Robert Rossen

Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades.
His 1949 film "All the King's Men" won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961, he directed "The Hustler", which was nominated for nine Oscars and won two.
After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. From there, he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, a body to organize writers for the effort in World War II. In 1945, he joined a picket line against Warner Bros. After making one film for Hal B. Wallis's newly formed production company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia.
Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was "dedicated to social causes of the sort that we as poor Jews from New York were interested in."
He ended all relations with the Party in 1949. Rossen was twice called before the House Un-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, "Mambo", in Italy in 1954. While "The Hustler" in 1961 was a great success, conflicts on the set of "Lilith" in 1964 so disillusioned him that it was his last film.
Biography.
Early life and career.
Robert Rosen was born on March 16, 1908, and raised on the Lower East Side of New York City. His parents were Russian-Jewish immigrants and his father, Philip Rosen, was a house painter. As a youth, he attended New York University, hustled pool and fought some prizefights - the latter two providing crucial background for his two greatest films, "The Hustler" and "Body and Soul", respectively. He changed his name from "Rosen" to "Rossen" in 1931.
He started his theatrical career as a stage manager and director in stock and off-Broadway productions, mainly in the social and radical theaters that flourished in New York in the early and mid-1930s, as did John Huston, Elia Kazan and Joseph Losey. In 1932 Rossen directed John Wexley's "Steel", about labor agitation, and Richard Maibaum's "The Tree", about a lynching. A year later Rossen directed "Birthright", in which Maibaum attacked Nazism, which had just triumphed in Germany with the dictatorship of Adolf Hitler in 1933.
In 1935, Rossen wrote and directed his first play,"The Body Beautiful", a comedy about a naive burlesque dancer. Although the play closed after four performances, Warner Bros. director Mervyn LeRoy was so impressed that he signed Rossen to a personal screenwriting contract.
Marriage.
In 1936. Rossen married Susan Siegal (1913-2009); the couple had three children: Carol, Stephen and Ellen.
Work in Hollywood.
For his first credit in Hollywood, in 1937 Rossen co-wrote with Abem Finkel a script based on the prosecution of crime lord Lucky Luciano and eventually titled "Marked Woman". Although some of Warner Bros. management saw Rossen as an unknown quantity, the result won praise from both Jack L. Warner and the "Daily Worker". Rossen's first solo script was for "They Won't Forget" (1937), a fictionalized account of the lynching of Leo Frank, featuring Lana Turner in her debut performance.
"Dust Be My Destiny", co-written in 1939 by Rossen, is the story of a fugitive from justice who is eventually acquitted with help from an attorney and a journalist, the latter arguing that "a million boys all over the country" were in a similar plight. Warner Bros. then ordered producer Lou Edelman to cut the script, adding that "This is the story of two people – not a group. It is an individual problem – not a national one." Rossen was one of three writers on the gangster melodrama "The Roaring Twenties", released in 1939. A remake of the 1932 play and film "Life Begins" was written in 1939 by Rossen and released in 1940 as "A Child Is Born". The plot recounted the experiences of six expectant mothers, and there was little scope to modify the original.
"The Sea Wolf", released in 1941, was based on Jack London's novel. Although the film had a strong cast and production, Rossen's re-draft of the script may be the greatest influence on the film. While the character of Captain Larsen remained both victim and oppressed in a capitalist hierarchy, he became a symbol of fascism. He split the novel's idealist hero into an intellectual bosun and a rebellious seaman. Warner Bros. cut many political points during production.
"Blues in the Night", written by Rossen and two colleagues and released in 1941, shows a group of jazz musicians traveling in the Depression. Their informal methods represent working-class culture rather than the commercialized music of the big bands. However, "The New York Times"' reviewer thought the soundtrack was "about all the film has to offer", and Warner was disappointed with the sales.
After the attack on Pearl Harbor on December 7, 1941, the Screen Writers Guild set up on December 8, 1941, the Hollywood Writers Mobilization, a body to organize writers for the war effort. Rossen served as the body's chairman until 1944 and advocated the opening of a Second Front to support West European resistance against the Nazis. His earnings were much greater than in 1937. However, his work for Hollywood Writers Mobilization and for the Communist Party forced him to abandon some partly developed film projects, including "The Treasure of the Sierra Madre", which John Huston eventually directed in 1948.
In 1945 Rossen joined a picket line against Warner Bros, making an enemy of Jack Warner. Rossen signed a contract with an independent production company formed by Hal Wallis, who had previously been Warner Bros.' head of production. However Rossen wrote only two full scripts for this company, "The Strange Love of Martha Ivers" in 1946 and "Desert Fury" in 1947. In "The Strange Love of Martha Ivers" Rossen used a short story by John Patrick to introduce the main plot, which was set 15 years later and which Rossen wrote. The relationship between Rossen and Wallis broke down when Rossen received offers from other production companies.
Dick Powell had been a crooner but was making a new career as a dramatic actor. When Columbia Pictures agreed to make "Johnny O'Clock" for him in 1947, Powell successfully campaigned for Rossen to direct, and this became Rossen's debut in directing. As this crime melodrama proved a modest success, Roberts Productions signed Rossen to direct Abraham Polonsky's script of "Body and Soul", described by Bob Thomas as "possibly the best prizefight film ever made." Rossen preferred an ending in which the hero wins a boxing match and then is killed by a gangster, but Polonsky insisted on his own ending, in which the hero escapes into obscurity before the fight. Following the success of "Body and Soul", Rossen formed his own production company and signed with Columbia Pictures a contract that gave him wide autonomy over every second film that he made at the studio.
"All the King's Men" (1949) was based on the novel of the same name by Robert Penn Warren, which in turn was based on the career of politician Huey Long. Rossen introduced a new concept, that the defenders of the ordinary people can in turn become the new exploiters. As a requirement for his participation in the film, Rossen had to write to Columbia's Harry Cohn saying that he was no longer a Communist Party member. Cohn's critiques of the draft of Rossen's script included scrapping a framing structure that was difficult for audiences to follow and several improvements in the relationships and motivations of characters. A meeting of the Communist Party in Los Angeles severely criticized the film, and Rossen severed all relations with the Party. "All the King's Men" won the Academy Award for Best Picture, Broderick Crawford won the award for Best Actor and Mercedes McCambridge was honored as Best Supporting Actress. Rossen was nominated for an Academy Award for Best Director but lost to Joseph L. Mankiewicz for "A Letter to Three Wives". Rossen won a Golden Globe for Best Director and the film won the Golden Globe for Best Picture. His next film, "The Brave Bulls", was directed in 1950 and released in 1951. This was Rossen's last work before the studios blacklisted him. "New York Times" critic Bosley Crowther called this "the best film on bull-fighting yet."
Examinations by HUAC.
After the end of World War II in 1945, the danger facing American shifted from Fascism to global totalitarian Communism. In 1946, the Republicans gained an overwhelming majority in the Congressional elections. and used this power to investigate Communist elements in the media. The Communist victory of China in 1949 and the start of the Korean War in 1950 reinforced the anti-Communist concerns present at the time.
During hearings in 1947, Jack Warner included Rossen among the many openly leftist writers whom his studio Warner Bros. had hired as the earliest and most openly anti-Nazi studio in Hollywood. (Warner Bros. had made "Confessions of a Nazi Spy" [1939] and was criticized by the Republicans for their leftist writers at the time.) Warner reportedly accused Rossen of incorporating Communist propaganda in scripts and fired him as a result, though some believe he was also unhappy with the writer's union activities.
Rossen was one of 19 "unfriendly witnesses" subpoenaed in October 1947 by the House Un-American Activities Committee (HUAC) during the second Red Scare but was one of eight not called to testify. In 1951, Rossen was named as a Communist by several HUAC witnesses and he appeared before HUAC for the first time in June 1951. He exercised his rights under the Fifth Amendment against self-incrimination, taking what came to be known as the "augmented Fifth". He testified that he was not a member of the Communist Party and that he disagreed with the aims of the party, but when asked to state whether he had ever been a member of the party, Rossen refused to answer. He was placed on the unofficial blacklist by the Hollywood studios, and Columbia broke its production contract with him.
In an widespread practice during the Communist investigations, the U.S. State Department refused to renew Rossen's passport. This, and his inability to find work, brought Rossen, like his friend, ex-Communist Elia Kazan, back to the committee in May 1953, where he identified 57 people as Communists. He explained to the committee why he chose to testify: "I don't think, after two years of thinking, that any one individual can indulge himself in the luxury of personal morality or pit it against what I feel today very strongly is the security and safety of this nation." Stephen Rossen later shed light on his father's decision:
It killed him not to work. He was torn between his desire to work and his desire not to talk, and he didn't know what to do. What I think he wanted to know was, what would I think of him if he talked? He didn't say it in that way, though. Then he explained to me the politics of it—how the studios were in on it, and there was never any chance of his working. He was under pressure, he was sick, his diabetes was bad, and he was drinking. By this time I understood that he had refused to talk before and had done his time, from my point of view. What could any kid say at that point? You say, 'I love you and I'm behind you.'
Like Elia Kazan's testimony, Rossen's HUAC admissions destroyed many lifelong friendships, along with dozens of careers of communists who undermined American national security. Kazan's career flourished for the rest of his life, and Rossen's career also quickly regained the productivity he enjoyed prior to the blacklist. He produced, directed and co-wrote The Hustler, in 1961, and he was nominated for Best Picture, Best Director, and Best Writing, Screenplay Based on Material from Another Medium, sharing the nomination with his co-writer Sidney Carroll.
Return to filmmaking.
From 1952 to 1953, Rossen wrote "Mambo", trying to repair his finances after almost two years without work following the 1951 HUAC hearing. He had to produce the film in Italy, and it was premiered in Italy in 1954 and the USA in 1955. Rossen later said ""Mambo" was to be for fun only," but he "took it seriously, and it didn't come off." Critics dismissed the film. However, in 2001, Dorothea Fischer-Hornung concluded that the film achieved more than Rossen and contemporary critics realized. The female lead resolves her own conflicts by devoting herself to dance. Katherine Dunham's choreography highlights this process; and innovative cinematography intensifies the dance scenes.
Rossen hoped "Alexander the Great" (1956) would be a blockbuster, but the majority of the reviews criticized the film for failing to keep the audience's interest. However, the review from "The New York Times" wrote that "its moments of boredom are rare...an overlong but thoughtful and spectacular entertainment."
In 1961, Rossen co-wrote, produced and directed "The Hustler". Drawing upon his own experiences as a pool hustler, he teamed with Sidney Carroll to adapt the novel of the same name for the screen. "The Hustler" was nominated for nine Academy Awards and won two. Rossen was nominated as Best Director, and with Carroll for Best Adapted Screenplay, but did not win either award. He was named Best Director by the New York Film Critics Circle and shared with Carroll the Writers Guild of America Award for Best Written Drama. "The Hustler" was an enormous popular success and is credited with sparking a resurgence in the popularity of pool in the United States, which had been on the decline for decades.
Rossen was already ill when he started on his final film, "Lilith" (1964), and it was poorly received in the United States. After it Rossen lost interest in directing, reportedly because of conflicts with the film's star, Warren Beatty. The filmmaker said, "It isn't worth that kind of grief. I won't take it any more. I have nothing to say on the screen right now. Even if I never make another picture, I've got "The Hustler" on my record. I'm content to let that one stand for me." However, at the time of his death Rossen was planning "Cocoa Beach", a script he conceived in 1962, showing the hopes and struggles of transients in a local community and contrasting this with nearby Cape Canaveral, which Leftist writer Brian Neve described as a "symbol of America's imperial [sic] reach".
Death.
Rossen died in New York City at age 57 on February 18, 1966, following a series of illnesses and is interred at Westchester Hills Cemetery in Hastings-on-Hudson|Hastings-on-Hudson, New York. He was survived by his wife Susan (died 2009), son Stephen, and daughters Carol and Ellen. His grandchild, Daniel Rossen, is the guitarist/vocalist of alternative bands Grizzly Bear and Department of Eagles.
Reception.
Rossen was one of the directors who developed film gris (French for "grey film"). In his films for Warner Brothers between 1937 and 1944, consistent themes were the conditions of working people, the portrayal of gangsters and racketeers, and opposition to fascism. After "Dust Be My Destiny", written by Rossen and released in 1939, Frank Nugent, who regularly reviewed for "The New York Times", complained about Warner Brothers' long line of melodramas about boys from poor neighborhoods. Unlike filmmakers such as John Ford and Howard Hawks, Rossen was willing to explain his aims as a director: "The element common to many of my films is the desire for success, ambition, which is an important element in American life. It is an important element, and has become increasingly more important in what is known as Western Civilization." Polonsky commented that "Rossen's talent is force applied everywhere without let-up." Neve acknowledged that social concerns were central in most of Rossen's works, but commented that "Lilith" was different from Rossen's earlier films as it emphasized mood rather than narrative and examined through pictures and silences the nature of maladjustment and madness.
Farber noted the strong female characters of the 1930s and 1940s, and laments their replacing by all-male relationships from the 1950s onward. For the earlier pattern Farber cited Rossen's 1946 script "The Strange Love of Martha Ivers", which was over melodramatic but portrayed a woman consumed by power, money and success. "Lilith" created one of the few strong women in the 1960s. Rossen generally destroyed the main character.
All of Rossen's playscripts were adaptions except "Marked Woman", "Racket Buster" and "Alexander the Great", based on real events. Before he was blacklisted in 1951, only two of Rossen's adaptions were of serious novels, and Rossen's early drafts of the script for "All the King's Men" received serious criticisms within Columbia.
While head of production at Warner, Hal Wallis considered that some of his best films – including "The Roaring Twenties", "Marked Woman" and "The Sea Wolf" – were written by Rossen. Wallis was very pleased with Rossen's script in 1946 for "The Strange Love of Martha Ivers", which was produced by Wallis own company. However, Rossen turned down Wallis's next two films. Both Wallis as producer and Rossen as writer-director wanted to operate as independents, rather than under the control of a studio.
"All the King's Men" was one of the later of the social "message" filmsas America turned conservative. Thomas Schatz regarded "All the King's Men" as possibly the best of the genre, as it examined alcoholism, adultery, political corruption and the influence of journalism. In 2001 the United States National Film Registry preserved the film as "culturally, historically, or aesthetically significant."
Rossen produced, directed and co-wrote "The Hustler" in 1961. At the time, "Variety" praised the cast, complained about the "sordid aspects" of the story and felt the film was far too long. "The New Republic" praised the cast and Rossen's "sure, economical" direction, but thought the script "strains hard to give an air of menace and criminality." The film won two Academy Awards and was nominated for another seven, was nominated in four of the Golden Globes' categories, and gained many other awards and nominations.
In 1997. the National Film Registry preserved "The Hustler" as "culturally, historically, or aesthetically significant." In 2002, Roger Ebert described the film as one "where scenes have such psychic weight that they grow in our memories" and praised Rossen's decision to develop all four main characters, and James Berardinelli listed the film in his All Time Top 100 for similar reasons. Ebert also praised Rossen's decision to shoot the film in the "stygian gloom of the billiard parlor" created by black-and-white. Other accolades appeared in the 2000s (decade).
Nina Leibman regarded "Lilith" as the most extreme of the American film industry's applications, or rather misapplications, of psychoanalytic concepts, as the patient is already psychotic and has a track record of previous conquests. In "The New Biographical Dictionary of Film", David Thomson describes "Lilith" as "an oddity, the only one of [Rossen's] films that seems passionate, mysterious and truly personal. The other films will look increasingly dated and self-contained, but "Lilith" may grow."
Preservation.
The Academy Film Archive preserved several of Robert Rossen's films, including "The Hustler", "All the King's Men", and "Lilith".


Paul Rauber

Paul Rauber is a Senior Editor at the Sierra Club magazine, an American environmental organization founded by conservationist pioneer John Muir in 1892.
In 2004 he published a book with Carl Pope, "Strategic Ignorance: Why the Bush Administration Is Recklessly Destroying a Century of Environmental Progress", from Sierra Club Books. An excerpt from the book, titled "Saving the Environment" was published in The Nation magazine.
Paul's older brother, Chris Rauber, is also a journalist.


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Australian Broadcasting Company

The Australian Broadcasting Company Pty. Ltd. was a company founded in Melbourne in 1924 with a capital of £100,000 by a consortium of entertainment interests, notably Farmer & Company, J. C. Williamson Limited and J. & N. Tait to found and operate commercial radio broadcasting stations. Other major shareholders, perhaps later entrants, were Union Theatres Limited, B & J. Fuller and J. Albert & Son. Directors were Stuart Doyle, Frank Albert and Sir Benjamin Fuller.
In 1929 the company won the contract to supply radio programmes for broadcast on the "A-class" transmitters contracted to the Federal Government's National Broadcasting Service. The Royal Commission of 1927 had recommended full nationalisation in the style of the BBC, but the conservative government of the time chose this out-sourced approach instead. As each of the "A-class" licences expired during 1929 and 1930, the Commonwealth acquired and then maintained the station's transmitters and studios through the Postmaster-General's Department, while the programming was supplied by the Australian Broadcasting Company.
Funding was supplied through licences rather than through advertising. However, licence fee income was low, jeopardising its viability.
The contract with the Australian Broadcasting Company expired on 30 June 1932 and thereafter programming for the National Broadcasting Service was provided by the newly established Australian Broadcasting Commission, which purchased the assets of the earlier ABC.


Geyserland FM

Geyserland FM was a radio station in Rotorua, New Zealand.
The station was originally started in 1959 by Radio New Zealand (which at the time was known as the National Broadcasting Service) on 1350AM, the station was originally branded as its callsign 1ZC.
The studios were originally located on Eruera Street in Rotorua but moved to Arawa Street in the late 1960s. The station was also rebranded as "Radio Geyserland".
In 1988 Radio Geyserland began broadcasting on 97.5FM and became known as 97.5 Geyserland FM using the callsign 1GEY. The 1350AM frequency was discontinued and later was assigned to independent station Today AM and eventually taken over by Radio Sport.
In 1993 Radio New Zealand rebranded many of their heritage stations as Classic Hits. For Geyserland FM the station became known as "Classic Hits 97FM". The name "Geyserland" was no longer used on air, however it still appeared on the station's logo.
In July 1996 the New Zealand Government sold off the commercial arm of Radio New Zealand, which included, among other things, the Classic Hits branded stations. The new owner was The Radio Network, a subsidiary of APN News & Media and Clear Channel Communications, which operated as a division of the Australian Radio Network.
In 1998 Classic Hits 97FM was reduced to just 4 hours of local programming between 6 and 10 am 7 days a week. Outside this time nationwide shows based from Auckland took over, and the announcers simply called the station Classic Hits. The breakfast show was shortened to a 3-hour show in 2012 on all Classic Hits stations.
The station can also be heard in Reporoa, Broadlands, Ngakuru and Waikite Valley areas on 90.8FM. The frequency was adjusted from 90.9FM to 90.8 in 2010.
On 28 April 2014 all stations part of the Classic Hits network were rebranded as The Hits. A networked breakfast presented by Pauline Gillespie and Grant Kareama was introduced to almost all The Hits stations with the former breakfast announcer moved to present a 6-hour show between 9am and 3pm. The daytime show is presented by Paul Hickey and can also be heard on The Hits Taupo. The studios are now located on Fenton Street in Rotorua.


Tabor Robak

Tabor Robak (born May 31, 1986) is an American Contemporary Artist working in New Media, living in New York City. Robak is primarily known for his trailblazing digital art practice, multi-channel video installations and generative artworks. Robak's work has been exhibited and collected internationally at renowned institutions such as Museum of Modern Art, Serpentine, National Gallery of Victoria, Albright Knox, and Migros Museum. In 2014, Robak was named in Forbes’ 30 under 30 in Art. Robak has guest lectured MFA students at Yale and co-taught an MFA course on real time 3D at New York University.
The Metropolitan Museum of Art describes Robak as a "prodigy of digital effects" and "the most talented and interesting artist using computer graphics today."
Early life and education.
Tabor Robak was born in Portland, Oregon. He began working freelance as a photoshop editor at the age of 13, before earning a BFA from Pacific Northwest College of Art in Portland, Oregon. After earning his degree in 2010, Robak moved to New York City and began participating in group shows internationally at places such as MoMA PS1, Rhizome, Thaddeus Ropac, and the Lyon Biennale before his first solo exhibition at Team Gallery in 2013.
Career and work.
2008-2012: Early Career.
During college, Robak began incorporating digital tools into his practice and uploading his work to his website and sites like tumblr to connect with the growing community of net artists. Robak's early works consisted of 3D interactive environments, to be accessed on the artist's website. These pieces, which the artist described as having a "desktop screensaver aesthetic," sought to isolate digital space as a fact, an abstracted, alternate reality. Many of Robak's works during this period were featured on Rhizome including his first online piece, "Reality CPU", along with works such as "Digital Spirituality", "Carbon" and "Mansion".
In 2011 Robak formed "HDBOYZ" with fellow artists and friends, Alex-Kelly Hoffman, Ryder Ripps, Aaron David Ross and Colin Self. Dubbed by DIS Magazine as "the first internet boy band," they performed five songs including "Photoshopped" and "HDMI in Love?" at MoMA PS1 during the closing night of Ryan Trecartin’s solo show.
In 2011, Robak designed and animated a music video in collaboration with artist and musician Fatima Al Qadari, for her song, "Vatican Vibes." The video created a “visual analogy between the Vatican’s 'centuries-old mechanisms of control over people' and video gamers’ “godlike power over populations." The video premiered at the New Museum and toured internationally from 2011-2013.
In 2012, Robak created a downloadable interactive virtual environment for Gatekeeper’s album, EXO which was set to the music and doubled as the band’s tour visuals.
2013-2019: Breakthrough and critical success.
In 2013, Robak made his solo show debut at Team Gallery in New York City, entitled, "“Next-Gen Open Beta.”" Artforum described the show as, "visually breathtaking" with "painstakingly detailed environments that make as strong a case for technological accelerationism as they do for the somewhat old-world values of craftsmanship and painterly illusionism” and with imagery as “alienating as it is immersive” The New York Observer called the exhibition "one of the major events of the season" both because of the quality of the work and because it was "signaling [digital art's] newfound acceptance by big-league galleries like Team. Xenix, was later acquired by the Museum of Modern Art.
In 2015, Robak exhibited his second solo show at Team Gallery entitled, "Fake Shrimp". The show featured 4 CGI works and received wide critical acclaim. Roberta Smith reviewed the exhibition in The New York Times, praising Robak's virtuosity, his dazzling visuality, and "his meshing of high and low; digital and labor-intensive; art and advertising." Lloyd Wise from Artforum described the show as “MDMA for the eye,” “sparkling and synthetic, color-splashed and sumptuous, gloriously seamless and refined." Wise described Robak’s mastery of digital tools as having a “next-level skill set of a virtuoso." New York Magazine dubbed Robak, "Pixelangelo" in reference to level of detail and the labor intensive process required in producing the show, noting that while the imagery was evocative of video games, the work was "exponentially more elaborate." "Where’s My Water?" was acquired by the Metropolitan Museum of Art in 2017.
In 2016, Robak presented his third solo show, "Sunflower Seed," at Team Gallery’s Venice Beach location in Los Angeles. The exhibition was also shown that summer in Sweden at Johan Berggren Gallery in Malmo. Critics praised Robak for having “choreographed a masterly and complex ballet of pixels” and noted the imagery was “meditative, whimsical, mesmerizing and almost impossible to walk away from.” The work was a thematic departure, with Robak exploring scenes from the natural world. "Skypad" was later added to the permanent collection of AkzoNobel Art Foundation, in Amsterdam.
In 2017, Robak exhibited his fourth solo show, "Quantaspectra, at" Team Gallery in New York City. Named for quantification via the color system, the show featured seven single channel works, each representing a different color and exploring different themes in a universe creation.
In 2019, Robak presented his 6th solo show, "MENTAL," at vonammon co in Washington, DC. Arguably, his “most experimental exhibition to date," Robak explores “the bankruptcy of branding” and the “dystopian divide [between mind and body] that may be deepened by art.” The show received positive reviews with Artforum describing Robak’s mastery of the technology as "operating like a dark-web Nam June Paik.” The publication also noted Robak’s “critique is more specifically attuned to how capitalism elicits feelings of frustration and ambivalence in the field of contemporary art. Sculpture magazine compared the works to vanitas that “impart a loss of permanence and control, while paradoxically, signaling our shared vulnerability.”
In 2019, Robak exhibited "Xenix", at the Museum of Modern Art, as part of the group show, "New Order: Art and Technology in the 21st Century." The show was curated with work from the museum’s permanent collection and organized by Michelle Kuo. The New York Times called Robak’s work, “one of the most significant” in the exhibition.
In 2019, Robak exhibited, "Flatearth.io," his first solo show in the Netherlands, at Upstream Gallery in Amsterdam. Critics called Robak, “the most compelling artist today working with computer-generated imagery” and praised his ability to elevate “the craftsmanship of CGI to the standing of intellectual art.”
2020-present: Current projects.
In December 2020, Robak presented, "Megafauna", an 80 screen video installation commissioned by the National Gallery of Victoria for the museum’s Triennial, which featured an “immersive installation of computer-generated animations that surround the viewer in an entire gallery, and was “the biggest work he has ever made.”
In 2020, Robak's work was featured in group exhibitions worldwide including, "Better off Online," presented by KÖNIG GALERIE at Ars Electronica; "Art in the Age of Anxiety" at Sharjah Art Foundation in Dubai; "Open World: Video Games and Contemporary Art", at the Currier Museum of Art.
In 2021, Robak created "Butterfly Room: Special Edition", for the group exhibition, "World on a Wire", presented by Rhizome as part of a collaboration with Hyundai in Beijing.
Film and fashion.
Robak programmed and designed the animated sequences in the 2015 film, #Horror, directed by Tara Subkoff, curated by Urs Fischer and starring Chloë Sevigny and Natasha Lyonne. The film premiered at the Museum of Modern Art.
Robak’s work, "Mini Jumbo," a miniature Jumbotron sculpture from his show "MENTAL," was showcased at Maison Margiela's concept store in Soho in as part of the first series of installations at the experimental boutique.
In 2019, Robak created a custom video loop of a cityscape set to unreleased tracks by DJ Hell for Balenciaga.
Artistic process and themes.
Robak's work utilizes the visual vocabulary of modern video games, advertising and animated film, to examine societal perceptions of the digital and the real. His work often deals with the tension between human nature and technology, exploring themes such as, late capitalism, mass media, trauma, domestic life, weapons, violence, robotics, healthcare and privacy.
Robak commonly employs several computer programs including Unity, Adobe After Effects, and Cinema 4D to create multi-channel video installations, procedurally generated animations, and electronic sculpture. He often incorporates novel technology including transparent television monitors, mini Raspberry Pi computers, and builds custom PCs for his procedurally generative works.
In his procedurally generated work, Robak programs software to create algorithmic visual compositions that mimic the gestures of a painter's brush stroke. He embraces generative code to produce those fleeting, but perfect moments akin to the serendipity of nature’s rhythms, believing the open-ended quality of this process presents more opportunities to replicate these moments than deliberate design.
Critics have referred to Robak’s proficiency with the software as “virtually unmatched” in the Art World, and praised Robak for bringing “an old-school sense of integrity and craft—even disciplinary rigor—to his digital practice, “exploring the medium of CGI the way Michelangelo did marble." His working method has been described as "fluid, intuitive, and obsessive" creating extremely "detailed and meticulous" images and software that can take "months to compose."
Major commissions.
In 2014, Swiss Institute commissioned, "A*", from Robak for the exhibition, "The Saint Petersburg Paradox."
In 2016, Public Art Fund commissioned, "Liquid Demo" for the 117-by-56-foot, 360 degree LED screen in the Oculus at Barclays Center, for the exhibition, "Commercial Break".
In 2017, Robak was commissioned by Microsoft to create an artwork for the 40-foot screen on the façade of their flagship store on 5th Avenue.
The National Gallery of Victoria commissioned an 80 screen video installation from Robak for the museum’s 2020 Triennial.
Collections.
Robak’s work is currently held in the following public collections:
Exhibitions (selection).
2019
2018
2017
2016
2015
Migros Museum, Zurich, Switzerland, Toys Redux - On Play and Critique (curated by Raphael Gygax & Judith Welter)
2014


Kit Galloway and Sherrie Rabinowitz

Kit Galloway (born 1948) and Sherrie Rabinowitz (1950–2013) met in 1975 and worked collaboratively under the name Mobile Image. They co-founded the Electronic Café International (ECI), a cafe, networking centre, performance and workshop space and art hub in Santa Monica, California. Until Rabinowitz's death, they created numerous art works which could be categorized as communication aesthetics, telematic art and digital theatre


Save the forest - stop coal!


94.3 The Fish

The Fish was a radio station in Taupo, New Zealand.
The station began in 1995 as 94.3FM The Fish broadcasting on 94.3FM. The station broadcast from premises on the first floor at 30 Heu Heu Street in Taupo.
94.3FM The Fish had a unique way of positioning themselves in the small Taupo market. The studio line was aptly named The Fishing Line, the company vehicle (a Fiat Uno Van) was called The Fish Tank and they had a Hot Rod called the Fishing Rod. Other first's for radio in Taupo included live broadcasting from the popular night spot, The Holy Cow. Broadcast live from 8pm until closing time at 3 am, made for very entertaining radio with a few complaints being made to the Broadcasting Standards Authority. The Fish also had full-time request line and also had a guarantee that the same song would not be played again from 6am to 12 midnight. In general, there was no specific playlist, and announcers chose songs that fitted into the categories that were assigned for the time slot.
In 1997 the station moved to 91.6FM and subsequently became known as 91.6FM The Fish. This shift, under new management and ownership, (MultiMedia Services, Taupo) saw the station change genre to a more AC mix than the 'loose' format they had on 94.3FM. The former 94.3FM frequency, which was leased from Iain Stables, was sold to RadioWorks to broadcast The Rock into Taupo. In 2000 the station was purchased by "The Northland Radio Company" a company which operated KCC FM in the Northland region, one in Rotorua (The Mix 94.3FM) and another in Taupo (The Mix 95.9FM). They renamed The Fish to Taupo's 91.6FM. Later in 2000 the station was taken over by The Radio Network and closed down and replaced with Radio Hauraki.


Hands Off, Pants On


Aluminum disc

In the field of audio recording, an aluminum disc (aluminium in the UK and elsewhere) is a phonograph (gramophone in the UK) record made of bare aluminum, a medium introduced in the late 1920s for making one-off recordings. Although sometimes used for making amateur studio or home recordings or in coin-operated "record-your-voice" booths at fairs and arcades, during the first half of the 1930s bare aluminum discs were primarily used to record radio broadcasts for the private transcription disc archives of performers or sponsors.
In the recording process, a sufficiently amplified audio signal was sent to a heavily weighted electromagnetic recording head with a blunt diamond stylus that indented, rather than cut or engraved, a sound-modulated groove into the surface of the metal. Normally, a completely blank disc was used and the recording head was slowly carried toward its center by a dedicated feed mechanism. Some low-end recording units economized by eliminating the feed mechanism, relying instead on the use of discs already cut with a narrow blank groove that guided the stylus, which simply impressed its vibrations into the upper region of the existing groove. This cost-cutting approach produced recordings with a very limited dynamic range and generally inferior sound. In either case, because of the grain structure of the metal and its resistance to the side-to-side motions of the recording stylus, significant surface noise was inherent and the high-frequency signal content was heavily attenuated.
The recording had to be played back with a fiber needle such as cut and pointed bamboo or a plant thorn, as an ordinary steel needle in a typical heavy pickup would severely damage the soft aluminum surface. Even when playing a bare aluminium disc with a modern lightweight magnetic cartridge, a hard stylus that does not correctly fit the contour of the groove will score its surface and tend to skip and repeat, damaging the disc as well as degrading the quality of the recovered audio. Because the blunt recording stylus typically bore down on the aluminum at a substantial angle, it produced a disproportionately shallow groove, so that optimum playback with modern equipment requires a custom stylus with an unusually large tip radius.
In 1934, the Pyral Company in France and the Presto Recording Corporation in the United States independently created the so-called acetate disc by coating a layer of nitrocellulose lacquer onto the aluminum, which now served only as a rigid support. Engraving the groove into an easily cut and grainless lacquer, rather than indenting it into bare metal, made it possible to produce a broadcast-quality recording that preserved high-frequency detail and was nearly noiseless when new. As a result, professional recording services soon abandoned the use of bare aluminum blanks, although some amateur and novelty use persisted into the 1940s. From an archival perspective, the changeover traded long-term stability for superior sound quality. A bare aluminum disc can remain unchanged indefinitely if carefully stored, while the coating on a lacquer disc is subject to chemical deterioration, tending to shrink and become brittle due to the loss of unstable plasticizers, which can cause the lacquer to develop cracks, split off from the aluminum base disc, and in severe cases disintegrate into an unsalvageable rubble of tiny flakes.
Most recordings on bare aluminum are believed to have perished in the scrap metal drives held during World War II. Aluminum was declared to be a critical war material and civilians in the US were urged to do their patriotic duty by finding and turning in anything made of it. The collected "scrap" was melted and recycled.
A selection of recently found EKCO aluminium discs containing home recordings of BBC radio broadcasts from 1932 to 1937 which escaped the above fate may be seen and heard at http://www.greenbank-records.com
In other fields, aluminum disc may refer to the aluminum core discs used for the "platters" in hard disk drives, or to discs used in various other products or manufacturing processes.


PC Magazine - The Independent Guide to IBM-standard Personal Computing


Dan Haifley

Dan Haifley is an American environmentalist and newspaper columnist.
From 1999 to 2019, he was Executive Director of O'Neill Sea Odyssey, a non-profit organization offering a free oceanography and ecology program for school-aged youth sailing Monterey Baya bay of the Pacific Ocean, along the central coast of California. Rachel Kippen took over the position upon his retirement in March, 2019.
Career.
From 1986 to 1993, Haifley was Executive Director of Save Our Shores, based in Santa Cruz, California, where he spearheaded the creation of the Monterey Bay National Marine Sanctuary as Co-Chair of the Environmental Working Group. He also led the effort against offshore oil drilling, including passage of twenty-six local ordinances in California counties and cities limiting development of onshore facilities for offshore drilling, and their defense against a lawsuit by the oil industry as represented by the Western Oil and Gas Association.
Haifley wrote the column "Our Ocean Backyard" for the "Santa Cruz Sentinel" newspaper until April, 2019, when Rachel Kippen took over writing duties.
In August 2011, he was given the Ocean Hero award by Save Our Shores.
According to the book "Jack O'Neill: It's Always Summer on the Inside" (2011) by Drew Kampion, Haifleyas the program's executive directorhas argued the program's position that ocean concepts should be adopted in formal education standards and made more widely available to youth from economically disadvantaged backgrounds.


Lloyd Bridges

Lloyd Vernet Bridges Jr. (January 15, 1913 – March 10, 1998) was an American film, stage and television actor who starred in a number of television series and appeared in more than 150 feature films. He was the father of four children, including the actors Beau Bridges and Jeff Bridges. He started his career as a contract performer for Columbia Pictures, appearing in films such as "Sahara" (1943), "A Walk in the Sun" (1945), "Little Big Horn" (1951) and "High Noon" (1952). On television, he starred in "Sea Hunt" 1958 to 1961. By the end of his career, he had re-invented himself and demonstrated a comedic talent in such parody films as "Airplane!" (1980), "Hot Shots!" (1991), and "Jane Austen's Mafia!" (1998). Among other honors, Bridges was a two-time Emmy Award nominee. He received a star on the Hollywood Walk of Fame on February 1, 1994.
Early life.
Bridges was born in San Leandro, California, to Lloyd Vernet Bridges Sr. (1887–1962), who was involved in the California hotel business and once owned a movie theater, and his wife Harriet Evelyn (Brown) Bridges (1893–1950). His parents were both natives of Kansas, and of English ancestry. Bridges graduated from Petaluma High School in 1930. He then studied political science at UCLA, where he was a member of Sigma Alpha Epsilon fraternity.
Career.
Bridges had small uncredited roles in the films "Freshman Love" (1936) and "Dancing Feet" (1936).
Theatre.
Bridges made his Broadway debut in 1937 in a short-lived production of Shakespeare's "Othello", starring Walter Huston and Brian Aherne; Bridges was in the Ensemble.
He appeared on stage in "Suzanna and the Elders" (1940). In Hollywood he had an uncredited role in "Northwest Passage" (1940).
Columbia Pictures and U.S. Coast Guard.
In 1940, Bridges joined the stock company at Columbia Pictures at $75 a week, where he played small roles in features and short subjects.
He could be seen in "The Lone Wolf Takes a Chance" (1941), "They Dare Not Love" (1941), "Doctor's Alibi" (1941), "Blue Clay" (1941), "Our Wife" (1941), and "I Was a Prisoner on Devil's Island" (1941). In "Here Comes Mr. Jordan" (1941) Bridges is the pilot of the plane in the "heaven" scene.
Bridges later reflected,

He left Columbia Pictures during World War II to enlist in the United States Coast Guard. Following his discharge, he returned to acting. In later years, he was a member of the U.S. Coast Guard Auxiliary, 11th District (California) and did several public service announcements for the Coast Guard. Bridges' "Sea Hunt" character Mike Nelson was portrayed as a member of the Coast Guard Auxiliary and sometimes appeared in uniform. Because of his support, he was made an honorary commodore in the Auxiliary. Bridges' sons, actors Beau and Jeff, also served in the Coast Guard and Coast Guard Reserve.
Post-war career.
Bridges' first lead role was in the serial "Secret Agent X-9" (1945) made for Universal. That studio kept him on for "Strange Confession" (1945), an Inner Sanctum mystery.
Bridges had some support roles in independent films, "A Walk in the Sun" (1945), and "Abilene Town" (1946). He was in Paramount's "Miss Susie Slagle's" (1946) and Walter Wanger's "Canyon Passage" (1947).
In 1947 he appeared in a small role in Cecil B. DeMille's film "Unconquered".
Leading man.
He returned to lead roles with "Secret Service Investigator" (1948) at Republic Pictures, and "16 Fathoms Deep" (1948) for Monogram Pictures. Bridges had a support role in "Moonrise" (1948) then was the lead in "Hideout" (1949) for Republic.
Bridges was in a Western at Universal directed by George Sherman, "Red Canyon" (1949), and a short at MGM, "Mr. Whitney Had a Notion" (1949). He had a good role in "Home of the Brave" (1949). At Universal he was Howard Duff's friend in "Calamity Jane and Sam Bass" (1949), again for Sherman.
Bridges had the star role in "Trapped" (1949) directed by Richard Fleischer for Eagle Lion and "Rocketship X-M" (1950) for Lippert Pictures. He had supporting roles in "Colt .45" (1951), "The White Tower" (1951), and "The Sound of Fury" (1950) (directed by Cy Endfield).
Blacklisting.
Bridges was blacklisted briefly in the 1950s after he admitted to the House Un-American Activities Committee that he had once been a member of the Actors' Laboratory Theatre, a group found to have had links to the Communist party. He returned to acting after recanting his membership and serving as a cooperative witness, achieving his greatest success in television.
Bridges made his TV debut in 1951 with "Man's First Debt" in "The Bigelow Theatre". He had starring roles in the films "The Fighting Seventh" (1951), "Three Steps North" (1951), and "Richer Than the Earth" (1951).
On TV he did "Rise Up and Walk" for "Robert Montgomery Presents" (1952) and "International Incident" for "Studio One in Hollywood" (1952) (the latter directed by Franklin J. Schaffner). Bridges had a supporting role in "High Noon" (1952).
Bridges guest starred on "Suspense" ("Her Last Adventure") and "Schlitz Playhouse" ("This Plane for Hire"), and had support roles in "Plymouth Adventure" (1952) and "The Sabre and the Arrow" (1953). Bridges returned to leads in "The Tall Texan" (1953) for Lippert Pictures.
Bridges was in "The Long Way Home" for "Goodyear Playhouse" (1953), and appeared in "The Kid from Left Field" (1953) and "City of Bad Men" (1953) for Fox. He travelled to the UK to star in "The Limping Man" (1953) for Cy Endfield. He returned to Broadway in "Dead Pigeon" (1953–54), which had a short run.
He had the lead in a horse movie, "Prince of the Blue Grass" (1954) and returned to England to make "Third Party Risk" (1954) for Hammer Films.
In Hollywood Bridges supported Joel McCrea in "Wichita" (1955) and had the lead in Roger Corman's low-budget "Apache Woman" (1955).
Television.
On TV Bridges performed in "Broadway Trust" for "Crossroads" (1955), "The Dark Fleece" and "Edge of Terror" for "Climax!" (1955) (the latter directed by John Frankenheimer), "The Ainsley Case" for "Front Row Center" (1956), "Across the Dust" and "Prairie Dog Court" for "Chevron Hall of Stars" (1956), and "The Silent Gun" and "American Primitive" for "Studio One in Hollywood" (1956). He had the lead in the low budget "Wetbacks" (1956) and a support role in "The Rainmaker" (1956).
Bridges gained attention in 1956 for his emotional performance on the live anthology program "The Alcoa Hour", in an episode titled "Tragedy in a Temporary Town" written by Reginald Rose and directed by Sidney Lumet. During the performance, Bridges inadvertently used profanity while ad-libbing. Although the slip of the tongue generated hundreds of complaints, the episode won a Robert E. Sherwood Television Award, with Bridges' slip being defended even by some members of the clergy. Bridges received an Emmy Award nomination for the role.
Bridges did "The Regulators" for "Studio 57" (1956), "They Never Forget" for "The United States Steel Hour" (1957), "Ride the Wild Mare" for "The Alcoa Hour" (1957), "Man on the Outside" for "Studio 57" (1957), "The Sound of Silence", "Figures in Clay" and "The Disappearance of Amanda Hale" for "Climax!", "Heritage of Anger" (1956) and "Clash by Night" (1957) for "Playhouse 90", the latter with Kim Stanley. Bridges also made several episodes of "Zane Grey Theatre" including "Time of Decision" (1957) and "Wire" (1958).
He supported Rory Calhoun in "Ride Out for Revenge" (1957) and did "A Time to Cry" on "The Frank Sinatra Show" (1958) and had one of his best ever cinema roles in "The Goddess" (1958) based on a script by Paddy Chayefsky based on the life of Marilyn Monroe; Bridges played a sportsman based on Joe di Maggio opposite Kim Stanley. He directed "Piano to Thunder Springs" for "Target" (1958).
"Sea Hunt" (1958–1961).
Bridges gained wide recognition as Mike Nelson, the main character in the television series "Sea Hunt", created by Ivan Tors, which ran in syndication from 1958–1961. He also wrote a book with a co-author about skin-diving entitled "Mask and Flippers".
Bridges did "Lepke" (1959) for "Westinghouse Desilu Playhouse" (1960), "Ransom" (1960) (directed by Budd Boetticher) and "Image of a Drawn Sword" (1961) for "Zane Grey Theatre". He did a TV movie "The Valley of Decision" (1960), "Death of the Temple Bay" for "The DuPont Show with June Allyson" (1961), "Who Killed Julie Greer?" (1961) for "The Dick Powell Theatre", "The Fortress" (1961) for "Alcoa Premiere" (with Fred Astaire), and "The Two of Us" (1962) for "Checkmate". He also did a special "Marineland Carnival" (1962).
"The Lloyd Bridges Show" (1962–1963).
Bridges starred in the eponymous CBS anthology series "The Lloyd Bridges Show" (1962–1963) (produced by Aaron Spelling) which included appearances by his sons Beau and Jeff.
Bridges followed it with "A Hero for Our Times" for "Kraft Suspense Theatre" (1963), "Wild Bill Hickok – the Legend and the Man" for "The Great Adventure" (1964), "Cannibal Plants, They Eat You Alive" for "The Eleventh Hour" (1964) and "Exit from a Plane in Flight" for "Theater of Stars" (1965).
"The Loner".
Producer Gene Roddenberry, who worked with Bridges on "Sea Hunt", reportedly offered Bridges the role of Captain Kirk on "" before the part went to William Shatner. In addition, he was a regular cast member in the Rod Serling western series "The Loner," which lasted one season from 1965 to 1966, canceled due to ratings, despite solid reviews and several scripts by Rod Serling, over the show being too “adult” and realistic.
Bridges returned to features with "Around the World Under the Sea" (1966). He guest starred in "Fakeout" for "" (1966), and did a TV movie "A Case of Libel" (1968).
Bridges starred in some action films, "Daring Game" (1968) and "Attack on the Iron Coast" (1968), the latter for Ivan Tors. He did "The People Next Door" for "CBS Playhouse" (1968).
Bridges starred in some TV movies, "The Silent Gun" (1969), and "Silent Night, Lonely Night" (1969). He had a support role in "The Happy Ending" (1969) directed by Richard Brooks.
Bridges returned to Broadway as a replacement for the lead in "Cactus Flower" (1967).
Telemovies.
Bridges was in heavy demand for TV movies such as "The Love War" (1970), "Lost Flight" (1970), "Do You Take This Stranger?" (1971), "A Tattered Web" (1971), and "The Deadly Dream" (1971). He starred in a short lived series "San Francisco International Airport" (1970/71) and had a support role in a feature, "To Find a Man" (1972).
Bridges had a (then) rare comedy role on "Here's Lucy" with "Lucy's Big Break" (1972). He continued in TV movies: "Haunts of the Very Rich" (1972), "Trouble Comes to Town" (1973), "Crime Club" (1973), "Running Wild" (1973), "Death Race" (1973), "The Whirlwind" (1974, with son Beau), and "Stowaway to the Moon" (1975).
"Joe Forrester".
Bridges starred in a short-lived Police Story spin-off "Joe Forrester" (1975–76).
Bridges played significant roles in several mini-series, including "Roots", and "How the West Was Won". He returned to TV movies: "The Force of Evil" (1978), "Telethon" (1978), "The Great Wallendas" (1978) and "The Critical List" (1978).
Bridges had a notable guest part in "The Living Legend" for "Battlestar Galactica" (1978) and went to Australia to make "Shimmering Light" (1978) with Beau. He had a support part in "The Fifth Musketeer" (1979) starring Beau and was in "Disaster on the Coastliner" (1979), "Bear Island" (1979) and "This Year's Blonde" (1980) (as Johnny Hyde)
"Airplane!".
Bridges had his biggest film hit in a long time in "Airplane!" (1980), a spoof of disaster films. He appeared in a number of mini series such as "East of Eden" (1981), "The Blue and the Gray" (1982) and "George Washington" (1984). He guest starred on shows such as "The Love Boat" (1981), "Loving" (1983), and "Matt Houston" (1983) and continued to make TV movies like "" (1982), "Grace Kelly" (1983) and "Grandpa, Will You Run with Me?" (1983).
Bridges reprised his "Airplane!" role in "" (1982)
Bridges starred in a short-lived series "Paper Dolls" (1984). For TV he appeared in "Alice in Wonderland" (1985), "Dress Gray" (1986), and "North and South, Book II" (1986).
He was in "Weekend Warriors" (1986), "The Thanksgiving Promise" (1986) for Disney, and "The Wild Pair" (1987) starring and directed by Beau. Bridges appeared with Jeff in "" (1987) and was in "She Was Marked for Murder" (1988), for TV.
Bridges had notable supporting roles in the features "Winter People" (1989) and "Cousins" (1989). He was in the TV movie "Cross of Fire" (1989).
1990s.
Bridges starred in a short-lived series, "Capital News" (1990), for ABC. In 1990, he had a supporting role in "Joe Versus the Volcano", and portrayed Harry Helmsley in the made-for-television movie, "Leona Helmsley: The Queen of Mean".
Bridges was in "" (1990) then reprised his comedy career with a supporting role in "Hot Shots!" (1991). He starred in a TV movie "In the Nick of Time" (1992) and was in "Honey I Blew Up the Kid" (1992), "Devlin" (1992), and "Mr. Bluesman" (1993) before reprising his old role in "Hot Shots! Part Deux" (1993).
Bridges did "Secret Sins of the Father" (1994) with son Beau (who directed), and "Cinderella ... Frozen in Time" (1994). His last regular TV series was "Harts of the West" (1993–1994).
Bridges supported son Jeff in a big budget action film "Blown Away" (1994). He did "Sandkings" (1995) for "The Outer Limits" (1995) with Beau, "The Other Woman" (1995), "Nothing Lasts Forever" (1995), and "The Deliverance of Elaine" (1996) and did voice work on "Peter and the Wolf" (1995). He had a semi-regular part on "Second Noah" (1996).
He received a second Emmy Award nomination four decades after the first when he was nominated in 1998 for his role as Izzy Mandelbaum on "Seinfeld".
Bridges served on the advisory board of the Los Angeles Student Film Institute.
Bridges also guest starred on "Ned and Stacey".
Bridges' last roles were in "Mafia!" (1998) and "Meeting Daddy" (2000).
Personal life.
Bridges met his wife, Dorothy Bridges (née Simpson), in his fraternity; they married in 1938 in New York City. They had four children: actors Beau Bridges (born in 1941) and Jeff Bridges (born in 1949); a daughter, Lucinda Louise Bridges (born in October 1953); and another son, Garrett Myles Bridges, who died of Sudden Infant Death Syndrome on August 3, 1948. Actor Jordan Bridges is Beau's son and Lloyd's grandson. Dorothy and Lloyd exchanged vows again for their 50th wedding anniversary.
Death.
On March 10, 1998, Bridges died of natural causes at the age of 85.
Tributes.
An episode ("The Burning") in the final "Seinfeld" season (1998) was dedicated to the memory of Lloyd Bridges. He had played the character of Izzy Mandelbaum in the episodes "The English Patient" in 1997 and "The Blood" later the same year.
Bridges' last film, "Jane Austen's Mafia!", which came out the year of his death, bears a dedication to him.
In 2011 Bridges was posthumously named as one of six recipients – two of whom are his sons Beau and Jeff – of the Lone Sailor Award, which honors former Coast Guard servicemen who have gone on to forge successful careers as civilians.


List of mottos

This list contains the mottos of organizations, institutions, municipalities and authorities.
Organizations.
Mediaeval nobility.
Famous mottos, usually deliberately cryptic, adopted during the age of chivalry and courtly love by great noblemen and ladies include:


Leo Kolber

Ernest Leo Kolber, (January 18, 1929 – January 9, 2020) was a Canadian businessman, philanthropist and Senator.
Early life and career.
Kolber was born in Montreal, Quebec, the son of Luba (Kahan) and Moses Kolber, a doctor. He received a Bachelor of Arts degree in 1949 and a Bachelor of Law in 1952 from McGill University. He was called to the Bar of Quebec in 1952.
Business.
Kolber was President of Cemp Investments, a family holding company for the children of Samuel Bronfman. In the 1960s, Kolber played a key role in the construction of the Toronto Dominion Centre, a landmark building complex designed by Mies van der Rohe that is credited with helping to elevate Toronto to the status of a world class city. Kolber was also instrumental in two major Bronfman deals: Seagram's purchase of a stake in DuPont and the sale of the Cadillac-Fairview real estate company at the height of its value in 1987. In the process, Kolber acquired considerable wealth in his own right, including $100 million for arranging the Cadillac-Fairview sale.
Author Peter C. Newman wrote in his 1975 book "The Canadian Establishment" that Kolber was so close to the Bronfman family that "Sam [Bronfman] treated him as a son and Leo worshipped Sam as a father." Newman calls Kolber "the non-Bronfman Bronfman with the big brain" and "a tough cookie," but goes on to say that Kolber "was always honest and had a sense of humor about himself." A character based on a caricature of Kolber appears in the Mordecai Richler novel "Solomon Gursky Was Here"; the portrait is highly unflattering.
For many years, Kolber was the chief fundraiser for the Liberal Party of Canada. He also served on the boards of many companies, including Seagram, MGM, and the Toronto-Dominion Bank.
Personal life.
Kolber's late wife Sandra was a published poet and film executive who served on the board of The Canadian Broadcasting Corporation and received an arts award from the Governor General. Sandra and Leo Kolber were among Montreal's most active philanthropists. Causes included The Montreal Symphony Orchestra, McGill University and The Jewish General Hospital.
Kolber's close friendship with former Israeli President and Prime Minister Shimon Peres dates back to the 1950s. Kolber's son Jonathan is an Israeli citizen who was chairman of Koor Industries Ltd., a leading Israeli investment firm.
Senate Tenure.
In 1983, Kolber was appointed to the Senate of Canada representing the senatorial division of Victoria, Quebec. He was the Chairman of the Standing Senate Committee on Banking, Trade and Commerce. Kolber played a role in reducing Canada's capital gains taxes. He advocated a change in government policy to permit bank mergers, but did not prevail.
In December 2000, the National Assembly of Quebec condemned Yves Michaud, a former Parti Québécois delegate-general to Paris, for repeating on the radio angry remarks he had made to Kolber in a Montreal barber shop. Michaud had said that Jews weren't the only people in the world to have suffered. The controversy escalated into what became known as l'Affaire Michaud. Quebec Premier Lucien Bouchard subsequently resigned, citing support for Michaud within the Parti Québécois as one of his reasons.
Controversy.
In November 2017 an investigation conducted by the International Consortium of Investigative Journalism cited his name in the list of politicians named in "Paradise Papers" allegations.
Retirement and death.
Kolber retired from the Senate shortly before his 75th birthday in 2004. In 2005, he was appointed Chair of the Advisory Council on National Security.
In 2007, he was made an Officer of the Order of Canada.
On January 8, 2020, Kolber died at his home in Montreal from Alzheimer's disease at age 90.


Henry Morgan (humorist)

Henry Morgan (born Henry Lerner Van Ost Jr.; March 31, 1915 – May 19, 1994) was an American humorist. He first became familiar to radio audiences in the 1930s and 1940s as a barbed but often self-deprecating satirist; in the 1950s and later, he was a regular and cantankerous panelist on the game show "I've Got a Secret" as well as other game and talk shows. Morgan was a second cousin of Broadway lyricist and librettist Alan Jay Lerner.
Radio.
Morgan began his radio career as a page at New York City station WMCA in 1932, after which he held a number of obscure radio jobs, including announcing. He strenuously objected to the professional name "Morgan" but was told that his birth name of Van Ost was exotic and difficult to pronounce, despite the fame of successful announcers Harry von Zell and Westbrook Van Voorhis. This began a long history of Morgan's arguments with executives.
In 1940, Morgan was offered a daily 15-minute comedy series on Mutual Broadcasting System's flagship station WOR, which he opened almost invariably with "Good evening, anybody; here's Morgan."
In his memoir, "Here's Morgan" (1994), Morgan wrote that he devised his introduction as a dig at popular singer Kate Smith, who "...started "her" show with a condescending, 'Hello, everybody.' I, on the other hand, was happy if "any"body listened in." He mixed in barbed ad-libs, satirizing daily life's foibles, with novelty records, including those of Spike Jones. Morgan stated that Jones sent him his newest records in advance of market dates because he played them so often.
Morgan appeared in the December 1944 CBS Radio original broadcast of Norman Corwin's play "The Plot to Overthrow Christmas", taking several minor roles including that of the narrator, Ivan the Terrible and Simon Legree. He repeated his performance in the December 1944 production of the play.
Morgan targeted his sponsors freely. One early sponsor, Adler Shoe Stores, came close to canceling its account after Morgan made references to "Old Man Adler" on the air; the chain changed its mind after business spiked upward, with many new patrons asking to meet Old Man Adler. Morgan had to read an Adler commercial heralding the new fall line of colors; he thought the colors were dreadful, and said he wouldn't wear them to a dogfight, but perhaps the listeners would like them. Old Man Adler demanded a retraction on the air and Morgan obliged: "I "would" wear them to a dogfight." He later recalled, "It made him happy."
Morgan moved to ABC in a half-hour weekly format that allowed him more room to develop and expand his topical, often ad-libbed satires, hitting popular magazines, soap operas, schools, the BBC, baseball, summer resorts, government snooping and landlords. His usual sign-off was "Morgan'll be here on the same corner in front of the cigar store next week."
He continued to target sponsors whose advertising copy rankled him. He is alleged to have said of his sponsor's Oh Henry! candy bar (after exhorting listeners to try one), "Eat two, and your teeth will fall out." When Eversharp sponsored his show to promote their pens and Schick injector razor blades, Morgan said during a show satirizing American schools: "They're educational. Try one. That'll teach you." He also altered the company's Schick injector blade slogan "Push-pull, click-click" to "Push-pull, nick-nick." Eversharp finally dropped him in December 1947, as radio historian John Dunning related in "On the Air: The Encyclopedia of Old-Time Radio", citing what the company called "flabby material," to which Morgan—picked up promptly by Rayve Shampoo—replied on the air, "It's not my show, it's their razor."
Life Savers candy, another early Morgan sponsor, dropped him after he accused them of fraud for hiding the holes in their famous candy. "I claimed that if the manufacturer would give me all those centers," Morgan remembered later, "I would market them as Morgan's Mint Middles and say no more about it." Morgan described his "mint middles" flavors as "cement, asphalt and asbestos." However, Morgan enjoyed a last laugh of a sort: ABC had been founded by Life Savers chief Edward Noble—who had bought and renamed NBC Blue as ABC after NBC was forced to sell the Blue Network following a federal anti-trust ruling.
"The Henry Morgan Show" received a Peabody Award Special Citation of honor for 1946.
ABC afforded Morgan his first exposure on television as host of a low-key variety series, "On The Corner", produced at affiliate station WFIL-TV in Philadelphia (ABC's New York station and production center was still under construction) and aired on the fledgling TV network as a summer series in 1948. True to his iconoclasm, he satirized his sponsors during the short run of that show as he had often done on radio.
Morgan's friend Ed Herlihy, a veteran radio announcer, remembered him to radio historian Gerald Nachman (in "Raised on Radio"): "He was ahead of his time, but he was also hurt by his own disposition. He was very difficult. He was so brilliant that he'd get exasperated and he'd sulk. He was a great mind who never achieved the success he should have." Nachman wrote of Morgan that he was radio's "first true rebel because — like many comics who go for the jugular, from Lenny Bruce to Roseanne Barr — he didn't know when to quit."
Morgan's admirers included authors Robert Benchley and James Thurber, fellow radio humorists Fred Allen, Jack Benny and Fanny Brice, future "Today Show" host Dave Garroway and Red Skelton. Morgan claimed Allen as a primary influence; Allen often had Morgan as a guest on his own radio hit, including the final "Fred Allen Show" in 1949, in a sketch that also featured Jack Benny. ("If Fred Allen bit the hand that fed him," Nachman wrote, "Henry Morgan tried to bite off the whole arm.") Morgan's byline appeared in three 1950s issues of "Mad" magazine.
Another supporter was Arnold Stang, who worked as one of Morgan's second bananas on the ABC shows and was known later as the voice of Hanna-Barbera's "Top Cat". "He was a masochist, a neurotic man," Stang told Nachman about his former boss. "When things were going well for him, he would do something to destroy himself. He just couldn't deal with success. He'd had an unhappy childhood that warped him a little and gave him a sour outlook on life. He had no close friends." Stang also claimed that Morgan's first wife "kept him deeply in debt and refused to give him a divorce", though the divorce did occur and decades later, Morgan remarried.
Brief blacklisting.
Morgan was briefly blacklisted after his name appeared in the infamous anti-communist pamphlet "Red Channels". Morgan's connections with communism were dubious at best. Nachman noted that Morgan's listing sprang from his former wife's leftist affiliations, as Morgan himself confirmed in his memoir:
Morgan married Isobel Gibb on August 17, 1946 in Las Vegas. By 1948, they were separated. During an appearance on "Late Night with David Letterman" in 1982, Morgan told Letterman that Gibb was still trying to sue him for more money.
Morgan revealed in his memoir that one of his cousins had been a Communist Party member until the Hitler-Stalin Pact caused him to break with the party, and that this cousin had told investigators that Morgan had not been a party member. The cousin had decided to cooperate closely with investigators "when he learned that his agent, a Party member, had refused to accept assignments for him; his doctor, another Red, knowing of (his) bad heart, had recommended that he play tennis. The Party tried to rape him. It was enough to ruin his faith, it was. He decided to kill them, that was all." Morgan was cleared and he resumed his broadcasting career.
"So This Is New York" and early TV shows.
Morgan made one film as a lead actor, producer Stanley Kramer's sophisticated comedy "So This Is New York" (1948), which also featured Arnold Stang and was loosely based upon Ring Lardner's 1920 novel "The Big Town". Though Morgan and the film received favorable critical reviews, it was not as well received by the public as his radio and later television work.
In 1948, the fledgling ABC Television Network put Morgan on the air with "On the Corner", which lasted for five weeks. In 1949, NBC television gave him his own show, "The Henry Morgan Show". In 1951, Morgan had a short-lived TV show on NBC, "Henry Morgan's Great Talent Hunt", which replaced the NBC variety series "Versatile Varieties", running from January 26 to June 1, 1951. The show started out as a take-off on "The Original Amateur Hour", and featured Kaye Ballard (in her TV debut), Art Carney, Pert Kelton and Arnold Stang as Gerard, who supposedly recruited the "talent" for Morgan.
On April 20, NBC changed the show's title and format to "The Henry Morgan Show", a comedy-variety show with singers Dorothy Claire and Dorothy Jarnac providing musical numbers between the comedy sketches.
Morgan also appeared as Brooklyn assistant district attorney Burton Turkus in the gangster film "Murder, Inc." (1960) alongside Stuart Whitman, May Britt and Peter Falk. A year earlier, he hosted the short-lived syndicated television program "Henry Morgan and Company", which AllMovie has identified as a precursor to David Letterman's style of irreverent television.
Morgan's "Secret".
Morgan's longest-lasting television image began in June 1952 when he was invited to join CBS' "I've Got a Secret", produced by game-show giants Mark Goodson and Bill Todman. Morgan's tenure on the show was marked by his periodic sarcastic complaints about the working conditions. Morgan's mordant wit played well against the upbeat personalities of the other panelists, and producer Allan Sherman would deliberately stage elaborate "secrets" involving Morgan personally. On one occasion in 1958, after Sherman had left Morgan short on material and with several minutes left to fill, Morgan went on an extended rant against Sherman; Sherman was fired almost immediately thereafter. On various occasions, Morgan was:
Morgan stayed with the show for its original 14-season run and rejoined it when it was revived twice: in syndication in 1972, and on CBS once more for a brief 1976 summer run.
On and off and on the air.
Morgan continued radio appearances, most often on the NBC weekend show "NBC Monitor" (1955–70), which also afforded final airings to longtime radio favorites "Fibber McGee and Molly", until co-star Marian Jordan's death, as well as appearing as a guest panelist on other game shows produced by the Goodson-Todman team, including "What's My Line?", "To Tell the Truth" and "The Match Game". Morgan also took a turn hosting a radio quiz show, "Sez Who", in 1959; the quiz involved guessing the famous voices making memorable comments that had been recorded over the years.
Morgan had three bylines in "Mad" magazine in 1957-58, during the period when the magazine was adapting work from humorists such as Bob and Ray, Ernie Kovacs and Sid Caesar. During the early 1950's, he also wrote a weekly humor column for the New York Post. Morgan was occasionally seen on the legendary weekly news satire "That Was The Week That Was" in 1964–65. Also in the 1960s, he made numerous appearances in the early years of "The Tonight Show Starring Johnny Carson" and became a regular cast member of the short-lived but respected James Thurber-based comedy series "My World and Welcome to It" in 1969. He was also a contestant on a 1963 edition of "To Tell the Truth", in which he successfully fooled the panelists into thinking he was former Polish spy-turned-author Pawel Monat.
During the 1970s, Morgan wrote humorous commentaries for national magazines. His radio career gained an early-1980s revival in his native New York City, thanks to his two-and-a-half-minute "The Henry Morgan Show" commentaries, broadcast twice daily on WNEW-AM (now WBBR) starting in January 1981. The following year, he added the Saturday-evening show "Morgan and the Media" on WOR.
On October 13, 1972, Morgan appeared as a last-minute fill-in on "The Merv Griffin Show", and, frustrated with fellow guest Charo's interruptions and poor grasp of English, told Griffin, "...you dragged me out of bed because you said you were stuck for a guest, and I have to sit and listen to this nonsensical babble..." and walked off the set.
Morgan was a guest on the February 8, 1982 fifth episode of the nascent "Late Night with David Letterman" show along with film producer/director Francis Ford Coppola, during which Morgan gave a rambling account of his troubles with his ex-wife and left the show during a commercial break.
Later life and death.
Morgan's 1994 memoir, "Here's Morgan! The Original Bad Boy of Broadcasting", found him satirizing many of his former co-stars but not examining his professional life with much depth, as if the reader was listening to a vintage radio satire of Morgan's life. He also edited, with writer and editor Babette Rosmond, "Shut Up, He Explained", an anthology of Ring Lardner's shorter works (Scribner, 1962).
His final national television appearance was on the cable television series "Talk Live" in early 1994. A few weeks after that broadcast, Morgan died of lung cancer at age 79.


Jorge Salcedo (soccer)

Jorge Salcedo (born September 27, 1972) is an American former soccer player and coach. He was the head coach of the UCLA Bruins men's soccer team. He is a retired American soccer defender who played professionally in Mexico and Major League Soccer. He earned three caps with the United States men's national soccer team.
Salcedo was arrested March 12, 2019 for conspiracy to commit racketeering for alleged participation in the 2019 college admissions bribery scandal. He resigned from his coaching position in the wake of the scandal. He pleaded guilty to the charges in April 2020. He was later sentenced in March 2021 to, among other things, eight months in prison.
Playing career.
High school and college.
Salcedo, son of soccer player Hugo Salcedo, grew up in Cerritos, California. He attended Cerritos High School where he twice earned Parade high school soccer All-America recognition. He then attended UCLA and played soccer for the Bruins from 1990 to 1993. During his four seasons with the Bruins, Salcedo 74 games, scored six goals and added seven assists. In 1990, his freshman season, Salcedo scored the decisive penalty kick shootout goal to give the Bruins the NCAA Men's Soccer Championship. He was a 1993 first-team All-American, and graduated with a bachelor's degree in political science.
Professional.
Following his four seasons with the Bruins, Salcedo signed with the Los Angeles Salsa of the American Professional Soccer League. He then moved to Monarcas Morelia of the México Primera División for half a season in 1995. He joined Major League Soccer in 1996. In his rookie season in the league, he was a starter for the Los Angeles Galaxy and helped take his team to the MLS Cup Final. On February 1, 1997, The Galaxy traded him to the Columbus Crew for the first pick in the 1997 Supplemental Draft. On November 6, 1997, the Chicago Fire selected Salcedo with the ninth pick of the Expansion Draft. Half way through the 1998 season, on June 29, 1998, the Fire traded him to the Tampa Bay Mutiny for Josh Keller and a first-round pick in the 1999 MLS College Draft. On August 13, 1999, the Mutiny traded Salcedo to the Galaxy for Daniel Hernandez. The Galaxy released him during the season and he played two games with the Orange County Zodiac of the USL A-League.
International.
Salcedo was also a member of the US men's national soccer team, earning three caps with the full national team and captaining the U-17 team at the 1989 World Youth Championships and the U-20 team at the 1990 CONCACAF Tournament.
Coaching career.
In 2001, Salcedo became an assistant coach with the UCLA Bruins. During his three seasons as an assistant, UCLA won the 2002 NCAA Championship and two Pac-10 championships. In 2002, he spent two short stints as acting head coach. In early 2004, UCLA hired Salcedo to replace Tom Fitzgerald as head coach. Salcedo was named the 2004 Pac-10 Co-Coach of the Year after leading UCLA to its third-straight conference title. In 2006, the Bruins went to NCAA Championship Game where they lost to UC Santa Barbara.
Arrest and indictment.
On March 12, 2019, Salcedo was arrested, and indicted by a federal grand jury in Boston for conspiracy to commit racketeering for alleged participation in the 2019 college admissions bribery scandal. His indictment charged Salcedo with taking $200,000 in bribes to help two students, one in 2016 and one in 2018, get admitted to UCLA using falsified soccer credential admission information.
As a result, he was placed on leave by UCLA from his coaching position at the school. On March 21, 2019, it was announced that he had resigned.
On April 21, 2020, it was announced that he had agreed to plead guilty to the charges against him. His plea was accepted on January 14, 2021. On March 19, 2021, U.S. District Court Judge Indira Talwani sentenced Salcedo to 8 months in prison, 1 year of supervised release and a forfeiture of $200,000.


Irene Esser

Irene Sofía Esser Quintero (born 20 November 1991) is a Venezuelan actress, model and beauty pageant titleholder who was crowned Miss Venezuela 2011. Esser grew up in Río Caribe, Sucre, Venezuela. She represented Venezuela in Miss Universe 2012, finishing as 2nd Runner-Up.
Personal life.
Irene Esser was born in the city of Puerto Ordaz, but has studied and lived in the town of Río Caribe, located in the state of Sucre, since she was a little girl. Her father, Billy Esser Bonta, is an important cacao businessman, owner of Hacienda Bukare, founded in 1997. After graduating from "Andres Bello High School" in Carupano, she moved to England, where she took a course at Shrewsbury College.
Pageantry.
Miss Venezuela 2011.
Esser, who stands , competed as Miss Sucre, one of 24 finalists in her country's national beauty pageant Miss Venezuela 2011, held on October 15, 2011 in Caracas, where she obtained the "Miss Elegance" award and became the third Miss Venezuela winner from Sucre, gaining the right to represent her country in Miss Universe 2012.
Miss Universe 2012.
Esser represented Venezuela at the Miss Universe 2012 pageant on December 19, 2012, in Las Vegas, Nevada, USA, where she finished as 2nd Runner-Up behind Janine Tugonon (Philippines) and winner Olivia Culpo (USA). She was one of the favorites to win the pageant. However, she faltered during the final question round and finished in third place. She has outdone two prior Miss Venezuela Marelisa Gibson (who failed to place) and Vanessa Gonçalves (who finished in the Top 16).
When asked by judge Diego Boneta "If you could make a new law, what would it be and explain why?", Esser responded:
I think that any leyes (laws) there are in Constitution or in life, are already made. I think that we should have, uh, a straight way to go in our similar, or, eh, in our lives as is this. For example, I'm a surfer, and I think that the best wave that I can take is the wave that I wait for it. So please do our only, eh, law that we can do. Thank you Vegas!
Esser was criticized by media, mocked by Craig Carton, Don Geronimo, Lili Estefan, Perez Hilton, Pablo Ramírez, Raul De Molina, amongst other personalities for her incomprehensible response and a video of her final question and answer became popular on YouTube. Her answer was even compared to Caitlin Upton's infamous response to her final question.
Filmography.
In 2013, Irene was cast to star in the Venevisión telenovela titled "Corazón Esmeralda" alongside Luis Gerónimo Abreu.


Outdoor Media Association

The Outdoor Media Association (OMA) is the national industry body that represents most of Australia's Out-of-Home (OOH) media display companies and production facilities, as well as some media display asset owners. It was first incorporated in 1939.
History.
The Outdoor Media Association operates nationally and prior to July 2005, traded as the Outdoor Advertising Association of Australia (OAAA). The association was created to; track audience measurement through MOVE; promote and endorse the Out-of-Home advertising medium through marketing initiatives; conduct research; maintain government and media relations; lobby policy and regulation; provide member services and revenue reporting.
MOVE (Measurement of Outdoor Visibility and Exposure) is Australia's first national Out-of-Home (OOH) audience measurement system. MOVE is managed and administered by MOVE Pty Ltd.
In 2010, Charmaine Moldrich was appointed as the CEO of the OMA and MOVE.
Board of directors.
The OMA is governed by a board of directors that is elected by the OMA members. This is in accordance with the Constitution of the Outdoor Media Association. Members of the board in 2018 include Steve O'Connor (Chairman), CEO JCDecaux; James Warburton, CEO APN Outdoor; Mike Tyquin, CEO Adshel; Kirsty Dollisson, managing director TorchMedia; Brendon Cook, CEO oOh!media; Chris Tyquin, Joint managing director goa Billboards; John O’Neill, CEO QMS Australia and Chris Bregenhoj, Chairman MOOH Media Pty Ltd.
There are three categories of OMA memberships:
Members of the OMA benefit from the lobbying and advocacy that the OMA conducts on regulatory and assessment issues. Other opportunities include participation in discussions and meetings on legislative and regulatory issues; the development of industry standards and guidelines; the development of custom research to advance the industry; The Media Federation of Australia (MFA) and the Australian Association of National Advertisers (AANA) accredited audience measurement system for the Out-of-Home industry- MOVE.
MOVE.
MOVE (Measurement of Outdoor Visibility and Exposure) is a planning and buying measurement tool which has been endorsed by the Media Federation of Australia (MFA) and the Australian Association of National Advertisers (AANA).
Regulation.
The OMA works with the Advertising Standards Bureau (Australia) (ASB), the Australian Association of National Advertisers (AANA), The Communications Council, and the Media Federation of Australia (MFA).
Codes.
The OMA members are governed by the OMA Code of Ethics, Australian Association of National Advertisers (AANA) Code of Ethics, AANA Environmental Claims in Advertising and Marketing Code, AANA Code for Advertising and Marketing Communications for Children, AANA Food and Beverages Advertising and Marketing Communications Code, AANA Quick Service Restaurant Initiative, The Alcohol Beverages Advertising Code (ABAC), The Federal Chamber of Automotive Industries Voluntary Code of Practice for Motor Vehicle Advertising, The Therapeutic Goods Advertising Code, The Weight Management Industry Code of Practice.
Affiliates.
The OMA works closely with its International Affiliates the Outdoor Media Centre UK, the Outdoor Media Association of Canada and the Outdoor Advertising Association of America.
OPEN.
In 2012, the Outdoor Media Association (OMA) launched OPEN, a book that represents creativity and opinion on a variety of Out-of-Home (OOH) campaigns, locally and internationally. The focus of content is primarily OOH, while also looking more broadly at advertising's influence on the world and the role creativity plays in it. Contributors to OPEN include Stephen Banham of Letterbox Design, Adam Ferrier of Naked Communications, Sudeep Gohil of Droga5 and Micah Walker of The Monkeys, whilst the books foreword is by Todd Sampson of Leo Burnett Australia.
OPEN².
The second edition, OPEN², was launched in November 2014 by the OMA and features four (4) chapters: Humour me; Sell me something; Tell me a story; and Interact with me.
Commenting on how OOH is increasingly becoming reflective of our culture and society, CEO of the OMA, Charmaine Moldrich stated, "OPEN² continues the conversation we started with our first book OPEN in 2012. It presents the endless creative opportunities we know Outdoor offers while providing the reader with creative and strategic insights from some of the leaders in the industry."
The contributors to OPEN² include Dr Rebecca Huntley, Executive Director Ipsos Australia; Fiona Jolly, CEO Advertising Standards Bureau (Australia); Nigel Marsh, Chairman The Leading Edge; Jane Caro; Ben Colman, CEO 18 Feet & Rising; Ben Coulson, CCO GPY&R ANZ; Andy Lark, CEO Group Lark; Rob Atkinson, CEO Adshel; Ben Walsh, ECD M&C Saatchi; John Purcell, Commercial Director oOh! Media; Leo Roberts, Group Marketing Manager Coca-Cola South Pacific; and Luke Chess, Creative Director MJW Australia.
OPEN3.
OPEN3 is the third edition in the OPEN series and takes a retrospective and a prospective look at OOH advertising. Featuring a variety of standout Outdoor campaigns from around the globe, OPEN3 is more than just a collection of images – it also features opinions and experiences about advertising and creativity, crafted by a league of world-wide advertising industry leaders.


Backyard Blitz

Backyard Blitz was a Logie Award winning Australian lifestyle and DIY television program that aired on the Nine Network between 2000 through to 2007 before its cancellation. It was hosted by Jamie Durie and was created by Don Burke and produced by his CTC Productions team.
The show featured a very similar premise to the show "Ground Force", in which a team of gardeners employed by the show descend on a supposedly worthy individual's place and improve the garden for the cameras within a specified time limit. This similarity in fact led to legal action being taken by the rival Seven Network who at the time was set to debut an Australian version of "Ground Force". Seven lost its claim as Don Burke's CTC was able to show that Burke's Backyard in fact had featured backyard garden renovations which they claimed naturally morphed into Backyard Blitz.
The show like many other lifestyle series was immensely popular across all demographics and for seven years. It consistently won its time-slot and consistently was in the top 20 national shows at year's end
On 14 November 2006 "Backyard Blitz" was axed by the Nine Network after seven years on air. Don Burke, whose own show "Burke's Backyard" was broadcast by Nine for nearly 18 years before it was axed in 2004, said his production company was "quite shocked by this decision". In mid-2007 Nine aired the six remaining unaired episodes that were filmed before the show was cancelled. In 2008, it aired a spin-off show Domestic Blitz hosted by Shelley Craft and Scott Cam
Presenters.
The four regular presenters on the show were landscaper Jamie Durie (the main host and the shows lead landscaper), Scott Cam (builder/carpenter), Nigel Ruck (landscaper) and Jody Rigby (horticulturist).
Awards.
During the shows run, it has won (and been nominated) for several Logie Awards. The show won six consecutive 'Most Popular Lifestyle Program' awards (2002–2006). It was nominated in the same category in 2007 but lost. Jamie Durie won the 'Most Popular New Male Talent' in 2001 and was nominated for 'Most Popular TV Presenter' in 2005 and 2006 for his role on the show.


Ireene Wicker

Ireene Wicker (born Irene Seaton, November 24, 1905 – November 17, 1987) was an American singer and actress, best known to young radio listeners in the 1930s and 1940s as “The Singing Lady”, which was the title of her radio program. She added the second 'e' in her first name on the advice of an astrologer.
Early years.
Wicker was born in Quincy, Illinois. After studying music and drama at the University of Illinois, she studied at the Goodman School of the Theater in Chicago
Stage.
Wicker appeared in professional roles at the Goodman Theatre in 1929 and 1930.
Radio.
Early in Wicker's radio career she changed the spelling of her first name to Ireene, adding the extra ‘e’ as she was told by a numerologist that one more letter would bring her great success.
Her radio show was first sponsored by the Kellogg Company, beginning in 1931. Her show was promoted as America’s first radio network program for children. Despite the title of her show, "The Singing Lady", most of it involved Wicker telling adaptations of stories for children, ranging from fairy tales by the Brothers Grimm and Hans Christian Andersen through to Rudyard Kipling’s "Just So Stories". Also in the 1930s and early 1940s, she portrayed Jane Lee on the serial "Judy and Jane" on NBC-Blue.
In the 1940s, Wicker was a regular on "Deadline Drama" on NBC and the Blue Network. In the 1950s, she told stories on "Big Jon and Sparkie" on ABC radio.
Television.
Wicker came to television at WJZ-TV in 1949 with "The Ireene Wicker Show" in which she told fairy tales. She also had a program, "The Singing Lady," on ABC-TV (1948-1950).
In 1950 Wicker was one of several broadcasters whose name was included in the book "Red Channels", used by many organizations to blacklist anyone who was included as a supposed Communist “sympathizer”. The book charged that she had sponsored a re-election committee for Benjamin J. Davis, a Communist councilman in New York. Although Wicker denied she had even heard of the man, her listing within "Red Channels" was followed – in what she herself described as a "curious coincidence" – by her sponsor, Kellogg, failing to renew her option for the ABC TV Show. The charges by the House Un-American Activities Committee were later withdrawn with apologies. Another claim, that she sided with leftists during the Spanish Civil War turned out to refer to her support of a fund-raising drive for Spanish refugee children.
Wicker returned to the ABC network in 1953-1954 with "Little Lady Story Time," an unusual half-hour series. Here, she told classic fairy tales while a cast of juvenile ballet dancers enacted the storylines. The sponsor was Little Lady toiletries, a line of soaps, powders, and mild cosmetics for young girls. Among the stories produced were "Puss in Boots," "King Midas and the Golden Touch," "Little Red Riding Hood," and "Pinocchio." One episode ("The Green Monkey") of "The Ireene Wicker Show" and 15 kinescopes of "Little Lady Story Time" are housed at the Library of Congress in the J. Fred and Leslie W. MacDonald Collection.
Personal life.
Wicker married Walter Charles Wicker, a radio writer, producer and actor: they had a son, Walter Charles Jr., who during World War II joined one of the Eagle Squadrons that served with the RAF and was killed in action over the English Channel, and a daughter, Nancy.
Her first marriage ended in divorce in 1938. In 1941 she became the second wife of the businessman Victor J. Hammer.
Recognition.
On April 19, 1961, Wicker was recipient of a Peabody Award—Personal Award for Children's Programs for her weekly program, "The Singing Lady" on WNYC radio.


Hair (musical) controversies


Beam me up, Scotty!


Marguerite Roberts

Marguerite Roberts (21 September 1905 – 17 February 1989) was an American screenwriter, one of the highest paid in the 1930s. After she and her husband John Sanford refused to testify in 1951 before the House Un-American Activities Committee, she was blacklisted for nine years and unable to get work in Hollywood. She was hired again in 1962 by Columbia Pictures.
Biography.
Roberts was born in 1905 in Clarks, Nebraska.
In the early 1920s, Roberts and her first husband traveled in the South selling imitation pearls. In California when their business failed, she found work at an El Centro local newspaper, The Imperial Valley Press. She moved to Hollywood and became a secretary for 20th Century Fox in 1926, and sold her first script in 1931. In 1933, she collaborated on the screenplay of "Sailor's Luck", directed by Raoul Walsh. That year she signed the first of a string of contracts with MGM, which made her one of the best paid screenwriters of Hollywood at $2500 per week. She explained how she preferred to write scenarios for tough men: "I was weaned on stories about gunfighters and their doings, and I know all the lingo too. My grandfather came West as far as Colorado by covered wagon. He was a sheriff in the state's wildest days."
Roberts was working for Paramount Pictures in 1936, where she met the writer John Sanford. They married two years later. After Sanford joined the Communist Party in 1939, Roberts followed him but left in 1947. She encouraged him to pursue his independent writing and supported them both by her screenwriting.
Blacklisted in 1951 for refusing to answer the House Un-American Activities Committee, Roberts had to wait nine years before working again in Hollywood. In 1957 she and Sanford moved to Montecito, California.
In 1962 she was hired by Columbia Pictures to work on "Diamond Head" (1963). She also wrote the screenplay for "True Grit" (1969), which earned its actor, John Wayne, his only Oscar. She wrote steadily through the next decade and had many of her films produced.


James Keogh (speechwriter)

James Keogh (October 28, 1916 – May 10, 2006) was an American magazine editor and political advisor who worked as the executive editor of "Time" magazine and the head of the White House speechwriting staff under Richard Nixon.
Early life and education.
Keogh was born in Platte County, Nebraska and graduated from Creighton University in Omaha in 1938.
Career.
He worked for the "Omaha World-Herald" in Omaha before working at "Time" magazine. He worked as an affairs reporter at "Time" in 1951, and was the assistant managing editor from 1961 to 1968.
Keogh worked as a special assistant to President Nixon in 1969, and became his head speechwriter in 1970. He was the director of the United States Information Agency from 1972 to 1977. Keogh also wrote two books, "This Is Nixon" in 1956, and "President Nixon and the Press" in 1972.
Death.
Keogh died on May 10, 2006 in Greenwich, Connecticut at the age of 89. The cause of death was respiratory failure.


Emma LeDoux

Emma Theresa Cole LeDoux was born on (September 10, 1875), to parents Thomas Jefferson Cole and Mary Ann Gardner of Pine Grove, California. Emma was the eldest of eight children. She has also married a total of five times. Her first husband, Charles Barrett, divorced her. Her second husband, William Stanley Williams, died under suspicious circumstances, and she benefitted from a large life insurance policy she had on his life.
Trunk murder of 1906.
On March 24, 1906, law requirement authorities were called to a grain warehouse in Stockton, CA, after station workers noticed a trunk was emitting an aggravating scent. At the point when officials opened the holder, they found the body of Albert N. McVicar, the third husband of LeDoux. Subsequent to a post-mortem examination on McVicar's body, it was decided he had died of a morphine overdose. The specialist then put the dead man's remaining parts on open show at the funeral home.
At the point when law enforcement found LeDoux, they discovered that her current spouse had died of heart disease when he was just 30 years of age, leaving her with $10,000 in life insurance. They soon discovered she had married Jean LeDoux in 1905, despite being married to McVicar, furnishing her with a motive to murder the man who was discovered dead in the trunk.
A month after McVicar's body was found, LeDoux was indicted for homicide in the first degree on April 18, 1906. LeDoux was condemned to death, making her the first woman to get capital punishment in California.
Her trial was the biggest news besides the Great Earthquake of 1906, which actually postponed her trial. In the end, she was convicted of murdering her husband and sentenced to be hanged. Her attorney filed an appeal on the basis that the jury was biased, as well as the judge not allowing her to testify.
In 1910, the appeal was granted, but she had become so ill she felt that she could not handle another trial so she notified her attorney that she wanted to plead guilty and get it over with. She was sent to San Quentin where she served 10 years and eventually was paroled in 1920. She did marry her fifth and final husband Fred Crackbon, but she outlived him as well. She didn't inherit anything from the last husband's death and became poor.
Doing what she could to make money, she found herself once again on the wrong end of the law. After violating the terms of her parole or probation several times, she landed herself back in prison for the last time in 1931. She died aged 65 on July 6, 1941, at the women's prison at Tehachapi, Kern County, California. She was buried in an unmarked grave at the Union City Cemetery in Bakersfield.