 2008-12-25.
  7. ^ Excelsior, you fathead!: the art and enigma of Jean Shepherd, Eugene B. Bergmann, Hal Leonard Corporation, 2005, 495 pages, p. 333-4, ISBN 978-1-55783-600-7 via Google Books
  8. ^ Shep Bibliography: The Works and Career of Jean Shepherd, Jim Sadur and Joe Berg, 1998–2004,, retrieved March 30, 2010
  9. ^ Publishers Weekly, vol. 252, no. 4 (2005), p. 233.
  10. ^ The Great American Fourth of July and Other Disasters at IMDB”.
  11. ^ The Phantom of the Open Hearth at IMDB”.
  12. ^
  13. ^ Shepherd, Randall (2006). “One More Hat on a Man”. Shep’s vast file of dynamic trivia: People in Shep’s Life. Jim Clavin. Retrieved 2007-03-04.
  14. ^ Flick Lives: “Zippy”

 External links

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Stan Freberg — The Federal Budget Review — Videos

Posted on March 14, 2013. Filed under: American History, Blogroll, Books, Comedy, Communications, Culture, Education, Entertainment, Films, Foreign Policy, Language, Law, liberty, Life, Links, media, People, Politics, Raves, Video, War, Wisdom |





Stan Freberg The Federal Budget Review – Part 1 of 3

Stan Freberg’s Federal Budget Revue was a 1982 PBS television special lampooning the federal budget of the United States Of America – a staggering 600 billion dollars.

Cast includes Sterling Holloway, Ray Bradbury, Donna Freberg and David Ogden Stiers

Stan Freberg’s Federal Budget Revue – Part 2 of 3 

Stan Freberg’s Federal Budget Revue – Part 3 of 3

Background Articles and Videos

The Calypso Singer  Banana Boat Song Stan Freberg  animation Paul

Stan Freberg Presents The United States of America pt  1&2 

Stan Freberg Presents The United States of America pt  3,4&5

Stan Freberg Presents The United States of America pt 7,8&9

Stan Freberg Presents The United States of America pt 10&11 

Stan Freberg bitches about the Vietnam war

Stan Freberg on Beany & Cecil 


The Stan Freberg Show – All About Werewolves

Stan Freberg

Stanley Victor “Stan” Freberg (born August 7, 1926) is an American author, recording artist, animation voice actor, comedian, radio personality, puppeteer and advertising creative director, whose career began in 1944. He is still active in the industry in his mid-80s, nearly 70 years after entering it.

Personal life

Born in Pasadena, California, Freberg is the son of a Baptist minister.[1] His work reflects both his gentle sensitivity (despite his liberal use of biting satire and parody) and his refusal to accept alcohol and tobacco manufacturers as sponsors—an impediment to his radio career when he took over for Jack Benny on CBS radio. As Freberg explained to Rusty Pipes:

After I replaced Jack Benny in 1957, they were unable to sell me with spot announcements in the show. That would mean that every three minutes I’d have to drop a commercial in. So I said, “Forget it. I want to be sponsored by one person”, like Benny was, by American Tobacco or State Farm Insurance, except that I wouldn’t let them sell me to American Tobacco. I refused to let them sell me to any cigarette company.[2]

Stan Freberg’s first wife, Donna, died in 2000. He has two children from that marriage, Donna Jean and Donavan. He married Betty Hunter in 2001, and she adopted the personal and family names Hunter Freberg.


Freberg was employed as a voice actor in animation shortly after graduating from Alhambra High School. He began at Warner Brothers in 1944 by getting on a bus and asking the driver to let him off “in Hollywood.” As he describes in his autobiography, It Only Hurts When I Laugh, he did this, getting off the bus and finding a sign that said “talent agency.” He walked in, and the agents there arranged for him to audition for Warner Brothers cartoons where he was promptly hired.[3]

His first cartoon voice work was in a Warner Brothers cartoon called For He’s a Jolly Good Fala, which was recorded but never filmed (due to the death of Fala’s owner, President Franklin D. Roosevelt), followed by Roughly Squeaking (1946) as Bertie; and in 1947, he was heard in It’s a Grand Old Nag (Charlie Horse), produced and directed by Bob Clampett for Republic Pictures; The Goofy Gophers (Tosh), and One Meat Brawl (Grover Groundhog and Walter Winchell). He often found himself paired with Mel Blanc while at Warner Bros., where the two men performed such pairs as the mice Hubie and Bertie and Spike the Bulldog and Chester the Terrier.[4] He was the voice of Pete Puma in the 1952 cartoon Rabbit’s Kin, in which he did an impression of an early Frank Fontaine characterization (which later became Fontaine’s “Crazy Guggenheim” character).

Freberg is often credited with voicing the character of Junyer Bear in Bugs Bunny and the Three Bears (1944), but that was actor Kent Rogers. After Rogers was killed during World War II, Freberg assumed the role of Junyer Bear in Chuck Jones’ Looney Tunes cartoon What’s Brewin’, Bruin? (1948), featuring Jones’ version of The Three Bears. He also succeeded Rogers as the voice of Beaky Buzzard.

Freberg was heard in many Warner Brothers cartoons, but his only screen credit on one was Three Little Bops (1957). His work as a voice actor for Walt Disney Productions included the role of Beaver in Lady and the Tramp (1955) and did voice work in Susie the Little Blue Coupe and Lambert the Sheepish Lion. Freberg also provided the voice of Sam, the orange cat paired with Sylvester in the Academy Award-nominated short Mouse and Garden (1960). He voiced Cage E. Coyote, the father of Wile E. Coyote, in the 2000 short Little Go Beep.


Freberg was cast to sing the part of the Jabberwock in the song “Beware the Jabberwock” for Disney’s Alice in Wonderland, with the Rhythmaires and Daws Butler. Written by Don Raye and Gene de Paul, the song was a musical rendering of the poem “Jabberwocky” from Lewis Carroll’s Through the Looking Glass. The song was not included in the final film but a demo recording was included in the 2004 and 2010 DVD releases of the movie.

Freberg made his movie debut as an on-screen actor in the comedy Callaway Went Thataway (1951), a satirical spoof on the marketing of Western stars (apparently inspired by the TV success of Hopalong Cassidy). Freberg costarred with Mala Powers in Geraldine (1953) as sobbing singer Billy Weber, enabling him to reprise his satire on vocalist Johnnie Ray (see below). In 1963’s mega-comedy It’s a Mad, Mad, Mad, Mad World, Freberg appeared in a non-speaking part as the Deputy Sheriff and also voiced as a dispatcher.

Contrary to popular belief George Lucas called upon Freberg, not Mel Blanc, to audition for the voice of the character C-3PO for the 1977 film Star Wars. After he and many others auditioned for the part Freberg suggested that Lucas use mime actor Anthony Daniels’ own voice.[5]

 Capitol Records

Early releases

Freberg began making satirical recordings for Capitol Records, beginning with the February 10, 1951, release of “John and Marsha” (in both 45-rpm and 78-rpm formats), a soap opera parody that consisted of the title characters (both played by Freberg) repeating each other’s names, and “Ragtime Dan”.[6][7] In a 1954 follow-up, he used pedal steel guitarist Speedy West to satirize the 1953 Ferlin Husky country hit, “A Dear John Letter”, as “A Dear John and Marsha Letter” (Capitol 2677). A seasonal recording, “The Night Before Christmas/Nuttin’ for Christmas”, made in 1955, still remains a cult classic.

With Daws Butler and June Foray, he produced his 1951 Dragnet parody, “St. George and the Dragonet”, a #1 hit for four weeks in October 1953.[8] Also with June Foray, he recorded “The Quest for Bridey Hammerschlaugen”, a spoof of The Search for Bridey Murphy by Morey Bernstein, a 1956 book on hypnotic regression to a past life. On “Little Blue Riding Hood”, the record’s B-side, the title character is arrested for smuggling goodies. After “I’ve Got You Under My Skin” (1951), he followed with more popular musical satires, including “Sh-Boom” (1954), “The Yellow Rose of Texas” (1955)[7] and “The Great Pretender” (1956). He spoofed Elvis Presley in 1956 with his own version of Elvis’ first gold record, “Heartbreak Hotel”, in which the echo effect goes out of control. In Freberg’s spoof, Elvis rips his jeans during his performance, a problem the real Elvis had with jumpsuits when performing in the early 1970s – by that time he was grossly overweight.

Another hit to get the Freberg treatment was Johnnie Ray’s weepy “Cry”, which Freberg rendered as “Try (‘You too can be unhappy… if you try’)”, exaggerating Ray’s histrionic vocal style.[9] Ray was furious until he realized the success of Freberg’s 1952 parody was helping sales and airplay of his own record.[10]

 “Banana Boat Song” and “The Great Pretender”

Freberg’s “Banana Boat (Day-O)” (1957) satirized Harry Belafonte’s popular recording of “Banana Boat Song.” In Freberg’s version, the lead singer is forced to run down the hall and close the door after him to muffle the sound of his “Day-O!” because the beatnik bongo drummer (voiced by Peter Leeds) complains, “It’s too shrill, man. It’s too piercing!” When he gets to the lyric about “A beautiful buncha ripe banana/Hide the deadly black tarantula,” the drummer protests, “I don’t dig spiders, man!”[11]

He also used the beatnik musician theme in a parody of “The Great Pretender,” the hit by The Platters—who, like Ray and Belafonte (see both above) and Welk (see below), were not pleased. At that time, when it was still hoped that musical standards might be preserved, it was quite permissible to ridicule the ludicrous, as Freberg had obviously thought when he parodied Presley. The pianist in Freberg’s parody is an Erroll Garner and George Shearing devotee who rebels against playing a single-chord accompaniment. He retorts, “I’m not playing that ‘plink-plink-plink jazz’!” But Freberg is adamant about the pianist’s sticking to The Platters’ style: “You play that ‘plink-plink-plink jazz’, or you don’t get paid tonight!” The pianist relents—sort of.[12] The pianist even quotes the first six notes from Shearing’s classic piece “Lullaby of Birdland,” before getting back to playing “Great Pretender.” The parody was itself partly parodied when Mitchel Torok recorded “All Over Again, Again” for Columbia Records in mid-March 1959 but billed it as “The Great Pretender,” as a spoof on the recent Sun Records recordings of Johnny Cash. Cash had only recently been signed to Columbia. The annoying pianist on the Freberg record was replaced by an equally annoying banjo player and a showboating guitarist on the Columbia release, a song written by Torok’s wife who was then billed as “R. Redd” (Ramona Redd).

Freberg’s musical parodies were a byproduct of his collaborations with Billy May, a veteran big band musician and jazz arranger, and his Capitol Records producer, Ken Nelson. Two weeks after Johnny Mathis’ “Wonderful! Wonderful!” fell off the Billboard Top 100, “Wun’erful, Wun’erful! (Sides uh-one & uh-two)”, Freberg’s 1957 spoof of TV “champagne music” master Lawrence Welk, debuted. To replicate Welk’s sound, May and some of Hollywood’s finest studio musicians and vocalists worked to clone Welk’s live on-air style, carefully incorporating bad notes and mistimed cues. Billy Liebert, a first-rate accordionist, copied Welk’s accordion playing. In the parody, the orchestra is overwhelmed by the malfunctioning bubble machine and eventually floats out to sea. Welk denied he had ever said “Wunnerful, Wunnerful!”,[citation needed] though it became the title of Welk’s autobiography (Prentice Hall, 1971).

 Political satire

Freberg also tackled political issues of the day. On his radio show, an extended sketch paralleled the Cold War brinkmanship between the U.S. and the Soviet Union by portraying an ever-escalating public relations battle between the El Sodom and the Rancho Gomorrah, two casinos in the city of Los Voraces (Spanish for “The Greedy Ones”—a thinly disguised Las Vegas). The sketch ends with the ultimate tourist attraction, the Hydrogen Bomb, which turns Los Voraces into a vast, barren wasteland. Network pressure forced Freberg to remove the reference to the hydrogen bomb and had the two cities being destroyed by an earthquake instead.[3] The version of “Incident at Los Voraces,” released later on Capitol Records, contains the original ending.[13]

Freberg had poked fun at McCarthyism in passing in “Little Blue Riding Hood” with the line, “Only the color has been changed to prevent an investigation.” Later he blatantly parodied Senator Joseph McCarthy with “Point of Order” (taken from his frequent objection), about which Capitol’s legal department was very nervous. Freberg describes being called in for a chat about this and being asked whether he ever belonged to any “disloyal” group. “Well,” he replied, “I have been for many years a card-carrying member of… “—the executive went pale—”… the Mickey Mouse Fan Club.” “Dammit, Freberg,” the executive angrily retorted, “this isn’t a game.” A watered-down version of the parody was eventually aired, and Freberg never found himself “in front of a committee.”


On two occasions, Capitol refused to release Freberg’s creations.[14] “That’s Right, Arthur” was a barbed parody of controversial 1950s radio/TV personality Arthur Godfrey, who expected his stable of performers—known as “little Godfreys”—to endlessly toady to him. The dialogue included Freberg’s “Godfrey” monologue, punctuated by Daws Butler imitating Godfrey announcer Tony Marvin, repeatedly interjecting, “That’s right, Arthur!” between Godfrey’s comments.[15] Capitol feared Godfrey might take legal action and sent a tape of the sketch to his legal department for permission, which was denied. Capitol also rejected the equally acerbic “Most of the Town”, a spoof of Ed Sullivan, under the same circumstances. Both recordings eventually surfaced on a box-set Freberg retrospective issued by Rhino Records.

Freberg continued to skewer the advertising industry after the demise of his show, producing and recording “Green Chri$tma$” in 1958, a scathing indictment of the over-commercialization of the holiday, in which Butler soberly hoped instead that we’d remember “whose birthday we’re celebrating.” Released originally on 45-rpm discs, the satire ended abruptly with a rendition of “Jingle Bells” punctuated by cash register sounds when reissued by Capitol on LP and CD. The original version was somewhat longer, but Capitol did not reissue the full recording. Freberg also revisited the “Dragnet” theme, with “Yulenet,” also known as “Christmas Dragnet,” in which the strait-laced detective convinces a character named “Grudge” that Santa Claus really exists (and Columbus, Cleveland, Cincinnati, and the Easter Bunny, but Grudge still hadn’t made up his mind yet about Toledo). Butler does several voices on that record.

 Oregon! Oregon!

In 1958, the Oregon Centennial Commission, under the sponsorship of Blitz-Weinhard Brewing Company, hired Freberg to create a musical to celebrate Oregon’s one-hundredth birthday.[16][17] The result was Oregon! Oregon! A Centennial Fable in Three Acts. Recorded at Capitol in Hollywood, it was released during the Oregon Centennial in 1959 as a 12″ vinyl LP album. Side one featured two versions of an introduction by Freberg (billed as “Stan Freberg, Matinee Idol”), with the second version including a few words from the president of Blitz-Weinhard Co. This was followed by the show itself, which runs for 21 minutes. Side two includes separate individual versions of each of the featured songs, including several variations on the title piece, Oregon! Oregon!

Fifty years later, as Oregon approaches its Sesquicentennial, an updated version was prepared by Freberg and the Portland band Pink Martini as part of a signature series of performances throughout the state.[16][17] Pink Martini toured the state and perform four regional performances in the northern, southern and central areas of Oregon in August and September 2009. This was made possible by a grant from the Kinsman Foundation for a $40,000 launch of Pink Martini’s Oregon! Oregon! 2009 with Freberg.

 1960s and since

Freberg in an early 60s publicity photo

In 1960, in light of the payola scandal, Freberg made a two-sided single entitled “Old Payola Roll Blues,” which had a corrupt recording studio promoter (Jesse White)[18] who gets a teenager who cannot sing to record a song called “High School OO OO,” as well as the flip side, “I Was on My Way to High School.” The promoter then tries to bribe a disc jockey at a jazz station to play the song on the air, which he flatly refuses, suspecting that the promoter was never in the music business in the first place. Afterward, a song in the big band style heralds the end of rock and roll and a resurgence of swing and jazz. Freberg’s record was on the Hot 100 only the week of Leap Day 1960, at #99, about three and half months after Tommy Facenda’s multi-versioned “High School U.S.A.” peaked at #28. Alan Freed, whose career fell prey to charges of payola, was reported to have laughed at Freberg’s interpretation of the scandal.

Stan Freberg Presents the United States of America, Volume One: The Early Years (1961) combined dialogue and song in a musical theater format. The original album musical, released on Capitol, parodies the history of the United States from 1492 until the end of the Revolutionary War in 1783. In it, Freberg parodied both large and small aspects of history. For instance, in the Colonial era, it was common to use the long s, which resembles a lowercase f, in the middle of words; thus, as Ben Franklin is reading the Declaration of Independence, he questions the passage, “Life, liberty, and the purfuit of happineff?!?” Most of that particular sketch is a satire of McCarthyism. For example, Franklin remarks, “You…sign a harmless petition, and forget all about it. Ten years later, you get hauled up before a committee.”

The album also featured the following exchange, where Freberg’s Christopher Columbus is “discovered on beach here” by a Native American played by Marvin Miller. Skeptical of the Natives’ diet of corn and “other organically grown vegetables,” Columbus wants to open “America’s first Italian restaurant” and needs to cash a check to get started:

Native: “You out of luck, today. Banks closed.” Columbus: [archly, knowing what the response will be] “Oh? Why?” Native: “Columbus Day!” Columbus: [pregnant pause] “We going out on that joke?” Native: “No, we do reprise of song. That help …” Columbus and Native together: “But not much, no!”

Stan Freberg Presents The United States of America, Volume Two was planned for release during America’s Bicentennial in 1976, but did not emerge until 1996.[19]

Freberg’s early parodies revealed his obvious love of jazz. His portrayals of jazz musicians were usually stereotypical “beatnik” types, but jazz was always portrayed as preferable to pop, calypso, and particularly the then-new form of music, rock and roll. He whopped doo-wop in his version of “Sh-Boom” and lampooned Elvis Presley with an echo/reverb rendition of “Heartbreak Hotel”. The United States of America includes a sketch involving the musicians in the painting The Spirit of ’76. The terribly hip fife player (“Bix”, played by Freberg) and the younger drummer (played by Walter Tetley) argue with the older, impossibly square drummer (“Doodle,” also voiced by Freberg) over how Yankee Doodle should be performed.


Theater for the ear: Freberg strikes a pose, 1962

The popularity of Freberg’s recordings landed him his own program, the situation comedy That’s Rich. Freberg portrayed bumbling but cynical Richard E. Wilk, a resident of Hope Springs, where he worked for B.B. Hackett’s Consolidated Paper Products Company. Freberg suggested the addition of dream sequences, which made it possible for him to perform his more popular Capitol Records satires before a live studio audience. The CBS series aired from January 8 to September 23, 1954.

The Stan Freberg Show was a 1957 replacement for Jack Benny on CBS radio. The satirical show, which featured elaborate production, included most of the team he used on his Capitol recordings, including June Foray, Peter Leeds, and Daws Butler. Billy May arranged and conducted the music. The Jud Conlon Singers, who had also appeared on Freberg recordings, were regulars, as was singer Peggy Taylor, who had participated in his “Wun’erful, Wun’erful!” record. The show was produced by Pete Barnum.

The show failed to attract a sponsor after Freberg decided he did not want to be associated with the tobacco companies that had sponsored Benny. In lieu of actual commercials, Freberg mocked advertising by touting such products as “Puffed Grass” (“It’s good for Bossie, it’s good for me and you!”), “Food” (“Put some food in your tummy-tum-tum!”), and himself (“Stan Freberg—the foaming comedian! Bobba-bobba-bom-bom-bom”), a parody of the well-known Ajax cleanser commercial.

The lack of sponsorship was not the only issue. Freberg frequently complained of radio network interference. Another sketch from the CBS show, “Elderly Man River,” anticipated the political correctness movement by decades. Daws Butler plays “Mr. Tweedly,” a representative of a fictional citizens’ radio review board, who constantly interrupts Freberg with a loud buzzer as Freberg attempts to sing “Old Man River.” Tweedly objects first to the word “old,” “which some of our more elderly citizens find distasteful.” As a result, the song’s lyrics are progressively and painfully distorted as Freberg struggles to turn the classic song into a form that Tweedly will find acceptable “to the tiny tots” listening at home: “He don’t, er, doesn’t plant ‘taters, er, potatoes… he doesn’t plant cotton, er, cotting… and them-these-those that plants them are soon forgotting,” a lyric of which Freberg is particularly proud. Even when the censor finds Freberg’s machinations acceptable, the constant interruption ultimately brings the song to a grinding halt (just before Freberg would have had to edit the line “You gets a little drunk and you lands in jail”), saying, “Take your finger off the button, Mr. Tweedly—we know when we’re licked,” furnishing the moral and the punch line of the sketch at once. But all of these factors forced the cancellation of the show after a run of only 15 episodes.

In 1966, he recorded an album, Freberg Underground, in a format similar to his radio show, using the same cast and orchestra. He called it “pay radio,” in a parallel to the phrase pay TV (the nickname at the time for subscription-based cable and broadcast television) “…because you have to go into the record store and buy it.” This album is notable for giving Dr. Edward Teller the Father of the Year award for being “father of the hydrogen bomb” (“Use it in good health!”); for a combined satire of the Batman television series and the 1966 California Governor’s race between Edmund G. “Pat” Brown and Ronald Reagan; and probably most famous for a bit in which, through the magic of sound effects, Freberg drained Lake Michigan and refilled it with hot chocolate and a mountain of whipped cream while a giant maraschino cherry was dropped like a bomb by the Royal Canadian Air Force to the cheers of 25,000 extras viewing from the shoreline.[20] Freberg concluded with, “Let’s see them do that on television!” That bit became a commercial for advertising on radio.


Beginning in 1949, Freberg and frequent collaborator Daws Butler provided voices and were the puppeteers for Bob Clampett’s puppet series, Time for Beany, a triple Emmy Award winner (1950, 1951, 1953). Broadcast nationwide from KTLA in Los Angeles, the pioneering children’s TV show garnered considerable acclaim. Among its fans was Albert Einstein, who once reportedly interrupted a high-level conference by announcing, “You will have to excuse me, gentlemen. It is time for Beany.”[3]

Freberg made television guest appearances on The Ed Sullivan Show and other TV variety shows, usually with Orville the Moon Man, his puppet from outer space. He reached through the bottom of Orville’s flying saucer to control the puppet’s movements and turned away from the camera when he delivered Orville’s lines. Freberg had his own ABC special, Stan Freberg Presents the Chun King Chow Mein Hour: Salute to the Chinese New Year (February 4, 1962), but he garnered more laughs when he was a guest on late night talk shows.

A piece from Stan’s show was used frequently on Offshore Radio in the UK in the 60’s: “You may not find us on your TV”. Other on-screen television roles included The Monkees (1966) and The Girl from U.N.C.L.E. (1967). In 1996, he portrayed the continuing character of Mr. Parkin on Roseanne, and both Freberg and his son had roles in the short-lived Weird Al Show in 1997.


When Freberg introduced satire to the field of advertising, he revolutionized the industry, influencing staid ad agencies to imitate Freberg by injecting humor into their previously dead-serious commercials. Freberg’s long list of successful ad campaigns includes:

  • Butternut coffee: A six-minute musical, “Omaha!”,[21] which actually found success outside advertising as a musical production in the city of Omaha.
  • Contadina tomato paste: “Who put eight great tomatoes in that little bitty can?”
  • Jeno’s pizza rolls: A parody of the Lark cigarettes commercial that used the William Tell Overture and a pick-up truck with a sign in the bed saying “Show us your Lark pack”, here ending with a confrontation between a cigarette smoker, portrayed by Barney Phillips (supposedly representing the Lark commercial’s announcer) and Clayton Moore as the Lone Ranger over the use of the music. Jay Silverheels also appears as Tonto, filling his possibles bag with pizza rolls, after asking “Have a Pizza Roll, kemo sabe?”.[22] It was regarded as one of the most brilliantly conceived and executed TV ads of the period; after one showing on The Tonight Show, Johnny Carson remarked that it was the first commercial he had ever seen to receive spontaneous applause from the studio audience.
  • Jeno’s pizza, in a parody of Scope mouthwash commercials. “You know why nobody likes your parties, Mary? You have bad pizza—bad pizza!”
  • Sunsweet pitted prunes: Depicted as the “food of the future” in a futuristic setting, until science fiction icon Ray Bradbury, a friend of Freberg’s (shown on a wall-to-wall television screen reminiscent of Fahrenheit 451) butts in: “I never mentioned prunes in any of my stories.” “You didn’t?” “No, never. I’m sorry to be so candid.” “No, they’re not candied,” (rim shot).[23] Bradbury reportedly refused to consider doing a commercial until Freberg told him, “I’m calling it Brave New Prune,” prompting Bradbury to ask, “When do we start?”
  • Another Sunsweet commercial features Ronald Long as a picky eater: “They’re still rather badly wrinkled, you know,” and ends with the famous line, “Today, the pits; tomorrow, the wrinkles. Sunsweet marches on!”
  • Heinz Great American soups: Ann Miller is a housewife who turns her kitchen into a gigantic production number, singing such lyrics as “Let’s face the chicken gumbo and dance!” After watching his wife’s flashy tap dancing, her husband, played by veteran character actor Dave Willock, asks, “Why do you always have to make such a big production out of everything?” At the time (1970), this was the most expensive commercial ever made—so expensive, in fact, that there was little money left over to buy air time for it.[citation needed]
  • Jacobsen Mowers: Sheep slowly munch on a front lawn. On camera reporter/announcer (voice of William Woodson): “Jacobsen mowers. Faster… than sheep!”
  • Encyclopædia Britannica: The boy in these commercials is Freberg’s son Donavan. Freberg talks to him from off screen.
  • Chun King Chinese Food: Magazine ad, featuring a lineup of nine smiling Chinese men and one frowning Caucasian man, all dressed in scrub suits and white lab coats, with the caption, “Nine out of ten doctors recommend Chun King Chow Mein!” The frowning Caucasian doctor is Freberg.

Today, these advertisements are considered classics by many critics. Though Bob & Ray had pioneered intentionally comic advertisements (stemming from a hugely successful campaign for Piels beer), Stan Freberg is usually credited as being the first person to introduce humor into television advertising with memorable campaigns. Freberg felt a truly funny commercial would cause consumers to request a product, as was the case with his elaborate ad campaign that prompted stores to stock Salada tea. The owner of Jeno’s Pizza Rolls had to pay off a bet over the success of a Freberg ad campaign by pulling Freberg in a rickshaw on Hollywood’s La Cienega Boulevard. Freberg won 21 Clio awards for his commercials.[24] Many of those spots were included in the Freberg four-CD box set Tip of the Freberg.

 Later work

Hunter and Stan Freberg at the San Diego ComicCon 2009

Following his success in comedy records and television, Freberg was often invited to appear as a featured guest at various events. Each time has been memorable, such as his skit at the 1979 Science Fiction Awards, again playing straight man to Orville in his UFO. He innocently asks why there is a hole in the end of the spacecraft, only to be told, “That’s where the swamp gas comes out.”

Freberg was the narrator for The Wuzzles, a Disney cartoon series that aired on CBS’s Saturday morning schedule during the 1985–1986 season.

In his autobiography, It Only Hurts When I Laugh, Freberg recounts much of his life and early career, including his encounters with such show business legends as Milton Berle, Frank Sinatra and Ed Sullivan, and the struggles he endured to get his material on the air.

Freberg had brief sketches on KNX (AM) radio in the early 1990s, beginning each with “Freberg here!” In one sketch Freberg mentioned that the band played “Inhale to the Chief” at Bill Clinton’s inauguration.

Freberg voiced guest stars in Garfield and Friends.

Freberg was inducted into the National Radio Hall of Fame in 1995. From 1995 until October 6, 2006, Freberg hosted When Radio Was, a syndicated anthology of vintage radio shows. The release of the 1996 Rhino CD The United States of America Volume 1 (the Early Years) and Volume 2 (the Middle Years) suggests a possible third volume. This set includes some parts written but cut because they would not fit on a record album.

Freberg appeared on “Weird Al” Yankovic’s The Weird Al Show, playing both the J.B. Toppersmith character and the voice of the puppet Papa Boolie. Yankovic has many times acknowledged Freberg as his greatest influence.[25] Freberg is among the commentators in the special features on the multiple-volume DVD sets of the Looney Tunes Golden Collection and narrates the documentary “Irreverent Imagination” on Volume 1.

Freberg was the announcer for the boat race in the movie version of Stuart Little, and in 2008 he guest starred as Sherlock Holmes in two episodes of The Radio Adventures of Dr. Floyd.[26]

Since 2008, Freberg has been doing the voices of numerous characters, including Doctor Whipple and Fluffykins on The Garfield Show.

 In popular culture

  • In 1961’s The Parent Trap, the characters during the animated opening title sequence refer to each other as “John” and “Marsha”.
  • In 2007, comedian the great Luke Ski recorded a ten-minute homage called MC Freberg, a parody illustrating what a Freberg-type satire of rap music would have sounded like. Originally recorded for The FuMP, the track also appears on Ski’s album BACONspiracy.
  • On the fourth season premiere of the TV series Mad Men, Peggy Olson (Elisabeth Moss) and Joey Baird (Matt Long) repeatedly call each other “John” and “Marsha”.
  • Freberg’s Dragnet parodies are generally credited with the popularizing the catch phrase “Just the facts, ma’am”, which Jack Webb’s character never actually said on the show.
  • Warner Brothers cartoons (in which Freberg appeared, uncredited, as a voice artist) often had cameo appearances by couples named “John” and “Marsha”. In one case, the woman was an alien, making the couple “John” and “Martian”.


  1. ^ Jalon, Allan (February 18, 1988). “Stan Freberg, a Sage for the Masses, Returns to Public Eye”. Los Angeles Times. Retrieved September 3, 2011.
  2. ^ “An audience with Stan Freberg”. Cosmik Debris. 1999. Retrieved February 8, 2009.
  3. ^ a b c Freberg, Stan (November 28, 1988). It Only Hurts When I Laugh. Crown Publishing Group. ISBN 978-0-8129-1297-5.
  4. ^ IMDb
  5. ^ “Interview with Mel Blanc’s son Noel”. Retrieved September 27, 2012.
  6. ^ “Stan Freberg”. POVonline. Mark Evanier. Retrieved February 8, 2009.
  7. ^ a b “Show 1 – Play A Simple Melody: American pop music in the early fifties. [Part 1] : UNT Digital Library”. Retrieved September 27, 2012.
  8. ^ “Number-one hits of 1953 (United States)”. Retrieved June 2, 2010.
  9. ^ “Show 2 – Play A Simple Melody: American pop music in the early fifties. [Part 2] : UNT Digital Library”. Retrieved September 27, 2012.
  10. ^ “Notes about Try by Stan Freberg (note {3})”. Retrieved January 3, 2012.
  11. ^ “Show 18 – Blowin’ in the Wind: Pop discovers folk music. [Part 1] : UNT Digital Library”. Pop Chronicles. May 25, 1969. Retrieved September 24, 2010.
  12. ^ “Show 5 – Hail, Hail, Rock ‘n’ Roll: The rock revolution gets underway. [Part 1] : UNT Digital Library”. May 4, 2012. Retrieved May 13, 2012.
  13. ^ “The Stan Freberg Show: Episodes One Through Seven”. The Official Website of Daws Butler. Joe Bevilacqua and Lorie Kellogg. July 2003. Retrieved February 8, 2009.
  14. ^ Freberg, op. cit., chapter 11
  15. ^ “Bob Claster’s Funny Stuff”. Retrieved February 8, 2009. “Arthur Godfrey satire”
  16. ^ a b Scott Simon (February 14, 2009). “Oregon’s 150th Calls For A New Act”. Weekend Edition Saturday. National Public Radio (NPR). Retrieved February 14, 2009.
  17. ^ a bOregon! Oregon! A Centennial Fable in Three Acts“. Wolverine Antique Music Society. Retrieved February 14, 2009.
  18. ^ George Stewart (1999). “An Interview with Stan Freberg”. Retrieved March 15, 2012.
  19. ^ “Stan Freberg Discography”. Warren Debenham, Norm Katuna. February 2008. Retrieved February 8, 2009.
  20. ^ “The Tip of the Freberg: The Stan Freberg Collection 1951–1998: Stretching the Imagination”.,,868724-2008390,00.html. Retrieved August 21, 2008. “http://excerpt%20from%20Stretching%20the%20Imagination
  21. ^ “REELRADIO Golden Gift – ButterNut Coffee Presents Omaha Starring Stan Freberg”. Retrieved May 13, 2012.
  22. ^ “YouTube – Jeno’s Pizza Rolls Commercial”. June 17, 2006. Retrieved September 27, 2012.
  23. ^ “YouTube – Ray Bradbury Prunes Commercial”. December 13, 2007. Retrieved September 27, 2012.
  24. ^ “2006 Los Angeles Area Governors Award Honor to Television Pioneer Stan Freberg”. Academy of Television Arts & Sciences. June 22, 2006. Retrieved February 8, 2009.
  25. ^ Ankeny, Jason (October 23, 1959). “Yahoo! Music: Weird Al Yankovic Biography”. Retrieved September 27, 2012.
  26. ^ “The Radio Adventures of Dr. Floyd”. The Radio Adventures of Dr. Floyd. October 12, 2008. Retrieved February 8, 2009. “Stan Freberg To Star On The Radio Adventures Of Dr. Floyd Podcast”

 External links

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Saving The American Dream — Heritage Foundation — Videos

Posted on March 14, 2013. Filed under: American History, Banking, Blogroll, Business, College, Communications, Demographics, Economics, Education, Employment, Energy, Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, government, government spending, Health Care, history, Inflation, Investments, Law, liberty, Life, Links, Medicine, Monetary Policy, Money, People, Philosophy, Politics, Raves, Tax Policy, Taxes, Video, War, Wisdom | Tags: , , , , |

How to Simplify Taxes and Grow our Economy — Saving the American Dream

Further Reforms to Modernize Social Security — Saving the American Dream 

Real Insurance: Security When You Most Need It — Saving the American Dream 

Opening up Health Care Options for All Americans — Saving the American Dream 

Limiting Government …and Cutting What It Can’t Do Well — Saving the American Dream

Saving the American Dream: The Fiscal Cliff and Beyond

By Alison Acosta Fraser, William W. Beach and Stuart M. Butler, Ph.D. December 11, 2012

Abstract: Unless Congress and the President act promptly and wisely, sequestration under the Budget Control Act (BCA) will undermine military readiness, and the nearly $500 billion tax increase starting on January 1, 2013, will greatly harm an already weak economy. However, this fiscal cliff can be avoided. The key to avoiding this and future fiscal calamities is reform of the mandatory spending programs, from welfare to Social Security, that currently drive federal deficits. The Heritage Foundation’s Saving the American Dream plan would rein in spending immediately, restructure the major entitlement programs to bring entitlement spending under control over the long term, and strengthen the core foundations of these programs.

Since the Heritage Foundation’s Saving the American Dream plan[1] was first published in April 2011, there has been almost no substantive progress on spending control. The only plausible exception was the flawed Budget Control Act (BCA), a product of a contentious debt limit debate. The complete failure of the resultant bipartisan “supercommittee” to reach agreement was a sad reflection on a Congress that is divided and unwilling to pass the legislation necessary to rein in spending.

As a result, the nation is facing the looming sequester, which will further undermine the defense budget, jeopardizing one of the federal government’s core constitutional responsibilities. Yet it would leave entitlement programs virtually untouched, even though they are the largest driver of spending today and in the future. Meanwhile, the prospect of a huge tax increase in January has had a deleterious effect on the economy for many months, although the effect is only a small portion of the harm the economy will incur if the tax increase ultimately takes effect. America seriously needs a true way forward.


The Heritage plan reflects the need to rein in spending immediately and to rethink major programs. Spending on the open-ended Social Security, Medicare, and Medicaid entitlements must be brought under control, and the core foundations of these programs should be strengthened.

The following principles guide the policy solutions in Saving the American Dream:

  • Total spending must be brought under control to balance the budget without raising taxes, ultimately holding revenues at their historical share of gross domestic product (GDP).
  • Entitlement programs should, unlike today, actually guarantee seniors economic security in retirement and be recast as real and sustainable insurance programs focused on those who truly need them.
  • Other spending must be curbed, and the federal government must be restricted to its proper functions.
  • Defense, as a core constitutional function of the federal government, should be fully funded and efficiently delivered.
  • The tax system should be structurally reformed to foster growth by eliminating tax distortions of private economic decisions, especially decisions on savings and investment, and to make the system simpler and more transparent.

Priorities for Congress and the President

Fiscal year (FY) 2012 closed on September 30 with the Congressional Budget Office (CBO) estimating spending of $3.5 trillion and a deficit of $1.1 trillion.[2] Debt held by the public was $11.3 trillion (73 percent of GDP). According to the CBO, debt will explode to 199 percent of GDP by 2037, driven by growth in spending that will reach 36 percent of GDP.[3]

The main drivers of spending and debt increases are incontrovertibly the major entitlement programs: Social Security, Medicare, and Medicaid. However, the slow economy with its high unemployment rate, which remains stuck at around 8 percent, also adds to deficits and debt through two channels: mandatory spending for those workers who are most affected by the slow economy (e.g., unemployment compensation) and below-average tax revenues.

It is clear that the top priorities for Congress and the President should be controlling spending, especially entitlement reform, and setting an economic growth agenda through tax reform. After averting the fiscal cliff, Congress and the President should immediately turn their attention to these pressing issues.


As noted, entitlements are the fastest-growing programs. Even if all other spending was eliminated, these programs would still cause large and unsustainable deficits in the future. Their growth is automatic, with autopilot spending increases built in and no serious budgetary constraints. The top priority must be to restructure entitlements and put a brake on their spending levels while strengthening and preserving them for future generations.

A number of robust proposals for health care reforms already exist, both in Congress and in the policy community.[4] Congress and the President should take advantage of this policy momentum and focus on reforming Medicaid and especially Medicare. However, changes in Social Security should follow quickly, and the rules that govern these programs in general should be more consistent. For example, increases in the normal eligibility age should proceed simultaneously for both Social Security and Medicare.

Specific steps for Congress and the President include the following:

  • The President should submit a budget by the 2013 tax deadline deadline that outlines strong, sweeping changes in entitlement programs that will reduce spending over the 10-year budget window and significantly improve the long-term trajectory of these programs.
  • The President’s budget should lay out specific goals for a pro-growth, revenue-neutral tax reform plan.
  • Congress and the President should include reforms in entitlement programs and further reductions in other spending areas, including the Patient Protection and Affordable Care Act (Obamacare), in exchange for any increases in the debt limit. These should reflect lessons learned from the 2011 Budget Control Act, such as avoiding high-stakes mechanisms like sequestration that are designed to fail.
  • Congress should pass a joint budget resolution by the April 15, 2013, deadline that includes reconciliation instructions for entitlement and tax reform.
  • The budget resolution should also require reforms of other spending programs to bring spending below the BCA levels for 2014 and beyond.


Health Care

If only one issue is thoroughly addressed in 2013, it should be the federal role in health care, the biggest driver of spending. The flawed Obamacare law only adds to the problem. Instead of expanding the government’s role, health care should follow a true patient-centered, market-based model, including reforms in Medicare, Medicaid, and the tax treatment of health insurance.

Medicare. Medicare’s finances must be brought under control. As a first step, the age of eligibility should be raised gradually from 65 to 68 and then indexed to life expectancy. Premiums for Parts B and D should also gradually increase, thus expanding the current policy for Medicare of adjusting the level of taxpayer subsidies to income, with the most affluent seniors receiving much smaller (or in some cases no) taxpayer subsidies for their health coverage. These steps, among others,[5] should occur immediately because they are easily achieved and less controversial and should be part of new debt-limit legislation.

Within five years of these initial changes, patients should also be transitioned to a defined-contribution or premium-support model that would be adjusted for income. Expanding competition in Medicare would restrain federal spending, slow health care costs, and promote greater innovation in the delivery of care.[6]

Medicaid. Federal spending on Medicaid should be put on a budget subject to regular congressional review to bring greater fiscal certainty and stability to the process. Federal Medicaid spending would follow antipoverty spending caps by reverting to the 2007 spending levels when the economy approaches full employment (e.g., the unemployment rate dips below 6 percent) and be adjusted for medical inflation thereafter.

In lieu of traditional Medicaid, able-bodied individuals and families should receive direct federal assistance in the form of tax credits or direct assistance to enable them to buy private insurance coverage of their choice. For the disabled and frail elderly, Medicaid would remain a joint federal–state safety net program, but states would have additional flexibility to adopt more patient-centered models.

Reform of the Tax Treatment of Health Insurance. As a part of tax reform (see below), the employee tax break for employer-sponsored coverage would be converted to a non-refundable tax credit that individuals and families could use to purchase the health plan of their choice.

These larger reforms are best achieved through normal legislative order. This could include the legitimate use of reconciliation as part of a comprehensive budget plan. In any case, Congress should pass a concurrent budget resolution for FY 2014.

Social Security

Social Security needs to be reformed. It is running permanent cash-flow deficits and has severe programmatic flaws.[7]

First, Social Security’s eligibility age should gradually be increased in tandem with Medicare’s eligibility age. For both, this change is straightforward and could be included in an initial, small reform package. Next, Social Security should return to its original purpose of guaranteeing that all Americans are protected from poverty in retirement. As part of this insurance protection, benefits would evolve to an understandable, predictable flat benefit that is well above the poverty level. With Social Security functioning as an insurance program, moderate-income retirees would receive a smaller check, while affluent seniors would receive no check unless their financial circumstances change.

To encourage people to stay in the workforce longer, those who work beyond full retirement age would receive a higher level of after-tax income until they do retire.


Tax reform would support Social Security reforms by significantly increasing personal savings that seniors can take into retirement, and there would be no limit on the amount of these tax-deferred savings. Thus, more retirement income would be possible than under the current system. Social Security would become a safety valve against economic reversals and a floor for income after the statutory retirement age.


Other Spending

Defense cuts are already reducing military readiness, thus endangering the security of the United States. The defense portion of the BCA cuts is dangerously flawed and must be reversed. In Saving the American Dream, the sequester for defense spending (including the 2013 cuts) is eliminated, and the higher spending is more than offset with reforms in other spending and entitlements. Defense spending is brought slowly up to and held at 4 percent of GDP. Non-defense discretionary spending is set for 2013 at the BCA sequester level and then reduced to 2 percent of GDP, after which it is indexed to inflation.

Spending in 2014 and beyond should include reforms in long-standing but growing and expensive programs such as farm subsidies and transportation. A program of privatization, including federal asset sales, could begin as early as 2015. Anti-poverty spending should be rolled back and capped when the economy approaches full employment and then consolidated into fewer programs that reflect strong incentives for work and marriage.



Tax Reform. The economy remains plagued by the uncertainty of expiring tax policy and an unwieldy and inefficient tax code. Beyond preventing Taxmageddon by extending all current tax policy and delaying the Obamacare tax increases before January 1, 2013, Congress should pass broad substantive tax reform consistent with the New Flat Tax in Saving the American Dream. Tax reform should focus on promoting economic growth by reducing both tax rates and tax distortions while maintaining revenue and distributional neutrality. It should also simplify the tax system and improve its transparency so that taxpayers can better understand the influence of tax policy as well as the true cost of government.[8]

The broad direction for tax reform already in play, especially the bipartisan push for lower corporate income tax rates, is fully consistent with the New Flat Tax. Congress will likely find the goal of lower corporate tax rates quickly running up against the consequent need to lower tax rates for non-corporate businesses. This occurs naturally under the New Flat Tax, which taxes all businesses at a single rate on their domestic net cash flow at the entity level. Likewise, the growing support for a territorial tax system—under which U.S. businesses are taxed solely on their domestic income—is also fully consistent with the New Flat Tax, which levies tax solely on domestic income.

Under the New Flat Tax, the individual income tax and the payroll tax are rolled into one system with the same tax rate that is imposed on business income. Nearly all other federal levies are repealed, leaving a simple system for both individuals and businesses. Under the New Flat Tax as it applies to individuals, only income used for consumption is taxed, thus eliminating the existing tax bias against saving. In addition, all distorting credits, exemptions, and deductions are eliminated, leaving only two credits and three deductions.

The first credit is the above-mentioned tax credit for health insurance. This tax credit is less distortive of economic decisions than current law is, but it remains a clear subsidy for the purchase of health insurance. It is necessary because the current-law tax bias favoring health insurance is so powerful and so entrenched that simply eliminating the tax advantage is impracticable.

The second credit carried over from current law is the earned income credit (EIC). The EIC needs reform in its own right, but it is also the largest income-support component of the overall federal anti-poverty program and one of its most effective elements. Changes in the EIC should then be considered part of the proposed budget for anti-poverty programs.

The three deductions are as follows:

  • The deduction for charitable expense, which is retained because this tax system taxes the individual on what he or she spends. Charitable contributions benefit the receiving organization and thus should be deductible for the recipient.
  • A deduction for higher education, which recognizes that education expenses are a form of saving and investing simultaneously, which in every other instance is excluded from tax under the New Flat Tax.
  • An optional home mortgage deduction with the proviso that if the homeowner chooses a mortgage with deductible interest, then the lender must, as under current law, continue to pay tax on interest income earned. Alternatively, the home owner may choose to forgo the deduction, in which case the lender earns tax-free interest income and can thus charge a lower mortgage interest rate.

The New Flat Tax, the tax reform plan, is implemented effective January 1, 2014.


Addressing the Fiscal Cliff

Table 1 addresses each element of the fiscal cliff and the proposed steps that Congress should take on each of them.

Alison Acosta Fraser is Director of the Thomas A. Roe Institute for Economic Policy Studies, William W. Beach is Director of the Center for Data Analysis and Lazof Family Fellow in Economics, and Stuart M. Butler, PhD, is Director of the Center for Policy Innovation at The Heritage Foundation.

The editors are grateful to the team leaders who worked with policy experts throughout The Heritage Foundation to develop this report: J. D. Foster, Ph.D., Norman B. Ture Senior Fellow in the Economics of Fiscal Policy; Rea S. Hederman, Jr., Assistant Director and Research Fellow in the Center for Data Analysis; David C. John, Senior Research Fellow in Retirement Security and Financial Institutions; Robert E. Moffit, Ph.D., Senior Fellow in the Center for Policy Innovation; Nina Owcharenko, Director of the Center for Health Policy Studies; and Drew Gonshorowski, Policy Analyst in the Center for Data Analysis.

This plan was developed as part of the Solutions Initiative and funded by the Peter G. Peterson Foundation. The Peterson Foundation convened organizations with a variety of perspectives to develop plans addressing our nation’s fiscal challenges. The American Action Forum, Bipartisan Policy Center, Center for American Progress, Economic Policy Institute, and The Heritage Foundation, each received grants. All organizations had discretion and independence to develop their own goals and propose comprehensive solutions. The Peterson Foundation’s involvement with this project does not represent endorsement of any plan.

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CPAC 2013 — Conservative Political Action Conference — March 14th -16th — Videos

Posted on March 14, 2013. Filed under: American History, Banking, Blogroll, Business, College, Communications, Culture, Economics, Education, Employment, Entertainment, Federal Government, Federal Government Budget, Fiscal Policy, Foreign Policy, government, government spending, history, History of Economic Thought, Immigration, Inflation, Investments, Law, liberty, Life, Links, Macroeconomics, media, Microeconomics, Monetary Policy, Money, People, Philosophy, Politics, Raves, Regulations, Talk Radio, Tax Policy, Taxes, Unemployment, Video, War, Wealth, Wisdom | Tags: , , , , , , , , , , , , , , , , , , , , |



Rush Limbaugh Details Pat Caddell’s Hammering GOP Consultant Class at CPAC

CPAC 2013 Promotional Video

March 14, 2013: The Day In 100 Seconds

cpac 2013 View from the main stage

Birds eye view CPAC 2013 from upstairs

Revolutionary CPAC 2013

CPAC 2013: Stop the Statists

Shooting Guns At CPAC

Voices of CPAC Why Stand with Rand T-Shirts

CPAC 2013 – The Guardian asks youngsters why they’re here, and what they want to hear

CPAC 2013 – The Guardian asks women if there are enough women at CPAC

Ken Cuccinelli Opens CPAC 2013

CPAC 2013 Invocation

CPAC 2013 – Pledge of Allegiance and Invocation


CPAC 2013 – Former Governor Mitt Romney (Intro by Gov. Nikki Haley) 

CPAC 2013 – Governor Rick Perry

CPAC 2013 – Governor Bobby Jindal (R-LA)

CPAC 2013 – Governor Scott Walker (R-WI)

Jebby Bush Speech At CPAC 2013 


CPAC 2013 – U.S. Senate Majority Leader Mitch McConnell (R-KY)

Rand Paul’s CPAC 2013 Speech – 3/14/2013

Pat Toomey’s Full Speech at CPAC 2013


CPAC 2013 – US Senator Tim Scott

CPAC 2013 – US Senator Mike Lee

CPAC 2013 – Senator Marco Rubio (R-FL)

CPAC 2013 – U.S. Senator Kelly Ayotte (R-NH)

CPAC 2013 – Rick Santorum

Guest Speakers

CPAC 2013 – President Obama’s Prayer Breakfast Club (feat. Dr. Ben Carson and Eric Metaxas)

CPAC 2013 – Virginia Attorney General Ken Cuccinelli (R-VA)

CPAC 2013 – Judicial Watch’s Tom Fitton

CPAC 2013 – ACU National Director Gregg Keller

CPAC 2013 – Mario Lopez

CPAC 2013 – ACU Chairman Al Cardenas

CPAC 2013 – ACU Award for Conservative Philanthropy dedicated to Foster Friess


CPAC 2013 – Grover Norquist Moderates Balanced Budget Amendment Panel

CPAC 2013 – “Too Many American Wars” Panel

CPAC 2013 – “Smartest Guys in the Room” Panel 

CPAC 2013 – Respecting Families and the Rule of Law: A Lasting Immigration Policy 

CPAC 2013 – The Fight for Religious Liberty: 40 Years After Roe v. Wade

CPAC 2013 – Benghazi and its Aftermath

Full Tom Cotton Speech at CPAC 2013

Wayne LaPierre CPAC 2013 Speech | NRA vice president Wayne LaPierre ” They Call me Crazy ?! ” 

CPAC 2013 David Bossie President of Citizens United

Donald Trump Speech CPAC 2013

CPAC 2013 – Fight Club (feat. Tucker Carlson and Paul Begala)

CPAC 2013 – The Right View and the Real Issues


Congressman Labrador Addresses CPAC 2013

CPAC 2013 – U.S. Representative Paul Ryan (R-WI)

CPAC 2013 – U.S. Representative Michele Bachmann (R-MN)

CPAC 2013 – Rep. Steve Scalise (R-LA), Chairman Republican Study Committee

Congressman Labrador Addresses CPAC 2013

CPAC 2013 – Lt. Col. Allen West

CPAC 2013 – Former U.S. Representative Artur Davis 

Greta Van Susteren on Gov. Christie’s CPAC Snub: ‘This Wasn’t An Accident’

CPAC 2013 – Former Speaker of the House Newt Gingrich

Newt Gingrich Stands With Rand at CPAC


Raw Video from CPAC 2013 /

CPAC 2013 – Tea Party Patriot’s Jenny Beth Martin

CPAC 2013 – Kristian Hawkins

CPAC 2013 – David Bossie, Citizens United

CPAC 2013 – Ronald Reagan Dinner (feat. Jeb Bush)

Raw Video CPAC 2013 The Tea Party Guy

Background Articles and Videos

Audio » Mark Levin – CPAC 2013 & William F. Buckley Jr. 1955 Conservatism

Charles Krauthammer Calls Chris Christie’s CPAC Snub A ‘Mistake’

Ron Meyer Analysis of CPAC Invites with Monica Mehta & Julie Roginsky on Neil Cavuto – 3-4-13

Christie Says He’s Not Bothered By Lack of Invite to Conservative Conference

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Federally Sponsored Jailbreak of 2,228 Criminal Aliens Released By Immigration and Customs Enforcement (ICE) — Videos

Posted on March 14, 2013. Filed under: Blogroll, Communications, Crime, Economics, Immigration, Law, liberty, Life, Links, media, Philosophy, Radio, Unemployment, Video, Wisdom | Tags: , , , , , , |





2,000 criminal illegal aliens released from prison.

Judge Jeanine Pirro reports on the Obama administrations releasing of 2,000 illegal invaders.

Goodlatte Talks ICE’s Release of Detainees on Lou Dobbs Tonight

Congressman Bob Goodlatte, Chairman of the House Judiciary Committee, appeared on “Lou Dobbs Tonight” on Fox Business to discuss ICE’s release of detainees. An internal U.S. Customs and Immigration Enforcement (ICE) document obtained by the House Judiciary Committee reveals that the agency planned to release thousands of criminal aliens onto the streets to reduce the agency’s costs in light of sequestration. As of February 15, 2013, the document shows that ICE had roughly 31,000 illegal immigrants and criminal aliens in detention — already below the 34,000 mandated by Congress — and planned to reduce that number to less than 26,000 by March 31, 2013. According to sources, roughly 2,000 criminal aliens may have already been released so far.

Border Battle – Startling Info On Release Of Illegal Aliens Across U.S. –

Limbaugh Rips Release Of Immigrants (Audio)

Illegal Immigrants Released from Detention Centers…

Inside Tacoma’s Northwest Detention Center

Fox News Says Sequester Will Lead To Murder By Freed Immigrants

Geraldo Calls Release Of Immigrants A ‘Spiteful Move’ By Obama: He’s Throwing A ‘Tantrum’

Operation Cross Check: 3,100 arrests

Federal spending cuts underway

Democrats: Term “Illegal Immigrants” OFFENSIVE – Use Out of Status/ New Americans/Undocumented

Rick Perry Slams McCain, Romney At CPAC, Says They Aren’t Conservative

“…”The popular media narrative is that this country has shifted away from conservative ideals, as evidenced by the last two presidential elections. That’s what they think. That’s what say. That might be true if Republicans had actually nominated conservative candidates in 2008 and 2012,” Gov. Rick Perry (R-Texas) said in his address at CPAC this afternoon.

Perry also slammed President Obama for undocumented illegal immigration being released from detention centers due to sequestration cuts.

“This president’s posture, it’d be laughable if he hadn’t taken it one step too far, dangerously releasing criminals onto our streets to make a political point,” Perry told the crowd at CPAC. “When you have a federally-sponsored jailbreak, and don’t get confused, that’s exactly what that is — when you’ve had a federally-sponsored jailbreak, you’ve crossed the line from politics of spin to politics as a craven form of cynicism.” …”

“…The Obama administration reversed itself Thursday, acknowledging to Congress that it had, in fact, released more than 2,000 illegal immigrants from immigration jails due to budget constraints during three weeks in February.

The director of U.S. Immigrations and Customs Enforcement, John Morton, said his agency had released 2,228 illegal immigrants during that period for what he called “solely budgetary reasons.” The figure was significantly higher than the “few hundred” immigrants the Obama administration had publicly acknowledged were released under the budget-savings process. He testified during a hearing by a House appropriations subcommittee.

Morton told lawmakers Thursday that the decision to release the immigrants was not discussed in advance with political appointees, including those in the White House or Homeland Security Secretary Janet Napolitano. He said the pending automatic cuts known as sequestration was “driving in the background.”

“We were trying to live within the budget that Congress had provided us,” Morton told lawmakers. “This was not a White House call. I take full responsibility.”

The Associated Press, citing internal budget documents, reported exclusively on March 1 that the administration had released more than 2,000 illegal immigrants since Feb. 15 and planned to release 3,000 more in March due to looming budget cuts, but Napolitano said days later that the AP’s report was “not really accurate” and that the story had developed “its own mythology.”

“Several hundred are related to sequester, but it wasn’t thousands,” Napolitano said March 4 at a Politico-sponsored event.

On March 5, the House Judiciary Committee publicly released an internal ICE document that it said described the agency’s plans to release thousands of illegal immigrants before March 31. The document was among those reviewed by the AP for its story days earlier.

The immigrants who were released still eventually face deportation and are required to appear for upcoming court hearings. But they are no longer confined in immigration jails, where advocacy experts say they cost about $164 per day per person. Immigrants who are granted supervised release – with conditions that can include mandatory check-ins, home visits and GPS devices – cost the government from 30 cents to $14 a day, according to the National Immigration Forum, a group that advocates on behalf of immigrants.

Morton said Thursday that among the immigrants released were 10 people considered the highest level of offender. Morton said that although that category of offender can include people convicted of aggravated felonies, many of the people released were facing financial crimes. Four of the most serious offenders have been put back in detention. Other people released include immigrants who had faced multiple drunken driving offenses, misdemeanor crimes and traffic offenses, Morton said.

After the administration challenged the AP’s reporting, ICE said it didn’t know how many people had been released for budget reasons but would review its records.

Texas Department of Public Safety
News Release
Tuesday, September 27, 2011

Public Safety Commission discusses Border Security report
and the Criminal Alien threat to Texas

During today’s Public Safety Commission (PSC) meeting, Texas Department of Public Safety (DPS) Director Steven C. McCraw discussed the border security strategic assessment that was conducted by General Barry McCaffrey (Ret.) and Retired Major-General Robert Scales as a part of HB 4 from the 82nd Session.

The report highlighted the efforts that Texas has put in place in order to combat the threat from the Mexican cartels and commended Texas for being “the most aggressive and creative in confronting the threat.”

The report further determined that “criminality spawned in Mexico is spilling over to the U.S. and Texas is the tactical close combat zone and frontline of this conflict.”

The Commission also discussed the impact criminal aliens were having on communities in Texas. Director McCraw stated that criminal aliens were responsible for a significant amount of crime and constituted a serious threat.

As of September 15, 2011, 6,508 illegal aliens have been identified in Texas Department of Criminal Justice (TDCJ) units.  These 6,508 criminal aliens are responsible for 27,880 total crimes over their criminal careers.

Furthermore, from October 2008 through August 2011, Texas has identified a total of 88,080 unique criminal alien defendants in Texas.  These defendants are responsible for 344,398 individual criminal charges over their criminal careers, including 2,245 homicides and 46,412 sexual assaults. Director McCraw provided a detailed breakdown of the violations committed by the 88,080 criminal aliens.

Breakdown of 15 of the 50 Criminal Justice Information Systems (CJIS) crime categories committed by the 88,080 criminal aliens


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