For six nights a week, he entertained charwomen, bakers, tugboat crews, cab drivers, and others who worked through the early morning hours. Over the years, the program's schedule changed from time to time. In 1960, it was broadcast from midnight to 5:30 a.m. seven days a week.
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"Remember the Spanish leather miner?" Self-caricature by John Sloan, 1915 As someone who painted city crowds and tenement rooms, shop girls and streetwalkers, charwomen and hairdressers, Sloan is one of the artists most closely identified with the Ashcan School. Yet it was a term Sloan despised.Brooks, p. 79.
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The charwomen have often appeared on stage, radio, film, and television. The music hall comedian Arthur Lucan portrayed throughout his career a feisty Irish charwoman named Mrs. Riley opposite his wife Kitty McShane, who depicted Mrs Riley's daughter. The public's enthusiasm for these stage characters prompted the couple to make the pair a part of their repertoire and this led to sixteen Old Mother Riley films, from 1937 to 1952.
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Other occupations for men at this time included carpentry, mechanics, plate-laying, blacksmithing, labouring on the railway, and careers in the navy. Women were mainly engaged in domestic positions and services, such as indoor servants and charwomen, or working for a washing and bathing service; a total of 10 females were working in this type of employment. The 2011 census recorded 281 males and 277 females, and 424 residents aged 16–74 who were employed.
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In the radio comedy series It's That Man Again (1939–1949), Dorothy Summers played the part of Mrs Mopp, an office char whose catch phrase was "Can I do you now, Sir?" (i.e., "May I clean your office now, Sir?" but with an obvious double entendre). In 1963, Peggy Mount starred in Ladies Who Do, in which a group of charwomen go into high finance under the guidance of the eccentric Colonel Whitforth Robert Morley, in order to save their old neighbourhood from a team of ruthless developers led by Harry H. Corbett.
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Pickford, like all actors at Biograph, played both bit parts and leading roles, including mothers, ingenues, charwomen, spitfires, slaves, Native Americans, spurned women, and a prostitute. As Pickford said of her success at Biograph: > I played scrubwomen and secretaries and women of all nationalities ... I > decided that if I could get into as many pictures as possible, I'd become > known, and there would be a demand for my work. She appeared in 51 films in 1909 – almost one a week – with her first starring role being in The Violin Maker of Cremona opposite future husband Owen Moore.
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Vaughn frequently played a “pleb”, or a commoner in the films she acted in (waitresses, maids, charwomen, governesses, and saleswomen) but "the characters she embodied did not lack ... character!" A fixture at MGM in the sound era of the early 1930s, she acted in more than 50 films. Her most notable films were 1933's Dinner at Eight where she was memorable as Jean Harlow's blackmailing maid, as well as Today We Live (1933), Chasing Yesterday (1935), and Charlie Chan at the Wax Museum (1940). She appeared on Broadway, and in 1924 toured as the lead in "Rain," based on a story by W. Somerset Maugham.
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The rate they usually charge > is four or five times the face value of the coins. The purses are sometimes > disposed of at from one to two shillings each, depending on the market. By 1897, Maundy recipients were being urged to sell the small pieces at a premium; there are tales of Americans paying high prices for a set that year, wanting a souvenir of Victoria's Diamond Jubilee. Bags and coins given to a 2006 Maundy recipient In 1903, the Royal Mint made its first effort to cut back on the number of pieces distributed, eliminating 200 Mint workers (principally charwomen and labourers) from the distribution list.
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Unnikrishnan Puthur belongs to writers of modern era with vivid taste in selecting the topics. His works include Jalasamadhi, Dharmachakram, Gajarajan Guruvayur Kesavan, Puthurinte Kathakal, Thallaviral, Akashavani, Kuttasammatam, Atmaviboothi, Aanappaka, Amruthamadhanam, Karayunna Kalpadukal, Nashtapetta Ponnonam, Kamsan, Dylan Thomasinte Ganam, Sundari Cheriamma, and Kalpakapoomazha (collection of poems). His novels and scores of short stories narrated the tales of ordinary men and women bound to the famous Guruvayur temple, unnoticed in the hustle and bustle of the pilgrim town visited by thousands from outside. It was his novels like Balikkallu and Anappaka that brought to light the plight of men and women destined to eke out a living by doing menial chores for the rich temples, as mahouts and charwomen.
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In his review for The New York Times, critic Mordaunt Hall described the film as a "sensitive production" that was "intensely interesting" and "tender, charming and whimsical". Hall credits the film's success to the direction of Richard Wallace and the performances of Beryl Mercer—reprising her role as the elderly charwoman in the original 1917 New York stage production—and the young Gary Cooper. Hall praised Wallace's realistic depictions of London and the charwomen, and noted the Paramount audience's response of laughter and applause to several scenes. Hall also described the screen adaptation by John Farrow and Dan Totheroh as "a capital piece of work in blending the Barrie lines with scenes that were left to the imagination in the play".
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The Casebook of Forensic Detection p. 189 The amount of blood subsequently discovered on the stairs, walls, and carpeting of the Ruxton household indicates excessive blood flow prior to the bodies' mutilation, leading to the conclusion that Ruxton had stabbed either or both of the victims extensively shortly before or after death, or during the actual act of murder."Medico-Legal Aspects of the Ruxton Case" – Glaister & Brash. On the day prior to the murders, Ruxton informed one of the two charwomen he and Isabella employed not to come to his premises until Monday 16September; within hours of the murders he had visited the home of the other charwoman he employed and likewise told her not to clean his premises until 16September, explaining that Isabella and Mary Jane had travelled to Edinburgh.
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Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance"."The Planets" (full orchestral score): Goodwin & Tabb, Ltd., London, 1921 Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during Jupiter) remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter... until the imagination knew no difference between sound and silence"."The Great Composers and Their Music", Vol.
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A 1943 photograph of a charwoman in Pittsburgh, Pennsylvania, United States A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. A charwoman might work independently, often for cash in hand, or might come through an employment agency. Before 1960, the term "charwoman" was used as an official job title by government agencies in the United States, including municipal and state governments and by federal agencies such as the Department of Commerce and Labor, the Bureau of the Census, and the Bureau of Immigration. Charwomen have also sometimes been referred to as "scrubwomen".
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Symphony No. 45 (Haydn) Gustav Holst's "Neptune, the mystic", part of the orchestral suite The Planets written between 1914 and 1916, is another early example of music to have a fade-out ending during performance. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance"."The Planets" (full orchestral score): Goodwin & Tabb, Ltd., London, 1921 Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter ... until the imagination knew no difference between sound and silence".
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