Howard is a popular English language occupational given name of Old English origin, meaning "noble watchman". A diminutive is "Howie" and its shortened form is "Ward" (most common in the 19th century). Between 1900-1960, Howard ranked in the U.S. Top 200; between 1960–1990, it ranked in the U.S. Top 400; between 1990–2004, it ranked in the U.S. Top 600. People with the given name Howard or its variants include:
Christopher Julius "Chris" Rock III (born February 7, 1965) is an American comedian, actor, screenwriter, television producer, film producer, and director.
After working as a standup comic and appearing in small film roles, Rock came to wider prominence as as a cast member of Saturday Night Live in the early 1990s. He went on to more prominent film roles, and a series of acclaimed comedy specials for HBO.
He was voted in the US as the 5th greatest stand-up comedian of all time by Comedy Central. He was also voted in the UK as the 9th greatest stand-up comic on Channel 4's 100 Greatest Stand-Ups in 2007, and again in the updated 2010 list as the 8th greatest stand-up comic.
Rock was born in Andrews, South Carolina. Shortly after his birth, his parents moved to Crown Heights, Brooklyn, New York. A few years later, they relocated and settled in the working-class area of Bedford-Stuyvesant, Brooklyn. His mother, Rosalie (née Tingman), was a teacher and social worker for the mentally handicapped; his father, Julius Rock, was a former truck driver and newspaper deliveryman. Julius died in 1988 after ulcer surgery. His younger brothers Tony, Kenny and Jordan are also in the entertainment business. His older half-brother, Charles, died in 2006 after a long struggle with alcoholism. Rock has said that he was influenced by the performing style of his paternal grandfather, Allen Rock, a preacher.
Howard Allan Stern (born January 12, 1954) is an American radio personality, television host, author, actor and photographer best known for his radio show which was nationally syndicated from 1986 to 2005. He gained wide recognition in the 1990s where he was labeled a "shock jock" for his outspoken and sometimes controversial style. Stern has been exclusive to Sirius XM Radio, a subscription-based satellite radio service, since 2006. The son of a former recording and radio engineer, Stern wished to pursue a career in radio at the age of five. While at Boston University he worked at the campus station WTBU before a brief stint at WNTN in Newton, Massachusetts.
He developed his on-air personality when he landed positions at WRNW in Briarcliff Manor, WCCC in Hartford and WWWW in Detroit. In 1981, he was paired with his current newscaster and co-host Robin Quivers at WWDC in Washington, D.C. Stern then moved to WNBC in New York City in 1982 to host afternoons until his firing in 1985. He re-emerged on WXRK that year, and became one of the most popular radio personalities during his 20-year tenure at the station. Stern's show is the most-fined radio program, after the Federal Communications Commission (FCC) issued fines to station licensees for allegedly indecent material that totaled $2.5 million. Stern has won Billboard's Nationally Syndicated Air Personality of the Year award eight times, and is one of the highest-paid figures in radio.
William "Bill" Hader (born June 7, 1978) is an American actor, comedian, producer and writer. He is best known for his work as a cast member on Saturday Night Live and for his supporting roles in comedy films such as Superbad, Hot Rod, Tropic Thunder, Adventureland, Paul, Forgetting Sarah Marshall, and Night at the Museum: Battle of the Smithsonian.
Hader was born and raised in Tulsa, Oklahoma, the son of Sherri and Bill Hader. He has two sisters, Katie and Kara. Hader attended Patrick Henry Elementary School, Edison Junior High, and Cascia Hall Preparatory School, before attending The Art Institute of Phoenix and Scottsdale Community College.
Hader's comedic aspirations eventually led him to Los Angeles where he joined the Second City, a comedy troupe that has been a training ground for many SNL cast members since the 1970s. He performed at iO West in Los Angeles. During his time at Second City and iO West, Hader worked as a production assistant on the DVD Empire of Dreams: The Story of the Star Wars Trilogy and Collateral Damage, as well as an assistant on VH1's The Surreal Life.
Jeffrey Leon Bridges (born December 4, 1949) is an American actor, musician, producer, photographer, cartoonist, storyteller, and occasional vintner. He comes from a well-known acting family and began his first televised acting in 1958 as child with his father, Lloyd Bridges, and brother Beau on television's Sea Hunt. Some of his best-known major motion films include: Tron (and its sequel) , Fearless, Iron Man, Contender, TheThe Contender, Starman, The Fabulous Baker Boys, Jagged Edge, Against All Odds, Fisher King, TheThe Fisher King, Thunderbolt and Lightfoot, Seabiscuit, and The Big Lebowski. He won the Academy Award for Best Actor for his role as Otis "Bad" Blake in the 2009 film Crazy Heart and earned his sixth Academy Award nomination for his portrayal of Rooster Cogburn in 2010's True Grit.
Jeffrey Leon Bridges was born in Los Angeles, California on December 4, 1949. He is son of showbiz parents, actor Lloyd Bridges. and actress and writer Dorothy Bridges (née Simpson). His older brother, Beau Bridges, is also an actor. He has a younger sister, Lucinda, and had another brother, Garrett, who died of sudden infant death syndrome in 1948. Growing up, Bridges shared a close relationship with his brother Beau, who acted as a surrogate father when their father was working. Bridges and his siblings were raised in the Holmby Hills section of Los Angeles. He graduated from University High School (Los Angeles, California) in 1967. At age fourteen, Jeff toured with his father in a stage production of Anniversary Waltz.
Time Is On Our Side
[first lines]::Leonard: [dreaming] Slutty Leia. Slutty Leia. Slutty Leia. Slutty Leia.
Penny: Hey guys, where are you two headed?::Leonard: Hi Penny. We're just going to head downstairs to the comic store.::Penny: Oh, yeah, sounds like fun. Dracula must be doing a signing or something.::Sheldon: Dracula is nocturnal. Therefore, he would not be able to attend any public events before dusk.::Penny: Yeah, there's that... and the whole not being real thing.
Penny: What's a Comic-Con? Oh, is that like a guy goes to jail for stealing comic books or something?
Penny: Those two crack me up.::Hot Brunette: *Those* nerds, you're kidding me, right?::Penny: No, I actually think the short one's kinda cute in like a Harry Potter kinda way.
Hot Brunette: I'd like to come in.::Penny: Oh yeah? What do you want to do in there?::Hot Brunette: Well, I was thinking maybe we could go online and lookup the Vulcan word for girl-on-girl action.
Hot Brunette: Yeah. Right now I'm gonna go lick long and toss her... salad? And after that I'm going to move on back to her Endor.
Sheldon: You, Howard, are a geek Richard Nixon.::Howard: I prefer to think of myself as a Jewish James Bond. L'Chaim!
Raj: And that's when I learned to never take a girl on a date to a Bollywood movie.::Sheldon: Because they keep dancing away before you can receive fellatio?::Raj: That is correct.
Leslie: Well, if it isn't the Lonely Ranger and his sidekick Tonto.::Raj: I'm a customer service Indian, not a casino Indian.
Howard: [on the phone] You are not going to believe this. Guess what I'm doing right now.::Leonard: I don't know... you're watching The Matrix and jerking off to the thought of a man in a dress co-directing it?
Plot
The action-packed introduction to the adventures of renegade Texas cop, Frank McCuff Jr., as he travels to the Big Apple to hunt down and bring to justice the escaped psychopath who killed his father and brother. A hybrid genre short combining elements of 70s grindhouse cop films, Westerns, superhero comics and anime.
We've seen them crave flesh, now what happens when they are...Becoming Undead
Plot
1998. Ron Clark, still relatively early in his career, leaves his stable life teaching at an elementary school in his suburban North Carolina hometown, the school where he is appreciated by both his fellow teachers and his students for his innovative teaching methods which results in raising test scores. Instead, he decides to look for a teaching job at a tough New York inner city school where he feels he can be more useful. He eventually finds a job at Inner Harlem Elementary School, where the students are segregated according to their potential. As Clark is white and "nice" looking, Principal Turner wants to assign him to the honors class, especially as Turner's job security depends on good test scores. Clark, however, wants to take the most disadvantaged class. He quickly learns that it will be a battle of wills between himself and his disruptive students to see who can outlast the other. But he also learns that he has to understand them, both individually and collectively, on their level to be able to get through to them before he can teach them the standardized materials. But even the best laid plans can be turned askew by unforeseen events, such as illness and the behavior of others outside of his control. And he has to overcome the self-fulfilling prophecy of failure to instill a sense of worth within the students. Through it all, he is supported by Marissa Vega, the beautiful waitress at the restaurant where he works part-time.
Keywords: abusive-father, african-american, art, artist, audition, black-american, boy, children, chocolate-milk, classroom
No one believed in them. Except him.
Ron Clark: New York public schools are desperate for good teachers. Newspaper says they're begging for them. Dad, every year I tell my students to go for what they want in life - dream big, take risks. It's time I start living up to my own words.
Ron Clark: Y'landa, good morning. Do you have a list of the public schools in Harlem?::Y'landa: Sure I do, baby. [Y'landa hands him the phonebook]::Ron Clark: Okay, thank you.::Y'landa: What do you want school listings for?::Ron Clark: I'm a teacher.::Y'landa: And you wanna teach - up in Harlem?::Ron Clark: Yes.::Y'landa: Well then, honey, you're gonna need something else. Personal injury lawyers. [she flips through the phone book] Cause once your white behind goes on up in there they be carrying you back up the same way you went in. What kind of foolishness is this? Going on up there and all trying to teach? You know you ain't gonna...::Ron Clark: Okay thank you.
Principal Turner: I have an opening in grade 3. If your credentials check out...::Ron Clark: You have an opening right here.::Principal Turner: No. Last year this class went through six different teachers before Christmas.::Ron Clark: Yes. Nobody wants them, and I do. So what's the problem?::Principal Turner: Test scores are very important to me; it's how I keep my job.::Ron Clark: I can start right now.::Principal Turner: You can start on Monday.
Principal Turner: These kids are at the bottom of the barrel.::Ron Clark: Don't talk about them like that.::Principal Turner: Now all I'm asking is for your students to pass.::Ron Clark: Oh every one of my students will pass.::Principal Turner: [inaudible, students commenting outside office] They can become someone else's problem.::Ron Clark: The problem isn't the kids. It's not even what they can achieve. The problem is what you expect them to achieve. You are setting the bar here. Why? Set it up here! They can make it.::Principal Turner: This community judges us by scores. Government funding judges us by scores. People who give me scores, they get my respect.::Ron Clark: Okay good. In May, they'll all test at grade level.::Principal Turner: [sighs] I don't see how that's possible.::Ron Clark: Excuse me. Did I say grade level? I meant above grade level.
Ron Clark: Hey Mr. Turner, this is fun!::Principal Turner: You really think it appropriate to do this with the students?::Ron Clark: Well, I'm certainly not gonna Double Dutch with you.
Marissa Vega: You got a job!::Ron Clark: Inner Harlem elementary. I'm gonna start meeting my kids tomorrow.::Marissa Vega: You might wanna hold on to this. It may be your last meal.::Ron Clark: Nah. They're gonna love me.
Shameika Wallace: Go to hell!
Badriyah: Everyone says we're losers, Mr Clark.::Ron Clark: You - are not - losers.
Plot
A brother and sister from the 1990s are sucked into their television set and suddenly find themselves trapped in a 1950s style television show. Here they have loving parents, old fashioned values, and an overwhelming amount of innocence and naivete. Not sure how to get home, they integrate themselves into this "backwards" society and slowly bring some color to this black and white world. But as innocence fades, the two teens begin to wonder if their 90s outlook is really to be preferred.
Keywords: 1950s, 1990s, alternate-dimension, alternative-reality, american-dream, apple, art, barber-shop, basketball, bathtub
Nothing Is As Simple As Black And White.
Pleasantville - It's Just Around the Corner
David: They're happy like this.::Jennifer: No, David. Nobody's happy in a poodle skirt and a sweater set.
Betty Parker: Mary Sue?::Jennifer: Yeah?::Betty Parker: What goes on up at Lover's Lane?::Jennifer: What do you mean?::Betty Parker: Well, you hear these things lately... kids spending so much time up there. Uh, is it holding hands? That kind of thing?::Jennifer: Yeah! That and...::Betty Parker: What?::Jennifer: It doesn't matter.::Betty Parker: No, I wanna know.::Jennifer: Well, sex.::Betty Parker: Oh. What's sex?
Jennifer: I did the slut thing, David. It got kinda old.
Jennifer: And I still don't see why we're doing this!::David: Because we're supposed to be in school.::Jennifer: We're supposed to be at home, David. We're supposed to be in color!::David: [placatingly] Okay, okay, okay.::Jennifer: God!
George Parker: Where's my dinner?
[after Mary Sue explains to Betty about sex]::Jennifer: Are you okay?::Betty Parker: Um, yes. It's, uh, just that your father would never do anything like that.::Jennifer: Ahhhh.::Betty Parker: Mmm.::Jennifer: Well, you know, Mom, there are other ways to enjoy yourself... without Dad.
Big Bob: Everybody really likes you, George.::George Parker: Oh. Well...::Big Bob: No! They do! And it's not just 'cause you're a good bowler. It's 'cause people respect you!
Skip: Hiya, Bud!::David: Hiya, Skip!::Skip: Hiya, Bud!::David: Hiya, Skip!::Skip: Bud, can I ask you a question?::David: Sure.::Skip: Well, if I was to go up to your sister... What I mean is, if I was to go up to Mary Sue...::David: Oh my God... are we in that episode?
Jennifer: Hey, can I ask you a question?::David: Sure.::Jennifer: How come I'm still in black and white?::David: What?::Jennifer: I've had, like, ten times as much sex as the rest of these girls, and I still look like this. I mean, they spend, like, an hour in the back seat of some car and all of a sudden they're in Technicolor?::David: I don't know. Maybe it's not just the sex.
David's Mom: When your father was here, I used to think, "This was it. This is the way it was always going to be. I had the right house. I had the right car. I had the right life."::David: There is no right house. There is no right car.::David's Mom: God, my face must be a mess.::David: It looks great.::David's Mom: Honey, it's really sweet of you, but I'm sure it does not look "great."::David: Sure it does. Come here.::David's Mom: I'm 40 years old. I mean, it's not supposed to be like this.::David: It's not supposed to be anything. Hold still.::David's Mom: How'd you get so smart all of a sudden?::David: [long slow smile] I had a good day.
Plot
When a promised job for Texan Michael fails to materialise in Wyoming, Mike is mistaken by Wayne to be the hitman he hired to kill his unfaithful wife, Suzanne. Mike takes full advantage of the situation, collects the money and runs. During his getaway, things go wrong, and soon get worse when he runs into the real hitman, Lyle.
Keywords: arson, bar, beating, beer, black-comedy, body-landing-on-a-car, car-keys, car-racing-a-train, ceiling-fan, cemetery
...All Roads Lead To Intrigue.
Where nothing is as it seems.
Lyle: You must be Suzanne. You look pretty enough to eat.
Lyle: Don't piss on the seat, even if they did. It's bad luck.
[last lines]::Michael Williams: Adios, Red Rock.
Lyle: [Eats a sandwich belonging to a man he just shot in the forehead] Mm... it's TURKEY!... one of my favorites.
Michael Williams: The story of my life.
Lyle: [Hitman Lyle from Dallas finds Michael laying down in the middle of the road] What the fuck are you doing?::Michael Williams: My car broke down.::Lyle: Where? I don't see a car.::Michael Williams: It's just over that ridge.::Lyle: 'Just over that ridge', huh? Well you're one lucky son of a bitch, aren't you? If I hadn't had my brakes just done, I'd be picking your brains out of my radiator. Fuck.::Michael Williams: Look, I hate to ask you this, but do you think you could give me a ride?::Lyle: I don't know. You're not dangerous, are you?
Suzanne: Have you ever been married?::Michael Williams: No.::Suzanne: It does strange things to people.
Truck Driver: [points gun at Michael's head] Does that tickle? 'Cause it won't if I pull the trigger! What the hell are you doing on my truck?::Michael Williams: Sorry boss, I didn't mean to scare 'ya.::Truck Driver: [Smiles and points the gun closer] Do I look scared to you? What the hell are you doing on my truck?::Michael Williams: I was just trying to ditch my old lady.::Truck Driver: You were WHAT?::Michael Williams: Yeah, she caught me in the barn, and I wasn't supposed to be there, and she started sproutin' horns and shit.::Truck Driver: Bullshit. Bullshit. [cocks gun and smiles] Look at that uncontrolled response to bullshit. I hate it when that happens!::Michael Williams: Yeah, I don't like it either, but I had to get the hell out of there.::Truck Driver: So you just climbed up on my truck?::Michael Williams: Yeah.::Truck Driver: That's kind of stupid, isn't it?::Michael Williams: Yeah, well, you haven't met my wife. She's spooky.::Truck Driver: Yeah? Yeah? You're lying to me. Get off my truck. Come on, get off. [truck driver goes back inside his vehicle and offers Michael a lift]::Michael Williams: [Michael climbs off the truck] Oh, man.
Lyle: Wayne? She got away. The cowboy was here, they got the jump on me.::Wayne: Do you know where they went?::Lyle: Hell, no. How could I? I've been staring at my eyelids for the last hour and a half.
Plot
It's New Year's Eve. Ed is out of work, seeing himself as a man descending. He sees his wife Victoria as hopeful, still ascending. He thinks she may be carrying on with Howard, her psychologist. They get to the party, Ed drinks copious amounts of scotch as Victoria and Howard dance and then steal away. Ed makes off-putting remarks to others at the party, and, when his wife and the shrink return with a bag of ice after the stoke of twelve, Ed decides to pick a fight. What Victoria does in response brings in the new year.
[opening narration]::Ed: [sitting on a toilet, fully clothed, drinking Scotch whiskey] It's New Year's Eve, and I've been oiling myself all afternoon, in expectation of the party I'd rather not attend. Since Scotch is regarded as a fine social lubricant, I've attempted, to the best of my ability, to get lubricated. Somehow, I feel, it hasn't worked. Ever since I was sacked from my job in the china department at Eton's for habitual uncooperativeness, I've had the crazy feeling that my life is somehow over. Well, not over, exactly. But I can't seem to shake the idea that I peaked somewhere along the line, and I'm now descending.
Plot
Edward is a rich, ruthless businessman who specializes in taking over companies and then selling them off piece by piece. He travels to Los Angeles for a business trip and decides to hire a prostitute. They take a liking to each other and he offers her money if she'll stay with him for an entire week while he makes the "rich and famous" scene (since it doesn't do for a man of his stature to be alone at society parties and polo matches). Romantic comedy (and complications) ensue.
Keywords: 1990s, affection, automobile, ballroom, bare-breasts, bath, bathroom, bathtub, beverly-hills-california, black-bra
Who knew it was so much fun to be a hooker?
She walked off the street, into his life and stole his heart.
[first lines]::Magician at party: No matter what they say, it's all about money. So let's imagine, ladies, that you're a savings and loan officer. Watch - one, two, three; see, you've got it all, and we've got nothing. You've got all four, take a look.
[last lines]::Happy Man: Welcome to Hollywood! What's your dream? Everybody comes here; this is Hollywood, land of dreams. Some dreams come true, some don't; but keep on dreamin' - this is Hollywood. Always time to dream, so keep on dreamin'.
Vivian: I want the fairy tale.
Vivian: Well, color me happy! There's a sofa in here for two!
[Kit is trying to cheer up Vivian]::Vivian: Tell me one person who it's worked out for.::Kit: What, you want me to name someone? You want like a name? Oh, God, the pressure of a name... I got it. Cindafuckin'rella
Vivian: So, what's your name?::Edward Lewis: Edward.::Vivian: Really? That's my favorite name in the whole world.
[At the beginning of the evening]::Vivian: In case I forget to tell you later, I had a really good time tonight.
[after negotiating three thousand dollars]::Vivian: I would have stayed for two thousand.::Edward Lewis: I would have paid four.
Edward Lewis: You and I are such similar creatures Vivian. We both screw people for money.
Vivian: I got red, I got green, I got yellow... I'm out of purple, but I do have one Gold Circle coin left... the condom of champions... the one and only... nothin' is gettin' through this sucker. Whaddya say, hmm?
Words and music: jim johnston
Engineered by kerry gansburg
Guitars: jim brammer
Midi arrangements: jim brammer
Drums: jeff wade
Backing vocals: tina williams
Watch out cause he's waking up the nation,
You'd better lock your sons and daughters up,
His airwaves hit your brain from all directions,
The thought police have pushed him far enough.
The fcc can't shut him down, he wears that fifth amendment like a crown.
Up he steps the king of all the media, he doesn't run, he would never hide.
He's got the guts to come on out and say what, from any other mouth is suicide.
He hears innuendo in all you say, he'll crawl under your skin like dna.
Talking bout a name that everyone knows - he's gonna tie you up, he's gonna put you down.
Eloquent and brutal with the truth - he's no coward.
Step into his mind and anything goes - if you can't relate, why you hangin round?
The cure for repression - I got good news - here's howard!
There was a time when I would tremble, control freaks getting bolder every day,
And talking governmental inquisitions what I'd be thinking I could never say.
Free speech was doomed to be, an ancient relic of society.
Talking bout a name that everyone knows - he's gonna tie you up, he's gonna put you down.
Eloquent and brutal with the truth - he's no coward.
Step into his mind and anything goes - if you can't relate, why you hangin round?
Mr. Hughes, how are you? I know it's been a while
But I've been dying trying to capture your brilliant smile
People like us, we are always misunderstood
Though there's ups and downs the bad outshines the good
Howard you're a 10 but I'm not sure this ends well
Hold it close to your heart
What ever happened to Howard Hughes?
I guess life wasn't good to you; you gave it all you got
And still they threw you out for being you
Even if our success was as good as dead; our worst critics were in our head
Society don't accept me or you and all our friends agree
People say we're done for we're liabilities
But I brought property on the thin line between genius and insanity.
You wrote the books on brains and wealth and looks,
Ahead of both our times free thinkers only thrive in history books
Howard you're a 10 but I'm not sure this ends well
Hold it close to your heart
What ever happened to Howard Hughes?
I guess life wasn't good to you; you gave it all you got
And still they threw you out for being you
Even if our success was as good as dead; our worst critics were in our head
Society don't accept me or you and all our friends agree
Howard my dear was it films and planes that made you this way
Howard my dear they spoke and we're jokes
Howard you're a 10 but I'm not sure this ends well
Hold it close to your heart
What ever happened to Howard Hughes?
I guess life wasn't good to you; you gave it all you got
And still they threw you out for being you
Even if our success was as good as dead; our worst critics were in our head
The spirits of her abortion had manifested...
The spirits of all her abortions manifested themselves into the furniture in the room
There would be a chair waiting, smiling, the pictures on the wall watched her in disbelief
She'd go carry the garbage out to the sidewalk and come back in and sit with all her children inanimate, petrified forever
A little boy named Howard, everybody knows one of those guys in school who kills everything he finds,
Every little cat, every mouse, every dog, likes to burn his sister with cigarettes
Diabolical schemes, everything has been conspired, the doors wired
That's 'cause those south Americans tied him up in a chair,
He was doing that dope deal, he never got over that