Sunga park biography of donald

American sitcom (1975–1985)

"Jeffersons" redirects here. For other uses, see Jefferson (disambiguation).

For the South Park episode, see The Jeffersons (South Park).

The Jeffersons is an American sitcom television series that was broadcast on CBS from January 18, 1975, to July 2, 1985. Lasting 11 seasons and a total of 253 episodes,The Jeffersons is one of the longest-running sitcoms in history.

Premise

The show focuses on George and Louise Jefferson, a prosperous black couple who have been able to move from Queens to Manhattan owing to the success of George's dry-cleaning chain, Jefferson Cleaners. The show was launched as the second (and longest running) spin-off of All in the Family (after Maude), on which the Jeffersons had been the neighbors of Archie and Edith Bunker. The show was the creation of Norman Lear.The Jeffersons eventually evolved into more of a traditional sitcom, but episodes occasionally focused on serious issues such as alcoholism, racism, suicide, gun control, being transgender, the KKK, and adult illiteracy. The epithets nigger and honky were used occasionally, especially during the earlier seasons.

The Jeffersons had one spin-off, titled Checking In. The series was centered on the Jeffersons' housekeeper, Florence, who takes a job as cleaning management at a hotel.Checking In lasted only four episodes, after which Florence returned to The Jeffersons with the story that the hotel had burned down in a fire.The Jeffersons also shared continuity with the sitcom E/R, which featured Lynne Moody, who made a guest appearance in one episode of The Jeffersons. Sherman Hemsley guest-starred as George in two episodes of the series, which lasted for one season. The cancellation of The Jeffersons cleared the way for Marla Gibbs, who played Florence Johns

In recent years, Australia has led the rich, white, and fearful world in sharpening, hardening, and externalizing its borders. Asylum policy has been caught up in its increasingly carceral approach to migration: all non-citizens not holding a valid visa, including people seeking asylum, are subject to indefinite detention. Those who attempt to enter by sea are concentrated far offshore, on Manus Island, Nauru, or Christmas Island—remote sites far from democratic and judicial oversight or civil society’s scrutiny. 

Meanwhile, onshore detention centres are being closed down. But there’s one exception, in the western suburbs of Sydney, which will remain open: Villawood. You can find it on Birmingham Avenue, a long, dead-end street that comes off a busy through route opposite Leightonfield station. It’s the kind of road you might never go to unless you worked there, but that your life is closely connected to nonetheless. It bends between light industrial units occupied by businesses that pack and process the food you eat, recycle the clothes you throw away, split and saw the wood your furniture is made of and your house is built from. I went there last August.

Villawood was once the site of a migrant hostel, built after the second world war to provide accommodation for immigrants on what had been part of an explosives factory. The war had left Australian policymakers keenly aware of the country’s geographic isolation, and from the later 1940s the government-sponsored mass immigration to offset it: ‘Populate or perish’. Populate with Europeans, that is: these were the years of the ‘white Australia’ policy, a range of administrative measures used between federation in 1901 and Gough Whitlam’s premiership in 1973 to restrict admissions to the country—legislation that generally avoided racist terminology, while permitting racist immigration restrictions in practice. Searching for immigrants after world war two, Australia initially targeted Britain, but without muc

Sunga Parkis a Korean artist, graphic designer and illustrator. She is a “self-taught” artist, who is not following the realistic colors in her watercolor architecture. Sunga challenges viewers to finalize her artwork with their imagination.

Impakter Magazine: Sunga, tell us, when and how did you discover your passion to the art? What is your story? 

Sunga Park: My story starts with traveling and before that, I was a graphic designer working at the office. Getting me out of the limited space of the office building was the biggest motivation to start thinking of art in my life. To feel something different from my routine of my day, I needed to leave my place in my country and it gave me a lot of energy to have the right passion towards the art. It has already been 10 years and still going on.

You paint with oil and watercolor, and you paint also architecture and draw portraits. Why are you focused on this direction?

Since I arrived in Europe and India, I have been thinking what is really different from where I used to be. The things that made me feel in places far away from home were people and anything I saw on the street. Especially the way that the view on the street gives visitors new ideas and feelings about the atmosphere. These inspire me and so many people to fly around the world.

When I look at your paintings I feel how magically they appear on the canvas and at the same time they disappear in the watercolor. How did you come to the style you have right now? 

When I tried to sketch architecture for the first time, I wasn’t traveling but I was just eager to wander the streets I’d been to before. For me at that time, thinking of traveling was just a dream, like my paintings. I brought the memory of the places I was missing to the canvas.

You have a wonderful combination of colors. Does color have a meaning in your paintings? What do you think how important the color for telling the story in your paintings?

Most of all, I look