#pbs p head logo

[dantes-southeesimo]

2020

2021

2022

Viacom destroys the 1971 PBS Logo for the *** time except I’m destroying myself for making these every gosh darn year or so~

[mrblitzblog]

who used to be obsessed with scary logos as a kid??? ME! so I did a tribute by making pbs guy humanized

[justansimplewoman]

I made this yesterday at midnight.

(Will I get criticized? Let’s find out!)

[jestergal]

got too high and turned into p-head from the PBS logo

[grishamanimationstudios102]

Parody of 1971 PBS ident, but with a Smurf icon in place of the 'Everyman' P-Head (along with the B being white and the S being the same color as the Smurf icon). To be clear, I only made this for fun. Also included is an animated version of the logo parody, which can be viewed on Google Drive by clicking on the link: https://drive.google.com/file/d/1nLcsODpKx5RqwJCszrdZwICTnfdUMK7U/view?usp=drive_link

The Smurfs © Peyo/IMPS/Lafig Belgium, S.A. Original ident © PBS

[aboutanancientenquiry]

“BMCR 2019.01.15

A Guide to Reading Herodotus’ ‘Histories’

Sean Sheehan, A Guide to Reading Herodotus’ 'Histories'. London; New York: Bloomsbury, 2018. xii, 316. ISBN 9781474292665 $29.95 (pb).

Review by

Carlos Hernández Garcés, University of Oslo. c.h.garces@ifikk.uio.no

Preview

As the title indicates, this book gives students confidence to navigate the rich but disjointed narrative of the Histories under the guidance of the current trends in research. It is divided into two parts. The first section, “Approaches to Herodotus”, centres on the formal aspects of the work as a whole and on its overarching conceptual themes. The second, much longer, section offers a full commentary on each book of the Histories and introduces the relevant scholarship as the various topics arise. In due Herodotean manner, both parts are composed of a number of subsections that tap into smaller structural components and thematic ramifications. Unlike the Histories, however, the headings keep the path well signposted for the reader. To the same end, multiple information boxes containing summaries and diagrams of markedly intricate passages ensure that the complex narrative does not throw the reader off. In order to facilitate reading, notes are placed at the end, following separately after each section. The essential scholarly works are filtered into the bulk of the text, however, as the author wraps his exposition around select but abundant references. The book closes with a comprehensive bibliography and an index.

The first section comprises six subsections, starting off with an introduction entitled ‘A Literary Historian’. In this entry the author encourages the reader to venture into a text rich in deep meaning for those capable of weathering its jagged structure. This way, the importance that present-day research confers on the literary aspects of the Histories is dealt with first thing. Macan’s seminal commentary and Dewald’s work are two of the first references to come up. Dozens more will follow, with the most prolific specialists recurring.

‘The Form of the Histories’ follows. In this chapter, Sheehan tackles formal aspects, such as how logos becomes the formative element of Herodotus’ composition. He then supplies the reader with the basic narratological tools needed to grasp how the patchwork of stories is constructed. The role of the stories as conveyors of meaning in their own right is stressed, which constitutes an important clarification for the unseasoned Herodotean reader. Also, the meaning of historiē is explained as the amalgamation of variegated intellectual pursuits (history, ethnography, geography, culture, religion, philosophy). In Sheehan’s pertinent formulation, Herodotus’ merit consists in making the transition across fields possible “without any crunching of narrative gears” (p. 10).

In ‘Herodotus the Historian’ Sheehan warns against anachronistic criticism of the Histories in relation to modern expectations. Instead, this section issues an invitation to focus on the parameters for the emergence of historical thinking, which are introduced under new subheadings. Quotations from and references to Momigliano, Jacoby, and Fornara inaugurate the chapter. The workings of collective memory and how that affects Herodotus’ account in terms of reliability take the spotlight in ‘Herodotus’ Sources and Methodology’. Here Sheehan bases the discussion on the works of Fehling, Luraghi, and Kuhrt, among others. ‘Mythical Time, Historical Time, Folk Tales’ broaches the challenging chronological imbalances characteristic of the Histories and the degree of authorial awareness distinguishing mythical and historical time. With Thomas entering Sheehan’s argument at this point, the scholarly picture keeps filling in. Lastly, ‘Causation’, whether in relation to scientific history or to natural philosophy, is presented as the driving force of the Histories. References to Collingwood, Immerwahr, Ricoeur, Gould, Lateiner, and Pelling combine to point out for the student the relevance of this particular theme. Reciprocity (e.g. guest-friendship or vengeance), contingency (e.g. selfish behaviour or political inertia) and religion (e.g. transferred guilt or fate) are enumerated as part and parcel of Herodotus’ multi-layered causation frame.

Herodotus’ knack for integrating non-Greek cultural perspectives and the treatment of otherness in the Histories constitute the subject of ‘Herodotus the Ethnographer’. This short section emphasises Herodotus’ emblematic disinclination for bigotry, with Hornblower and Munson now invited into the discussion. Sheehan also alludes to Plutarch’s accusation against Herodotus of philobarbarism, and thus refers the student to the earliest stages in the reception of the Histories. ‘The Histories as Literature’ tackles the literary aspects of the text from a thematic and narratological angle. Staple narrative devices, as well as Herodotus’ use of metanarrative marks to (re)connect the multiple threads, become the focus of the guidance offered the reader. Herodotus’ language and stylistic choices are also delineated, as they play a role in conveying his message. The same can be said of storytelling, introduced in the subdivision ‘Telling Stories’. Along the same line, the performative aspect of direct speeches is underlined as one of the hallmarks of the oral tradition of which the Histories was an integral part. Building upon narratology, ‘Literary Influences’ elaborates upon the traits common to the Histories, the Homeric poems and Attic drama. At this stage Genette and de Jong swell the ranks of the scholars presented to the student.

‘Approaches’ comes to an end with ‘Themes and Patterns’, which brings Dodds’ work into play. From choice and causality as the raw matter of history, the discussion steers towards the quandary of establishing how much factual truth there is behind Herodotus’ stories. The subsection ‘Fate’ showcases that, like ‘decision-making’, ‘necessity’ or ‘chance’, fate possesses explanatory power, which is why it remains within the realm of causation and, therefore, valid in Herodotus’ conception of it. The same holds for ‘Life, Luck and Everything’, which discusses a hodgepodge of themes, such as ‘excessive joy’, ‘fortune’ or ‘luck’, that coalesce to form the multifarious network of patterns of the Histories. ‘Nomos’ closes this chapter with the indispensable allusion to law or custom, the element that determines behaviour within a community. Compelled to press forward swiftly in the ‘Commentary’ due to the vast number and the complexity of topics which comprise the Histories, Sheehan does so sure-footedly. All major discussions in Herodotean studies appear in the course of the commentary.

Continuity with and departure from the Homeric models is pivotal to understanding the Histories. The same goes for the role of orality and performance in Herodotus’ “showing-forth” ( apodexis). Sheehan introduces the uninformed reader to these notions at the outset of the commentary on book 1. The absence of a clear chronology structuring Croesus’ logos points to the pitfalls of laying too much emphasis on chronology in the Histories. Likewise, Sheehan remarks on the theatrical ring to this scene. Concerning the figure of Croesus, the specialised works of, Asheri, Boedeker, Chiasson, Flower, Griffiths, Hartog, Murray, Saïd, Shapiro, and Stahl sprout into the argument.

Every new book expands on topics previously sketched out, while simultaneously bringing new ones to the table. In the commentary on book 2 Sheehan points out the plausibility of the existence of fellow inquirers in Herodotus’ day. By the same token, Herodotus’ disquisitions on natural phenomena, mummification, or animals, as well as his employment of scientific vocabulary, indicate the historian’s participation in the intellectual debates of his time. In addition to the scholars previously mentioned, the issues dealt with in book 2 cue in the works of Fowler, Harrison, Lloyd, and Rutherford.

In book 3, centred largely on Samos and Persia, other aspects come to the fore, bringing in their wake the corresponding references to scholarship. Herodotus can (and does) make narrative use of characters. Cambyses’ portrayal is unqualifiedly negative in the Histories, but there is evidence as to the historical inaccuracy of dates, events or people in the narration. However, the Histories remains practically our only source of information, a constraint to which Sheehan draws the student’s attention.

The opening lines of the commentary on book 4 underscore that it is not particularly reader-friendly, which keeps in sight Sheehan’s target audience. In parallel to Herodotus’ text the author touches upon otherness in the Histories; Herodotus’ prudent take on myth and its social function; the links between the Histories and the Hippocratic corpus; Herodotus’ fascination with engineering (and wonders – thaumata); or geography as a vehicle of spatial relationships between peoples constitute some of the strands. The student is introduced to the works of Corcella and West.

Sheehan comes again to the reader’s aid at the beginning of his commentary on book 5 with a warning as to the text’s many impending detours. He then simplifies the reader’s journey by stating what the kernel of book 5 will be: the Ionian revolt and Athens’ involvement in it. Moral issues, embodied in the recklessness of self-seeking historical agents whose acts put Greece in jeopardy, constitute one of the lessons to be learned from this book. The names of Barker and Haubold are added to an ever-growing bibliographical treasure.

The commentary on book 6 starts with an observation on the transmission of ancient literature: The division of the Histories into nine books may very well be attributable to someone other than Herodotus. The attention Histiaeus receives in Sheehan’s commentary mirrors the importance Herodotus’ account of the outbreak of the Ionian Revolt (and, by extension, the war) bestows upon him. Always following the lead of the text, Sheehan also throws into relief themes like Greek politics, embodied in the triangle Sparta, Aegina, Athens, and the relevance of oaths and divine signs. In this chapter it is Baragwanath who notably joins the ranks of the scholars with whom the students get acquainted.

Concerning book 7, Sheehan gives precedence to causality, with Rollinger and Grethlein further supplementing the secondary literature. The dramatization of the critical junctures at which decisions were made is a distinctive feature of book 7 that Sheehan makes sure to highlight. Other prominent themes are the divergent temporal perspectives making up the complex fabric of the Histories and the historian’s ventriloquist use of certain characters. The conspicuous role of female characters arises out of Artemisia’s participation in the events.

On a different note, Sheehan’s guide discusses the disparate interpretations behind dissimilar translations, which reminds the student to use translations with a critical eye. Much of the commentary on book 8 logically revolves around the battles, as well as Themistocles’ ambivalent personality and cunning, not least in contraposition to Xerxes. The student is made to reflect also on the question, persistently raised by Herodotus, as to why the inferior numbers of the Greeks could defeat the immensely superior Persian army. Herodotus’ purported admonishment against Athenian imperialism and the pedagogical means he employs in delivering the message are likewise brought to notice.

As the Histories hinge more and more around the actual military conflict, the commentary becomes more historical, with the literary aspects receding into the background. As for the quandary of whether Herodotus concluded his work or not in book 9, Sheehan lays out the arguments in favour of both opinions. On the grounds of the template offered by the Homeric poems in this matter, he openly leans towards the first possibility, which illustrates another aspect of this book: although Sheehan wraps the scholarly debate around Herodotus’ text, he is not a mere reporter, as he often engages in the debates.

Literary works and cultural references one seldom encounters in Herodotean studies intersect in Sheehan’s guide. These include notably Marx (p. 23), A Thousand and One Nights (p. 36), Joyce’s Ulysses (p. 39), the Bible (pp. 107, 128, 245), the Vietnam War (p. 144), Dean’s Wuthering Heights (p. 187), Milton’s Paradise Lost (p. 204), Hegel (p. 207), and Yeats’ Easter, 1916 (p. 214). An insignificant number of spelling mistakes found their way into the final product: p. 13 should read “the course of political and collective(?) identities”, not “the course of political and identities”; p. 24 “on the face of it”, instead of “on the face it”; p. 122 “disdain”, not “distain”; p. 198 “Xerxes gives”, instead of “Xerxes give”; and p. 211 “Herodotus holds back”, not “Herodotus holds backs”).”

Source: https://bmcr.brynmawr.edu/2019/2019.01.15/

Well, I have again some objections (for instance, Fehling’s “liar school” on Herodotus looks today totally outdated, the negative portrait of Cambyses in Herodotus is not an arbitrary invention of the latter, but has its origin in Egyptian and to some degree Persian sources, Hartog’s post-modern literary approach of Herodotus-producer of “mirrors” for the Greeks neglects how often the latter gives accurate and reliable descriptions of reality). But overall this review confirms my impression that Sheehan’s book on the Father of History is very interesting and worth reading.

[genderless-insomniac]

THE LOGO KIDS FOUND CHARACTER!!!!!

I JUST TALKED TO DOT FROM PBS AND I ALSO TALKED TO THE V OF DOOM AND I TALKED TO P-HEAD AND SCREEN GEMS AND SDHIFJHSDLHSDJKGHSFGKDFHJGDFKGDFKVFKDKHJFD

I NEVER KNEW THIS DAY WOULD HAPPEN!!!!!!!!!!!!!!!

[thatonehornylogo]

I’m scared from to this.

[pvrpleisntok]

Logo Gore...

[pvrplekat2022]

Rubbing the p-head’s floof.

[pvrpleisntokscreenshots]

Wow, The edgy

[frogtablestudios]

Angry PBS P-Head

PBS P-Head meets the LeapFrog logo

[grishamanimationstudios102]

The PBS Solvers are a group of teenaged mystery-solvers who attend high school in Arlington, Virginia (a reference to the location of PBS’ main headquarters). They are based off the tri-colored letters of the 1971 PBS “P-Head” ident. Peter Gunn (P-Head, voiced by Matt Hill) - The shy, soft-spoken and timid leader of the group and the middle kid of the three brothers. He has blond hair and occasionally wears a blue backwards baseball cap. His age is 17 years old. Biff Gunn (B, voiced by Samuel Vincent) - The athletic jock of the group and the youngest of the three brothers. He has red hair and is 15 years old. Sam Gunn (S, voiced by George Lopez) - The grouchy, smart, short-tempered and sarcastic stick-in-the-mud of the group and the oldest of the three brothers. He has black hair. His age is about 18 to 19 years old. He mostly has a close brotherly relationship with Peter (P-Head). PBS Solvers are property of Grisham Animation Studios. Original logo is property of PBS (Public Broadcasting Service).

[junker-town]

How every TV network will eventually be covering the inescapable NFL Draft

Welcome to the future.

The NFL Draft is going to be EVERYWHERE this year. FOX, ABC, ESPN, ESPN2, ESPN Deportes, and the NFL Network will bring wall-to-wall coverage of all seven rounds. It got us thinking: It’s only a matter of time before every cable network is in on the fun and the draft is impossible to avoid.

Here’s what we think you can look forward to when the NFL Draft spreads through cable TV like a virus.

Bravo - Watch the later rounds on Bravo where Andy Cohen, four Real Housewives, and the most recent Top Chef winner are a few drinks in and not even talking about football anymore.

CSPAN - Broadcasting only Round 5, the draft coverage on CSPAN will put the “E” in “extemporaneous filing of Tax Code Form 1-11-67.” Join host Ruth Bader Ginsburg as she analyzes not just the ability of the hottest prospects the fifth round has to offer, but how they’ll set a precedent for drafts to come.

TNT - Watch the draft with some familiar faces. That’s right, the gang from Law & Order are back and in the football justice system there are two separate, but equally important sides: The players who are drafted, and the teams who select them. Rather than having a live draft event, TNT will borrow ESPN’s audio and play it over the top of the Law & Order reruns you know and love. You haven’t lived until you’ve seen Jerry Orbach discover a dead body while explaining in Mel Kiper’s voice about the “violent hands” of a third-round offensive tackle.

Hallmark - Join Hallmark stalwarts Lacey Chabert and Candace Cameron Bure as they analyze the draft class in a way you’ve never dreamed possible. Who has leading man qualities? Which star will feature in this winter’s classic, The Quarterback and the Princess? No one has heard of drama like that will unfold in the Hallmark original movies Once Upon a Draft and A Green Room Romance.

PBS - It’s a very Antiques Roadshow draft over on public broadcasting with a cavalcade of stars joining the booth to break down the prospects. Watch as colonial furniture expert Neil McMellen discusses quarterbacks. Joan Marie-Stephensonson, an expert in Edwardian jewelry, is here to explain why the “ample posterior” of that fullback your team just took is a reason to be amped.

HGTV - Fixer Upper cedes the floor to no one, so instead of Chip and Joanna Gaines commenting on the NFL Draft, they’ll be having a home-improvement draft of their own while remodeling NFL fans’ houses. Tune in to see Colts fans throw a fit over not getting an upgrade to their En Suite before the Bills drafted it, the Jags reaching for a hibachi for the patio instead of taking the obvious choice of a canopy, and everyone laughing at the Chiefs when they draft built-in-shelving that will work in their system for a few years before they try and fail to move it.

GRIT (yes, this is a real channel): Taking a break from its usual John Wayne and Chuck Norris marathons, GRIT will bring out recently retired Danny Woodhead to form his own NFL Draft GRIT All-Star team. Which small Division III school player is your next favorite blue-collar guy? Which draftee boasts the highest motor? Has the most g-r-i-n-d? The expert on grittiness will let us know.

History Channel - That goofy gang behind Pawn Stars is here to use their skills and appraise each pick in the draft. Spoiler: They’re worth about 20 percent of their actual value! Also that guy named “Chumlee” gets his head stuck in a toilet.

Animal Planet - Wildlife experts Jeff Corwin and, uh, Anthony Anderson discuss every draft pick in association with teams featuring animal mascots. Can the Jaguars maul the Ravens this season, or will this year’s draft picks let the birds fly their way to the Super Bowl? “Oh, man,” Corwin says. “Jaguars can be ferocious creatures. Beautiful. Graceful. Amazing. I mean, not Blake Bortles, but other Jaguars.” Will those new rookies make a splash for the Dolphins? How bucking amazing will the Broncos be? How come the Chargers don’t use that awesome horse logo anymore? Do draft picks that come from colleges with animal mascots tend to do better in the NFL? Unique insight from some of the planet’s foremost animal experts will not only make you feel smarter, but will make you long for the days when no one covered the NFL Draft on TV.

[pvrpleisntok]

WHO is with this PBS Gore

[kuyarexdelsdiaries]

KRD Media Roundup No. 21

After more than a year of providing sports programming to a whole new level, 5Plus has revamped and relaunched as One Sports, which is previously known as Cignal TV's 24/7 sports-oriented channel on March 8 alongside its move from Channel 15 to Channel 6 on Cignal TV (One PH relocated to Channel 1 replacing Cignal’s community channel) whilst the former One Sports channel space becomes One Sports+ as the complimentary channel of the main Free-TV version featuring top-tier sports. 5Plus has became a home to X-Games, Glory Kickboxing, eGG's E-Sports programming and others, aside from its local sports coverages such as the PBA D-League, Philippine Superliga, and more. 

The relaunching was part of the newly-appointed TV5 Network and Cignal TV President & CEO Robert P. Galang, who is the former execuitive of Cignal TV and GV Broadcasting System, and replaced by his predecessor Jane Basas who now heads the Marketing division of Smart Communications as Chief Marketing Officer. Galang's gameplan is to re-strategize TV5 Network and Cignal in its programming and content, including the re-established Entertainment division in which Basas already laid out plans for the network. All of One channels (One News, One Sports, and One PH) have relaunched their respective logos, while its 5 sports division is now transformed as One Sports, replacing ESPN5. Next month, the main 5 channel will finally retire after 10 years with a upcoming rebranding on April 13. Full details will happen in a seperate post this month on KRD.

Meanwhile, PBS' FM Radio division has successfully completed its reprogramming strategy. Both FM1 (87.5) and Capital FM2 (104.3) are now broadcasting 24/7 online, although the terrestrial operations are still intact from 5am-12mn on Mondays-Saturdays and 5am-9pm on Sundays. These stations are now heard via fm1.ph and fm2.ph as well as on pbsradio.ph website and PBS rAPPS platforms. In February alone, FM2 has renamed into Capital FM2 in line with the station's 3rd anniversary on the airwaves.

DZBR Bible Radio has resumed terrestrial broadcasts after its transmission site in Tanauan has declared safe from the ashfall due to the Taal Volcano eruption. It had to clear up the transmission base from all debris, dust, and ashfall. the Angel One antenna and all of its equipments weren't harmed, including the satellite dish that beams the programming from the COP Main Campus in Manila, as well as computers for generating playback for their programming, songs, and interstitials, as well as plugs and prayers.

ABS-CBN's AM Station DZMM and its counterpart DZMM Teleradyo has undergone facelifts and splitting up of its programming during certain hours of the day. These were: the 2-3pm slot every weekday afternoons in which the radio feed airs MMK sa DZMM (drama series) and Wow Trending (Trends and News) while Teleradyo offers a catch-up replay nof its weekly shows such as Rated K (Mondays), Matanglawin (Tuesdays), Ipaglaban Mo! (Wednesdays), S.O.C.O. (Thursdays), and Kuha Mo! (Fridays). On the other hand, the 9-10:30pm slot from Monday to Thursday and on Fridays at 10pm splits the latter half of Usapang Decampanilla and reruns of DZMM shows through a condensed version such as Good Vibes (Mondays & Fridays), Good Job (Tuesdays), Dra. Bless @ Ur Serbis (Wednesdays) and Radyo Negosyo (Thursdays) on the radio feed, while for Teleradyo, it airs MMK Klasik (replays of past MMK episodes in 3-parts) and early editions of NCA programs- Mission: Possible (Mondays), My Puhunan (Tuesdays), #NOFILTER (Wednesdays), Sports U Ikaw Ang Panalo! (Thursdays) and Local Legends (Fridays). On Fridays, both the Radio and Teleradyo feed airs Labor of Love with Arnell Ignacio (DOLE Spokesman) and Rica Lazo) from 9-10pm before the split for only half-an-hour. Lastly, the 1-2:30am slot is devoted to the replays of NCA programs previously-aired on the previous day before Moonlight Serenade with DJ Richard Enriquez airs at 2:30am on Teleradyo since the program begins at 1am on DZMM.

Recently, headline Pilipinad now expands to weekends. The weekday edition is hosted by Julius Babao, Tony Velasquez, Ahwell Paz (Showbuzz segment), Arci Dalaguit (Visayas news, from ABS-CBN Cebu studios) and Melanie Severino (Mindanao news, from ABS-CBN Davao studios); while the Saturday edition is anchored by Ricky Rosales and Radyo Patrol 51 Joyce Balancio; and on Sundays, Adrain Ayalin and Radyo Patrol 50 Raya Capulong tackles the 30-minute edition which is lesser than the 1-hour broadcast from Monday to Saturday.

(Next month, KRD Media Roundup will have a yearly Holy Week media forecast and programming from April 5-12 in order to guide the readers on what to expect in the Holy Week 2020 as KRD will go on a traditional 6-day Holy Week break from April 6-11. Expect to be published on April 3.)