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Freedom of Information (FOI)
Information Publication Scheme
As a result of major changes to the Freedom of Information Act 1982 (FOI Act), Australian Government agencies which are subject to the FOI Act, are required to publish a range of information on their websites as part of an Information Publication Scheme (IPS). This includes the agencies structure, functions, appointments, annual reports, consultation arrangements, and details of the agency's FOI officer.
Airservices will also publish information only that is routinely released from FOI requests and routinely provided to parliament.
Who we are
Our organisational structure.
What we do
Airservices functions, statutory appointments, annual reports, decisions and announcements, operational information and statistics.
Our reports and responses to Parliament
Including annual reports, documents required by law to be tabled in Parliament.
FOI disclosure log
In accordance with sections 8(2)(g) and 11C of the Freedom of Information Act 1982 ("the FOI Act"), information released under the FOI Act is listed below.
Airservices will make documents available upon request, please contact the FOI Coordinator if you wish to access these documents.
The list does not include the following:
- documents released under the FOI Act containing personal or business information which would be unreasonable to publish
- documents to which access has been refused or which are exempt from release under the FOI Act
- documents which have been released outside the FOI Act.
4 March 2019
FOI72-1218"Stakeholder Engagement Strategy for the Hobart flight path design review which commenced in January 2018, including the communications plan."
1 document released in part
Section of the Act: 22
|Decision Date/ FOI Ref
|Description of Documents, Release Details and Exemptions/Sections applied
|07 June 2011
|Flights conducted by private jets in 2010
|10 June 2011
|Radar Terrain Clearance Charts
|21 September 2011
|Radar information in relation to aircraft VH-CIV
|24 October 2011
|Flight plans for various aircraft
|08 December 2011
|Flight plans for various aircraft
|19 December 2011
|Flight plans for various aircraft
|15 March 2012
|Flight plans for various aircraft
|18 June 2012
|Documents in relation to UFO sightings
|21 June 2012
|Flight data over Kurnell NSW
|20 July 2012
|Environmental assessments carried out by Airservices in relation to flight paths over Fingal Head
|13 August 2012
|Documents in relation to ATC short break procedure
|16 August 2012
|Documents in relation to Manual of Air Traffic Services (MATS)
|29 August 2012
|Flight plans for various aircraft
|12 September 2012
|Documents in relation to radar and radio transmitter sites
|30 November 2012
|Documents in relation to the report into the review/audit the board carried out into the expenses of the former CEO of Airservices
|5 December 2012
|Flight plans for various aircraft
|3 December 2013
|Documents in relation to Air Traffic Control local instructions and training material used by Air Traffic Control.
|23 December 2013
|Details of the remuneration rates for all senior leadership team members (3rd level managers) in Airservices Australia, including their total remuneration and total.
|9 January 2014
|Documents in relation to Air Traffic Control local instructions.
|11 March 2014
|Correspondence from Air Chief Marshal Angus Houston of Airservices Australia to the Minister for Infrastructure and Regional Development – since 8 September 2013 to January 2014.
|9 April 2014
|Documents relating to the radar replay in relation to the "near miss" event between an aircraft and an "unknown object" over metropolitan Perth at 0913 WST on the 19th of March, 2014.
|30 September 2014
|Documents relating to any primary and secondary radar contacts over the town of, and regional area surrounding Armidale, New South Wales on the night of Sunday the 21st of September, 2014.
|1 October 2014
|Documents relating to consultation done regarding changes to Airservices work performance framework.
|20 October 2014
|Documents relating to noise monitoring around Busselton Regional Airport (BRA).
|6 December 2014
|Documents relating to Airservices tender number ASA RFT PRN4811 (ARFF modular fire station) Port Hedland WA.
|9 February 2014
|Documents relating to the contract and relationship between International Centre for Complex Project Management (ICCPM) and Airservices Australia.
|2 July 2015
|Transcript of audio between air traffic control and pilot in command.
|14 July 2015
|Documents relating to aircraft noise around Ashgrove QLD.
|30 July 2015
|Documents relating to Geelong Planning Permit PP879 2014 helicopter landing site (Victoria).
|25 August 2015
|Primary radar data for Cairns International Airport for 18 August 2015.
|27 August 2015
|Internal Incident report.
|28 August 2015
|Primary radar data for Tullamarine Airport Melbourne for 23 August 2015.
|03 September 2015
|Primary radar data from Cairns International Airport.
|14 September 2015
|Primary radar data, tracks, returns, sourced from Tullamarine Airport, Melbourne.
|30 November 2015
|Flight plans and/or flight records for January 2014 onward for:
– the helicopter VH-FOX
– the aircraft VH-LEP, VH-LEF and VH-LZP
– the aircraft VH-CCD, VH-CCX and VH-CCV.
|07 December 2015
|Guidelines under which an environmental assessment is completed and documents related to the incomplete trial over Canning Vale.
|02 March 2016
|Instructions/procedures and correspondence in regards to how air traffic controllers at Melbourne airport should respond to 'double go-arounds ' situations during Land And Hold Short Operations (LAHSO).
|02 March 2016
|Copies of all advice provided by Airservices to Hon Warren Truss MP, Deputy Prime Minister on the now approved Gold Coast ILS.
|10 March 2016
|Documents between elected members, Perth Airport, Airservices and AECOM.
|22 March 2016
|Documents related to Tethered UAV Operations.
|19 April 2016
|Documents related to Trips Airservices Australia staff have made to France for discussions regarding OneSKY.
|27 May 2016
|Expenditure details of corporate credit card or cards on the Airservices Australia account held by acting CEO at the time.
|23 June 2016
|Airservices Australia ATC Workplace Assessment Brisbane Operations Room.
|09 November 2016
|Radar replays and flight information for Saturday 9 Jan 2016 (4.20pm to 5pm) and Friday 26 August 2011 between 5.30 pm and 5.40 pm.
|12 November 2016
|Flight plan lodged and any recordings with air traffic control regarding a private helicopter.
|16 December 2016 (stage 1) and 22 December 2016 (stage 2)
|Documents related to branch assurance assessments, DRE assurance assessments, OLR unit assurance assessments and ToM (Target Operating Model) risk assessments.
|19 February 2017
|Documents related to the movement of aircrafts that used 'smart track'.
|22 September 2017
|Flight plans and radio call signs for various aircrafts.
|31 October 2017
|ARFF FOAM testing report and Minutes from risk workshop.
|2 November 2017
|Submission to the Australian Government regarding the Labour Agreement to sponsor overseas workers; and an email summarising the change to the skilled migration program
2 documents, both documents released in part
Exemption: 42
|3 November 2017
|"all documents which:
• The agency's project document or documents for the change, which include reasons for the change, implementation plan and schedule, communications plan and risk management strategy
• The agency's analysis of different flight path options and reasons for deciding on the particular routes chosen
• The agency's report on community consultation about the change"4 documents, all four released in partExemption: 47F
Section of the Act: 22
|10 November 2017
|Documents related to the standardisation of the Hobart flight path.
4 documents, all four released in part
Exemption: 47F, 47D
|16 November 2017
|Document regarding a close proximity incident at Brisbane Airport.
1 documents, released in part
Exemption: 47G
|18 December 2017
|Documents which refer to 'Option 2' contained in the memo (a proposal put forward by staff employed in the Hobart Control Tower as an alternative to the STAR/SID), including all correspondence which refers to this option
4 Documents, all four released in part
Section of the Act: 22
|21 December 2017
|Following documents for the STAR/SID route planned to be implemented at Launceston Airport during November/December 2017:
• The agency's project document or documents for the change, which include reasons for the change, implementation plan and schedule, communications plan and risk management strategy
• The agency's analysis of different flight path options and reasons for deciding on the particular routes chosen
• The agency's assessment of the environmental impact of the change
• The agency's report on community consultation about the change
• The agency's decision about why the change did not go ahead as planned, including the date of this decision
Seven documents, all 7 released in part.
Section of the Act: 22
|29 January 2018
|Fire Incidents at Airports in the last two years which includes:
-Type of incident
1 Document released in full.
|1 February 2018
|AirServices Australia, Report for ARFF National Testing Program, Preliminary Site Contamination Assessment, Melbourne ARFF Drill Ground, Melbourne Airport, 2008.
1 document partial release
Sections of the Act:
|8 February 2018
|Record of the landings for VH-ICA during the period 1 July 2011 to the 30 November 2013.
1 document released in full.
|19 February 2018
|Flight times for all aircrafts which left Essendon Airport flying to Albury Airport between 4.00am and 5.00am on the 26 September 2010; in particular any Air Ambulance flights ferrying patient(s).
1 document released in full.
|22 February 2018
|Fire incidents between January 2011 to December 2015, a list including the individual:
-Address or longitude/latitude
– Incident Type
1 document released in full.
|1 March 2018
|Documents related to analysis of community feedback , assessment of options, recommendations and reason for decision in relation to Airservices "Review Report Hobart Runway 30 STAR".
3 document released in full
51 documents released in part
Sections of the Act: 22
Exemptions: S 47F
|26 March 2018
|Post Implementation Review (PIR) for the introduction of RNP 1 SIDS/STARS at Hobart, and extract from the Corporate Integrated Risk and Reporting Information System (CIRRIS) relating to incidents at Hobart Airport.
2 documents released in part
Sections of the Act: 22
|11 April 2018
|Correspondence relating to the Post Implementation Review (PIR) for the introduction of RNP 1 SIDS/STARS at Hobart.
13 documents released in part
Sections of the Act: 22
|11 April 2018
|Extract from the Corporate Integrated Risk and Reporting Information System related to incidents at Hobart Airport; and internal correspondence which relate to safety of the Hobart SIDs and STARs.
15 Documents released in part
Sections of the Act: 22
|13 April 2018
|Documents relating to a change from a left hand circuit to a right hand circuit at Point Cook Airfield.
23 documents released in full
9 documents released in part
Sections of the Act: 22
Exemptions: S 47F
|23 April 2018
|Correspondence related between:
– OneSKY Program Executive (OPE) and Defence Project Director (DPD)
– Airservices CEO and Defence Counterparts
– Airservices Lead Negotiator and Defence Counterparts
6 documents released in full
25 documents released in part
Sections of the Act: 22
Exemptions: S 34 (3)
S 47E (d)
|9 May 2018
|Extract from the Corporate Integrated Risk and Reporting Information System related to incidents at Hobart Airport.
1 document released in part
Sections of the Act: 22
|20 May 2018
|Documents relating to training and standard operating procedures for HF radio oceanic services.
2 documents released in full
2 documents released in part
Sections of the Act: 22
|4 June 2018
|PSI Report Perth Airport.
2 documents released in full
|13 July 2018
|Internal correspondence relating safety and efficiency of Hobart Airport SIDS and STARS.
24 documents released in part
Sections of the Act: 22
Exemptions: S 33
|15 July 2018
|Documents outlining FOI requests received in 2017 and 2018.
1 Document released in part
Sections of the Act: 22
Exemptions: S 47F
|17 July 2018
|Documents showing credit card expenses of 3 senior executives.
1 Document released in part
Sections of the Act: 22
Exemptions: S 47E
|27 July 2018
|Reports relating to public relations and stakeholder management.
1 document released in full
1 document released in part
|27 July 2018
|Reports relating to exposure of Airservices staff.
2 documents released in full
2 documents released in part
Exemptions: S 47F
|8 August 2018
|Documents showing the total amount spent on external legal firms for any workplace disputes/bullying/harassment/complaints (where an ARRF officer may have been stood down during the investigation) for the period 1 March 2017 to the current date for the ARFF business unit only.
Partial release of 6 documents
Section of the Act: 22
|8 August 2018
|Information and documents regarding the establishment of the flight path back in 2007/2008 for south flight departures off the Runway 21. These flights then track west over Wilson, Riverton ,Shelley , Waterford , Manning and Salters Point
Full access to 14 documents
partial access to 12 documents
Section of the Act: 22
|13 September 2018
|Cirrus report and audio recording between Air Traffic Control and flight crew for flight ZL467 (VH-RXX)
1 document and 3 audio recordings released in full
|17 September 2018
|1. Call out/ incident reports;
2. Any investigation reports; and
3. Any other documents relating to an sever weather condition incident that occurred on 13 November 2016 at Brisbane Airport.Partial release of 1 document
Section of the Act: 22
|21 September 2018
|Total number of aircraft arriving on Runway 12 and the total number of aircraft arriving on Runway 30 between the period 22 June 2018 to 23 August 2018 (inclusive).
|24 September 2018
|An extract from the Corporate Integrated Risk and Reporting Information System (CIRRIS) which shows the date, time, location, airspace class, incident type, model and make of aircraft and summary of incidents in relation to incidents which occurred within 100 km of Hobart Airport between the period 9 April 2018 to 23 August 2018.
|10 October 2018
|Documents related to the construction works undertaken at the Civil Aviation Authority Building, located at 1 Lomandra Drive, Eagle Farm, Queensland.
Full Access to 23 document
Partial access to 17 documents
Exemptions of the Act:
Section 47F (Personal privacy)
Section 47G (business affairs)
Section of the Act: 22
|18 October 2018
|Recording of the radar (unfiltered/raw if possible) from Melbourne Airport on Saturday night 1st of September, between 7.30pm-8.00pm.
Full Access to 1 document
|1 November 2018
|1. Documents relating to the amendments to STARs in May 2014 which has resulted in flight paths over East Melbourne and adjacent areas, including documents showing the evaluation of alternative flight paths (if any) and community consultation conducted with respect to the amendments to the STARs. Also, documents relating to the formal decision making process for amending the STARs, including minutes of meetings and documents which formed the basis for any approvals showing who made such decisions and the formal processes followed.
2. Documents from 1 January 2010 relating to decisions to ease VFR entry to the Melbourne CTR including but not limited to waiving or reducing the requirements for aircraft to seek a request to enter. The documents sought include assessments undertaken before such decision/s were made, documents relating to community consultation and any environmental assessments undertaken. Also, documents relating to the approvals process for such a change/s, including minutes of meetings and documents which formed the basis for any approvals, showing who made such decisions and the formal processes followed."
Full access to one document
Partial access to five documents
Section of the Act:
Section 22
|19 November 2018
|"The body of any finalised reports done between 2000 and 2018 on the extent of per- and poly-fluoroalkyl (PFAS) contamination at Sydney Airport, excluding the appendices"
Partial Access to all 3 documents
Section of the Act:
Section 22
|28 November 2018
|"All "Temporary Local Instructions" issued to Airservices staff in Hobart from 1 September 2017 to 4 October 2018 relating to the Hobart SIDs and STARs;
The Safety Case Assessment and Determination (SCARD) associated with each of these Temporary Local Instructions."
Partial Access to all 15 documents
Section of the Act:
Section 22
|21 December 2018
|"Airservices' s current procedures for demonstrating its compliance with the Environmental Protection and Biodiversity Conservation Act 1999, including its noise assessment procedure"
Section of the Act:
Section 22
|17 January 2019
|"Head contract agreements entered into by the Provider and Airservices Australia in connection with the engagement of the Provider in connection with Request for Proposal ASA RFP PRN_12390"."
Partial Access to all 3 Documents
Section of the Act:
Section 22
|18 February 2019
|Documents related to changes to aircraft flight paths over the East Melbourne suburb.
32 Documents
Full Access to 2 documents
Partial Access 30 documentsSection of the Act:
Section 22Exemption:
Section 47F
|25 January 2019
|"Documents concerning the meeting held with industry stakeholders on 13 August 2018 in regards to proposed changes to flight paths in Hobart"
4 Documents
Section of the Act:
|18 January 2019
|Documents related to the SIDs and STARs to the West of Hobart Airport developed or discussed as part of the current Design Review
20 Documents
Section of the Act:
|01 February 2019
|"The initial draft version provided to Airservices Australia of the document entitled "Social Impact Overview of Hobart Airspace Changes (September 2017/March 2018): Consultation Summary Report"
All internal correspondence which provides comments on or suggested changes to this document; attachments to these correspondences are considered irrelevant to the request"
Partial Access to all 12 Documents
Section of the Act:
|25 January 2019
|Documents regarding a complaint lodged by the South East Coast Lifestyle Association (SECLA) regarding the performance of the Consulting Firm
Partial Access to 2 Documents
Section of the Act:
|4 March 2019
|"1. The combined total of additional duty hours worked by Air Traffic Controllers at Towers/Centres in the 2016, 2017 and 2018 calendar years (provided separately by year).
2. How many Air Traffic Controllers there were at Air Services during the 2016, 2017 and 2018 calendar years, across Air Services and broken down separately for each capital city airport."
1 document released in full
|4 March 2019
|"Stakeholder Engagement Strategy for the Hobart flight path design review which commenced in January 2018, including the communications plan."
1 document released in part
Section of the Act: 22
|5 April 2019
|A report completed by Air Services Australia on an incident near Adelaide in May, 2015 where four aircraft were involved in a loss of separation and radar vectors occurrence.
1 document released in part
Section of the Act:
|21 May 2019
|Communications regarding the recommission of the VOR/DME beacon and documents regarding industry stakeholder meeting on 13 August 2018 which related to flight path changes in Hobart.
10 documents released in full
Exemption: s 47F
Section of the Act:
Agency Plan
1. Introduction
Airservices Australia (the organisation) has prepared this Agency Plan (Plan) in accordance with section 8(1) of the Freedom of Information Act 1982 (Cth) as amended (FOI Act).
Part II of the FOI Act, which deals with the Information Publication Scheme (Scheme), came into effect on 1 May 2011.
All references to sections in this Plan are to sections of the FOI Act.
2. Purpose
The primary purpose of this Plan is to comply with section 8(1).
Under section 8(1), the Plan must show:
- what information the organisation proposes to publish for the purposes of Part II of the FOI Act;
- how, and to whom, the organisation proposes to publish information for the purposes of Part II; and
- how the organisation otherwise proposes to comply with Part II.
The Plan will help the organisation to put appropriate procedures in place to proactively disclose its information holdings, in accordance with the objects of the FOI Act.
3. Objectives
The organisation's objectives in relation to this Plan are to outline appropriate mechanisms and procedures to:
- manage the organisation's information holdings relevant to the Scheme;
- proactively identify and publish all information required to be published, including this Plan (in accordance with section 8(2));
- review and ensure on a regular basis that information published by the organisation under the Scheme is accurate, up-to-date and complete (in accordance with section 8B);
- ensure that information published under the Scheme is able to be discovered by the general public, is understandable and re-useable and is accessible to a wide range of people, including people with disabilities; and
- assess the effectiveness of the organisation's implementation of the Scheme.
4. Implementing The Scheme
4.1 Who is responsible for leading the organisation's work on implementing freedom of information (FOI) reforms?
The FOI and Inquires Coordinator, Office of Legal Counsel is responsible for leading the organisation's work on implementing FOI reforms generally. This includes establishing and developing the Scheme at the organisation, maintaining the Scheme at the organisation in accordance with any assistance or guidelines provided by the Information Commissioner, and ensuring that all requests for access to documents of the organisation received from 1 November 2010 are processed in accordance with the amended FOI Act.
4.2 Existing information asset management framework and meeting the Scheme's requirements
From 1 May 2011, the organisation is required to publish and make publicly available a range of information. The information required to be published is specified in section 8(2).
Information published by the organisation prior to the implementation of the Scheme
The organisation publishes a range of material on its public website, www.airservicesaustralia.com including:
- information on the organisation's management team, including its organisational structure, business groups, and senior management;
- a description of the organisation's responsibilities;
- information on statutory appointments;
- Annual Reports;
- information regarding consultation processes;
- information provided to the Parliament in response to requests and orders from the Parliament;
- the organisation's Provider Certificates;
- the organisation's corporate plan;
- information on consultation opportunities and invitations for public comment;
- media releases and other news;
- guidelines to assist members of the public / organisations comply with statutory requirements;
- environment and safety policy;
- information provided in response to Senate Orders; and
- contact details.
Satisfaction of Scheme requirements
From 1 May 2011, the FOI Inquiries Coordinator will be responsible for managing the Scheme, with administration of the Scheme to be undertaken by the organisation's Legal Section. As new processes are developed for managing information and internet material, the Legal Section will work with relevant line areas to integrate the Scheme into the management frameworks and will update the Plan accordingly.
To ensure ongoing satisfaction with the Scheme's requirements, the organisation will undertake a review exercise. This exercise will involve:
- reviewing existing information held by the organisation to determine whether further material should be made publicly available as part of the Scheme;
- reviewing existing information held by the organisation that is routinely provided to Parliament in response to requests and orders; and
- determining what additional information should be published to satisfy the requirements of section 8(2).
Any information that is identified by the organisation as part of this exercise will be published in accordance with the requirements of the Scheme.
4.3 Register of information required or permitted to be published under the Scheme
The organisation will develop and maintain a "disclosure log" of information released in response to FOI requests in accordance with the requirements of section 11C of the FOI Act.
5. Information Architecture
5.1 How will the organisation publish information?
From 1 May 2011, the organisation will publish information for the Scheme on its website that is available to members of the public generally in accordance with sections 8D(2) and 8D(3).
In accordance with section 8D (3), the organisation will publish information on the website by:
- making the information available for downloading from the website; and
- for those documents that are not currently available on the website, by publishing on the website details of how the information may be obtained
5.2 Form and language in which the organisation intends to publish information and where the information will be located
The organisation intends to publish the information in PDF format and in English.
As discussed in paragraph 5.1, the information will be located on the organisation's website or in certain circumstances may be located elsewhere. If the information is located elsewhere information on how that information can be obtained will be published on the website.
6. Information to be Published
The organisation will publish information in accordance with section 8(2).
6.1 Information to be published by the organisation under the Scheme
The organisation will publish the following:
- this Plan (as required under section 8(2)(a));
- information about the organisation, and links to existing publicly available information where appropriate (as required under sections 8(2)(b) and (8(2)(d)), such as:
- the organisation's organisational chart;
- details of appointments of officers that are made under Acts (other than the Public Service Act 199);
- information about what the organisation does including details of the functions of the organisation, its decision-making powers, other powers affecting members of the public, and operational information (as required under sections 8(2)(c) and 8(2)(j)), such as:
- a list of matters dealt with by the organisation, including providing a link to the Administrative Arrangements Orders; and
- information to assist members of the public to comply with statutory requirements;
- reports and responses to Parliament (as required under sections 8(2)(e) and 8(2)(h)), such as:
- the organisation's Annual Report;
- information in documents to which the organisation routinely gives access in response to requests for access to documents (as required under section 8(2)(g)) and information published under section 11C;
- details of arrangements for members of the public to comment on specific policy proposal's for which the organisation is responsible, including how and to whom those comments may be made (as required under section 8(2)(f)); and
- contact details for an officer (or officers) of the organisation who can be contacted about access to the organisation's information or documents under the FOI Act (as required under section 8(2) (i)), including the telephone number and email address of the FOI Contact Officer.
7. Optional Information to be published
The organisation will publish on its website other information that it holds (in addition to the information published under section 8(2), taking into account the objects of the FOI Act (section 8(4)). This information includes:
- the organisation's Strategic Plan and Service Charter;
- the organisation's Environment and Safety Policy;
- the organisation's financial statements; and
- financial information relating to pay and grading structures.
In addition, the organisation may publish a link to other publications not covered by the categories referred to above, including policies, guidelines, and other publications identified by the organisation from time to time.
8. Review of information publication scheme
The organisation will undertake, in conjunction with the Information Commissioner, a first review of the operation of the Scheme within the timeframes set out in section 9(2) of the FOI Act.
Following this first review, the organisation will undertake, in conjunction with the Information Commissioner, a review of the operation of the Scheme:
- as appropriate from time to time; and
- in any case – within 5 years after the last time a review was completed.
Making an FOI request
The general objectives of the Freedom of Information (FOI) Act 1982 are to:
- give the Australian community access to information held by the Government of the Commonwealth, by:
- requiring agencies to publish the information; and
- providing for a right of access to documents.
- promote Australia's representative democracy by contributing towards the following:
- increasing public participation in Government processes, with a view to promoting better-informed decision-making;
- increasing scrutiny, discussion, comment and review of the Government's activities.
- increase recognition that information held by the Government is to be managed for public purposes, and is a national resource.
- provide that functions and powers given by the FOI Act are to be performed and exercised, as far as possible, to facilitate and promote public access to information, promptly and at the lowest reasonable cost.
A request under the FOI Act must be in writing or email and state an address to which notices under the FOI Act can be sent. A request under the FOI Act must identify the documents that you wish to see. The Freedom of Information Coordinator can assist you to identify the sort of documents held by Airservices. Please provide as much information as possible about the documents you are seeking and a phone number or email address so you can be contacted, if necessary, to discuss the request.
If you wish to lodge a formal request seeking access to documents under the FOI Act, or need further information on how to lodge a request, please contact the FOI Coordinator:
Freedom of Information Coordinator
Airservices Australia
GPO Box 367
email: firstname.lastname@example.com
Fees and Charges
There are no application fees payable to lodge an FOI request.
You may still be charged for the processing of your request, for example the time spent searching for and retrieving relevant documents, decision making time, photocopying and other costs, as provided in The FOI Act and Regulations. Should your FOI request incur any charges, you will be notified as soon as possible and be provided with an estimate of the charges for your consideration. Your request will not be processed until you respond to any such notification.
In some circumstances, the processing charges will not be imposed, or will be refunded. If you want to ask that the fee not apply to your request, the criteria considered by Airservices include whether:
- the payment of the fee or a part of the fee would cause financial hardship to the applicant or person on whose behalf the application was made; or
- the giving of access to documents is in the general public interest or in the interest of a substantial section of the public.
You would need to contact Airservices in writing or email and explain why you meet the criteria or that the overall circumstances justify you not paying the charges.
Further Information
If you need further information or have any questions relating to seeking access to documents under the FOI Act, please contact the FOI Coordinator:
Freedom of Information Coordinator
Airservices Australia
GPO Box 367


text:
Browsing for Dissonance: Paratexts, Box-Art Iconography, and Genre
by Kevin M. Flanagan
[ PDF version ] This essay is about the ways in which conceptualizations of film genre are informed by the browsable, display-based nature of the video store. It attempts to examine the visual strategies used for the cover art of VHS and DVD boxes in relation to the space of the video store. The appearance of feature films both on television and on home video positioned moving image exhibition as a largely home-centered activity, effectively changing the avenues by which viewers encountered, negotiated, and consumed a text.[i] In the United States, the video store came to be the primary place to access a diverse selection of movies for home viewing, serving as a kind of commercial archive that potentially housed a whole history of film styles, national traditions, and genres. The reductive organizational strategies of chain stores such as Blockbuster Video and Hollywood Video meant that movies with very different genre credentials—"mainstream" and "cult" alike—often ended up next to one another on shelves. One of the strange affective registers of the video store is, therefore, the cognitive dissonance associated with the organizational simplification of the product on display: the odd reality of arbitrarily encountering the existential road movie Two-Lane Blacktop (dir. Monte Hellman, 1971) next to a recording of a demolition derby (because they both feature cars), or the problematic fact of seeing a DVD of the White/middle class coming of age drama The Wackness (dir. Jonathan Levine, 2007) next to a DVD of the foundational hip-hop feature Wild Style (dir. Charles Ahearn, 1983) by virtue of their mutual use of graffiti typography for the film title. Exterior similarity does not necessarily signal genre kinship.
This essay is about the ways in which conceptualizations of film genre are informed by the browsable, display-based nature of the video store. It attempts to examine the visual strategies used for the cover art of VHS and DVD boxes in relation to the space of the video store. The appearance of feature films both on television and on home video positioned moving image exhibition as a largely home-centered activity, effectively changing the avenues by which viewers encountered, negotiated, and consumed a text.[i] In the United States, the video store came to be the primary place to access a diverse selection of movies for home viewing, serving as a kind of commercial archive that potentially housed a whole history of film styles, national traditions, and genres. The reductive organizational strategies of chain stores such as Blockbuster Video and Hollywood Video meant that movies with very different genre credentials—"mainstream" and "cult" alike—often ended up next to one another on shelves. One of the strange affective registers of the video store is, therefore, the cognitive dissonance associated with the organizational simplification of the product on display: the odd reality of arbitrarily encountering the existential road movie Two-Lane Blacktop (dir. Monte Hellman, 1971) next to a recording of a demolition derby (because they both feature cars), or the problematic fact of seeing a DVD of the White/middle class coming of age drama The Wackness (dir. Jonathan Levine, 2007) next to a DVD of the foundational hip-hop feature Wild Style (dir. Charles Ahearn, 1983) by virtue of their mutual use of graffiti typography for the film title. Exterior similarity does not necessarily signal genre kinship.
While movies have always been advertised through extra-textual visuals—posters, stills in magazines, newspaper ads—the video cassette, as both container of film text and artifact in its own right, complicated the means by which a film's images circulated in public. In chronicling the rise of the VCR, Joshua Greenberg notes that, simultaneous to the rise of the video store, "videotapes themselves became understood less in terms of their technical nature as interchangeable parts of the VCR and increasingly in terms of the texts that they carried."[ii] Jonathan Gray's recent work on paratextuality—provisionally, "texts that prepare us for other texts"—provides a further means by which to frame how the VHS or DVD box serves to prefigure the generic positioning and received meanings of a moving image text.[iii] Following literary scholar Gerald Gennette, Gray asserts that one potential feature of a media paratext is that "many of these items are filters through which we must pass on our way to the film or program," and that these paratexts in fact provide "our first formative encounters with the text."[iv] Ideally, the paratextual frame for the principle moving image text (though Gray finds this differentiation to be problematic) forges a productively correspondent aide to recognition and usefulness of consumption.[v]
Of course, the relationship between primary moving image text and paratext is seldom without problems. In explaining the habitus of the video store, Greenberg writes:
In the video store, customers browsed movies, represented by boxes containing nothing more tangible than the experience of watching a movie itself. The boxes, usually featuring still images as well as a short description of the movie or other content, served as place holders—signifiers referring not to a specific cassette, but to the idealized text encoded therein.[vi]
In a similar vein, VHS box art aficionado Jacques Boyreau notes that "posters could advertise, slightly fetishize a movie; credit sequences could identify participants; but with conspicuous street cred and hustler-friendly mercantilism, VHS box-art 'became' the iconic equivalent of the movie."[vii] There is a felt connection between the moving image text's genre(s) and the genre(s) suggested by its paratextual frame. The video store itself facilitates a display of movie paratexts, and provides a means of ordering them into provisional categories.
I am deliberately limiting my definitional field for "film genre," for the sake of manageable argument. While Rick Altman and a host of others have explored the expansive factors contributing to the scope of what helps constitute a genre—the industrial contexts, the claims of filmmakers and studios, the consumptive responses of fans, the retrospective sorts of organizational analysis enacted by film historians—I am mainly interested in how VHS/DVD box art (a specific kind of gateway paratext) complicates the obvious, broad-based sense of genre and its relation to specific iconographic elements.[viii] For my purposes here, a rather safe and surprisingly unprovocative claim from Altman's Film/Genre encapsulates some of the basic assumptions: "in order to be recognized as a genre, films must have both a common topic ... and a common structure, a common way of configuring that topic."[ix]
But a common topic—aliens, cars, the trials of growing up—may not be enough. Similar narratives, repetitive resolutions, and a general sense of predictability further solidify an individual's associational genre map.[x] Stephen Neale writes that individual movies, even when derivative, are regarded as "more or less distinct from one another," meaning that successful templates are important to the film industry:
genres provide a cost-effective equivalent to lines and ranges, producing a demand for similarities within the variety of product on offer and therefore minimizing the degree of difference involved. Within and across the array of its output, Hollywood's product is therefore always diverse—each of its films are always new, each of its genres always different from one another. But within its ranges and models, within its genres, its films are also always similar.[xi]
Paratextual frames may just as easily add to this continuous process of genre delineation as obscure it. Given the complexity of this triangular relationship between the organizational logic of the video store, the iconographic elements featured on a film's box, and the actual generic elements that come to be constituted through a productive viewing of the moving image text as it plays, I will hereafter limit myself to remarks on the types of flattening or simplification that results from the specific practices of these video publishers.
It is no coincidence that video stores thrived throughout 1980s, concomitant with the American film industry's full-force embrace of what are called "high concept" marketing strategies. Roughly beginning with the blockbuster promotional campaign behind Universal's film Jaws (dir. Steven Spielberg, 1975), a "high concept" film is an easily graspable, iconographically memorable movie branded (through consistent marketing and ancillary licensing) for maximum success.[xii] These films can easily be condensed to core elements, or as Wasser notes "toward quick recognition in order to facilitate not only movie attendance but also sales of all commodities associated with the film, from record albums to toys to home video."[xiii]
Films on video cassette and DVD, be they unapologetically "high concept" fare or extremely complex and convoluted cult films, were heirs to the logic of this mode of marketing.[xiv] General characteristics of video box-art are designed to convey a whole series of associations with simple component parts such as color, font, and design. Some of these formal characteristics are readily understood after one visit to a video store: horror films are often sold via black and red color schemes, sometimes with text that approximates the look of dripping blood.
Romantic comedies, which often orbit around relationship issues, coupling, and the marriage plot, tend to prominently feature pink and blue color schemes, which suggest shorthand significations of officialized femininity and masculinity.
The Western, an extremely iconographically anchored genre, is often sold through recurrent objects (hat, gun, horse), environments (desert, expansive horizons), fonts (made to simulate the branding iron, or weathered wooden boards), and dominant colors (browns and blues, whose alternation connotes the interplay of sky and sand).[xv] These visual cues often merge with metonymic images, like facial portraits of a given film's lead actors, to ensure that a set of expectations about a film are in place before the movie is even screened. Thus, video/DVD box-art serves to generally support one of the main functions of the video store: a place to facilitate choice between an apparently diverse selection of "experiences to be rented," which come to be artificially contrasted, or sometimes illogically made similar, by virtue of their visual marketing.[xvi]
But branding and genre typification, as I have noted, are not limited to highly visible Hollywood genres. Films positioned by fans and marketers as "cult classics"—a term that the editors of the anthology Defining Cult Movies: The Cultural Politics of Oppositional Taste take care to qualify as produced through circulation and consumption, usually underpinned by a vaguely "subcultural ideology" and some sort of dissatisfaction with mainstream movie production—should, logically, work against the tendency to flatten and simplify genre.[xvii] After all, these films generally revel in hybridity and eclecticism. However, two examples (from among many possible)—MGM's branded line of "Midnite Movies," and American Nightmares (Troma video title: Combat Shock [dir. Buddy Giovinazzo, 1984])—illustrate the degree to which the forms of visual shorthand demanded by video stores and the display-based sale of VHS and DVD product attempts to reign in the unruliness of films defined by their strange subjects, aggressively sensationalist tones, and inherently mixed generic sensibilities. Even complicated films are not immune to the visual demands of the video box.
Although the publishing rights to the MGM library of titles constantly changes hands, the Midnite Movies line of VHS and DVD releases was consistently branded from its initial debut in 2001 until its demise in 2007. It began as an outlet for MGM, which had acquired Orion Pictures, to release Orion's vast back catalog of American Independent Pictures titles from the 1950s and 1960s.[xviii] It expanded to include releases originally produced for Hammer, Orion, and United Artists, amongst others. Midnite Movies to date include 1960s beach party flicks like Beach Blanket Bingo (dir. William Asher, 1965); swashbuckling adventure films aimed at adolescent audiences such as The Boy and the Pirates (dir. Bert I. Gordon, 1960); biker movies such as The Wild Angels (dir. Roger Corman, 1966); 1980s science-fiction/horror movies like The Beast Within (dir. Philippe Mora, 1982) and Strange Behavior (dir. Michael Laughlin, 1981); and horrific literary adaptations like The Tomb of the Ligeia (dir. Corman, 1964).
The term "midnight movies" references a diverse group of films that garnered dedicated viewing cults through repeat nighttime screenings such as El Topo (dir. Alejandro Jodorowsky, 1971), Night of the Living Dead (dir. George A. Romero, 1968), The Rocky Horror Picture Show (dir. Jim Sharman, 1975), and Eraserhead (dir. David Lynch, 1977).[xix] These original midnight movies were noteworthy for their success despite poor or sometimes non-existent formal marketing campaigns, notoriously unclassifiable genre credentials, and for their popularization via communal audience interests. Their reputations were the result of the shared experience, and in some cases direct participation, of the packed bodies in a public movie theater.
The Midnite Movies line packaged film for home and private consumption, used consistent graphic design to insist on unstated similarity, and attempted to preemptively predict audience tastes by wrangling dissimilar films under its auspices. Midnite Movies are primarily identified by the sinister-looking band on top of the front cover image, which displayed the line's name in uniformly blue font.
Each back cover includes the standard text explaining plot, complemented by a series of movie buff "Fun Facts" about the film's initial production or reception. The brand, paradoxically, brings the high-concept homogenization desired by tidy Hollywood product to the most diverse, unexplainable, and loosely aligned set of films. It re-orients the public, ritualistic, and grassroots aspects of the "midnight movie" phenomenon for the individual collector, and in the process suggests artificial or superficial similarities between films made by different companies, under a varied set of production circumstances. While the Midnite Movies line may strive to connote wacky cult credentials and prepackaged B-movie sensibilities, it perhaps inadvertently signals a nostalgia for a past regime of moviegoing (the "midnight movie" experience, accessible to young, urban audiences throughout the 1970s) that can masterfully be hinted at, indeed imperfectly approximated, by the video store, yet not be sufficiently encapsulated in home viewing.
If the Midnite Movies line shows how the nature of the video store can problematize the accurate portrayal of a whole group of movies, then the case of American Nightmares specifically shows how an original, singular film can be manipulated to fit the current stipulations of the home video market. American Nightmares was an independent production filmed in 1984, "shot guerilla-style with a meager budget and bare-bones crew," that followed a typically suicidal day in the life of nominal protagonist Frankie Dunlan (Ricky Giovinazzo), "a psychologically unstable Vietnam vet with a heinous secret, a deformed child, a shrieking wife, and holes in his sneakers," as he trudges about decaying Staten Island in search of money, employment, and piece of mind.[xx] Despite its stark, gritty look that differentiated it from nearly all other contemporary films of urban decay—its closest kin in that regard are films like Vigilante (dir. William Lustig, 1983) and Street Trash (dir. J. Michael Muro, 1987)—aspects of its narrative resemble known hits like Taxi Driver (dir. Martin Scorsese, 1975: returned, alienated Vietnam vet haunting grimy New York) and Eraserhead (strange, inexplicably deformed child as fantastical center of unstable marital relationship). However, despite its coherent similarities to other production trends and contemporary genres, the film is regarded as darkly visionary for its unflinching look at hopelessness, its violently suicidal protagonist, and its focus on characters that each seem to be beset by one existential crisis or another. As originally produced, American Nightmares could have been sold to niche audiences on its bleak, unforgiving worldview.
Instead, American Nightmares was released on video as Combat Shock by Troma Entertainment—a company as well known for its original productions (The Toxic Avenger [dir. Lloyd Kaufman and Michael Herz, 1984]) as for the low-budget features it picked up for theatrical and video distribution.
As a self-styled exploitation label in the tradition of AIP, Troma's films were accompanied by ballyhoo visuals. The opening sequence of Combat Shock follows Frankie and his fellow troops during a particularly psychologically damaging episode in Vietnam. While intending to set up Frankie's mental state as manifest in the rest of the film, it is nonetheless a short sequence in relation to the rest of the film. Troma seized these images for its VHS release—a soldier in military fatigues, helicopters, Vietnamese prisoners—with recognizable city images (the skyline, two men engaged in a knife fight) constituting less than one third of the image. The film was, in effect, being marketed as one in a series of "back to Vietnam" films such as Missing in Action (dir. Joseph Zito, 1984), Missing in Action II: The Beginning (dir. Lance Hool, 1985), and Rambo: First Blood Part II (dir. George P. Cosmatos, 1985). In a bid at placing a complex independent film into a recognizable high-concept framework, this film's emphasis on crumbling relationships, existential introspection, and alienation were jettisoned as unimportant.
If Troma's 1980s VHS made a somewhat dishonest attempt at making Combat Shock attractive to video store audiences, their 2009 DVD re-release took the opposite approach, in the process appealing to a collectors market less concerned with the display-based browsing, and more attuned to the minimalistic, dignified presentational style of prestige labels like The Criterion Collection.
The film was among the first released through Troma's branded "Tromasterpiece Collection" sub-label. The Rambo-esque, action film pedigree suggested by the old box art was gone. Instead, the film was finally afforded a stark, striking, confrontational cover image befitting the dark, generally subdued tone of the film. Ricky Giovinazzo-as-Frankie stares directly out of the frame, eyes ablaze, with a revolver pointing at his head in anticipation of the film's downbeat finale. Combat Shock/American Nightmares was no longer positioned to entice potential renters. It was pitched at audiences already familiar with its stark uniqueness. With the video store an effectively dead cultural institution by 2009, the film could honestly be marketed to its already-converted niche audience.
Box art images, among the most inescapable of movie paratexts, have tended to flatten or simply film genres. High-concept marketing, combined with an intensified tendency toward branding and corporate logos, meant that movies on video were bound to espouse highly recurrent patterns. Although cover art continues to be attached to movies—it remains a key part of the browse function of Amazon.com, Netflix, and other digital shopping interfaces—its function as an iconographically profuse signal for genre was an almost inescapable anchor of meaning during the golden age of the retail video store.
[i] See Frederick Wasser, Veni, Vidi, Video: The Hollywood Empire and the VCR (Austin: University of Texas Press, 2001), 118.
[ii] Joshua M. Greenberg, From Betamax to Blockbuster: Video Stores and the Invention of Movies on Video (Cambridge, MA: The MIT Press, 2008), 42.
[iii] Jonathan Gray, Show Sold Separately: Promos, Spoilers, and Other Media Paratexts (New York: New York University Press, 2010), 24.
[iv] Gray, Show Sold Separately, 3. Gray works extensively out of a framework established by Gerald Genette, Paratexts: The Threshold of Interpretation, trans. Jane E. Lewin (Cambridge: Cambridge University Press, 1997).
[v] Gray, Show Sold Separately, 30-31. Here, Gray draws on the work of Roland Barthes to assert that the true, that is, productive, work of the text is only unlocked or actualized in the act of consumption. Past experience, context, and other contingent frames are as meaningful as that which is objectively on the page or screen.
[vi] Ibid., 86-87.
[vii] Jacques Boyreau, Portable Grindhouse: The Lost Art of the VHS Box (Seattle, WA: Fantagraphics Books, 2009), 7.
[viii] See Rick Altman's influential text Film/Genre (London: British Film Institute, 1999). For a broad overview of film genres, consult Barry Keith Grant, Film Genre: From Iconography to Ideology (London: Wallflower Press, 2007).
[ix] Altman, Film/Genre, 23.
[x] Ibid., 25.
[xi] Steve Neale, Genre and Hollywood (New York: Routledge, 2000), 231.
[xii] Wasser, Veni, Vidi, Video, 161.
[xiii] Ibid. Italics mine. Gray has an analogous concept in his description of "speculative consumption," which he explains to be the process by which one predicts what pleasures, ideas, and sensations a text will deliver, in part as a practical way to save time and fulfill a fixed set of expectations based on taste and mood. Gray, Show Sold Separately, 24.
[xiv] The logic of homogenized representation need not be the only way. Famously, Polish film posters produced under communism utilized abstract or surreal imagery in advertising conventional American films. See George Webster, "Remaking Hollywood: The Strange World of Polish Film Posters," CNN Entertainment, July 6, 2010, accessed September 20, 2010, http://articles.cnn.com/2010-07-06/entertainment/polish.film.posters_1_posters-role-in-polish-society-unusual-charm.
[xv] An early discussion of iconography in genre films is found in Colin McArthur, Underworld USA (London: Secker and Warburg, 1972), 23. For an expanded, general discussion of iconography and genre identity, see Neale, Genre and Hollywood, 13-16. For a discussion of icons specific to the Western, see Will Wright, Six-Guns and Society: A Structural Study of the Western (Berkeley: University of California Press, 1975).
[xvi] The conceptualization of a video store as a place which saw cassettes as "experiences to be rented" is traced back to The Video Station, a pioneering rental store from the late 1970s. Greenberg, From Betamax to Blockbuster, 68.
[xvii] Mark Jancovich et al, "Introduction," Defining Cult Movies: The Cultural Politics of Oppositional Taste (Manchester, UK: Manchester University Press, 2003), 1.
[xviii] Thomas K. Arnold, "Before the A-films arrive, 'psych-out' with a good B-movie," USA Today April 27, 2003, accessed August 12, 2010, http://www.usatoday.com/life/movies/news/2003-04-27-schlock_x.htm.
[xix] The phenomenon is discussed in J. Hoberman and Jonathan Rosenbaum, Midnight Movies (New York: Da Capo, 1983).
[xx] "Blood on the Floor: Buddy Giovinazzo," Midnight Mavericks: Reports from the Underground, ed. Gene Gregorits (Surrey, UK: FAB Press, 2007), 171.
Kevin M. Flanagan is a Ph.D. student in the Critical & Cultural Studies Program at University of Pittsburgh. He is editor of Ken Russell: Re-Viewing England's Last Mannerist (Scarecrow Press, 2009).

subset: commoncrawl


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Fast Food Calories
Fast Food Calories is a really handy tool that is available on the Kindle. It definitely forces people to take an honest look at the nutrition information for popular restaurants such as Applebee's, Bob Evans, fast food chains, and more.
There is a collection of over 100 popular restaurants, and it includes full menus with nutrition information. Fast Food Calories also includes a food log. In order to log your meal, all you have to do is click "eat" and fill in the information and date. So much simpler than having to type all of the information out.
I browsed through the menus and nutrition facts for some of my favorite restaurants like P.F. Changs and Applebee's. Some of the calories for Applebee's dishes were outrageous. 1400+ calories for one meal! That is about a whole day's worth of food.
The title of this app is a bit of a misnomer because it includes a wide variety of restaurants. It doesn't just have fast food places. So, don't let the title fool you.
The navigation throughout Fast Food Calories is pretty intuitive. You just use the Kindle's 5-way toggle button to get to the different buttons. The graphics are easy to see. They do well for the purposes of Fast Food Calories.
With obesity and weight loss being such a prominent thing in society today, Fast Food Calories is a good way to stay accountable for what we eat. It can be a reality check, but it can also help push people to make healthier choices.
The newer Kindle models are so compact and portable, that they're perfect for toting a food journal or nutrition reference guide around.
Another useful nutrition Kindle app that is worth checking out is MyFood. It includes food from the USDA National Nutrient Database. So, this one is geared towards ingredients rather than restaurant menus.
"Who needs an iPhone or iPad when you can download reasonable apps for your Kindle? I was so happy with this product! I can find foods with different combonations, fix a plate, get nutritional values and stay on calorie track. LOVE IT!"
"You get a great selection of most popular franchises like Subway, quiznos, Olive Garden, Chili's, Taco Bell, Burger King, McDonalds, TGI Fridays, Arby's, Panda Express, PF Changs, Blimpi, Red Lobster, Carl's Jr (or Hardees-same thing), Chik Fil A, Cheesecake Factory, Dairy Queen, Denny's, Dunkin Donuts, ALL popular Pizza chains, KFC, Krispy Kreme, IHOP, Outback, Ruby Tuesday, Sonic, Starbucks, Wendys, slochtsky's, and Sbarro and others I've never heard of."
Fast Food Calories is now compatible with the latest generation keyboardless Kindle.


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About Company:
DataMetica is one of the world's foremost Big Data analytics companies that helps organizations deal with titanic amounts of data and take strategic decisions impacting business growth. It is young and vibrant with a focus on being the market leaders in Big Data and Analytics space. It is focused on helping organizations drive maximum value from their growing Information assets. The company was founded in 2013 by professionals with extensive expertise in uniting Data Science and Business Acumen.
Company Name: DataMetica Solutions Private Limited
Company Website: www.datametica.com
Job location: Pune
Position: Engineer – Big Data
- 2017 batch BE/BTech ( CS / IT / IS )
- Minimum 60% aggregate in graduation
- Good pH score
Job requirement:
- DataMetica is looking for the dynamic workforce who are ready to take forthcoming new age challenges in technology.
- We work on Big Data, Data Science, Information Analytics and related technologies like Hadoop, JAVA, NoSQL.
Work Culture:
- DataMetica treats each and every employee as a family member where their opinions and ideas are valued.
- We believe in a transparent and flat working organization.
- The chain of command in DataMetica is small enabling the employees to communicate with decision makers more often, faster and more effectively.
- DataMetica focuses on the creation of a dedicated and specialized talent management program to groom and motivate the project teams.
Note :
20,000 per month will be the stipend during the 6-month training period after which salary will go up to 35,000 per month. Emoluments will not be a constraint for Tier 1 engineering candidates.


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Windows 7 Games | Time Management Games | Viking Saga: New World
Viking Saga: New World Game
One hour or 60 minutes free trial demo version of the game is provided above. There are some games with more than 1 hour (80 minutes) time limit. Windows7Games.com provides virus free games setup files which are placed on secure server. Downloading time of game setup files varies depending up on size and your internet connection speed. Before buy your full version legal copy with various available payment methods you can play free demo of downloadable casual game. You have to purchase activation code or serial key for full version of the game by credit card, Visa Card, Master Card, American Express Card, Discover Card or Via PayPal.
Read Viking Saga: New World Game Features
- Absorbing storyline
- Renewed gameplay and mini-games
- Find a cure and save your kingdom
- Meet new and intriguing characters
- Play the original Viking Saga
- Buy full version of this game for PC!
Minimum System Requirements for Playing Game
- Operating System: Windows XP/Windows Vista/Windows 7/Windo
- Processor: 1.2 GHz
- RAM (Memory): 512
- DirectX Version: 9
- Free Space on Hard Disk: 270 MB
More Information About This PC Game
- Game Size: 161.56 MB
- Date of Release:
- Game Category: Time Management Games


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If you are wondering how to turn him on this Valentine's Day.
Here are my suggestions.
1. Film yourself masturbating.
Then send it to his phone
I'm yet to come across any man who doesn't appreciate a video of a woman masturbating and coming. Not only is it fun to send to him. It's fun to film. Get creative! I use the film-camera on my phone. It does the job. (cough).
2. Hire an escort and watch him fuck her brains out
There's something incredibly hot about watching the man you love fuck another woman. If you have voyeuristic tendencies like me, then perhaps this would be a good Valentine's Day plan.
3. Give him breakfast and head
A jug of good coffee, a tray of pastries AND a blowjob. #winning
4. Give him an erotic massage and a handjob
I love giving erotic massages. They definitely improve intimacy. Candles, wine and sensuality. What a beautiful way to celebrate the day.
5. Visit a sex shop together and purchase some goodies
There are some stunning sex-shops around now. No seediness. It's so much fun going sex-shopping with a partner. You could buy dress-ups, bondage equipment, new vibrators, massage oils, paddles, a sex boardgame. The list is endless. Have fun!
If you live in Melbourne, I recommend Passionfruit: The Sensuality Shop on Bridge Rd, Richmond. I worked there in 2014. Beautiful store and beautiful owners!
6. Find a babysitter and have a child-free night
Self explanatory.
7. Wear red lipstick.
Red lipstick means business. I personally, wouldn't be caught dead at the letterbox without my red lipstick on...but that's just me!
8. Get drunk and make a porno
Oh my god. The fun, the laughter, the fucking. And if you're really brave, you could upload it to Pornhub or Redtube. Making homemade pornos is a blast!
9. Hire a five-star-hotel-room. Order room service, watch in-house movies and fuck like rabbits
I like sex in hotels better than at places of residence. It's a neutral space. Usually there's always some good fucking to be had... And it seems more special. Obviously that 'specialness' is contrived but who cares?
10. Give him a deepthroat blowjob using coconut oil and swallow his cum
You know what they say? Blowjobs are like flowers for men. I wrote an article about my love of deepthroat, you can read it here.
11. Instead of giving him a Valentine's Day Card, give him a SEX COUPON which entitles him to any sex act that he wants
You can purchase a book of sex coupons at all sex shops or you can customise and download great ones online. Or why not make your own vouchers on your pc, then print them out?
12. Wear your sexiest lingerie
It's time to lose your grundies, grandma-pants and trackie dacks and exchange them for some lacy, feminine lingerie. Some of the online vintage stores sell beautiful 1940/1950 style pieces. They're just gorgeous!
13. Let him penetrate you vaginally with a vibrator
Toy play with a partner is so much fun. Don't let him have sex with you until he's given you 782 orgasms.
14. Don't wear panties
I haven't worn panties for 20 years. I hate underwear. I hate the look of underwear under dresses and skirts. I wore g-strings for a while but who needs their arse flossed!
I prefer a bit of breeze. It can be quite erotic for a guy to put his hand under your dress and find you knickerless -- try it!
15. Send him filthy text messages and nude selfies all day
Why not start the foreplay via text and multi-media messages on the morning of the 14th?
And by the night....(well if you're worth your salt at the art of tease, he should be putty in your hands).
16. Become his slave or master for the entirety of V-day
This one is so much fun! Meow
17. Spend the whole day in bed together, only leaving to get scoffs from the fridge
These kind of days are just the best, are they not? And you can prepare the room with fresh satin sheets, champagne on ice, oysters, aromatherapy oils. Yep, I've just sold it to myself. Thank you very much. :)
18. Take out the trash
This will give him a boner for sure!
19. Let him have your arse
20. Ditch Valentine's Day, commercialism and consumerism. Instead, get sexy when you feel like it, rather than when you are told to by large conglomerates
Don't be dictated to. And don't listen to sex-bloggers who try and tell you what to do for Valentine's Day!
ken mackenzie
25/1/2017 09:20:12 pm
pretty funny Vanessa, I got a good giggle, you know your stuff, but what about telling the guys the secret for success on Valentines Day. Most need all the help they can get ha ha
25/1/2017 09:34:46 pm
Hey Ken,
ken mackenzie
28/1/2017 12:58:43 pm
No Vanessa it was another interesting article, I just meant now would be a good time for a speel on what the other half would also enjoy !
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text:
I should warn you up front I've never watched the modern Dr. Who series, just because I always wanted to see it from the beginning. Now that what remains of the show from the early '60s is available on DVD (some episodes were taped over, as was the policy at the BBC then!), I've been watching the early years with William Hartnell. I'm impressed with the show overall, but one character really stuck out: Barbara Wright.
Barbara, Ian and Susan are the Doctor's first traveling companions we meet. Susan is the Doctor's granddaughter, and Barbara and Ian are two of her high school teachers (history and science, respectively) in 1960s London. Susan is framed as a child rather than a woman, so she makes mistakes and screams her head off a lot to show how vulnerable she is – though she's very smart and also sometimes saves the day. But Barbara is framed as a woman, and a very well written one.
Barbara is smart, calm and rational. Several of their travels involve ancient Earth cultures, and her knowledge of history aids and directs the group. She makes mistakes, but never stupid ones. In one particularly good series, "The Aztecs", Barbara is mistaken for the reincarnation of a god (not a goddess!) because of a bracelet she's wearing. Against the Doctor's advice about not changing history, she attempts to use her power to stop the human sacrifices practiced by that culture. It's a misguided but poignantly noble effort, and even though I agreed with the doctor, I sympathized with Barbara's intentions.
In another series, "The Sea of Death", Barbara is the only one who realizes they're being brainwashed into thinking a dangerous hellhole is a paradise in which their every wish is fulfilled. She struggles to convince her friends, but this only alerts the brainwashers into realizing she's dangerous. She manages to escape jail with the help of some others who have begun to come out of the brainwashing only to be caught by Ian, who no longer remembers her. He takes her to the creatures who control the place – snail-like things in big glass containers, but before they can hurt her, Barbara grabs a stick and whacks hell out of the snail-things until they are dead. That frees everyone from the brainwashing effect.
While the whole gang fits neatly into a traditional family dynamic, there is no hint of romance or sexual tension between her and Ian. Perhaps this is because it was seen as a kids' show, but whatever the reason, it's rare to see two adult characters engage as friends or pseudo-family rather than lovers or would-be lovers or might-have-been lovers or any of the annoying tropes TV foists on us routinely.
Interestingly, this lack of romance doesn't survive a shift to movie and book media. In 1966, someone decided to make a movie to capitalize on the popularity of the Daleks: Dr. Who and The Daleks. I tried to watch it, really I did, but where the series takes both story and character quite seriously, the movie turns the characters into bumbling fools. In this version, Barbara is Susan's sister and the Doctor's granddaughter, and Ian is Barbara's boyfriend. Neither of them are teachers. When I saw Barbara run to kiss Ian in the TARDIS, thus knocking him down so he lands on a lever that starts the ship off on a random journey, that was about it for me.
Fortunately, Wikipedia has informed me the movie is not considered canon. But there's also a novel in which Barbara and Ian are supposed to have married after their eventual return to 1960s London. It's enough to make me think some people just can't process the idea of two attractive, adult, presumably sexually compatible human beings who do not want to have sex with each other. It's like the very thought offends them. Or the temptation to sex things up, just because you can, is just too powerful.
But whatever. In the original TV series, Barbara is a character who happens to be a woman rather than someone's narrow interpretation of what a "woman character" should be.


text:
Hey Guys,
To start off the week, last week I dug my hands into some dough and made some delicious homemade bread, with the help of Sora Bair, of course. The bread turned out so great I needed to take some selfies with it haha. (I only have half because I gave the other half to my companion.)
|bread selfie
We also had Zone Conference this week. It was in Ploiesti. President and others gave some great inspiring words to us and then we were on our way back to Brasov.
|Romania Central Zone Conference
The next day we went "La Tara" (Country Side) and helped out a member with some some service. We chopped some wood and organized it into a wall. "They used to walk 12 miles to church every sunday before the senior couple here started picking them up. We got to chop a ton of wood to heat her house and help her cook for the winter. Her name is sister Miron and she lives in a little Gypsie village with her daughter, Emma. Her daughter is just about to go on a mission. They are an awesome family! The town they live in is really cool, too. Its tiny and almost all Gypsies... They all get around with horse drawn carriages. We have to get there and back in this random guy's car that goes back and forth from the countryside to Brasov. He charges 4 lei and took us back to the city." -excerpt taken from Elder Bateman's letter.
Random experience of the week: We were walking to KFC after contacting with the district one day and this man with red hair and a red suit invited us up to his apartment. We went into this alley way where a sign was hanging that said "Tea Spot". After which we went up 3 flights of swirly stairs with rainbows painted on the walls. We then arrived and went into his apartment which was more of a Penthouse. One of the first things I noticed was a big Bob Marley poster and then a bunch of famous paintings. We then noticed that they had a huge treasure chest in their bathroom. I'm not gonna lie, it was pretty cool, but sketchy nonetheless, haha. He was promoting a church of his own. He handed us an encyclopedia named "mic dictionar"(small dictionary) and this thing was like a foot and half tall, haha, it was huge. He told us we could come back and study it whenever we wanted. haha. As we bid our farewells, he dropped a flower, that he had kept in his suit jacket, beneath the Bob Marley poster and casually mentioned that we shouldn't forget to bring flowers for Bob. haha! What an experience, haha.
We climbed up to the Brasov sign today and went down the other side of the mountain. It was a fun time.
That's it for this week, Love you guys,
Elder Houk
The weather is already getting cold in Romania. They have had snow in the mountains but not in Brasov yet. With winter coming Elder Houk is already requesting some Christmas jingles.....seriously.
Sora Bair has taken some photos with some interesting facts.


text: Greetings, contributors. I am Jerryjackson42, or as my signature says, "ABOBO". I am here today to talk to you about a problem that has been affecting Chowderpedia for many months, the laziness of most contributors. Some people make double articles, articles with no information and ones that just don't meet the standard of Chowderpedia. And I have to fix them up. Even though I am just a contributor myself, I believe that I have an opinion that matters. So whoever reads this, please remember to try and improve the pages in Category:Article stubs. When Chowderpedia becomes good enough to provide the proper information that some people lack, delete this page. Thank you for listening to my page. I hope this helps. ABOBO 02:37, November 28, 2010 (UTC)


text:
Met a white man some years ago,
walking back to camp with a bunch of rods in hand, a yellow tail protruding from the pack, long-haired, English.
The pursuit and challenge of landing his majesty from the rocks attracting him to this part of the world; walking the coast lines of the Coromandel, reading the terrain, the ledges, the currents, the winds.
The white man's idea of a vacation is to stand on the rocks, gimbal around his waist, the popper rod on his side, bait fish caught swimming in a rock pool close by, the gaff might be too far away, but the live bait rod secured in his hands, and a pack of chips and canned tuna in his pack.


text:
The Banstead Image Library
Monica Saunders Year: 1953 District: Banstead1953 Coronation Elizabethan Cavalcade in Banstead.
This is an image of the brochure published for the event. It listed the Groups taking part, the Programme of Events, the displays and exhibitions, stalls and sideshows. For photographs of the event, take a look at the Elizabeth II Coronation Group.
Picture added on 25 January 2010 at 14:09
This picture is in the following groups
Elizabeth II Coronation
Elizabeth II Coronation
External Links
Banstead History Research Group
Banstead History Research Group


text:
Plaek Phibunsongkhram
|Field Marshal
Plaek Pibunsongkhram
PChW MPCh MWM NR
|แปลก พิบูลสงคราม
|3rd Prime Minister of Thailand
In office
16 December 1938 – 1 August 1944
|Ananda Mahidol
|Preceded by
|Phraya Phahon Phonphayuhasena
|Succeeded by
|Khuang Aphaiwong
In office
8 April 1948 – 16 September 1957
|Bhumibol Adulyadej
|Preceded by
|Khuang Aphaiwong
|Succeeded by
|Pote Sarasin
|Minister of Defence
In office
22 September 1934 – 15 November 1943
|Ananda Mahidol
|Prime Minister
|Phot Phahonyothin and himself
|Preceded by
|Phot Phahonyothin
|Succeeded by
|Pichit Kriengsakpichit
In office
28 June 1949 – 26 February 1957
|Bhumibol Adulyadej
|Prime Minister
|Preceded by
|Suk Chatnakrob
|Succeeded by
|Sarit Thanarat
|Minister of Foreign Affairs
In office
15 December 1941 – 19 June 1942
|Ananda Mahidol
|Prime Minister
|Preceded by
|Direk Jayanama
|Succeeded by
|Luang Wichitwathakan
|Personal details
Plaek Khittasangkha
14 July 1897
Nonthaburi, Nonthaburi, Siam
11 June 1964 66) (aged
Sagamihara, Japan
|Political party
Khana Ratsadon (1927-)
Seri Manangkasila Party (1955-1957)
|La-aide Bhandhukravi (1903-1984)
|Theravada Buddhism
|Military service
|Royal Thai Army
|Years of service
Field Marshal
|Supreme Commander
Boworadet Rebellion
Franco-Thai War
Japanese invasion of Thailand
Pacific War
Palace Rebellion
Field Marshal Plaek Phibunsongkhram (Thai: แปลก พิบูลสงคราม; [plɛ̀ːk pʰí.būːn.sǒŋ.kʰrāːm]; alternatively transcribed as Pibulsongkram or Pibulsonggram; 14 July 1897 – 11 June 1964), locally known as Chomphon Por (Thai: จอมพล ป.; [tɕɔ̄ːm.pʰōn.pɔ̄ː]), contemporarily known as Phibun (Pibul) in the West, was Prime Minister and virtual military dictator of Thailand from 1938 to 1944 and 1948 to 1957.
Early years
He was born Plaek Khittasangkha (Thai: แปลก ขีตตะสังคะ; [plɛ̀ːk kʰìːt.tà.sǎŋ.kʰá]) in Nonthaburi Province to Keed Khittasangkha and his wife.[1] Keed was of Chinese-Thai heritage; his father was a Cantonese-speaking Chinese immigrant.[2] Plaek's parents owned a durian orchard. He received his given name - meaning "strange" in Thai - because of his unusual appearance as a child. Plaek Khittasangkha studied at Buddhist temple schools, then was appointed to Chulachomklao Royal Military Academy. He graduated in 1914 and was commissioned a second lieutenant in the artillery. Following World War I, he was sent to study artillery tactics in France. In 1928, as he rose in rank, he received the honorary title of Luang from King Prajadhipok and became known as Luang Phibunsongkhram. He would later drop his title, but adopted Phibunsongkhram as his surname.
1932 revolution
Phibunsongkhram was one of the leaders of the military branch of the People's Party (Khana Ratsadon) that staged a coup d'état and overthrew the absolute monarchy in 1932. Then-Lieutenant Colonel Phibunsongkhram rose to prominence as a man-on-horseback.[3]
Abdication of the king
The following year, Phibunsongkhram, along with officers allied in the same cause, successfully crushed the Boworadet Rebellion. This was a royalist revolt led by Prince Boworadet. While King Prajadhipok was not in any way involved in the rebellion, it marked the beginning of a slide which ended in his 1935 abdication and replacement by King Ananda Mahidol. The new King was still a child studying in Switzerland, and parliament appointed Colonel Prince Anuwatjaturong, Lieutenant Commander Prince Athitaya Dibhabha, and Chao Phraya Yommaraj (Pun Sukhum) as his Regents.
Prime Minister of Thailand
In 1938, Phibunsongkhram replaced Phraya Phahol as Prime Minister and Commander of the Royal Siamese Army, and consolidated his position by rewarding several members of his own army clique with influential positions in his government.
Phibunsongkhram began to increase the pace of modernisation in Thailand. Phibulsonggram supported fascism and nationalism. Together with Luang Wichitwathakan, the Minister of Propaganda, he built a leadership cult in 1938 and thereafter. Photographs of Phibunsongkhram were to be found everywhere, and those of the abdicated King Prajadhipok were banned. His quotes appeared in newspapers, were plastered on billboards and were repeated over the radio.
"Aimed to uplift the national spirit and moral code of the nation and instilling progressive tendencies and a newness into Thai life", a series of Cultural Mandates were issued by the government. These mandates encouraged that all Thais were to salute the flag in public places, know the new national anthem, and use the Thai language, not regional dialects. People were encouraged to adopt Western, as opposed to traditional, attire. Similarly, people were encouraged to eat with a fork and spoon, rather than with their hands as was customary. Phibunsongkhram saw these policies as necessary, in the interest of progressivism, to change Thailand in the minds of foreigners from an undeveloped and barbaric country into a civilised and modernised one.
Phibun's administration encouraged economic nationalism. Anti-Chinese policies were imposed, and the Thai people were to purchase as many Thai products as possible and therefore destroy the Chinese proportion in markets. In a speech in 1938, Luang Wichitwathakan, himself of Chinese ancestry, followed Rama VI's book "Jews of the East" in comparing the Chinese in Siam to the Jews in Germany, which at the time were suffering of severe discrimination.
In 1939, Phibunsongkhram changed the country's name from Siam to Thailand. In 1941, in the midst of World War II, he decreed 1 January as the official start of the new year instead of the traditional 13 April. On 21 December 1941, a mutual offensive-defensive alliance pact between Japan and Thailand was signed.[4]
While ardently pro-Japanese at the beginning, Phibunsongkhram and his administration soon distanced themselves from Japan following the aftermath of the French-Thai War. This conflict lasted from October 1940 to May 1941. Following the peace talks, the Japanese gained the right to occupy French Indo-China. Being threatened by the war, Phibunsongkhram stated that the Japanese would be the transgressors. The administration also realised that Thailand would have to fend for itself when the Japanese invasion came, considering its deteriorating relationships with the major Western powers in the area.
Alliance with Japan
When the Japanese invaded Thailand on 8 December 1941, (because of the international date line this occurred an hour and a half before the attack on Pearl Harbor),[5] hesitant Phibunsongkhram was reluctantly forced to order a general ceasefire after just one day of resistance and allow the Japanese armies to use the country as a base for their invasions of Burma and Malaya.[6] Hesitancy, however, gave way to enthusiasm after the Japanese rolled their way through Malaya in a "Bicycle Blitzkrieg" with surprisingly little resistance.[7][8] On 21 December Phibunsongkhram signed a military alliance with Japan. The following month, on 25 January 1942, Phibunsongkhram declared war on Britain and the United States. South Africa and New Zealand declared war on Thailand on the same day. Australia followed soon after.[9] All who opposed the Japanese alliance were purged from his government. Pridi Phanomyong was appointed acting regent for the absent King Ananda Mahidol, while Direk Jayanama, the prominent Foreign Minister who had advocated continued resistance against the Japanese, was later sent to Tokyo as an ambassador. The United States considered Thailand to be a puppet of Japan and refused to declare war. When the allies were victorious, United States blocked British efforts to impose a punitive peace.[10]
As Japan neared defeat and the underground anti-Japanese resistance Seri Thai steadily grew in strength, the National Assembly forced out Phibunsongkhram. His six-year reign as the military commander-in-chief was at an end. His resignation was partly forced by two grandiose plans. One was to relocate the capital from Bangkok to a remote site in the jungle near Phetchabun in North Central Thailand. The other was to build a "Buddhist city" near Saraburi. Announced at a time of severe economic difficulty, these ideas turned many government officers against him.[11] Phibunsongkhram went to stay at the army headquarters in Lopburi.
Khuang Abhaiwongse replaced him as Prime Minister, ostensibly to continue relations with the Japanese, but in reality secretly assisting the Seri Thai.
At the war's end, Phibunsongkhram was put on trial at Allied insistence on charges of having committed war crimes, mainly that of collaborating with the Axis powers. However, he was acquitted amidst intense public pressure. Public opinion was still favourable to Phibunsongkhram, as he was thought to have done his best to protect Thai interests. His alliance with Japan had Thailand take advantage from Japanese support the expansion of Thai territory in Malaya and Burma.[12]
Coup, second premiership and more coups
In November 1947, Royal Thai Army units under the control of Phibunsongkhram carried out a coup which forced then Prime Minister Thawal Thamrong Navaswadhi to resign. Khuang was again installed as Prime Minister as the military coup risked international disapproval. Pridi Phanomyong was persecuted. He was, however, aided by British and American intelligence officers, and thus managed to escape the country. On 8 April 1948, the military forced Khuang out of office and Phibunsongkhram assumed his second premiership.
On 1 October 1948, the unsuccessful Army General Staff Plot was launched to topple the government of Phibunsongkhram. As a result, more than fifty army and reservist officers and several prominent supporters of Pridi Phanomyong were arrested.
A Palace Rebellion in 1949 was another failed coup attempt. Its plotters' aim was to overthrow the government of Phibunsongkhram and to restore his main civilian rival Pridi Phanomyong to the Thai political scene.
Instead of the fascism that characterised his first premiership, Phibunsongkhram and his regime promoted a façade of democracy. American aid was received in large quantities following Thailand's entry into the Korean War as part of the United Nations' multi-national allied force in the Cold War against the communists.
Phibunsongkhram's anti-Chinese campaign was resumed, with the government restricting Chinese immigration and undertaking various measures to restrict economic domination of the Thai market by those of Chinese descent. Chinese schools and associations were once again shut down. Despite open pro-Western and anti-Chinese policies, in the late 1950s Phibunsongkhram arranged to send to China two of the children of Sang Phathanothai, his closest advisor, with the intention of establishing a backdoor channel for dialogue between China and Thailand. The girl, aged eight, and her brother, aged twelve, were sent to be brought up under the assistants of Premier Zhou Enlai as his wards; the girl, Sirin Phathanothai, later wrote The Dragon's Pearl, an autobiography telling her experiences growing up in the 1950s and 1960s among the leaders of China.
On 29 June 1951, Phibunsongkhram was attending a ceremony aboard the Manhattan dredge when he was taken hostage by a group of naval officers, who then quickly confined him on board the warship Sri Ayutthaya. Negotiations between the government and the coup organizers swiftly broke down, leading to violent street fighting in Bangkok between the navy and the army, which was supported by the air force. Phibunsongkhram was able to swim back ashore when the Sri Ayutthaya was bombed by the air force. With their hostage gone, the sailors and marines were forced to lay down their arms.
On 29 November 1951, the Silent Coup was staged by the army-led Coup Group and it consolidated the military's hold on the country. It reinstated the Constitution of 1932, which effectively eliminated the Senate, established a unicameral legislature composed equally of elected and government-appointed members, and allowed serving military officers to supplement their commands with important ministerial portfolios.
On 13 November 1956, Thailand's Criminal Code BE 2499 was signed into law by King Bhumibol Adulyadej. Field Marshal Phibunsongkhram countersigned the Code.
Sarit seizes power
At the end of his second term, suspicions of fraudulent practices during an election emerged. The American-equipped Thai army played a major role in the coup d'état of 1957, and the United States was "deeply involved".[13] The resulting unrest led to a second coup in October 1958 by Field Marshal Sarit Dhanaraj, who had earlier sworn to be Phibun's most loyal subordinate. Sarit was supported by many royalists who wanted to regain a foothold. Phibunsongkhram was then forced into exile in Japan, where he lived until his death in 1964.
Royal decorations
Plaek Phibunsongkhram received the following royal decorations in the Honours System of Thailand:[14]
- 1911 - King Rama VI Coronation Medal
- 1925 - King Rama VII Coronation Medal
- 1932 - 150 Years Commemoration of Bangkok Medal
- 1934 - Dushdi Mala - Military
- 1937 - Knight Grand Cordon (Special Class) of The Most Noble Order of the Crown of Thailand
- 1938 - King Rama VIII Royal Cypher Medal
- 1940 - Knight Grand Cordon (Special Class) of The Most Exalted Order of the White Elephant
- 1941 - Victory Medal - Indochina
- 1941 - Knight of The Ancient and Auspicious Order of the Nine Gems
- 1942 - Knight Grand Cross (First Class) of The Most Illustrious Order of Chula Chom Klao
- 1942 - The Ratana Varabhorn Order of Merit
- 1943 - Medal for Service Rendered in the Interior (Asia)
- 1943 - Victory Medal - World War II
- 1943 - Dushdi Mala - Civilian
- 1944 - Bravery Medal - World War II
- 1956 - Bhumibol Adulyadej King Rama IX Royal Cypher Medal, First Class
- 1957 - Border Service Medal
Foreign honours
- 1942 - 1st Class, Grand Cordon Order of the Rising Sun
- 1955 - Raja of the Order of Sikatuna
- Knight Grand Cross of the Order of St Michael and St George
- Order of the German Eagle
See also
- History of Thailand (1932–1973)
- Saharat Thai Doem
- Nitya Pibulsonggram
- Ramwong
- Thai cultural mandates
- ↑ (Thai) ผู้นำทางการเมืองไทยกับสงครามโลกครั้งที่ 2 [df]: จอมพล ป.พิบูลสงคราม และ ปรีดี พนมยงค์
- ↑ Benjamin et al., 1990, p. 64, ...Phibun was a Thai by nature. Although it was said that his grandfather was a Cantonese, he had no features of an overseas Chinese.
- ↑ "man on horseback". The Free Dictionary. Retrieved 30 June 2011.
n. A man, usually a military leader, whose popular influence and power may afford him the position of dictator, as in a time of political crisis
- ↑ E. Bruce Reynolds. (1994) Thailand and Japan's Southern Advance 1940–1945. St. Martin's Press ISBN 0-312-10402-2.
- ↑ Churchill, Winston S. The Second World War, Vol 3, The Grand Alliance, p.548 Cassell & Co. Ltd, 1950
- ↑ A Slice of Thai History: The Japanese invasion of Thailand, 8 December 1941 (part one)
- ↑ Ford, Daniel (June 2008). "Colonel Tsuji of Malaya (part 2)". The Warbirds forum. Retrieved 30 June 2011.
Though outnumbered two-to-one, the Japanese never stopped to consolidate their gains, to rest or regroup or resupply; they came down the main roads on bicycles
- ↑ "The Swift Japanese Assault". National Archives of Singapore. 2002. Retrieved 30 June 2011.
Even the long legged Englishmen could not escape our troops on bicycles.
- ↑ A Slice of Thai History: The Japanese invasion of Thailand, 8 December 1941 (part three)
- ↑ I.C.B Dear, ed, The Oxford companion to World War ii (1995) p 1107
- ↑ Roeder, Eric (Fall 1999). "The Origin and Significance of the Emerald Buddha". Southeast Asian Studies Vol. 3. Southeast Asian Studies Student Association. Retrieved 30 June 2011.
Judith A. Stowe, Siam becomes Thailand (Honolulu: University of Hawaii Press, 1991), pp. 228-283.
- ↑ Aldrich, Richard J. The Key to the South: Britain, the United States, and Thailand during the Approach of the Pacific War, 1929-1942. Oxford University Press, 1993. ISBN 0-19-588612-7
- ↑ Western Political Quarterly, Vol. 15, No. 1 (Mar., 1962), pp. 93-110
- ↑ Biography of Field Marshal P., Royal Thai Army website. Retrieved on 4 December 2008.
- Batson, Benjamin Arthur; Shimuzu, Hajime; Asada, Shunsuke; The Tragedy of Wanit: A Japanese account of wartime Thai politics, Issue 1 of Journal of Southeast Asian Studies, Dept. of History, National University of Singapore, 1990, ISBN 9971622467
External links
|Wikimedia Commons has media related to Plaek Pibulsonggram.
- Duncan Stearn:A Slice of Thai History: The Japanese invasion of Thailand, 8 December 1941 (part one) (part two) (part three)
- Kopkuea Suwannathat-Phian (1989). Foreign Policies of Phibunsongkhram Government: 1938–1944 (pdf) (in Thai). Bangkok: Thammasat University Press. ISBN 9745724165.
|Political offices
|Preceded by
Phraya Phahol Pholphayuhasena
|Prime Minister of Thailand
| Succeeded by
Khuang Abhaiwongse
|Preceded by
Khuang Abhaiwongse
|Prime Minister of Thailand
| Succeeded by
Pote Sarasin


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text:
Essay: We are all at summer camp
NewNewYorkers, May 2010
Visit the original article online
New York City is full of more different people than I ever could have imagined back in suburbia. The one thing the thousands of 20-something transplants here have in common? We all know we're going home someday.