OC Streetcar

The OC Streetcar is a modern streetcar line currently under construction in Orange County, California, USA, running through the cities of Santa Ana and Garden Grove. The electric-powered streetcar will be operated by the Orange County Transportation Authority (OCTA), and will serve ten stops in each direction along its route. With the exception of a short loop in downtown Santa Ana, the line will be double-tracked for its entire length. Most of the route follows the original path of the Pacific Electric Railway "Red Cars" that served Santa Ana in the early 20th century, before being abandoned in 1950. Construction on the streetcar broke ground on November 30, 2018, and the line expected to open to the public in 2022.
The streetcar will operate between the Santa Ana Regional Transportation Center to a new Harbor Transit Center in Garden Grove, offering a link to downtown Santa Ana, one of Orange County's largest centers for employment, arts, and entertainment, as well as nearby residential neighborhoods, parks, and trails.
Route.
The streetcar's planned eastern terminus is the Santa Ana Regional Transportation Center, which is served by Metrolink commuter rail and the Amtrak "Pacific Surfliner," as well as a number of bus routes. There are currently at least 65 daily Metrolink and Amtrak train connections at the SARTC.
The streetcar's route runs west along Santa Ana Boulevard to downtown Santa Ana and the Santa Ana Civic Center, the main administrative center for the city and the County of Orange, where an estimated 38,000 jobs are located. The route will split at Mortimer Street to form a loop on existing one-way streets with westbound service continuing on Santa Ana Boulevard through Civic Center, while returning eastbound service will travel on 4th Street (two blocks south), through the Arts District.
After rejoining at Ross Street near the Santa Ana City Hall, the line will continue west along Santa Ana Boulevard to Raitt Street, where it will continue on the former Pacific Electric West Santa Ana Branch right-of-way along the north side of 4th Street. Turning northwest, the line will cross the Santa Ana River and then crosses Westminster Avenue, where it will enter the city of Garden Grove for a short distance. An intermodal transit center will be constructed at the line's terminus at the intersection of Westminster Avenue and Harbor Boulevard. The transit center will connect to OCTA's Harbor Boulevard bus routes, which are the busiest in the county, accounting for about 8 percent of OCTA's ridership.
Operations and infrastructure.
The streetcar will operate as a curbside, street running system between the Santa Ana station and Raitt Street; west of there, it will operate in a dedicated right-of-way. Power will come from an overhead catenary system. A single trip from end-to-end is expected to take 30 minutes, with streetcars arriving every 10-15 minutes. OCTA projects a daily ridership of between 6,000 and 7,300 passengers, and each streetcar's total capacity is up to 180 people.
The route will include 10 stations in each direction, which will connect to 18 existing OCTA bus lines. Each station will include platforms on either side of major cross streets. The route will be double-tracked for its entire length except for the one-way loop between Ross and Mortimer streets. The maintenance and storage facility will be located adjacent to 5th Street near the eastern terminus of the Pacific Electric right-of-way at Raitt Street. The Harbor and Raitt stops will include park and ride lots; the existing parking structure at Santa Ana train station will also be used as a park-and-ride.
Although the former Pacific Electric rail bridge over the Santa Ana River still exists, it is single-track and considered structurally inadequate due to its age. A new double-track bridge is being built parallel to the old bridge. In addition, the line may also cross Westminster Avenue on an elevated bridge to reach the Harbor Transit Center in Garden Grove.
Eight Siemens S70 light rail vehicles will service the route, with six in operation at any one time. The streetcar is proposed to operate from 6 a.m. to 11 p.m. Monday through Thursday; 6 a.m. to 1 a.m. on Fridays and Saturdays; and 7 a.m. to 10 p.m. on Sundays and holidays. Trains will run every 10 minutes between 6 a.m. and 6 p.m., and every 15 minutes at other hours.
The OC Streetcar will use a proof-of-payment system, requiring valid payment before boarding and lacking a turnstile barrier at stations. Fares will be purchased as paper tickets and passes at ticket vending machines at stations, or through a mobile ticketing app.
Fares will be the same as charged on OCTA's OC Bus service. Herzog Transit Services won the contract to operate the service in 2020.
Background and construction.
Pacific Electric.
The streetcar will partially follow the historic route of the Pacific Electric interurban railway's Santa Ana Line, whose Red Cars operated between Santa Ana and Downtown Los Angeles via the West Santa Ana Branch right-of-way starting in 1905. The Santa Ana Line began at the old Southern Pacific Station (now demolished) at Terminal Street just south of the current Santa Ana train station, and traversed downtown Santa Ana via 4th Street. Service to Orange County was terminated in 1950 due to the increasing use of automobiles and buses, and the original tracks through town were removed and paved over.
West of downtown Santa Ana, the original wide right of way – purchased by OCTA after its abandonment – remains as a strip of vacant land extending diagonally across Orange County's cardinal street grid, from Santa Ana northwest to Cypress/La Palma on the Los Angeles County line. Although OCTA has allowed some temporary uses (such as parking) in the historic right of way, and most of the tracks have been removed, the authority always intended to return this corridor to transit use in the future.
CenterLine proposal.
The first proposals for a modern, second-generation light rail system, as opposed to a streetcar system, serving north Orange County appeared in the 1990s. The CenterLine project would have created several light rail lines, including a main line running from Fullerton via Santa Ana to Irvine. It would have included service along the current OC Streetcar route between the Santa Ana train station and Bristol Street, but not along the diagonal West Santa Ana Branch right-of-way. Multiple branches were also proposed for the line to serve other areas of Orange County; most of the lines would have been elevated. The initial 1992 proposal called for of light rail, which due to political opposition was reduced to by 2001, and by 2004. The CenterLine was opposed mainly due to its high cost (more than $1 billion for the segment between Santa Ana and John Wayne Airport) and was ultimately canceled in 2005.
Current project and construction.
A streetcar along the current, east-west route (the "Santa Ana-Garden Grove Fixed Guideway Corridor") was first proposed by OCTA in 2006. The streetcar was the result of OCTA's "Go Local" initiative, which offered funds for Orange County cities to study potential new transit links to existing Metrolink rail stations. The Measure M2 sales tax increase, also known as OC Go, will be partly used to fund transit projects in Orange County, was also passed in 2006. In 2008, the cities of Santa Ana and Garden Grove partnered with OCTA to develop the project. The design was modeled after street-running light rail services of the Portland Streetcar (Portland, Oregon) and TRAX (Salt Lake City, Utah).
Environmental reports were completed and the project qualified for federal funding status by 2015. Former President Barack Obama included $125 million for OC Streetcar in the 2016-17 federal budget under the Major Capital Investments (New Starts) program. In January 2017, Congress approved an additional $50 million in funding for the project, for a total of $175 million. The streetcar was also one of the "Top 10 State Infrastructure Projects" that Governor Jerry Brown has recommended for expedited federal review. The total funding would be 72.2 percent from the federal government, 8.6 percent from California's state cap and trade program, and 19.2 percent from the county sales tax.
OCTA announced in September 2015 that HNTB Corporation would carry out design work. The $15 million contract covered design of tracks, bridges, stations, associated utilities and the vehicle maintenance and storage facility. In December 2016 OCTA released a request for proposals for the manufacturing and delivery of the light rail vehicles. Construction is planned to start in 2018, and revenue service was expected to begin in 2020. In March 2018, OCTA placed an order for 8 S70 vehicles (later rebranded as "S700" by Siemens), at a cost of $51.5 million. By July 2018, costs had increased to a projected $407.76 million (up from an estimated $299.3 million as of June 2017) with an expected completion in 2021.
On September 24, 2018, OCTA awarded a $220.5 million contract to Walsh Construction Company to build the streetcar.
On November 30, 2018, a groundbreaking ceremony was held, and the Federal Transit Administration announced that federal funding would be increased to $217 million.
Future expansions.
Santa Ana mayor Miguel Pulido has suggested the OC Streetcar system could become "the hub of a light-rail system that could connect the county’s core," with potential future extensions to Disneyland, Anaheim's Platinum Triangle and the John Wayne Airport. An extension north to Anaheim along Harbor Boulevard could connect with the controversial Katella Avenue streetcar project (Anaheim Rapid Connection), should that project be built in the future. Although the Anaheim City Council rejected the Katella streetcar in January 2017, OCTA has listed a streetcar connection in its Central Harbor Boulevard Transit Corridor Study, leaving the possibility that it could be built as a county project, rather than a city project.
OC Streetcar is one of two current transit projects intended to use the historic West Santa Ana Branch, the other being a Los Angeles Metro Rail West Santa Ana Branch Transit Corridor line. The two services are not planned to connect; however, the possibility of re-establishing service between Santa Ana and Los Angeles has been studied by the Southern California Association of Governments (SCAG) since 2012. Restoring full service to the Pacific Electric Santa Ana Line via light rail would cost about $3 billion to construct, and serve about 80,000 riders daily.
Impact.
Reception of the streetcar has been mixed among business owners and residents along the proposed corridor. Supporters suggest that the project would increase property values and increase economic activity along the route, as has occurred with light rail projects such as the Expo Line in Los Angeles County. Underutilized areas along the route could be reappropriated for denser transit-oriented development, reducing the need for automobiles among new residents. The Willowick Golf Course in Garden Grove is being considered for redevelopment, potentially as a regional park with sports arenas and outdoor amphitheater, with mixed-used neighborhoods adjacent to a proposed stop on the streetcar route. In addition, 17.8 percent of households in the service area do not own a car, and the streetcar would markedly improve their access to the regional transit system.
However, some businesses have opposed the project, citing that customers might avoid the area during construction, and that the rail line would eliminate parking spaces and increase traffic congestion. In addition, low-income residents have expressed concern over the potential gentrification of their neighborhoods, and being unable to afford increased rents as a result of the rise in property value. The streetcar project has been criticized for its high cost ($70 million per mile), and the inflexibility of a fixed-guideway transit system to adjust to system changes, as compared to buses.


Anthony Wrona

Anthony Wrona - (b. 1926 - d. 2000) was an influential American Luthier (violin maker) and Archetier (bow maker).
He was born in Buffalo, NY. As a youngster, was fascinated by making instruments (of the violin family).
He served in World War II, and came back a paraplegic (after a spinal injury).
Learned the trade/violin making and restoration from Simone Fernando Sacconi and worked for Rembert Wurlitzer Co.’s fine-instrument repair department.
After the closing of the Wurlitzer shop (in 1971), worked on his own.
External links.
"Wrona continued working for more than 30 years, making violins and occasionally repairing instruments. Sometimes dealing with difficult medical complications and chronic pain, he maintained a positive outlook till the end. He has inspired those who knew him not to let handicaps getting in the way and demonstrated that you can create great beauty despite obstacles."


Marilyn Rea-Menzies

Marilyn Rea-Menzies (born 1 February 1944) is a New Zealand artist, principally known for her tapestry work, but who also exhibits drawing, painting, and digital print. She is considered one of New Zealand's leading textile artists.
Life.
Rea was born in Westport on the West Coast of the South Island on 1 February 1944, the eldest of nine children. Her grandparents had arrived in Westport in 1920, and her parents Meg (née Eddy) and Alan Rea ran the O'Conor Home Farm from 1947, first on McKenna Road, and then from 1952 at Nine Mile Road. Marilyn had what she describes as a rural Irish Catholic upbringing, doing farm chores, helping with the milking, and riding horses. She was educated at St Mary's College in Westport, where her teacher Sister Christopher encouraged her artistic skills, to the point of her passing the preliminary exam for the Diploma of Fine Arts. Instead of attending art school, she moved to Christchurch at the age of 17 to train as a primary school teacher at Christchurch Teachers' College from 1961 to 1962.
She then moved back to the West Coast and had a brief teaching career before marrying David Menzies in January 1965. After a short stint in Wellington and the birth of their first child, the couple returned to Westport, where her husband managed the Buller Valley Dairy Company until its closure in 1971. The family then moved to the North Island, where David Menzies had a series of dairy factory management jobs in Te Puke, Wairoa, and finally Tauranga.
Rea-Menzies lived in Tauranga and nearby Mount Maunganui until 1990. When she separated from her husband in December 1985 she resolved to begin an artistic career. At this time she was running a weaving supply business and had founded an artist co-operative, Viewpoint Studio. She returned to the South Island in November 1990, to set up Glenora Craft and the International Weavers' School in Picton, where she spent nearly four years. Rea-Menzies moved to Christchurch in 1994, initially working from home; in mid-1998 she established a public studio in the Arts Centre, the Christchurch Tapestry Workshop, which she operated almost seven days a week. Visitors occasionally commissioned works from her after visiting the studio; Rea-Menzies would invite them to do some of the weaving themselves, and to cut the tapestry from the loom when it was finished. She stayed in the Arts Centre until the 2011 Christchurch earthquake, when the damaged building was closed for repair.
Following the 2011 earthquake and her studio closure, Rea-Menzies eventually moved to Hamilton, where four of her five children lived, and remained there for six years. During this time she sold some paintings (but no tapestries), and taught weaving and drawing. Gradually her children began to move away from the Waikato, so in 2019 she returned to Westport to set up a studio, gallery, and teaching space.
Artistic career.
Rea-Menzies painted and drew from the age of 10, and joined local art groups to keep in practice while her children were growing up. In the 1970s, influenced by Robert Kaupelis book "Experimental Drawing," she started applying grids and distortions to her paintings, which later appeared in her tapestries. She was also strongly influenced by seeing Colin McCahon's painting "On Building Bridges" around 1977 in the Auckland Art Gallery. In 1980, while living in Tauranga, Rea-Menzies taught herself to weave tapestries – she had a small weaving frame constructed and learned the techniques from a library book. Within a year she had won her first award, at the Bay of Plenty Woollcraft Festival.
Rea-Menzies has been working professionally as full-time artist since the early 1990s. One the few professional tapestry weavers in New Zealand, and the only one creating large-scale works, she is considered one of New Zealand's leading textile artists and teachers.
Rea-Menzies' early work was inspired by the New Zealand landscape, including a water/sea/sky series woven from 1984 to 1986. Her response to the enfolding nature of the West Coast landscape has been compared to that of the West Coast artists Sue Syme and Catherine Brough. Rea-Menzies has been influenced by Colin McCahon, Louise Henderson, and John Weeks, and international artists Chuck Close, Jasper Johns, Robert Rauschenberg, and David Hockney. She has said: "The architectural process of building the tapestry, actually constructing the fabric and image together so that the two are physically and visually inseparable, relates very strongly to the process of constructing and building our lives."
Her larger tapestry works are intricately woven and can take months or years to produce. Although principally known for her tapestries, Rea-Menzies has regularly exhibited photography and drawing; all three media were part of her 2008 show "Underfoot" at the Centre of Contemporary Art (CoCA) in Christchurch. She also exhibits paintings and digital designs.


Lancashire Watch Company


Bio-Dome

Bio-Dome is a 1996 American comedy film directed by Jason Bloom. "Bio-Dome" was produced by Motion Picture Corporation of America on a budget of $8.5 million and was distributed theatrically by Metro-Goldwyn-Mayer.
The plot of the film revolves around two clumsy, dim-witted slackers who, while on a road trip, look for a toilet stop in what they believe is a shopping mall, which turns out to be a "bio-dome", a form of closed ecological system in which five scientists are to be hermetically sealed for a year. The film has themes of environmentalism, combined with drug use, sexual innuendo, and toilet humor.
The film stars Stephen Baldwin and Pauly Shore, and has cameo appearances by celebrities such as Roger Clinton, Kylie Minogue, Patricia Hearst, and Rose McGowan. Jack Black and Kyle Gass first came to global attention in "Bio-Dome" in which they performed together as Tenacious D on-screen for the first time.
The film grossed $13 million at the box office in North America. Bio-Dome was panned by critics, gaining a record low score of 1/100 on Metacritic.
On December 18, 2013, Stephen Baldwin appeared on Mancow Muller's radio/TV show, confirming that he is in talks with Pauly Shore about making a sequel to the film revolving around the children of Bud and Doyle, their characters.
Plot.
Bud "Squirrel" Macintosh and Doyle "Stubs" Johnson are best friends who live together. Their environmentalist girlfriends, Jen and Monique, stand them up for a date, due to their immaturity.
Driving back home, they pass by the Bio-Dome, where scientist Dr. Noah Faulkner is about to seal his team in for a year without outside contact. Mistaking the Bio-Dome for a mall, Bud and Doyle go inside to use the bathroom, only to be sealed in along with the scientists. Dr. Leaky, the project's investor, discovers them and demands that they be kicked out. Dr. Faulkner refuses, claiming it would destroy the purpose of the experiment, and so Bud and Doyle remain. Although things go smoothly at first, this proves to be a mistake, as Bud and Doyle continue their antics, harming themselves and destroying many of the scientists' projects. The scientists plead to Dr. Faulkner, but he only relents after the two find a secret stash of junk food and experiment with laughing gas. Bud and Doyle are then banished to the desert environment section and after three days of being stuck, they discover a key in the lock of one of the windows, which opens a back door, and they escape the Bio-Dome.
As Bud and Doyle are receiving a pizza delivery at the dome, they learn Jen and Monique are attending an environmental party with other men. Bud and Doyle decide to outdo the party and hold one inside the Bio-Dome to win them back. The party backfires as it throws the experiment into chaos and Jen and Monique disavow the boys. The scientists prepare to exit out the desert through the door, but realizing their idiotic actions, Bud and Doyle intervene and demand they all stay and restore the dome to full health, arguing that the real world itself is currently not a pristine environment, with Doyle swallowing the key as a last resort. The group gets a grip on the situation and begins to fix the dome together, while the boys and the scientists bond with each other as a team, and Bud and Doyle's efforts in restoring the dome soon draw a large group of fans and supporters, including Monique and Jen. Meanwhile, Dr. Faulkner, who had disappeared the night of the party, has gone insane and is starting plans to blow up the dome with homemade coconut bombs.
After several months pass and Earth Day approaches, Bud, Doyle, and the team are successful in restoring the dome. But on the night before the doors open again, Bud and Doyle discover Dr. Faulkner, hoping to apologize to him and make amends. He tells the two that he is rigging pyrotechnics for the door opening ceremony and gets them to help plant the items, not knowing they are really bombs. Once Bud and Doyle are on their own with the bombs, they goof off with one of the coconuts and, after a failed long pass, they discover their dangerous nature. They alert the others and try to exit the dome early, but the door cannot be opened until the clock hits zero, when the bombs will go off. Bud and Doyle run back into the dome to find Dr. Faulkner and get him to deactivate the bombs. After a chase and struggle, they knock him out and use a remote to disable the coconuts.
With the Bio-Dome experiment complete, the team gets ready to exit the now open door, but as they begin to walk out, Dr. Faulkner returns with one last coconut bomb, trips, and the bomb detonates at the entrance. Bud, Doyle, Jen and Monique bid farewell to the Bio-Dome scientists and drive off, where Doyle yet again has to use the bathroom and the car is seen driving toward a mysterious nuclear power plant. Dr. Faulkner, meanwhile, has escaped the dome through the desert window door, having retrieved the key Doyle swallowed, and flees through the desert with police in pursuit.
Reception.
Box office.
"Bio-Dome" grossed $13.4 million in North America, against an estimated production budget of $8.5 million. MGM spent $10 million on marketing.
Critical response.
On Rotten Tomatoes, the film has an approval rating of 4% based on reviews from 25 critics. The critical consensus reads: "Like its two obnoxious protagonists, this dreadfully unfunny Pauly Shore vehicle should remain separated from society." On Metacritic it has a score of 1 out of 100 based on reviews from 10 critics, indicating "overwhelming dislike". It is one of eleven films to hold this rating; the other ten being "10 Rules for Sleeping Around", "Chaos", "inAPPropriate Comedy", "Not Cool", "The Singing Forest", "The Garbage Pail Kids Movie", "Death of a Nation", "Hardbodies", "Mother's Day" and "United Passions". Audiences surveyed by CinemaScore gave the film a grade B− on scale of A to F.
Leondard Klady of "Variety" wrote: "It's not by any means inspired madness. Neither the script nor direction lives up to the concept, and the picture evolves into a 'Bio'-degradable hash rather than a zany sendup of potent issues and serious intents gone awry." Owen Gleiberman of "Entertainment Weekly" gave the film a grade F, saying "Even with the low expectations any reasonable viewer brings to a Shore flick, this rates only stupid-plus." Stephen Holden of "The New York Times" called it "inept in almost every respect."
Accolades.
At the 1996 Golden Raspberry Awards, Shore co-won a Razzie Award for Worst Actor for his work in the film, tied with Tom Arnold for that actor's performances in "Big Bully", "Carpool" and "The Stupids". At the 1996 Stinkers Bad Movie Awards, the movie won two of the movies' three nominations: Worst On-Screen Hairstyle for Stephen Baldwin and Most Painfully Unfunny Comedy. Shore was also nominated for Worst Actor, but lost it to Tom Arnold for his acting in the same three movies ("Big Bully", "Carpool" and "The Stupids").
Home Video.
The movie was released on Home Video June 11, 1996.
Sequel.
On December 18, 2013, Stephen Baldwin appeared on Mancow Muller's radio/TV show, confirming that he is in talks with Pauly Shore about making a sequel to the film revolving around the children of their characters Bud and Doyle. Baldwin had also stated that he gets recognized more for his role in "Bio-Dome" than any other film he has done thus far. In an interview published in "Variety" on January 17, 2017, he reiterated his desire to make a sequel, saying that Shore was interested and he has funding, but is seeking studio approval.


Pert Kelton

Pert L. Kelton (October 14, 1907 – October 30, 1968) was an American stage, movie, radio, and television actress. She was the first actress who played Alice Kramden in "The Honeymooners" with Jackie Gleason and earlier, during the 1930s, was a prominent comedic supporting and leading actress in Hollywood films such as "Bed of Roses" and "The Bowery". She performed in a dozen Broadway productions between 1925 and 1968. However, her career was interrupted in the 1950s as a result of blacklisting, leading to her departure from "The Honeymooners".
Early life.
Pert L. Kelton was born in 1907 in Great Falls, Montana. Her mother, Sue Kelton, was a native of Canada; her father, Edward Kelton, a native of California. Both of her parents were travelling song-and-dance performers in vaudeville; and her aunt, Jane Kelton, was also a professional actress in the late 1800s and early 1900s. In fact, it was her Aunt Jane who is credited with giving Pert her unusual name. According to Kelton family history, Jane suggested the name to Pert's mother while reminiscing about her career and describing her favorite theatrical role, that of the character "Pert Barlow" in a play called "Checkers". Pert, therefore, even from infancy, seemed destined to be an entertainer, and she quickly became one. In 1910, while accompanying her parents and sister on an overseas tour of shows, she debuted on stage at the age of three in Cape Town, South Africa. Upon her return to the United States with her family, Pert was enrolled in private schools for her early formal education and for extensive training in dance, voice, and drama. By age 12, after appearing for a while with her parents as "The Three Keltons", she began appearing as a solo act or "single" in vaudeville; and by age 17 she was performing on Broadway, initially as a cast member in Jerome Kern's 1925 musical comedy "Sunny", starring Marilyn Miller.
Films.
Pert and her parents had moved to California to work in Hollywood films by the latter half of 1927. Her first credited movie role there was as the character Rosie in First National Pictures' 1929 release "Sally", a production based on the Broadway hit by the same name. With regard to the Kelton family's living arrangements in this period, the federal census of 1930 documents that Pert was residing in Los Angeles at the "Warner-Kelton Hotel", later called the "Hotel Brevoort (and Tropical Gardens)" and sharing room 666. That same census identifies all three of the Keltons as employed actors in "motion pictures".
Pert was a young comedienne in A-list movies during the 1930s, often portraying the leading lady's wisecracking friend. She had a memorable turn in 1933 as dance hall singer "Trixie" in "The Bowery" alongside Wallace Beery, George Raft, Jackie Cooper, and Fay Wray. Directed by Raoul Walsh, the film is based on the story of Steve Brodie, the first man who reportedly jumped off the Brooklyn Bridge in 1886 and lived to brag about it. Kelton at one point in the film sings to a rowdy, appreciative crowd in an energetic dive, using a curious New York accent to good comedic effect, with Beery and Raft arguing afterwards over her attentions.
In Gregory LaCava's 1933 pre-Code comedy "Bed of Roses", Kelton plays Minnie, a witty prostitute who is a partner in crime with Lorry, portrayed by Constance Bennett. The two women in the plot are fond of getting admiring men helplessly drunk before robbing them, at least until getting caught and tossed into jail. Kelton has all the best lines, surprisingly wicked and amusing observations that would never be allowed in an American film after the Hollywood Production Code was adopted. Nevertheless, in 1933 her performance in "Bed of Roses" was widely praised by critics in leading newspapers and trade papers.
Kelton for the remainder of the 1930s performed in over 20 more feature films and shorts. After her appearance in the 1939 film "Whispering Enemies", she redirected her career, returning again to theatre and to performing increasingly on radio and later on the rapidly expanding medium of television. She did not return to the "big screen" until 1962, when she was cast as Mrs. Paroo in "The Music Man."
Radio and return to New York.
By April 1940, Pert had left California and was living in New York City again, sharing a $65-per-month apartment in Manhattan on West 55th Street with three other women, two of whom were employed as dancers in the theatre and the third as a secretary. A federal census taker canvassing Manhattan that year concisely identified Kelton in his enumeration ledger as "Actress, Theatre & Movies" and recorded her given age as only 28, although in the spring of 1940 Pert was actually 32 years old. If not a mistake in documentation, it is possible that Kelton herself, feeling the pressures to maintain a youthful profile within the image-conscious realm of entertainment, "shaved" a few years off her age when answering census questions at that time. Her documented lack of consistent employment during the previous year may be indicative too of the professional pressures she was experiencing after her film career in Hollywood began to wane in the late 1930s. According to the United States Census of 1940, Kelton was employed for only six weeks during the entire year of 1939, a total time of employment far less than the weeks worked by her roommates over the same period.
Once Kelton had resettled in New York during the early 1940s, she began to work in theatre again, and she became a familiar voice on radio as well, performing on programs such as "Easy Aces", "It's Always Albert", "The Stu Erwin Show", and on the 1941 soap opera "We Are Always Young". Later, In 1949, she did the voices of five different radio characters on "The Milton Berle Show". She was also a regular cast member of "The Henry Morgan Show"; and in the early 1950s, she performed the role of the tart maid in the Monty Woolley vehicle "The Magnificent Montague".
Television.
Kelton appeared in "Henry Morgan's Great Talent Hunt", first aired January 26, 1951, hosted by Henry Morgan, and with Kaye Ballard, Art Carney, and Arnold Stang.
Kelton was the original Alice Kramden in "The Honeymooners" comedy sketches on the DuMont Television Network's "Cavalcade of Stars". These sketches formed the eventual basis for the 1955 sitcom "The Honeymooners". Jackie Gleason starred as her husband Ralph Kramden, and Art Carney as their upstairs neighbor Ed Norton. Elaine Stritch played Trixie, the burlesque dancer wife of Norton, for one sketch before being replaced by Joyce Randolph.
Kelton appeared in the original sketches, generally running about 10 to 20 minutes, shorter than the later one-season half-hour series episodes and 1960s hour-long musical versions. However, she abruptly was dropped from her role because of being blacklisted and she was replaced by Audrey Meadows. Rather than acknowledge that she was blacklisted, her producers explained that her departure was based on alleged heart problems. In his book "The Forgotten Network", David Weinstein wrote Kelton remained on "Cavalcade of Stars" through the final season of the series (1951–1952), and suggests that it may have been because Jackie Gleason had resisted attempts at having her dropped.
In the 1960s, Kelton was invited back to Gleason's CBS show to play Alice's mother in an episode of the hour-long musical version of "The Honeymooners" (also known as "The Color Honeymooners"), with Sheila MacRae as a fetching young Alice. By this time, the original age discrepancies were reversed, with Ralph married to a much younger Alice than himself.
In 1963, Kelton appeared on "The Twilight Zone", playing the overbearing mother of Robert Duvall in the episode "Miniature." The next year she guest-starred on the popular family sitcom "My Three Sons". In this episode "Stage Door Bub", Kelton portrays Thelma Wilson, a veteran itinerant stage actress who longs for a settled domestic life but soon realizes that that lifestyle is actually ill-suited for her personality.
In her last years, Kelton was strongly identified with Spic and Span because of commercials for the product.
Broadway.
In her 1925 Broadway debut in "Sunny", Kelton had played the character Magnolia and performed a song with the same title as the play. Years later, she was twice nominated for Tony Awards: in 1960, as Best Supporting or Featured Actress (Musical) for Frank Loesser's "Greenwillow"; and in 1967–1968, as Best Supporting or Featured Actress (Dramatic) for "Spofford". Her most memorable Broadway role, however, was her portrayal of the impatient Mrs. Paroo, the Irish mother of the town librarian Marian Paroo (Barbara Cook), in Meredith Willson's "The Music Man", which premiered at the Majestic Theatre in New York in December 1957. She reprised her Broadway character in the film adaptation of "The Music Man" in 1962.
Hotel owner.
Pert Kelton was part owner of the Warner-Kelton Hotel, built in the late 1920s, at 6326 Lexington Avenue in Los Angeles, Pert and her parents resided in the hotel during the late 1920s until at least 1930. (A February 20, 1928, article in the "Standard-Examiner" (Ogden, Utah) incorrectly identifies the hotel as the Walton-Kelton Hotel.) The hotel catered to actors, poets, and musicians, such as Cary Grant, Orry Kelly, Rodgers and Hart, Monroe Salisbury, Sadakichi Hartmann, and later, Elizabeth Short. The building had a small outdoor theater, in a garden to the south, with a wishing well that may have inspired the song "There's a Small Hotel" from the musical "On Your Toes" (1936). It also housed a speakeasy in the basement. A sign above the hotel entrance reads "Joyously Enter Here". It later was the home of the California Television Society. The song was written about the Stockton Inn in Stockton NJ across the river from Bucks County PA where Rogers had residents.
Personal life and death.
When away from rehearsing and performing, Kelton enjoyed art as a pastime and became a "passionate" painter. Pert was married to actor-director Ralph S. Bell with whom she had two sons, Brian and Stephen. The couple remained together until her death.
A resident of Washington Township, Bergen County, New Jersey, Kelton died of a heart attack on October 30, 1968, at age 61 while swimming at the YMCA in Ridgewood, New Jersey. Her body was cremated, and her ashes were given to family members. Her husband Ralph, who lived another three decades, later married Patricia Roe Bell, and died in August 1998.
Filmography.
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Cooperative school

Co-operative schools are characterised by the co-operative values and principles which underpin the practice of all co-operative organisations.
In England and Wales, around 850 schools currently use co-operative values to support the curriculum design, pedagogy and structures for accountability and democracy.
Two main forms exist in the state education system: co-operative trust or foundation schools and co-operative academies.
Foundation schools: Co-operative trusts.
Co-operative trusts were made possible under the 2006 Education and Inspections Act, introduced by the then Secretary of State for Education, Ed Balls MP.
The 2006 Act provided two main aspects of legislation, which could be characterised as 'carrot and stick' in their purpose. The latter embraced a series of powers for local authorities and the Secretary of State to intervene in underperforming schools, classified at the time as those with the lowest grades of Ofsted Inspection outcomes. These powers are set to be extended considerably through the introduction of the 2015 Education and Adoption Act.
Using these powers, a pioneer model of a foundation trust based on co-operative values was used for the first time in 2007 by Reddish Vale High School, Stockport. Within a year, a further 25 schools adopted the model as one offering strong values and extensive engagement of all stakeholders within the learning community. The growth of the sector or movement has embraced all phases and has seen particular interest from schools offering special educational provision.
Co-operative academies.
State-funded education is experiencing considerable change, as is the case in other services for England and Wales. The Coalition government, elected in 2010, rapidly passed new legislation in the form of the Academies Act 2010 to enable a considerable growth in 'independent state sector' schools - namely academies. These operate under a direct contractual arrangement and funding agreement with the Department for Education - with the local authority relinquishing powers of supervision or intervention. Furthermore, provisions were enacted which meant that all newly established schools would from this point forward be independent of the local authority.
In response, the co-operative education movement worked with the DfE to formulate a variant of the standard Academy Articles, the legal constitution, to embrace key elements of co-operative values and principles.
National and regional networks.
As the numbers of co-operative schools and partnerships increased, the need for a national body to provide a voice for the movement was increasingly clear. In 2009, the Schools Co-operative Society was established to fulfil that function, with a membership system and representatives on a national board reflecting the regions. An example of cross-region collaboration can be found in the links forged between LASER and the Eastern Region in 2015, using the vehicle of the Co-operative Schools Network (CSNET) to share communications, administration and intellectual property freely and co-operatively with each other.


Etnachta

Etnachta (Hebrew: , with variant English spellings) is one of the most common cantillation marks in the Torah and Haftarah. It is the anchor for the Etnachta group, which in full consists of four different trope sounds, not all of which are always present. These are Mercha, Tipcha, Munach, and its namesake Etnachta.
The Etnachta group marks the end of the first segment of a verse. Therefore, it never occurs more than once in a single verse.
An example is in the first verse of the Book of Genesis, the statement that God created is marked with an Etnachta, showing the completion of God’s creation.
The Hebrew word אֶתְנַחְתָּא translates into English as "pause". This name is given because of its central location within a verse.
The Etnachta group.
The following variations of the Etnachta group can occur:
In other words, the Tipcha can occur without a Mercha, but not vice versa. The Etnachta can occur without Munach, but not vice versa. And the Etnachta can occur without a Tipcha, but not vice versa.
The Munach is normally included when the word bearing the Munach is closely related to the word bearing the Etnachta.


Hugo Butler

Hugo Dansey Butler (4 May 1914 – 7 January 1968) was a Canadian born screenwriter working in Hollywood who was blacklisted by the film studios in the 1950s.
Biography.
Born on 4 May 1914 in Calgary, Alberta, Canada, his father, Frank Russell Butler (b.18 Dec 1889 in Oxford, England), had acted and written scripts in silent films. His mother was Margaret Annie Dansey Addis (b. 1891 in Barton Regis, Gloucestershire, England). Hugo Butler worked as a journalist and playwright before moving to Hollywood in 1937 where he wrote the first of his thirty-four screenplays. His work on "Edison the Man" (1940) led to his nomination (with Dore Schary) for the Best Writing, Original Story Academy Award.
In 1940 he married actress Jean Rouverol, later an author and screenwriter. On May 5, 1945, Butler enlisted in the United States Army during World War II.
After being blacklisted, he wrote under various pseudonyms as well as using a fellow member of the Writers Guild of America as a front to submit screenplays to the movie studios on his behalf. He and his wife went to Mexico where he worked on scripts for directors Luis Buñuel and Carlos Velo. He was a handful of blacklisted artists responsible for the "Nuevo Cine" movement in Mexico, according to Rebeca Shreiber's "Cold War Exiles in Mexico." They did not return to the United States on a permanent basis for thirteen years.
Hugo Butler suffered from arteriosclerotic brain disease for several years before he died from a heart attack in January 1968 in Hollywood, California. In 1997, the Board of Directors of the Writers Guild of America voted to posthumously give him official credit for scripts he had written.
He is survived by wife Jean and children Becky Butler, Emily Butler, Mary Butler, Debbie Butler and screenwriter Michael Butler.
Butler's film "Los Pequeños Gigantes" was preserved by the Academy Film Archive in 2007.


Global Environment Outlook

Global Environment Outlook (GEO) is a series of reports on the environment issued periodically by the United Nations Environment Programme (UNEP). The GEO project was initiated in response to the environmental reporting requirements of UN Agenda 21 and to a UNEP Governing Council decision of May 1995 which requested the production of a new comprehensive global state of the environment report.
Six GEO reports have been published to date: GEO-1 in 1997, GEO-2000 in 1999, GEO-3 in 2002, GEO-4 in 2007, GEO-5 in 2012 and GEO-6 in 2019.
GEO process.
The coordinated global network of collaborating centres (CCs) is at the core of the GEO process. These centres have played an increasingly active role in preparing GEO reports. Regional centres are now responsible for almost all the regional inputs, combining top-down integrated assessment with bottom-up environmental reporting. Other institutions provide specialized expertise on cross-cutting or thematic issues.
Working groups provide advice and support to the GEO process, particularly on integrated assessment methodologies and process planning.
Other United Nations agencies contribute to the GEO process, mainly by providing substantive data and information on the many environmental and related issues that fall under their individual mandates. They also participate in the review process.
The GEO reports are produced using a participatory and consultative approach. Input is solicited from a wide range of sources throughout the world, including the collaborating centre network, United Nations organizations and independent experts. Working together with the GEO Coordinating Team in Nairobi and the regions, the CCs research, write and review major parts of the report. During the preparation of the report, UNEP organizes consultations inviting policy makers and other stakeholders to review and comment on draft materials. Drafts also undergo extensive peer review. This iterative process is designed to ensure that the contents are scientifically accurate and policy relevant to users in different parts of the world and with different environmental information needs.
At the 22nd session of the UNEP Governing Council/Global Ministerial Environment Forum (GC/GEMF) in 2003, governments requested UNEP to prepare an annual Global Environment Outlook statement to highlight significant environmental events and achievements during the year. Keeping abreast of environmental issues as they unfold, the GEO annual statement (GEO Year Book) is to be released in the beginning of every year in between the comprehensive GEO reports. The GEO Year Book 2003, the first in the annual series, was launched at the 8th Special Session of the GC/GMEF on 29 March 2004.
Other outputs of the GEO project include regional, sub-regional and national integrated environmental assessments, technical and other background reports, a website, products for young people ( GEO for Youth printed in 2002 and 2013 GEO for Youth) and a core database – the GEO Data Portal.


Operation Copperhead

Operation Copperhead was a small military deception operation run by the British during the Second World War. It formed part of Operation Bodyguard, the cover plan for the invasion of Normandy in 1944, and was intended to mislead German intelligence as to the location of General Bernard Montgomery. The operation was conceived by Dudley Clarke in early 1944 after he watched the film "Five Graves to Cairo". Following the war M. E. Clifton James wrote a book about the operation, "I Was Monty's Double". It was later adapted into a film, with James in the lead role.
The German high command expected Montgomery (one of the best-known Allied commanders) to play a key role in any cross-channel bridgehead. Clarke and the other deception planners reasoned that a high-profile appearance outside the United Kingdom would suggest that an Allied invasion was not imminent. An appropriate look-alike was found, M. E. Clifton James, who spent a short time with Montgomery to familiarise himself with the general's mannerisms. On 26 May 1944, James flew first to Gibraltar and then to Algiers, making appearances where the Allies knew German intelligence agents would spot him. He then flew secretly to Cairo and remained in hiding until Montgomery's public appearance in Normandy following the invasion.
The operation did not appear to have any significant impact on German plans and was not reported high up the chain of command. It was executed some time before D-Day, and in the mid of several other Allied deceptions. German intelligence might have suspected a trick, or not attributed much importance to the visit.
Background.
In preparation for the 1944 invasion of Normandy, the Allied nations conducted a complex series of deceptions under the codename Bodyguard. The overall aim of the plan was to confuse the German high command as to the exact location and timing of the invasion. Significant time was spent constructing the First United States Army Group, a notional army to threaten Pas de Calais, along with political and visual deceptions to communicate a fictional Allied battle plan. Copperhead was a small portion of Bodyguard conceived by Dudley Clarke. Earlier in the war Clarke had pioneered the idea of strategic deception, forming a deception department in Cairo named 'A' Force. Clarke and 'A' Force were not officially in charge of Bodyguard planning (a role that fell to the London Controlling Section), but because of the location of the deception the Cairo planners organised much of the operation.
On a visit to Naples in January 1944 Clarke had seen the film "Five Graves to Cairo", in which actor Miles Mander makes a brief appearance. The film involves one character impersonating another and Clarke suggested attempting the same trick in real life. He proposed an operation to mislead German commanders as to Montgomery's location in the days immediately before the Normandy landings (codenamed Operation Neptune).
Montgomery was one of the most prominent Allied commanders and the German high command expected him to be present for any invasion of France. Clarke hoped Montgomery's apparent presence in Gibraltar and Africa would lend support to the idea that the Allies might be planning landings in southern France, as part of Operation Vendetta, rather than across the Channel. While in London, in February 1944, Clarke, the London Controlling Section and Ops (B) drafted Copperhead in support of Vendetta.
Operation.
Mander, the actor from "Five Graves to Cairo", was located in Hollywood but found to be too tall in real life. Another look-alike was identified but before he could be drafted into the operation he broke a leg in a motorbike accident. Eventually, Lieutenant-Colonel J. V. B. Jervis-Reid, head of Ops (B), spotted a photograph of Meyrick Clifton James in the "News Chronicle". James, an Australian, had spent 25 years as an actor before the war, and at the time was assigned to the Royal Army Pay Corps. Colonel David Niven, a well-known British actor, was asked to contact James and offer him a screen test for future army films. When he arrived at the meeting, James was told his true role.
James was not a perfect stand-in for Montgomery. He had lost a finger during the First World War, so a prosthetic had to be made. He had also never flown before, so the London Controlling Section's Dennis Wheatley took James up for a test flight to make sure he did not suffer from air sickness. Finally, James both drank heavily and smoked cigars, while Montgomery was a teetotaler and disliked smoking. The deception planners were worried that James might be spotted drinking, spoiling the performance. Despite these hitches, and with Montgomery's approval, the plan went forward. To get into character, James spent some time with the general, posing as a journalist, to study his mannerisms.
Allied deceivers used their double agent network to circulate the idea that Montgomery would command ground forces during the invasion. Then, on 26 May 1944, James flew overnight from RAF Northolt to Gibraltar, where the Germans maintained an observation post overlooking the airport from across the Spanish border. The plane had to circle for an hour before landing to allow James, who had smuggled a bottle of gin onto the flight, to sober up. He then attended breakfast with the British governor, Sir Ralph Eastwood, before departing again for the airfield. The Allies had arranged for Ignacio Molina Pérez, a Spanish envoy known to be a German spy, to visit Government House. After observing James's departure, Pérez hurriedly crossed the border to place a call to his German handler.
James then flew to Algiers, where he was publicly paraded through the airport and driven to meet General Maitland Wilson, ostensibly for a meeting to discuss operations against the south of France. Instead, he was moved quietly to a remote villa by 'A' Force's Rex Hamer. Rumours suggest this was because James had been spotted smoking and staggering around Algiers, so the deceivers decided to cut his appearances short. Whatever the reason, the next day, out of character, James was flown to Cairo. He was to remain hidden there until the public disclosure of Montgomery's presence in France. Meanwhile, double agents in North Africa were used to extend the masquerade for a few more days, by hinting Montgomery was still in the region.
Impact.
The impact of Copperhead is unclear. The visit was reported up the German chain of command, and some double agents later received requests for information about Montgomery's movements. There is no indication that Montgomery's appearance affected German views of the imminent invasion threat. Writing in 2011, historian Joshua Levine attributes this to the fact that the deception was carried out ten days before D-Day, arguing that there would be no reason for a flying visit to North Africa to preclude an imminent invasion.
Another factor was that, in early May 1944, an uncontrolled agent based in Spain (who sold fictional intelligence to the Germans) had passed on details of a meeting in Gibraltar between several high-ranking Allied officers. Documents found after the war indicate that the Germans found this information suspect, and may have treated Montgomery's appearance as equally so. Although double agents received several urgent requests from the Abwehr about his whereabouts it does not appear that this information was passed on to the German command in France. According to captured enemy generals, German intelligence believed that it was Montgomery, though they still guessed that it was a feint. The Bodyguard deception had confused the German command as to Allied intentions and the apparent arrival of Montgomery in Gibraltar added little to the picture.
James did not enjoy the experience. Although he received equivalent pay (£10 per day) to Montgomery during the operation, it had been a stressful assignment. Following Montgomery's public appearance on the Normandy beachhead, James flew back to England and resumed his role within the Pay Corps and was warned not to discuss the operation. Dennis Wheatley, in his memoirs, commented that he felt James had been treated "shabbily" for his efforts.
Later depictions.
In 1954 James wrote an account of the operation, entitled "I Was Monty's Double" (published in the United States as "The Counterfeit General"). The British government made no attempt to stop publication, and in 1958 the book was adapted into a film of the same name. James starred as himself, alongside John Mills as an intelligence agent.


Anne Matthews

Anne Matthews is a college lecturer and author of articles and books with environmental and academic themes. Her book, "Where the Buffalo Roam: Restoring America's Great Plains" was a 1993 Pulitzer Prize finalist in nonfiction. "Deep Creek", written with William Howarth under the joint pen name "Dana Hand", was selected by "The Washington Post" as one of the best novels of 2010. Matthews is also the author of "Bright College Years: Inside the American College Today", and "Wild Nights: Nature Returns to the City".
Matthews served on the Library of America editorial board for the two-volume collection "Reporting World War II," and she is a contributing editor for "The American Scholar". She has served on the faculties of Princeton, Columbia, and New York University, and she was the first woman to direct the Princeton Writing Program. Her various articles and reviews have appeared in "The New York Times", "Outside", "Orion", "Preservation", and "The Best American Science and Nature Writing".


Internet Advertising Bureau

The Internet Advertising Bureau UK (IAB UK) is the industry body for digital advertising in the United Kingdom, founded in 1997. It promotes a sustainable future for digital advertising and best practice for advertisers, agencies, and media owners. It is apparently related to the global Interactive Advertising Bureau.
Chairman.
Richard Eyre has been the Chairman of IAB UK since March 2003. In 2013 he was awarded the Advertising Association's Mackintosh Medal. In January 2014 he was appointed a CBE for services to advertising and the media in the New Years Honours.
Chief Executive.
Jon Mew has been Chief Executive Officer since 5 January 2017.
Activities.
Spend & Audience Benchmarking.
The IAB UK PwC Digital Adspend study has tracked the growth of the online and mobile advertising industry since 1997. In 2016, it was reported that adspend on mobile display had overtaken that on PC for the first time.
The IAB works with UKOM on establishing the industry-approved standard for online audience measurement.
Flagship Events.
The IAB holds an annual flagship event, Engage, in addition to research breakfasts, workshops, seminars, and other conferences throughout the year. In 2013, the IAB's Engage event won an award for In House Event of the Year at the UK Event Awards. In 2014, Mobile Engage won Corporate Event of the Year at the same awards.
Since 2016, IAB UK has held an annual Leadership Summit bringing together senior industry leaders for discussions.
Training.
The IAB also has a training department educating advertisers, publishers, and agency talent on many aspects of digital.
Policy and Regulatory Affairs.
The IAB established a regulatory department in 2008 to help members develop best practice guidelines and participate in policy dialogues with the Government, the EU, and consumer groups. IAB UK has been instrumental in co-ordinating the UK ad tech industry's response to the ICO's ‘Update report into adtech and real time bidding'.
Groups.
IAB members participate in specialism groups covering online disciplines; these councils help guide and deliver IAB initiatives. As of 2019 these groups include search, audio, gaming, connected TV, mobile and in-app, video and more.


Joshua Shelley

Joshua Shelley (born Joshua Kurzweil; January 27, 1920 – February 16, 1990) was one of the actors blacklisted by movie studios as a result of the House Un-American Activities Committee's (HUAC) investigation of the Communist Party in Hollywood in 1952. He did not begin to again work regularly in Hollywood until 1973 when his career restarted.
Career.
A member of The Actors Studio from its inception in 1947, Shelley worked frequently on stage, both on and off Broadway, during his Hollywood exile. Shelley's onscreen work, both pre- and post-blacklist, was confined primarily to television. Nonetheless, two career highlights remain Shelley's enthusiastically received 1949 feature film debut in "City Across the River", as well as the blacklist-related 1976 film, The Front, notable for reuniting Shelley with several fellow blacklistees, including cast members Zero Mostel, Herschel Bernardi, and Lloyd Gough, screenwriter Walter Bernstein and director Martin Ritt, the latter also a fellow Actors Studio member.


George Rodiek

George Rodiek was one of the defendants in the Hindu German Conspiracy Trial, in San Francisco, 1918.
A former Bremen tobacco clerk, Rodiek migrated to Hawaii and took up a position with Hackfeld & Co in 1891. He became a naturalised United States citizen. In 1896 opened the Hilo branch of the company, and became a director in 1900. He had six children.
In 1903 he built the Walker Estate, in the upper Nuuanu Valley. Originally this was a two-story home with a series of gardens featuring ferns, rocks, and orchards generally regarded as the oldest formal Japanese garden in Honolulu.
He was active in the community and by 1916 he was president of the Hawaiian Sugar Planters' Association. He was also a Shriner and helped organise the Army-Navy YMCA. In 1917 he was made German Consul. Several German ships were seized by the Hawaiian authorities when their crews prepared to wreck engineering and navigation equipment, fearing a declaration of war. His attempts to have them released were backed up by the Secretary of State, but the Territorial Governor had not released them by the time war was declared.
His secretary was involved in meeting the "SS Maverick" during the Annie Larsen plot to send arms to revolutionaries opposing the British Empire in India as part of the Indo-German Conspiracy. Rodiek was later arrested when travelling through San Francisco. He originally pleaded not guilty but changed his plea to guilty of a single Neutrality Act violation. He claimed the matter was simply a business transaction and that he had maintained his loyalty to his adopted country. But before the sentencing, a German naval officer's diary was seized, which placed the Honolulu consulate in an incriminating light. Rodiek was found guilty, and fined $10,000. He subsequently received a presidential pardon, but sold his house and moved to San Francisco.


Chiara Passa

Chiara Passa (born 1973) is a visual artist working in media art since the second half of the 1990s.
Her artistic research analyses differences in virtual spaces through a variety of techniques - often using augmented reality and virtual reality technologies. She works with animation and interactive video-installation, digital art in public space as site-specific artworks and Projection mapping, video sculpture, art-applications and Widget (GUI) for mobile platforms.
Main artworks.
In 1996, Passa began her work in animation and video-installation, which has been described as a constant study of the figure, geometric and essential, combined with a three-dimensional and dynamic vision of the virtual space.
In 1999, Passa coined the term "Super Place" as a reference for "Extens(z)ion Projects" and later for "Live Architectures" - a series of digital artworks developed over time and based on the concept of "super place" where the site is self-performing and moves beyond its capabilities, reflecting on the idea of the virtual/unreal and how human bodies, in real space, are related to this kind of dimension/experience.
Passa's artistic research mainly explores architecture as interface, for example in the virtual reality series "Dimensioning" that aims to create a multi-dimensional extension of the space, allowing visitors to navigate into a moving 360¬∞ area.
The net-art series "Extemporary Land Art on Google Earth" aims to create an extemporary-temporary virtual land-art through augmented reality technology, constructing and re-constructing a sort of "mise en abyme" or "droste effect" in which an element shifts the other in depth. The Google earth environment merges with the augmented area in order to create a new space. "Live sculpture" is an interactive software-artwork where the body of the viewer is fully involved and becoming a three-dimensional marble sculpture constituted by variable virtual meshes. In 2005 Passa created the blog-art project "ideasonair.net-blogging as an open art project" (2005-2012 online archive). This was a conceptual net-artwork in progress that put into practice the concept of "open artwork", creating and sharing many artistic ideas in various fields between artists, curators, critics and art lovers.
In 2009 (ongoing) Passa created and developed "The Widget Art Gallery", a web-app as virtual gallery, which every two months hosts a solo digital art exhibition (supporting digital artists) related to and inspired by its dynamic site-specific context. The "Widget Art Gallery" works both as a gallery showing temporary exhibitions and as a permanent collection museum, conserving all the past exhibitions inside an online archive.


Minolta helps you bridge troubled waters


United States v. Winstar Corp.

United States v. Winstar Corp., 518 U.S. 839 (1996), was a decision by the United States Supreme Court which held that the United States Government had breached its contractual obligations. The court in "Winstar" rejected the Government's “unmistakability defense”—that surrenders of sovereign authority, such as the promise to refrain from regulatory changes, must appear in unmistakable terms in a contract in order to be enforceable.
"Winstar" arose as a consequence of the savings and loan crisis. Federal regulators had allowed "supervisory goodwill" to be counted as regulatory capital for financial institutions that took over failing thrifts. Congress later passed the Financial Institutions Reform, Recovery, and Enforcement Act of 1989, which substantially changed these advantages and one of the successor banks successfully sued. The United States Court of Appeals for the Federal Circuit found a breach of contract and awarded damages—the Supreme Court upheld the lower court decision. "Winstar" cases resulted in multimillion-dollar payouts to plaintiffs. As of July 31, 2000, there were 13 settlements or judgments totaling $1.158 billion against the federal government, with more than 100 more cases pending, as a result of the Winstar decision.
Winstar Corporation and its subsidiary United Federal Savings Bank was successfully represented by Charles J. Cooper. The board of United Federal Savings Bank consisted of chairman E. Ted Yoch, and directors Kenneth Bureau, Howard Rekstad, Gary Nordness, and William Bartolic. The decision makes clear that the Stipulation and Consent to Issuance of Order of Prohibition against United's board was improperly required by the Government.


Capital and the Debt Trap

Capital and the Debt Trap is a research monograph by Claudia Sanchez Bajo and Bruno Roelants. The first four chapters provide a general summary of the economic instability afflicting the international economy at the time of publication (2011), noting that cooperatives have on average performed better than traditional for-profit corporations. The next four chapters describe four different cooperatives in four countries. The final chapter provides a summary. Cooperatives seem on average to last longer and be more responsive to the needs of customers and the communities in which they operate, because their shared ownership and participative management generally makes labor more flexible while reducing the incentives of upper management to maximize short-term performance at the expense of the long term.
The 2007–2012 global economic crisis and cooperatives.
The 2007–2012 global economic crisis is described as "The Mother of All Crises" with substantial wealth destruction for most people (ch. 1). The causes are attributed in part to three traps: consumption, liquidity and debt (ch. 2). Another contributor is the separation of ownership and control in modern corporations (ch. 3). This separation creates perverse incentives for senior managers to do things in their own short-term interests at the expense of the performance of their companies, stockholders, employees, and the communities in which they operate. This is particularly true when senior executives can make millions of dollars in based on the short-term performance of their companies without having to return that money if the company subsequently fails due to behavior that is short sighted at best and often fraudulent. In many cases, this includes corruption in government described in "Republic, Lost". This corruption has led to substantial deregulation of many industries, especially finance, which even extended to the "de facto decriminalization of elite financial fraud," in the words of William K. Black. Black was a lead litigator during the Savings and Loan (S&L) crisis of 20–25 years ago. As that crisis was building between 1980 and 1989, leading industry executives like Charles Keating spent lavishly on political campaign contributions. They were able to translate those contributions into actions by politicians that prevented regulators from filing criminal referrals. After the collapse of Ponzi schemes run by executives like Keating, regulators were finally allowed to investigate seriously and file thousands of criminal referrals
that led to over a thousand criminal convictions of key S&L insiders. Black insists that the 2007–2012 global economic crisis is roughly 70 times worse than the S&L crisis. However, in the current crisis, regulators have yet (as of late 2012) to file substantive criminal referrals in spite of substantive evidence of massive fraud by leading finance industry executives and the organizations they controlled.
Cooperatives, by contrast, have fewer problems with perverse incentives, because their ownership and control structures follow legal mandates promoted by the International Co-operative Alliance. These generally involve many more people in critical decisions (ch. 4). "[C]ooperatives tend to have a longer life than other types of enterprise, and thus a higher level of entrepreneurial sustainability. In [one study], the rate of survival of cooperatives after three years was 75 percent, whereas it was only 48 percent for all enterprises ... [and] after ten years, 44 percent of cooperatives were still in operation, whereas the ratio was only 20 percent for all enterprises." (p. 109)
Case studies.
The Natividad Island Divers' and Fishermen's Cooperative, founded in 1942, has survived over-exploitation of the marine habitat from which they extract their livelihood in part by partnering with researchers who help them improve their management of all their resources (ch. 5).
 is a French company producing ceramic insulators, founded as a private company in 1921. Beginning in 1989, they were purchased by a variety of international firms, the last of which worked to transfer their production to a different legal entity in a lower-wage country and bankrupt what was left. Beginning in 2002, the workers became aware of this trend, organized, prevented the transfer of some specialized equipment, and raised the capital needed to buy the company and convert it into a cooperative (ch. 6).
The Desjardins banking cooperative was founded in 1900 to provide financial support to French Canadians, who lacked adequate access to banking services, previously in the hands of anglophone Canadians. It has since grown to become the largest association of credit unions in North America, helping their members survive the Great Depression and other financial problems.(ch. 7)
The Mondragon Cooperative Group is one of the largest cooperatives in the world. It was founded in 1956 to support entrepreneurial ventures by graduates from a technical school in the Basque region of Spain. Three years later, they established the Caja Laboral credit union to help its members finance further cooperative efforts. It has grown relatively steadily from its founding, surviving successive waves of globalization that bankrupted many weaker Spanish companies. It has done this by developing a rigorous entrepreneurial approach while focusing on sustainable jobs, education and training to support society more generally.(ch. 8)
Cooperatives and stable economic growth.
In sum, the long-term interests of society are not well served by the neoliberal economic model that seems to dominate the international economy currently, because it seems to produce perverse incentives and economic bubbles that too often destroy wealth, at least for the vast majority of people. Cooperatives, on the other hand, have shown themselves to be more steady and stable mechanisms for creating wealth for greater numbers of people. "Cooperative banks build up counter-cyclical buffers that function well in case of a crisis," and are less likely to lead members and clients towards a debt trap.(p. 216) "Housing cooperatives, whether organized around home rental or ownership, considerably contribute to avoiding housing bubbles, such as that of the sub-prime in the" United States that was a major source of the 2007–2012 global economic crisis. "[H]ousing crises have been weaker or non-existent in countries where the housing cooperative system is particularly strong, such as Germany or Norway.(p. 217) ... [D]emocratic checks and balances, if properly managed, have proven not to be a cost but ... a long-term strategic investment."(p. 221)


Mian Muhammad Mansha

Mian Muhammad Mansha () is a Pakistani business magnate and billionaire. He is the founder and CEO of the Lahore-based international conglomerate Nishat Group. Mansha and some of his immediate family members are among the richest and highest tax-paying individuals in Pakistan.
In 2017, his name appeared in the Paradise Papers having a link to offshore companies. , he had an estimated net worth of billion according to Wealth-X.
Early life and career.
In the 1930s, Mansha's family had migrated to Bengal from Punjab. After the 1947 Partition of British India, the family returned to Punjab, Pakistan. Mian Muhammad Mansha's father started a cotton ginning business which later became the "Nishat Textile Mills".
Mansha was born in Faisalabad to a wealthy Chinioti Rajput family. He did his early schooling at Sacred Heart Convent, Faisalabad, and later joined Hendon College, London for higher studies in business administration.
Career.
He started his career as one of the most prominent industrialists of Pakistan. "Nishat Textiles Mills" was started in 1951 by his father and uncles. His father died one year after he returned from London after finishing his studies there in 1968. Mian Muhammad Mansha joined the family business in 1969 and eventually he split with his uncles and took over the family business. He was worth US$2.5 billion in 2013. Apart from making large acquisitions, he was simultaneously expanding his Nishat Textiles segment. "Nishat Textiles Mills" is Pakistan's largest fabric manufacturing mills.
After 1979, Mansha set up Pakistan's largest textile complex of seven factories in "Nishatabad" in the city of Faisalabad. In later years, another textile complex followed in Chunian near Lahore.
Mansha's conglomerate benefited greatly from the privatisation drive by the governments of the 1990s. During this period, he made a number of acquisitions and buy-outs, including engineering at least one hostile takeover. When the dust settled, Mansha had acquired a controlling position in Adamjee Insurance, the country's largest non-life insurer. Nishat Mills also acquired two thermal power plants near its D. G. Khan Cement Factory located in Dera Ghazi Khan District, Punjab, previously owned by the "Saigol family". Business analysts in Pakistan reportedly said that the acquisition of two thermal power plants would ensure uninterrupted power supply to "D. G. Khan Cement Factory" for the Nishat Group. While going through these large acquisitions, he was simultaneously expanding his Nishat Textiles segment, "Nishat Textile Mills" is Pakistan's largest fabric manufacturing company.
But all these achievements, perhaps, play third fiddle to Mansha's master-stroke: the acquisition of one of Pakistan's most profitable banks, MCB Bank Limited or better known as Muslim Commercial Bank. Competing with several other bidders in a privatisation process, there were several challenges to overcome, but ultimately he persevered. Under Mansha's watch, MCB Bank has demonstrated execution and growth and which has made it one of the premier financial service management teams in the Indian subcontinent. Today, MCB Bank is one of the top 4 banks in the country and leads in terms of market capitalisation with a massive employee base of roughly 18,000.
Mansha has proceeded to venture into new terrain, executing deals with state-owned WAPDA (Water and Power Development Authority) to sell its excess electric power capacity generated at Nishat's various power stations. This led to the founding of "Nishat Power", which is now a growing business with Mansha's son playing a senior role in the company's executive board.
MCB Bank, in 2008, started a partnership with Maybank of Malaysia. Maybank now has a 20% share in MCB Bank. In 2009, Mian Muhammad Mansha, chairman of MCB Bank, said that his efforts were successful in continuing to bring foreign investment to Pakistan and that his bank had already brought 970 million U.S. dollars' investment into the country from Malaysia following a deal with May Bank, Malaysia.
He was selected for a special "Lunch with the UK Financial Times" newspaper. According to "Forbes" listings in 2010, he was the 937th richest person in the world and the richest person in Pakistan.
With $700 million in cash from MCB Bank and another $300 million raised from international markets, Mansha has aspirations of acquiring an established bank in Indonesia and possibly even in the Middle East. MCB Bank already has international operations, and the "Nishat Group" also owns an automobile leasing company in Kazakhstan. Further plans include major infrastructure projects in Pakistan, such as the construction of electric power plants based on coal-powered generation of electricity and sea ports.
Achievements and awards.
Mansha is currently on the board of various prominent institutes in Pakistan and is one of the most powerful and influential people in the country. He was awarded the Sitara-e-Imtiaz civil award by President of Pakistan Pervez Musharraf on 23 March 2004. One of Mansha's companies, "Nishat Textile Mills Limited", is the largest exporting entity in Pakistan. Mansha is also Sheikh and regularly leads "Dhikr" prayer in evenings.
Mansha is also a member of the board of directors at the Atlantic Council.
Personal wealth.
Mansha was named richest Pakistani in 2008 by Daily Pakistan with net worth of US$2.5 billion equivalent to Rs 200 billion at that time. In March 2010, Mansha was the first Pakistani making it to the "Forbes" billionaires list.
Mansha owns red E-class Jaguar convertible, three Mercs, a Porsche turbo, a BMW 750, a Range Rover, and a Volkswagen, besides a turboprop plane and an eight-seater jet.
Criticism.
In 2004, Mansha's group and his preferred candidate were defeated by a margin of two votes in the All Pakistan Textile Mills Association (APTMA) elections. Mansha subsequently resigned from APTMA.
"D.G. Khan Cement Company", which is part of Mansha's "Nishat Group", was once the target of violence by local people living near the factory. The issue is still in Court and not resolved but started production after increasing security around the plant.
Mian Muhammad Mansha has never met U.S. businessman Warren Buffett but is one of his admirers. He sometimes seeks advice from the U.S. 'vulture investor' Carl Icahn who once advised him to stay away from investing in airlines, and therefore, Mansha says he has no interest in buying out Pakistan International Airlines, if it is privatised by the government in the future. Carl Icahn's advice was coloured by his bad experience with the now defunct "Trans World Airlines". Carl Icahn reportedly told him, "In good times, the unions take away the profits, and in bad times, the cost of oil kills you." Mansha sometimes goes over to India and has business meetings there with other fellow billionaires like Sunil Mittal. In recent pandemic COVID-19 Mian Mansha and the Nishat Group fired their 800-900 employees in a day and he faced a huge criticism on social media.


Because ideas want to be free


Minolta helps you enjoy lunch with friends


Best Drag Queen Entrance EVER!


PitchMen

PitchMen (original name: But Wait...There's More) is a docudrama television program produced for the Discovery Channel in the United States. The show followed infomercial producers and talent Billy Mays and Anthony "Sully" Sullivan as they attempted to sell various inventions through direct-response marketing, mainly through Telebrands, one of the largest direct response/infomercial companies. The series was narrated by Thom Beers. Each episode typically focused on two different products.
History.
Each episode typically begins with Billy Mays and Anthony Sullivan being pitched different products by their inventors. Two products are then selected and are field tested with peoples' opinions gathered on the products. If successful in the field test, Billy and Sully would create an infomercial which is then produced and played in test markets after which the inventors are notified of the amount of success that the commercial generated. For products that generated a successful level of consumer interest, high praise is given by Billy and Sully. For products that did not fare as well, the inventor is notified, and the future of the product is discussed briefly including the possibility of collaboration on tweaking the commercial for a later airing date.
It was unknown whether or not the series would continue following Mays' death on June 28, 2009. The Discovery Channel ran an all day marathon of episodes on July 1 as a tribute, which concluded with the season finale, itself edited to end with a tribute to Mays. On July 9 a special tribute episode entitled "Pitchman: A Tribute to Billy Mays" aired with comments from friends, co-workers and family. The status of the second season was undecided until July 15, when a press-release was put out by Discovery to announce that the show would be renewed for a second season, with Mays' eponymous son taking his late father's place. The second season premiered on August 19, 2010 with solely Anthony Sullivan starring in commercials. Sully sometimes brings in others to help him decide with product such as Telebrands CEO AJ Khubani. However, without Billy Mays on the show, PitchMen was cancelled after 2 seasons.
Episodes.
Season 2: 2010-2011.
On July 15, 2009, Discovery Channel announced they were renewing the show for a second season, with Mays' eponymous son Billy Mays III joining Anthony Sullivan and Thom Beers. The second season premiered on August 19, 2010. Starting September 2, 2010, Discovery Channel has removed "Pitchmen" from its regular Thursday night at 9pm slot without any explanation. However, new episodes returned to Discovery Channel beginning January 18, 2011 but with only Anthony Sullivan helming the show. But on its website, Discovery Channel has trimmed the list of season 2 episodes to five, indicating the possibility the series has been cancelled, although no official cancellation announcement has been made.
Billy Mays tribute marathon.
On July 1, 2009, as a tribute to the late Billy Mays, the Discovery Channel aired an all-day marathon of "PitchMen" leading up to the show's season finale. Commercial breaks during the marathon included one of several brief montages saluting Mays. The channel's digital on-screen graphic featured his photograph, along with the words "Billy Mays Jr. 1958–2009".


Carface

Carface () is a 2015 National Film Board of Canada animated short film by Claude Cloutier in which cars sing and dance while the Earth slides toward environmental ruin.
The film's central character is a 1957 Chevrolet Bel Air that sings "Que Sera, Sera (Whatever Will Be, Will Be)."
The film received the Prix Guy-L.-Coté Best Canadian Animation Film at the Sommets du cinéma d'animation in Montreal, and was selected as one of Canada's submissions for the Academy Award for Best Animated Short Film. The film was a Canadian Screen Award nominee for Best Animated Short Film at the 4th Canadian Screen Awards, and won the Québec Cinéma Award for Best Animated Short Film at the 18th Quebec Cinema Awards. It also won a Golden Sheaf Award for Best Animation at the 2016 Yorkton Film Festival.


John Garfield

John Garfield (born Jacob Julius Garfinkle, March 4, 1913 – May 21, 1952) was an American actor who played brooding, rebellious, working-class characters. He grew up in poverty in New York City. In the early 1930s, he became a member of the Group Theater. In 1937, he moved to Hollywood, eventually becoming one of Warner Bros.' stars. He received Academy Award nominations for his performances in "Four Daughters" (1938) and "Body and Soul" (1947).
Called to testify before the U.S. Congressional House Committee on Un-American Activities (HUAC), he denied communist affiliation and refused to "name names", effectively ending his film career. Some have alleged that the stress of this persecution led to his premature death at 39 from a heart attack. Garfield is acknowledged as a predecessor of such Method actors as Marlon Brando, Montgomery Clift, and James Dean.
Early life.
Jacob Garfinkle was born in a small apartment on Rivington Street in Manhattan's Lower East Side, to David and Hannah Garfinkle, Russian Jewish immigrants, and grew up in the heart of the Yiddish Theater District. In early infancy, a middle name—Julius—was added, and for the rest of his life those who knew him well called him Julie. His father, a clothes presser and part-time cantor, struggled to make a living and to provide even marginal comfort for his small family. When Garfield was five, his brother Max was born. Their mother never fully recovered from what was described as a "difficult" pregnancy and birth. She died two years later, and the young boys were sent to live with various relatives, all poor, scattered across the boroughs of Brooklyn, Queens and The Bronx. Several of these relatives lived in tenements in a section of East Brooklyn called Brownsville, and there, Garfield lived in one house and slept in another. At school, he was judged a poor reader and speller, deficits that were aggravated by irregular attendance. He would later say of his time on the streets there, that he learned "all the meanness, all the toughness it's possible for kids to acquire."
His father remarried and moved to the West Bronx, where Garfield joined a series of gangs. Much later, he would recall: "Every street had its own gang. That's the way it was in poor sections... the old safety in numbers." He soon became a gang leader. At this time, people started to notice his ability to mimic well-known performers, both physically and facially. He also began to hang out and eventually spar at a boxing gym on Jerome Avenue. At some point, he contracted scarlet fever (it was diagnosed later in adulthood), causing permanent damage to his heart and causing him to miss a lot of school. After he was expelled three times and expressed a wish to quit school altogether, his father and step-mother sent him to P.S. 45, a school for difficult children. It was under the guidance of the school's principal—the educator Angelo Patri—that he was introduced to acting. Noticing Garfield's tendency to stammer, Patri assigned him to a speech therapy class taught by a charismatic teacher named Margaret O'Ryan. She gave him acting exercises and made him memorize and deliver speeches in front of the class and, as he progressed, in front of school assemblies. O'Ryan thought he had a natural talent and cast him in school plays. She encouraged him to sign up for a citywide debating competition sponsored by "The New York Times". To his own surprise, he took second prize.
With Patri and O'Ryan's encouragement, he began to take acting lessons at a drama school that was part of The Heckscher Foundation and began to appear in their productions. At one of the latter, he received back-stage congratulations and an offer of support from the Yiddish actor Jacob Ben-Ami, who recommended him to the American Laboratory Theatre. Funded by the Theatre Guild, "the Lab" had contracted with Richard Boleslavski to stage its experimental productions and with Russian actress and expatriate Maria Ouspenskaya to supervise classes in acting. Former members of the Moscow Art Theatre, they were the first proponents of Konstantin Stanislavski's 'system' in the United States, which soon developed into what came to be known as "the Method." Garfield took morning classes and began volunteering time at the Lab after hours, auditing rehearsals, building and painting scenery, and doing crew work. He would later view this time as beginning his apprenticeship in the theater. Among the people becoming disenchanted with the Guild and turning to the Lab for a more radical, challenging environment were Stella Adler, Lee Strasberg, Franchot Tone, Cheryl Crawford and Harold Clurman. In varying degrees, all would become influential in Garfield's later career.
After a stint with Eva Le Gallienne's Civic Repertory Theater and a short period of vagrancy, involving hitchhiking, freight hopping, picking fruit, and logging in the Pacific Northwest, (Preston Sturges conceived the film "Sullivan's Travels" after hearing Garfield tell of his hobo adventures) Garfield made his Broadway debut in 1932 in a play called "Lost Boy". It ran for only two weeks but gave Garfield something critically important for an actor struggling to break into the theater: a credit.
There is a claim that he was a patron of Polly Adler's bordello or brothel in New York.
New York theater and the Group.
Garfield received feature billing in his next role, that of Henry the office boy in Elmer Rice's play "Counsellor-at-Law", starring Paul Muni. The play ran for three months, made an eastern tour and returned for an unprecedented second, repeat engagement, only closing when Muni was contractually compelled to go back to Hollywood to make a film for Warners. At this point, Warner's expressed an interest in Garfield and sought a screen test. He turned them down.
Garfield's former colleagues Crawford, Clurman and Strasberg had begun a new theater collective, calling it simply "the Group," and Garfield lobbied his friends hard to get in. After months of rejection, he began frequenting the inside steps of the Broadhurst Theater where the Group had its offices. Cheryl Crawford noticed him one day and greeted him warmly. Feeling encouraged, he made his request for apprenticeship. Something intangible impressed her, and she recommended him to the other directors. They made no objection.
Clifford Odets had been a close friend of Garfield from the early days in the Bronx. After Odets' one-act play "Waiting for Lefty" became a surprise hit, the Group announced it would mount a production of his full-length drama "Awake and Sing". At the playwright's insistence, Garfield was cast as Ralph, the sensitive young son who pleads for "a chance to get to first base." The play opened in February 1935, and Garfield was singled out by critic Brooks Atkinson for having a "splendid sense of character development." Garfield's apprenticeship was officially over; he was voted full membership by the company. Odets was the man of the moment, and he claimed to the press that Garfield was his "find" and that he would soon write a play just for him. That play would turn out to be "Golden Boy", but when Luther Adler was cast in the lead role instead, a disillusioned Garfield began to take a second look at the overtures being made by Hollywood.
Warner Bros..
Garfield had been approached by Hollywood studios before—both Paramount and Warners offering screen tests—but talks had always stalled over a clause he wanted inserted in his contract, one that would allow him time off for stage work. Now Warner Bros. acceded to his demand, and Garfield signed a standard feature-player agreement—seven years with options—in Warner's New York office. Many in the Group were livid over what they considered his betrayal. Elia Kazan's reaction was different, suggesting that the Group did not so much fear that Garfield would fail, but that he would succeed. Jack Warner's first order of business was a change of name to John Garfield.
After many false starts, he was finally cast in a supporting, yet crucial role as a tragic young composer in a Michael Curtiz film titled "Four Daughters" (1938). After the picture's release, he received very positive notices and a nomination for the Academy Award for Best Supporting Actor. The studio quickly revised Garfield's contract—designating him a star player rather than a featured one—for seven years without options. They also created a name-above-the-title vehicle for him titled "They Made Me a Criminal" (1939). Before the success of "Daughters", Garfield had made a B movie feature called "Blackwell's Island" (also 1939). Not wanting their new star to appear in a low-budget film, Warners ordered an A movie upgrade by adding $100,000 to its budget and recalling director Michael Curtiz to shoot newly scripted scenes.
Garfield's debut had a cinematic impact difficult to conceive in retrospect. As biographer Lawrence Swindell put it:
His "honeymoon" with Warners over, Garfield entered a protracted period of conflict with the studio, with Warners attempting to cast him in crowd-pleasing melodramas like "Dust Be My Destiny" (also 1939) and Garfield insisting on quality scripts that would offer challenges and highlight his versatility. The result was often a series of suspensions, with Garfield refusing an assigned role and Warners refusing to pay him. Garfield's problem was shared by any actor working in the studio system of the 1930s: by contract, the studio had the right to cast him in any project they wanted to. But, as Robert Nott explains:
A notable exception to this trend was "Daughters Courageous" (also 1939), a not-quite-sequel (same cast, different story and characters) to his debut film. The film did well critically, but failed to find an audience, the public being dissatisfied that it was not a true sequel (hard to pull off, since the original character Mickey Borden died in the first picture). The director, Curtiz, called the film "my obscure masterpiece."
At the onset of World War II, Garfield immediately attempted to enlist in the armed forces, but was turned down because of his heart condition. Frustrated, he turned his energies to supporting the war effort. He and actress Bette Davis were the driving forces behind the opening of the Hollywood Canteen, a club offering food and entertainment for American servicemen. He traveled overseas to help entertain the troops, made several bond selling tours and starred in a string of patriotic box-office successes like "Air Force", "Destination Tokyo" (both 1943) and "Pride of the Marines" (1945). He was particularly proud of the last film, based on the life of Al Schmid, a war hero blinded in combat. In preparing for the role, Garfield lived for several weeks with Schmid and his wife in Philadelphia and would blindfold himself for hours at a time.
After the war, Garfield starred in a series of successful films such as "The Postman Always Rings Twice" (1946) with Lana Turner, "Humoresque" (also 1946) with Joan Crawford, and "Gentleman's Agreement" (1947), an Oscar-winning Best Picture. In "Gentleman's Agreement", Garfield took a featured, but supporting, part because he believed deeply in the film's exposé of antisemitism in America. He was nominated for the Academy Award for Best Actor for his starring role in "Body and Soul" (1947). That same year, Garfield returned to Broadway in the play "Skipper Next to God". Strong-willed and often verbally combative, Garfield did not hesitate to venture out on his own when the opportunity arose. In 1946, when his contract with Warner Bros. expired, Garfield decided not to renew it and opted to start his own independent production company.
In 1949, he would again star in a Clifford Odets play, "The Big Knife".
The Red Scare.
Long involved in liberal politics, Garfield was caught up in the communist scare of the late 1940s and early 1950s. He supported the Committee for the First Amendment, which opposed governmental investigation of communist activity in Hollywood. When called to testify in 1951 before the House Committee on Un-American Activities, which was empowered to investigate communist infiltration in America, Garfield refused to name communist party members or followers, testifying that, indeed, he knew none in the film industry. Garfield rejected communism and, just prior to his death in hopes of redeeming himself in the eyes of the blacklisters, wrote that he had been duped by communist ideology in an unpublished article called "I Was a Sucker for a Left Hook", a reference to Garfield's movies about boxing. However, his forced testimony before the committee had severely damaged his reputation. He was blacklisted in "Red Channels" and barred from future employment as an actor by Hollywood movie studio bosses for the remainder of his career.
With film work scarce because of the blacklist, Garfield returned to Broadway and starred in a 1952 revival of "Golden Boy", finally being cast in the lead role denied him years before.
Death.
On May 9, 1952, Garfield moved out of his New York apartment for the last time, indicating to friends that the separation from his wife Roberta was not temporary. He confided to columnist Earl Wilson that he would soon be divorced. Close friends speculated that it was his wife's opposition to his planned confession in "Look" magazine that triggered the separation. He heard that a HUAC investigator was reviewing his testimony for possible perjury charges. His agent reported that 20th Century-Fox wanted him for a film called "Taxi" but would not even begin talks unless the investigation concluded in his favor. Three actor friends, Canada Lee, Mady Christians and J. Edward Bromberg, had all recently died after being listed by the committee.
On the morning of May 20, Garfield, against his doctor's strict orders, played several strenuous sets of tennis with a friend, mentioning the fact that he had not been to bed the night before. He met actress Iris Whitney for dinner and afterward became suddenly ill complaining that he felt chilled. She took him to her apartment, where he refused to let her call a doctor and instead went to bed. The next morning, she found him dead. Long-term heart problems, allegedly aggravated by the stress of his blacklisting, had led to his death at the age of 39.
The funeral was the largest in New York since Rudolph Valentino's, with over ten thousand people crowding the streets outside. The media circus surrounding Garfield's death led to a running joke, "John Garfield Still Dead Syndrome," that parodied the phenomenon; it would later be superseded by "Francisco Franco is still dead" in the 1970s after Franco's protracted terminal illness. Garfield's estate, valued at "more than $100,000," was left entirely to his wife. Shortly afterward, the HUAC closed its investigation of John Garfield, leaving him in the clear. Garfield was interred at Westchester Hills Cemetery in Hastings-on-Hudson, Westchester County, New York.
Personal life.
He and Roberta Seidman married in February 1935. His wife had been a member of the Communist Party. They had three children: Katherine (1938 – March 18, 1945), who died of an allergic reaction; David (1943–1994); and Julie (born 1946), the latter two later becoming actors themselves.
Awards and nominations.
Garfield was nominated for the Academy Award for Best Supporting Actor for "Four Daughters" in 1939 and Best Actor for "Body and Soul" in 1948.
He was given a star on the Hollywood Walk of Fame at 7065 Hollywood Boulevard.
Cultural references.
In "The Exorcist" (1973), Detective Kinderman says Father Damien Karras "looks like a boxer," and more specifically John Garfield as he appeared in "Body and Soul".
The protagonist in Thomas Pynchon's novel "Inherent Vice", Larry "Doc" Sportello, discusses Garfield's film appearances throughout the detective story.
The John Prine song "The Late John Garfield Blues" is inspired by Garfield. The actor is also mentioned by Prine in "Picture Show", a song in the musician's Grammy Award-winning album "The Missing Years".
In the film "Hustle" (1975), Burt Reynolds' character references Garfield during a discussion of screen heroes.


Australian Association of National Advertisers

The Australian Association of National Advertisers (AANA) is the national body for advertisers based in Sydney, Australia. The AANA represents the interests of organisations involved in Australia’s advertising, marketing and media industry.
Aims.
The AANA aims to;
Practice.
The Advertising Standards Board, which is administratively supported by the Advertising Standards Bureau, deals with complaints under the Codes which are adjudicated by the independent system. The AANA established, created and reviews these codes that came into effect in 1997 following consultations with advertisers, agencies, the media, consumer groups and government representatives.