text:
The Block (Australian TV series)
The Block is an Australian reality television series broadcast on the Nine Network. The series follows four or five couples as they compete against each other to renovate and style houses/apartments and sell them at auction for the highest price.
Julian Cress
David Barbour
Jamie Durie (2003-2004)
Scott Cam (2010-present)
Shelley Craft (2010-present)
Foreman:
Keith Schleiger
Shaynna Blaze
Darren Palmer
Romy Alwill
"Here Comes Another One"
by Groove Terminator
(seasons 1-5)
Remixed Editions
(season 6-present)
708 (as of 10 November 2019)
Julian Cress[1]
Justin Sturzaker[2]
Production location(s)
Sydney (seasons 1–3, 6)
Melbourne (seasons 4–5, 7–present)
30–90 mins (including ads)
Watercress Productions (seasons 4–11)
Cavalier Productions (seasons 12–present)
Nine Network
576i (SDTV)
1080i (HDTV)
Original: 1 June 2003 (2003-06-01) – 25 July 2004 (2004-07-25)
Revived: 22 September 2010 (2010-09-22) – present (present)
The original series first ran for two consecutive seasons in 2003 and 2004, and was originally hosted by Jamie Durie.
The Nine Network revived The Block after a six-year absence, with a third season commenced airing on 22 September 2010,[3][4] this time hosted by television personality and builder Scott Cam.[5] Shelley Craft joined as co-host from the fourth season.
The Block has a large number of commercial sponsors and prominently features brand sponsorships regularly throughout episodes.[6]
The original format of the series featured four couples with a prior relationship renovating a derelict apartment block in the Sydney suburb of Bondi, with each couple renovating a separate apartment over a period of 12 weeks and with a budget of A$40,000. The apartments were then sold at auction, with each couple keeping any profit made above a set reserve price and the couple with the highest profit winning a A$100,000 prize. The current format is relatively the same except the series usually features five couples, it is mainly based in Melbourne suburbs and the budget is $100,000+.[7]
The first season was filmed at Bondi and the second at Manly. The third season again took place in Sydney, in the suburb of Vaucluse.[8] Moving to Victoria, Australia, the fourth season was filmed in the Melbourne suburb of Richmond, Victoria on Cameron Street. Breaking with tradition, season four was filmed in four side-by-side houses as opposed to an apartment block of four. Season four saw television personality Shelley Craft join Scott Cam in hosting the show.
Season five began airing in April 2012. As with season four, season five has retained the four separate houses format, as opposed to four apartments in a single apartment block as in earlier seasons. Season five is again set in Melbourne, on Dorcas Street, and is set in four adjacent multi-storey town houses. Season six returned to Sydney, in Bondi, for the tenth anniversary. The program has remained in Melbourne since season seven.
The first three seasons of The Block aired once weekly for 13, 26 and 9 weeks respectively.[9][10][11] Since season four, the program has aired across multiple nights per week.[12][13]
Hosts and judges
Timeline of hosts, judges and other personnel
Scott Cam Host
Neale Whitaker Judge
Shelley Craft Host / Challenge Master
Keith Schleiger Foreman
Shaynna Blaze Judge
Darren Palmer Guest Judge
Dan Reilly Contestant "Foreboy" "Foredan"
Alice Stolz Domain Judge
Jamie Durie Host
John McGrath Judge Guest Guest Guest
Romy Alwill Guest
Originally aired
Season premiere
Winning profit (AUD)
Total winnings
The Block[a] Rundown Apartment Complex Bondi, New South Wales 13 1 June 2003 (2003-06-01)[14] 17 August 2003 (2003-08-17)[15] Adam Thorn
Fiona Mills $156,000 $256,000
The Block 2[b] Manly, New South Wales 26 18 April 2004 (2004-04-18)[16] 25 July 2004 (2004-07-25)[17] Andrew Rochford
Jamie Nicholson $78,000 $178,000
The Block 2010 Vaucluse, New South Wales 9 22 September 2010 (2010-09-22) 24 November 2010 (2010-11-24) John and Neisha Pitt $205,000 $305,000
The Block 2011 Rundown Workers Cottages Richmond, Victoria 51 20 June 2011 (2011-06-20) 21 August 2011 (2011-08-21) Polly Porter
Warwick "Waz" Jones $15,000 $115,000
The Block 2012 Rundown Terrace Houses South Melbourne, Victoria 69 16 April 2012 (2012-04-16) 1 July 2012 (2012-07-01) Brad Cranfield
Lara Welham $506,000 $606,000
All Stars Rundown Heritage-Listed
Semi-Detached Houses Bondi, New South Wales 39 4 February 2013 (2013-02-04)[18] 20 March 2013 (2013-03-20)[19] Phil Rankine
Amity Dry $295,000 $395,000
Sky High Former Motel South Melbourne, Victoria 66 12 May 2013 (2013-05-12)[20] 28 July 2013 Alisa and Lysandra Fraser
Fans v Faves Former Warehouse Albert Park, Victoria 61 27 January 2014 (2014-01-27) 9 April 2014 (2014-04-09) Steve O'Donnell
Chantelle Ford $636,000 $736,000
Glasshouse Former Office Building Prahran, Victoria 65 27 July 2014 (2014-07-27) 12 October 2014 (2014-10-12) Shannon and Simon Voss $335,000 $435,000
Triple Threat Former Apartment Block South Yarra, Victoria 58 27 January 2015 (2015-01-27) 29 April 2015 (2015-04-29) Darren and Deanne Jolly $835,000 $935,000
Blocktagon[c] Former Hotel 47 6 September 2015 (2015-09-06) 25 November 2015 (2015-11-25) Dean and Shay Paine $655,000 $755,000
The Block 2016 Heritage Art Deco Building Port Melbourne, Victoria 46 21 August 2016 (2016-08-21) 13 November 2016 (2016-11-13) William Bethune
Karlie Cicero $715,000 $815,000
The Block 2017 Rundown Weatherboard Houses Elsternwick, Victoria 52 30 July 2017 (2017-07-30) 29 October 2017 (2017-10-29) Elyse Knowles
Josh Barker $447,000 $547,000
The Block 2018 Former Hotel St Kilda, Victoria 47 5 August 2018 (2018-08-05) 28 October 2018 (2018-10-28) Hayden Vale
Sara Tumino $545,000 $645,000
The Block 2019 57 4 August 2019 (2019-08-04) 10 November 2019 (2019-11-10) Tess Cattana
Luke Struber $630,000 $730,000
Combined profits
No. of teams
No. of properties sold at auction
After auction sales
Winning prize
Average auction profit
Combined auction profit1
4 $0 $100,000 $110,750
4 2 $77,500
4 3 $90,000 $113,166
4 1 $122,000 $15,000
4 $0 $430,750
4 $203,750
Overall combined profit
Including prize money ($1,400,000)
Including after auction sales ($212,000)
^1 The combined auction profit excludes the winning prize money and after auction sales.
Returning teams
Original season
Returning season
Combined profit
Alisa & Lysandra Fraser
sisters 7 $395,000 8 $616,000 $1.011m3
Darren & Deanne Jolly
children 9 $10,000 10 $935,000 $945,000
Brad Cranfield
Dale Vine2
Best mates 5 $606,000
$355,000 8 $507,2503 $859,625
Dan & Dani Reilly
Married $448,000 6 $220,000 $668,000
Phil Rankin & Amity Dry
children 1 $60,000 $395,000 $455,000
Josh & Jenna Densten
Married 4 $50,000 $275,000 $325,000
Mark Bowyer & Duncan Miller
Best mates 3 $47,000 $25,000 $72,0003
^2 Brad & Dale were both contestants on Season 5, but they were with their partners (Lara & Sophie respectively). In Season 8, they returned to the show as a team.
^3 This amount of money is split between the two contestants in the team.
Season synopsis
Main article: The Block (season 1)
The first season of The Block began airing on 1 June 2003 on the Nine Network, replacing Backyard Blitz and Location Location in the network's flagship time slot[21] of Sunday at 6:30 to 7:30 pm (AEST).[7] The season was presented by Backyard Blitz host Jamie Durie and filmed in Bondi, New South Wales, with the majority of filming being completed prior to the series airing for editing purposes.[7]
Selected from approximately 2,000 applicants,[7] the four couples in the season were:
Adam Thorn (aged 30) and Fiona Mills (27), a married couple from Banksia. A data analyst and former sales representative, the couple had renovated three properties prior to competing on The Block.[22][23] They renovated the first ground floor apartment (flat number one) and were widely considered the "show favourites" throughout the course of the season.[22] Their apartment—which was the last to be auctioned—sold for $751,000 earning them the highest profit of $156,000 as well as the winning prize of $100,000.[22] Mills appeared on the cover of Ralph while the season was airing in July 2003.[24]
Warren Sonin (37) and Gavin Atkins (35), a sales manager and public relations manager from Elizabeth Bay, New South Wales. They are the first male same-sex couple to compete on The Block.[22][25][26]
Paul and Kylie Ingram
Phil Rankine and Amity Dry
The auction profits had a combined result of $443,000.
Auction spot
Placing spot
1 4 Adam & Fiona $595,000 $751,000 $156,000 $256,000 1st
2 2 Warren & Gavin $595,000 $670,000 $75,000 $75,000 3rd
3 1 Phil & Amity $595,000 $655,000 $60,000 $60,000 4th
4 3 Paul & Kylie $595,000 $747,000 $152,000 $152,000 2nd
Following the success of the first season, an expanded second season of 26 episodes, airing twice weekly, premiered on 18 April 2004. The season was again set in Sydney, although in the suburb of Manly rather than Bondi where the first season was located.
The auction profits had a combined result of $155,000 with two properties not selling at auction.
Selected from over 18,000 applicants, the four couples in the season were:
1 2 Jason & Kirsten $795,000 $872,000 $77,000 $77,000 2nd
2 3 Andrew & Jamie $790,000 $868,000 $78,000 $178,000 1st
3 1 Matt & Jane $795,000 $795,000 $0 $0 3rd (tied)
4 4 Steven & Richard $800,000 $800,000 $0 $0 3rd (tied)
Two original contestants, Dani and Monique Bacha, left the program in January 2004, two weeks into the second season, when it was reported that Dani had spent six months in jail in 2002 following his conviction for a drug-related offence.[27] Andrew Rochford and Jamie Nicholson replaced Dani and Monique Bacha.
After a long break, the series was revived in 2010 with a set of four apartments in the upmarket suburb of Vaucluse in Sydney being renovated and Scott Cam replacing Jamie Durie as host.[28]
The auction profits had a combined result of $339,500 with only one property not selling at auction.
1 1 Josh & Nisha $900,000 $1.105m $205,000 $305,000 1st
2 2 Mark & Duncan $860,000 $907,000 $47,000 $47,000 3rd
3 4 Erin & Jake $910,000 $997,500 $87,500 $87,500 2nd
4 3 Chez & Brenton $880,000 $970,000 (sold after auction) $90,000 (after auction) $90,000 4th
Season four saw six major changes to the format of The Block.
The location has changed to Melbourne instead of Sydney.
An initial elimination week sees eight couples reduced to four.
Instead of a block of flats with four apartments, there are four separate houses next to one another.
Contestants now have to renovate the exterior of their home, in addition to the interior.
Instead of two one-hour-long episodes airing per week, six episodes now air per week with a mix of one-hour- and half-hour-length episodes.
Shelley Craft has been introduced to help host special challenges where contestants can win extra cash and prizes for their houses.
A weekly episode named "The Blocked: Unlocked" was introduced. Hosted by Shelley Craft, the episode shares a personal insight into The Block transformations as the couples guide viewers through their completed rooms. It also includes behind the scenes footage and footage not seen on TV.
Eight couples were initially selected, with four being eliminated and the other four being given keys to the houses. The four remaining teams are:
Josh and Jenna – House 1 (Blue)
Polly and Waz – House 2 (Yellow)
Katrina and Amie – House 3 (Green)
Rod and Tanya – House 4 (Red)
The winners of The Block were Polly and Waz. They made $15,000 in profit and due to the other three couples' houses being passed in, they also won the $100,000 grand prize making them the winners. Also in this finale episode, Josh proposed to Jenna, his girlfriend for five years and partner on The Block.
This was the worst auction in the history of The Block with auction profits having a combined result of $15,000 due to only one property selling at auction.
1 1 Josh & Jenna $950,000 $1.000m (sold after auction) $50,000 (after auction) $50,000 2nd (tied)
2 2 Polly & Waz $840,000 $855,000 $15,000 $115,000 1st
3 3 Amie & Katrina $860,000 $860,000 (sold after auction) $0 (after auction) $0 2nd (tied)
4 4 Rod & Tania $850,000 $922,000 (sold after auction) $72,000 (after auction) $72,000 2nd (tied)
Polly and Waz were the only couple whose property sold at auction, with the other three failing to meet their reserve prices. Following the auction, Amie and Katrina's property sold for their exact reserve amount, meaning they would not take any winnings from appearing on The Block. Also, Rod and Tania's property sold for the highest profit on The Block, at $72,000 (however, as it was after the auction, Polly and Waz are still the winners).
This season, like season four, was also based in Melbourne, in the inner city suburb of South Melbourne with four double storey side by side terrace houses located at 401 – 407 Dorcas Street. The properties are all on separate titles with car access from Montague Street and plans approved to allow for a third story extension.[29]
Dale and Sophie – House 1 (Blue)
Mike and Andrew – House 2 (Yellow)
Brad and Lara – House 3 (Green)
Dan and Dani – House 4 (Red)
The auction profits had a combined result of $1,723,001.01
1 3 Dale & Sophie $975,000 $1.330m $335,000 $335,000 4th
2 4 Mike & Andrew $966,000 $1,400,001.01 $434,001.01 $434,001.01 3rd
3 1 Brad & Lara $1.114m $1.620m $506,000 $606,000 1st
4 2 Dan & Dani $992,000 $1.440m $448,000 $448,000 2nd
It was announced during the finale of the fifth season that an all-star edition of the series would air in 2013, with viewers able to vote for couples to return from past seasons. These votes were taken into consideration when selecting the contestants, and the four returning couples were announced in October 2012 as Phil and Amity (of season one), Mark and Duncan (season three), Josh and Jenna (season four) and Dan and Dani (season five).[30] Phil and Amity won All Stars with a total of $1,670,000 selling for their home. The auction profits had a combined result of $815,000.
Production for the series relocated from Melbourne—which had hosted the prior two seasons—to its original location of Bondi in Sydney to celebrate the tenth anniversary of the show's first season.[31] Filming took place over nine weeks from October to December 2012.[32]
Darren Palmer, who was a guest judge in the fourth and fifth seasons, replaced John McGrath as a permanent judge for this season. Both Neale Whitaker and Shaynna Blaze reprised their roles as judges from the previous season.[33]
1 4 Phil & Amity $1.375m $1.670m $295,000 $395,000 1st
2 2 Mark & Duncan
(& Dale) $1.345m $1.370m $25,000 $25,000 4th
3 1 Josh & Jenna $1.375m $1.650m $275,000 $275,000 2nd
4 3 Dan & Dani $1.355m $1.575m $220,000 $220,000 3rd
The Nine Network renewed The Block for a seventh season to air after Easter in 2013.[34] The location for this season was 142 Park Street, South Melbourne. The building consists of 5 levels, with each couple was allocated a full level to renovate. Alisa and Lysandra renovated level 1, Matt and Kim were responsible for level 2, level 3 was occupied by Bec and George, level 4 was completed by Madi and Jarrod and level 5 was made over by Trixie and Johnno.
Twin sisters Alisa and Lysandra won The Block, with a profit of $295,000. The auction profits had a combined result of $1,283,000.
1 1 Alisa & Lysandra $1.140m $1.435m $295,000 $395,000 1st
2 5 Matt & Kim $1.205m $1.455m $250,000 $250,000 3rd
3 4 Bec & George $1.265m $1.507m $242,000 $242,000 4th
4 3 Madi & Jarrod $1.310m $1.601m $291,000 $291,000 2nd
5 2 Johnno & Trixie $1.400m $1.605m $205,000 $205,000 5th
•[35] Alisa & Lysandra win The Block with a $4000 profit lead over Madi & Jarrod.
Applications for the eighth season of the series opened whilst the seventh season was airing, with couples aged between 18 and 65 years old being sought by casting agents.[36] Filming for the season was scheduled to occur between November 2013 and January 2014, and aired from 27 January 2014.[36]
Season 8 was based in the Melbourne suburb of Albert Park, Victoria. The production company paid $5.9 million for 47 O'Grady Street, a brick warehouse that was then transformed into four luxury apartments.[37]
The working title of season 8 was "Fans vs Favourites" as shown in the 2014 preview that was aired on the Big Brother 2013 finale. Returning to The Block were Brad and Dale (season 5) / Alisa and Lysandra (season 7). Joining The Block were The Super K's – Kyal and Kara, and The Retro Rookies – Steve and Chantelle. Steve O'Donnell and Chantelle Ford won The Block with a profit of $636,000 + $100,000 winners' prize money. The auction profits had a combined result of $2,326,500.
1 4 Steve & Chantelle $1.834m $2.470m $636,000 $736,000 1st
2 2 Kyal & Kara $1.872m $2.440m $567,250 $567,250 3rd
3 3 Alisa & Lysandra $1.759m $2.375m $616,000 $616,000 2nd
4 1 Brad & Dale $1.802m $2.310m $507,250 $507,250 4th
In May 2014, it was reported that Lukas Kamay – who had won the auction for Alisa and Lysandra's apartment – had been arrested for his involvement in an insider trading scam. As a result, the $500,000 deposit he had paid was frozen and the apartment was seized. The apartment will be re-sold at a later date.[38] It's unclear whether Alisa and Lysandra will receive the money they would have received had the scandal not broken, or if they are now considered to have come fourth and did not sell their apartment at auction.
The ninth season of The Block featured contestants renovating a former office building in Prahran into luxury apartments, with the season subtitled as The Block: Glasshouse.[39] Filming began in April 2014. One of the contestants was former professional Australian rules footballer Darren Jolly and his wife Deanne as one of the couples.[39] The season debuted on 27 July 2014 at the 6:30 time slot.[39]
Shannon and Simon Voss won The Block with a profit of $335,000 + $100,000 winners' prize money, while Michael & Carlene and Darren & Deanne made the bare minimum of $10,000 above reserve. Even newly-weds Karstan & Maxine only netted $40,000 in winnings. The auction profits had combined results of $705,000.
1 5 Michael & Carlene $1.380m $1.390m $10,000 $10,000 4th (tied)
2 1 Chris & Jenna $1.500m $1.810m $310,000 $310,000 2nd
3 3 Max & Karstan $1.670m $1.710m $40,000 $40,000 3rd
4 2 Simon & Shannon $1.565m $1.900m $335,000 $435,000 1st
5 4 Darren & Deanne $1.370m $1.380m $10,000 $10,000 4th (tied)
Main article: The Block (season 10)
The Block was renewed for a Tenth season which was to begin airing on 27 January 2015.
The working title of season 10 was "Triple Threat" as shown in the 2014 preview that was aired on 23 November 2014. It was premiered on 27 January 2015 where contestants renovate a former three-level block of flats. Darren & Deanne (season 9), Bec & George and Matt & Kim (both season 7) returned to vie for a spot as contestants. Former contestant Dan Reilly from seasons 5 and 6 returned, this time as an apprentice foreman ("foreboy") under Keith's guidance after Dan himself became a qualified builder, who was a qualified carpenter during his stints as a contestant.
Former contestants Darren & Deanne[40] won the season with $835,000 + $100,000 prize money, and all contestants won over $665,000. This is the highest making combined auction profits with a result of $3,065,000.
1 4 Josh & Charlotte $1.390m $2.200m $810,000 $810,000 2nd
2 1 Tim & Anastasia $1.420m $2.175m $755,000 $755,000 3rd
3 2 Ayden & Jess $1.335m $2.000m $665,000 $665,000 4th
4 3 Darren & Deanne $1.455m $2.290m $835,000 $935,000 1st
The Block was renewed for an eleventh season, which went into production in May 2015. Season 11 put the show 'back-to-basics' after ratings declines during the tenth season; episodes were cut from 90 to 60 minutes, fewer episodes, the eliminations were removed and Thursday night episodes were dropped.[41][42]
Filming for season 11 began on 15 May 2015. This season renovated the former Hotel Saville in South Yarra - an octagonal, eight floor brick building. The title for Season 11 is "The Block: Blocktagon".[43]
Co-creator Julian Cress said that this season of The Block would have no tradies and only passionate do-it-yourself couples. In other seasons, at least one person in each team had a trade. The change came in the new direction in the back-to-basics change to the season. Cress said viewers would relate more to the characters who are big on spirit but small on skills when the show returned later in the year.[44]
This season was sponsored by Mitre 10 (building equipment), Swisse Australia (vitamins), Aldi (groceries), Domain (money and apartment information), The Good Guys (electronics and kitchens) and Suzuki (transport).[45]
Shay & Dean Paine won the season with $655,000 + $100,000 prize money, and all contestants won over $349,000.[46] The auction profits had a combined result of $2,439,000.
1 1 Kingi & Caro $1.330m $1.735m $405,000 $405,000 3rd
2 4 Andrew & Whitney $1.400m $1.790m $390,000 $390,000 4th
3 2 Suzi & Voni $1.480m $1.829m $349,000 $349,000 5th
4 5 Luke & Ebony $1.560m $2.200m $640,000 $640,000 2nd
5 3 Dean & Shay $1.645m $2.300m $655,000 $755,000 1st
On 28 October 2015, Nine renewed the series for a twelfth season.[47] Since 2013, the Nine Network had aired two seasons of the show each year. In 2016, however, this would be the one and only season airing, and it did not air until the last quarter of 2016.[48] It was once again set in Melbourne.[48] On 27 December 2015, Frank Valentic teased a video saying that there are rumours of The Block going to Greville Street, Prahran.[49]
On 18 February 2016, it was reported that The Block's producers had bought an old heritage-listed soap factory for $5 million at 164 Ingles Street, Port Melbourne.[50] This address was confirmed by Scott Cam on The Today Show on 9 May 2016.[51] Filming began on 26 May 2016. The series began airing in August 2016 and had 5 teams competing.[52] The season premiered on Sunday 21 August 2016.[53] This season's contestants, Julia & Sasha, are the first ever female same-sex couple to compete on any season of The Block.[54] The season concluded on 13 November 2016.[55]
This season is sponsored by Mitre 10 (building equipment), Aldi (groceries), Domain (cash flow and apartment information), McCafé (snacks, beverages, and the McCafe Quality Award), Stayz (challenge and additional finale prizes), Suzuki (transport and viewer voting prize) and Telstra (Smart Home Technology and additional cash flow).[56]
William Bethune & Karlie Cicero won the season with $715,000 + $100,000 prize money. Each team of contestants won $425,000 or more.[57] The auction profits had a combined result of $2,835,000.
1 1 William & Karlie $1.885m $2.600m $715,000 $815,000 1st
2 3 Dan & Carleen $1.775m $2.300m $525,000 $525,000 3rd
3 5 Andy & Ben $1.740m $2.250m $510,000 $510,000 4th
4 2 Julia & Sasha $1.930m $2.590m $660,000 $660,000 2nd
5 4 Chris & Kim $1.880m $2.305m $425,000 $425,000 5th
On 8 November 2016, The Block was renewed for a thirteenth season at Nine's upfronts.[58][59] Applications for the thirteenth season of the series opened on 9 January 2017, with energetic couples aged between 18 and 65 years old being sought by casting agents.[60] Filming for the season is scheduled to occur between April 2017 and July 2017.[60] The casting call also specifies first round couples will be reduced to final participants in the first week of filming, which suggests Season 13 will feature an elimination round similar to that of Season 5.[60]
On 11 March 2017, it was reported that a vacant block of land at 46 Regent Street, Elsternwick, had been purchased for $9.6 million back in December 2016, with plans approved to build a five lot subdivision, meaning for the first time ever, they would be building a property from the ground up, instead of renovating an existing building.[61][62] On 17 March 2017, it was officially confirmed that 46 Regent Street Elsternwick will be the location of The Block's thirteenth season with filming to begin on 27 April 2017,[63] however they will not be building a property from the ground up, as five old rundown weatherboard houses are being relocated to the location,[64] meaning this will be the first time since the sixth season the contestants will renovate a house.[65]
In June 2017, Network Nine officially announced the location and teams for the thirteenth season of The Block, one team being Aussie Model Elyse Knowles and her Boyfriend Josh.[66][67][68] The season will premiere on Sunday 30 July 2017.[69]
This season is sponsored by Mitre 10 (building equipment), Domain (cash flow & house marketing), McCafé (snacks & beverages), Stayz (challenge & additional finale prizes), Volkswagen (transport & cash flow), Centrum (vitamins) & Youfoodz (groceries & meals).[70]
Elyse Knowles & Josh Barker won the season with $447,000 + $100,000 prize money. Each team of contestants won $95,000 or more.[71] The auction profits had a combined result of $1,220,000.
1 2 Jason & Sarah $2.620m $3.007m $387,000 $387,000 2nd
2 5 Clint & Hannah $2.520m $2.615m $95,000 $95,000 5th
3 4 Georgia & Ronnie $2.620m $2.781m $161,000 $161,000 3rd
4 3 Sticks & Wombat $2.520m $2.650m $130,000 $130,000 4th
5 1 Elyse & Josh $2.620m $3.067m $447,000 $547,000 1st
On 21 November 2016, it was reported the producers were looking at The Gatwick Private Hotel at 34 Fitzroy Street, St Kilda as a possible site for its thirteenth season.[72][73] On 17 December 2016, it was reported that The Block producers and the owners of The Gatwick Hotel are currently in negotiations on purchasing the property.[74][75][76] On 4 March 2017, it was reported that the Gatwick Hotel deal did not go ahead and that the producers are searching for another property,[77] however on 6 March 2017, it was reported the producers were in a closing deal to buy the property as residents of the building are to move out.[78] On 17 March 2017, it was reported that The Gatwick Hotel would not be the location of The Block's thirteenth season, although there was still interest in the building.[63] On 22 March 2017, Nine officially confirmed that the building had been purchased and will be used for a future season of The Block.[79][80]
In June 2017, The Block producers lodged renovation plans for The Gatwick Hotel with Port Phillip City Council.[81][82] On 23 July 2017, the renovation plans were officially released, the information included that the network paid $10 million for the building (not $15 million as originally reported), it was confirmed that the site will have eight apartments, two-bedrooms on the ground level and three-bedrooms for the remaining homes, the existing roof to be partly demolished and a fourth floor built to include pergolas above outdoor terraces & a car park area would have six car spaces and bicycle parking, and each apartment would come with secure storage.[83]
Applications for the fourteenth season of the series opened in August 2017 until 10 September 2017, looking for couples aged between 18 and 65 years old being sought by casting agents.[84] Filming for the season was originally slated to occur between January 2018 and April 2018,[85] but will begin filming on 8 February 2018.[86] In October 2017, the fourteenth season and location of The Block were officially confirmed at Nine's upfronts.[87] In June 2018, Network Nine announced the teams for the fourteenth season of The Block.[88] In July 2018, Network Nine announced the premiere date of Season 14 as Sunday, 5 August at 7pm.[89]
This season is sponsored by Mitre 10 (building equipment), Domain (cash flow & house marketing), McCafé (snacks & beverages), Volkswagen (transport & cash flow), Youfoodz (groceries & meals) & BlueScope Steel (housing foundation, weekly viewer's choice voting & promotion).[90]
Hayden Vale & Sara Tumino won the season with $545,000 + $100,000 prize money. Each team of contestants won $209,000 or more.[91] The auction profits had a combined result of $1,880,000.
1 1 Kerrie & Spence $2.435m $2.850m $415,000 $415,000 2nd
2 5 Hans & Courtney $2.360m $2.770m $410,000 $410,000 3rd
3 2 Hayden & Sara $2.475m $3.020m $545,000 $645,000 1st
4 3 Norm & Jess $2.650m $2.859m $209,000 $209,000 5th
5 4 Bianca & Carla $2.690m $2.991m $301,000 $301,000 4th
In June 2018, it was reported that The Block producers had acquired a rundown backpackers accommodation, Oslo Hotel, at 38 Grey Street, St Kilda, through an off-market deal struck after the series approached one of the owners. The building contains five mansions hidden behind the facade. The series producers and building planners set to submit renovation plans to the City of Port Phillip council imminently.[92][93] In October 2018, the Oslo Hotel was confirmed as the next location for renovation, Nine Network acquired the building for $10.8 million.[94]
In July 2019, Network Nine announced the teams for the fifteenth season of The Block[95] and announced the premiere date as Sunday, 4 August at 7pm.[96]
This season is sponsored by Mitre 10 (building equipment), Domain (cash flow & house marketing), McCafé (snacks & beverages), Volkswagen (transport & cash flow), Lite N' Easy (groceries & meals) & BlueScope Steel (housing foundation, weekly viewer's choice voting & promotion).[97]
Tess Cattana & Luke Struber won the season with $630,000 + $100,000 prize money. Each team of contestants won $384,000 or more.[98] The auction profits had a combined result of $2,292,000.
1 1 Mitch & Mark $2.990m $3.374m $384,000 $384,000 5th
2 2 Tess & Luke $2.990m $3.620m $630,000 $730,000 1st
3 4 Andy & Deb $2.990m $3.420m $430,000 $430,000 3rd
4 3 Elise & Matt $2.990m $3.450m $460,000 $460,000 2nd
5 5 Jesse & Mel $2.990m $3.378m $388,000 $388,000 4th
In July 2019, it was reported by the Herald Sun that The Block and Channel 9 had acquired a vacant block of land in the exclusive bayside suburb of Brighton on 393 New Street, Brighton.[99] Newly renovated houses are expected to be built on the land in 2020 for the 16th season of the Block.[99]
Applications for the sixteenth season of the series opened in August 2019 until 15 September 2019, looking for couples aged between 18 and 65 years old being sought by casting agents.[100] Filming for the season is slated to begin in late January 2020.[101]
In October 2019, the sixteenth season and location of The Block were officially confirmed at Nine's upfronts.[102]
The two first seasons were successful in the ratings, with the first season averaging 2.2 million viewers. Season 1 Finale was watched by 3.115 million viewers and Season 2 was watched by 2.273 million viewers.[103]
The third season debuted with 1,134,000, a daily rank of 9. It lost to all its main time slot competition consisting of Glee on Network Ten and Border Security on the Seven Network.[104] However, it remained successful with key demographics and enjoyed steady ratings throughout the season. Season 3 concluded with 1.712 million viewers, and was the top program of the night in total people and all key demographics. It was also the second most-watched program of the week.[105]
Finale date
Finale ratings
(Grand final)
(Winner announced)
13 1 June 2003 N/A 17 August 2003 3.115 #1 N/A [103]
26 18 April 2004 25 July 2004 2.273 #1
9 22 September 2010 1.139 #9 24 November 2010 1.305 #3 1.716 #1 [106][107]
51 20 June 2011 1.342 #4 21 August 2011 2.283 #4 3.289 #1 [108][109]
69 16 April 2012 1.404 #2 1 July 2012 2.145 #3 2.715 #1 [110][111]
39 4 February 2013 0.959 #9 20 March 2013 1.646 #3 2.119 #1 [112][113]
68 12 May 2013 1.312 #4 28 July 2013 2.132 #3 2.808 #1 [114][115]
61 27 January 2014 1.143 #7 9 April 2014 1.884 #3 2.181 #1 [116][117]
65 27 July 2014 1.374 #1 12 October 2014 1.796 #4 2.764 #1 [118][119]
58 27 January 2015 0.860 #8 29 April 2015 1.645 #3 2.027 #1 [120][121]
47 6 September 2015 1.074 #4 25 November 2015 1.579 #2 1.812 #1 [122][123]
46 21 August 2016 1.074 #3 13 November 2016 1.712 #2 2.104 #1 [124][125]
47 5 August 2018 1.163 #1 28 October 2018 1.674 #2 1.865 #1 [128][129]
57 4 August 2019 0.991 #3 10 November 2019 1.541 #2 1.924 #1 [130][131]
Logie Awards[132] Most Popular Reality Program The Block Nominated
Logie Awards[133] Most Popular Reality Program The Block 2
Logie Awards[134] Most Popular Reality Program The Block 2011 Won
Logie Awards[135] Most Popular Reality Program The Block 2012
Logie Awards[136] Most Popular Reality Program The Block: All Stars Nominated
The Block: Sky High
Gold Logie for Most Popular Personality on Australian TV Scott Cam Won
Most Popular Presenter
Logie Awards[137] Gold Logie for Most Popular Personality on Australian TV Scott Cam Nominated
Most Popular Reality Program The Block: Glasshouse Won
Logie Awards[138] Gold Logie for Best Personality on Australian TV Scott Cam Nominated
Best Reality Program The Block: Blocktagon Won
Best New Talent Dan Reilly Nominated
Logie Awards[139] Best Reality Program The Block 2016 Won
Logie Awards[140] Best Reality Program The Block 2017
Logie Awards[141] Most Popular Reality Program The Block 2018 Nominated
Reno Rumble
Main article: Reno Rumble
Reno Rumble was a program that pit teams from The Block against teams from the Seven Network's reality series House Rules. The program aired on the Nine Network and was produced by the same production company as The Block.[142]
The series was renewed for a second season but did not involve former contestants from The Block or House Rules and was only produced by the Nine Network.[143]
International broadcasters and adaptations
Current broadcaster
Subtitled or dubbed
Canada Casa Yes Subtitled and dubbed in French Québec Seasons 4, 5, 7, 9, 10, 11 & 12 aired
Gusto Yes Season 13 aired
HGTV No Seasons 1 & 2 aired
Iceland Stöð 2 Yes Subtitled
Ireland Home Yes
TV3 No Seasons 1 & 2 aired
Watch Yes Seasons 1, 5, 7, 10,
11, 12 & 13 aired, currently airing 14
The Netherlands NET 5 Yes Subtitled
United Kingdom Home No
Watch No
New Zealand Three Yes Seasons 5-13 aired on TV3.
Prime No
Portugal SIC Mulher Yes Subtitled Seasons 1-5 aired.
+ TVI Yes Subtitled
Sweden TV12 No Subtitled Seasons 5 & 7 aired.
Finland AVA Yes Subtitled Seasons 5, 7, 9, 10, 11 & 12 aired.
Original run
Belgium The Block VIER Hans Otten & Hanne Troonbeeckx 2004–2009
Israel The Block Channel 10 Haim Etgar 30 May 2009 – 10 September 2009
Netherlands Het Blok NET 5 Erik van der Hoff 2004–2008, 2010-2011
New Zealand The Block NZ[144] Three Mark Richardson & Shelley Ferguson 4 July 2012 – present
United Kingdom The Block ITV Lisa Rogers 2004
The Block has also been adapted in Russia, Norway, Romania, Sweden, Denmark, Finland, Iceland, United States and South Africa.
a The first season has retroactively been re-titled The Block 2003 as shown in The Block: All Stars when Phil and Amity were noted as having previously appeared in "The Block 2003".
b The second season has retroactively been re-titled The Block 2004, in line with the re-titled first season.
c Despite constant references to "The Blocktagon" being made by hosts, contestants and other media, the eleventh season was the first season since The Block 2 to not have the title appear on-screen. The title sequence only said "The Block".
List of Australian television series
List of programs broadcast by Nine Network
House Rules (Australian TV series)
The Renovators
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Williams, Nadine; Hurt, Jessica, eds. (28 July 2003). "Fiona tries another type of stripping". The Advertiser. p. 20.
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South Melbourne Homes for Sale | realestateVIEW.com.au. Myhome.com.au (27 September 2011).
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Renewed: The Voice, The Block, Celebrity Apprentice.. TV Tonight.
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"The Block: 'Tradies out, clueless couples in'". Mobile.news.com.au. 25 June 2015. Retrieved 7 August 2016.
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Willis, Charlotte (26 November 2015). "Dean and Shay win The Block finale 2015 Australia". News.com.au. Retrieved 7 August 2016.
Knox, David (28 October 2015). "Nine Upfronts 2016: Nine goes HD, new lifestyle channel -and Daryl Somers returns – TV Tonight". Tvtonight.com.au. Retrieved 7 August 2016.
Vickery, Colin (26 November 2015). "Nine insists only one Block in 2016". News.com.au. Retrieved 7 August 2016.
"The Blockinator Blog: The Block 2016 in Greville Street Prahran!!". Theblockinator.blogspot.com.au. 3 January 2016. Retrieved 7 August 2016.
"The Block: Port Melbourne site rumoured to be the next location for reality TV show". News.com.au. 18 February 2016. Retrieved 7 August 2016.
"The Logies reveals new details on upcoming TV shows | Australian Women's Weekly". Aww.com.au. 9 May 2016. Retrieved 7 August 2016.
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Nine renews The Block for 2010 which is being filmed in the upmarket Takapuna of Auckland on Anzac Street. Tvtonight.com.au.
The Block on IMDb
The Block at TV.com
6 (All Stars)
7 (Sky High)
8 (Fans v Faves)
9 (Glasshouse)
10 (Triple Threat)
11 (Blocktagon)
International adaptations
Netherlands (2004–2007)
Israel (2009)
Nine Network local programming (current and upcoming)
20 to One (2005-2011, since 2016)
ARIA Music Awards (2001, 2009 2011-2013, since 2017)
Australian Ninja Warrior (since 2017)
The Block (2003-04, since 2010)
Bondi Vet (2019)
Carols by Candlelight (since 1952)
Doctor Doctor (since 2016)
Footy Classified (since 2007)
Lego Masters (since 2019)
Love Island Australia (since 2019)
Married at First Sight (since 2015)
Paramedics (since 2018)
RBT (since 2010)
SeaChange (since 2019)
The TV Week Logie Awards (since 1959)
The Voice (since 2012)
Travel Guides (since 2017)
Millionaire Hot Seat (since 2009)
Nine News (since 1956)
Nine News Now (since 2013)
60 Minutes (since 1979)
A Current Affair (1971-1988, since 1988)
Today (since 1982)
Today Extra (since 2012)
Weekend Today (since 2009)
100% Footy (since 2018)
Sports Sunday (since 2017)
Cybershack
The Garden Gurus (since 2002)
Getaway (since 1992)
Postcards (since 1999)
The AFL Sunday Footy Show (since 1993)
The NRL Sunday Footy Show (since 1993)
Informer 3838 (2020)


As the Associate Lead Business Analyst, you will work with project stakeholders and business SMEs to analyse and synthesise information to elicit, document and manage requirements throughout the project end to end. You will be required to act as a regulatory reporting specialist in providing analysis for such activities as requirements gathering, testing, process design and change transition. As a regulatory reporting specialist, you will document APRA (Australian Prudential Regulation Authority) requirements and interpret these requirements for ANZ. Working within the stakeholder engagement framework, you will provide information to support decision making and enable a clear understanding of project or business objectives and benefits.
In-depth knowledge of all Business Analysis tasks, skilled in elicitation techniques and experienced in the development and management of detailed requirements that are fit for purpose in challenging environments. Detailed understanding of project management lifecycles, disciplines and procedures.
Strong understanding of reporting concepts within the banking industry with particular emphasis on their application for regulatory/APRA reporting. Experience in the production or build of regulatory reports in particular with knowledge of APRA's reporting framework. A sound understanding of banking products and business processes across Retail, Commercial and Market domains.
Experience in analysing regulatory instruction and guidance documents and interpreting their application for reporting. Strong knowledge and experience in reporting processes requiring complex data sourcing. Experience in analysing and validating reporting outputs against report requirements.
Developing leadership ability, enabling staff to engage and support business analysis through partnering and collaborative working with focus on customer and business value and benefits delivery.
ANZ is a leading regional bank with representation in 34 markets spreading across Australia, New Zealand, Asia Pacific, Middle East, Europe and America. As we continue our journey to build our global business and support our customers, we're committed to attracting and retaining the best talent. We've made it our business to be an organisation where people strive and are rewarded for excellence.
We're exploring new and better ways to progress the business with energy and enthusiasm. Backed by a proud and established heritage, we're focusing on building a bank that our customers love. Connected by integrity and clarity of strategy, there is a real sense of excitement about the future.
If you believe you've got the skills and drive to help contribute to ANZ's success, join us and help build a regional bank.
To find out more about working at ANZ or to view other opportunities visit www.anz.com/careers.
You may apply for this role by visiting ANZ Careers and search for reference AUS075976.


Roving UHub photographer Celeste Walker came across the remains of a light pole on Centre Street inbound just before the Arboretum rotary (i.e., Murray Circle) - sort of across the street from where another driver took out a pole in spectacular fashion earlier this month.
Tuesday's ZBA vote to reject a Centre Street proposal with two-bedroom units as small as 667 square feet didn't just come out of thin air: The BPDA, which sets so many of the requirements and guidelines related to development in Boston, says those are simply too small for new apartments and condos in the city. Read more.
The Zoning Board of Appeals yesterday rejected plans by a Centre Street landlord to replace a three-unit house at 628-630A Centre Street with a new building with two commercial spaces and eight tiny two-bedroom apartments. Read more.
Jamaica Plain residents stood with candles at at least three spots along Centre Street this evening - at the Monument, in front of the Baptist Church and by Lakeville Street - to protest proposed Supreme Court Justice Brett Kavanaugh.


Home Archive for category "Our Town Reno"
Reno-Sparks Pagan Pride Day is an annual celebration held to bring people together as a community. All are welcome to attend and be at peace there with one another. Parts of the event, including ceremonies, drumming, belly dancing and workshops, were peaceful. Other moments were far from it.
The Pirates of Reno invaded. They culled wanted criminals with outstanding warrants from the crowd and threw the miscreants into the stocks to be tortured.


Are you a First Nations, Inuit, or Métis woman from Canada who is committed to community development and social change?
The Indigenous Women in Community Leadership program is now accepting applications for 2019.
After attending a three-week intensive education program at Coady International Institute, located in Mi'kma'ki, the ancestral and unceded territory of the Mi'kmaq People (Antigonish, Nova Scotia), you will have the opportunity to lead a development project in your community with the guidance of an established mentor.
This program uses Coady's innovative and blended approach to asset-based leadership development, and prioritizes indigenous knowledge and ways of learning.
Now entering its ninth year, alumni from this program continue to make great strides in their communities.
Fourteen Indigenous women leaders concluded Coady's five-month Indigenous Women in Community Leadership program with a virtual graduation ceremony March 1.


Nick Kicks, covering all 72 clubs of the EFL, is back with a second series premiering on Nicktoons this evening (Friday, 12th August) at 6pm.
Running for 44 episodes, the second season of Nick Kicks sees presenters Roman Kemp and Rachel Stringer visit football clubs across the country to talk to players from the EFL and special guests. Each episode of the series will also include weekly highlights from EFL fixtures.
New this season, Nick Kicks will air on Nickelodeon as well as Nicktoons. Following the episode premiere on Nicktoons on Fridays at 6pm, the show will also air in Nickelodeon on Saturday and Sunday Mornings.
Nick Kicks will continue to be supported with a dedicated page on the Nicktoons site at nicktoons.co.uk/nickkicks. Short segments from the series as well as additional behind the scenes content, polls and quizzes will be available on the site. Nick Kicks content will also feature on Nick Play available on Android and IOS.


Malawi's Minister of Health, Peter Kumpalume, on the approach to HIV in a country where 10 percent are infected.
Since its first diagnosis in 1985, Malawi has come a long way in the struggle to overcome HIV/Aids. At least 10 percent of the country's population has HIV. In 2013, some 48,000 people in this country of 16 million died from HIV-related illnesses. But experts across the board agree that the country, nestled deep in southern Africa, has made significant progress.
Ahead of the 21st International Aids Conference in Durban, South Africa, Al Jazeera spoke to Peter Kumpalume, Malawi's minister of health, in Lilongwe.
Al Jazeera: Malawi has managed to reduce new infections as well as the number of people dying from HIV. How has it done this?
Peter Kampalume: We have had a very high infection rate. I think at some point it was estimated to be around 25 percent but we have managed to reduce it to about 10 percent.
It's been hanging around there for some time and, indeed, we have reduced the infection rate significantly to about 40,000 a year.
Al Jazeera: So would you say this success has been a result of better information and education?
PK: I think the prevention aspect has worked significantly better than the curing or treatment aspect. Because of the messages there has been a behaviour change. There is no question about it.
For instance, the vast majority of reasonable people would not go out on the streets and sleep with prostitutes without protection. There would still be some risk-takers; you always have those in society. But also I think generally people have been cautious in starting new relationships.
Al Jazeera: Why are urban Malawians disproportionately affected by HIV?
PK: I think there are two reasons. In any country where you have more people in one area, if there is going to be an epidemic, it is likely to affect those people more than those people that are scattered.
Then, if you go back to the 1960s, when we had some kind of revolution, particularly in Western cultures, where we had, let's call it "loose morals" from the Western perspective. And that has properly expanded in the 1960s and 1970s and because of globalisation and because of TV and so on, people kind of copied Western mentalities and the first people that tend to embrace globalisation and liberalisation, as they call it, are urban people and not so much the village people.
So the risky behaviours - if I may put it that way - are more pronounced in urban areas than in the rural areas. And as a result the infection rate has been higher in the urban areas than in the rural areas.
Al Jazeera: If this "risky behaviour" was copied from the West, why do you think the developed world hasn't been as affected by HIV/Aids as the developing world?
PK: I think to an extent it is information. We know that HIV was first manifested in Western countries. But the precautions, the information went out faster to people, and people generally adhered to the messages. But also you need the critical mass of infections in order for it to become an epidemic. I guess they never went through the phases that we, particularly in sub-Saharan Africa, have experienced with HIV/Aids. That would be my explanation: information went out faster in those countries. Also, we kind of lived in denial for some time; it took us time to accept that this was a problem and we needed to do something about it.
Another aspect was that, again, we just didn't have the money to combat it. So people were just dying, or if you like, spreading the virus to other people.
Al Jazeera: Why was sub-Saharan Africa more affected than other regions?
PK: I think what we need to understand is that there are several factors that have necessitated the spread of HIV, particularly in sub-Saharan Africa more than in other places.
Now, generally, if you look at the figures globally, it is actually the developing nations that are disproportionately affected by HIV/Aids.
So could it be nutrition? That because HIV attacks the immune system and if you are malnourished, it's going to manifest itself more than it would have if you were well nourished. That's a possibility and that could be one of the contributing factors as to why particularly sub-Saharan Africa was affected the most. This is where most poor people live, after all.
It is pretty difficult to know with certainty that this is the main reason.
The leading factors are information, cultural practices, nutrition and, of course, the availability of medicines. Those all contribute towards the disparities that we observe between the developing nations and the developed nations.
How can we handle something of this sort in future? We have to remember one thing, that the world is becoming smaller and smaller. So a problem in one part of the world is a problem for all. The days where we would say: "Oh, that's an African problem," or "Oh, that's a European problem," and so on, are all gone.
Al Jazeera: Women and young people are still most at risk of contracting HIV in Malawi. Is it an issue of power?
PK: I know that it may be a big issue in other parts of the world, say other developing nations, but not so much here. So if you look at the behaviours, we do know that in some instances there will be some issues where a man doesn't want to use a condom, and the woman may find it difficult to persuade him otherwise. With education there has been a significant change in mindsets.
I am not saying that the issue does not exist in Malawi but I think it's not as big a problem as you would find in other parts of the world, particularly in sub-Saharan Africa.
The vast majority [of new infections] is related to risky behaviours of both males and females.
Al Jazeera: But women are most at risk.
PK: Yes, but the driver for infections among the 15 to 29-year-old group is not related to power dynamics. This is just the risky behaviours of young people. There is always a vicious cycle between men in their late 20s and young girls and so on and so on. So it's not about power dynamics in the family setting. That's not the driver, the driver is completely different.
Al Jazeera: But Malawi has significant difficulties with regard to family planning.
PK: We have done significantly well in Malawi, in terms of convincing both husbands and wives in terms of reducing the number of children. So, for example, five years ago an average family in Malawi was six children, today the statistics say it is about four children per family.
I think to an extent, education is key. If you look at the number of children that educated people have in Malawi, it is about two on average.
Al Jazeera: How difficult is it as the department of health to manage a pandemic like HIV when so many Malawians are moving around sub-Saharan Africa? So many Malawians are working in South Africa, Zambia, Zimbabwe - countries that have been hit hard by the virus.
PK: I think to an extent we need a global solution to the problem. We cannot have a system where medicines are available here and when that person goes to another country, they don't have access to Aids or TB medicines.
If we don't have this kind of cross-border understanding and methods of targeting HIV/Aids, we would basically be at the mercy of the behaviour of the people and we know that willpower alone is not the most reliable means of controlling the spread of HIV.
So we need to make sure that as a global village - particularly in southern Africa - that we come together and agree on modalities on how we can help patients irrespective of where they come from.
Al Jazeera: how successful have you been in convincing a country like South Africa to have a process or a policy of universal healthcare for a regional block?
PK: I don't think that it would be fair for universal health coverage for all. Because you have got to remember that health coverage comes from taxes, from the people, and it's not fair to ask a particular country to increase their health budget because they have foreigners in that country. That's not the way to do it. The fight against HIV/Aids is being driven by UNAIDS through the funds that every country accesses globally.
The solution has to come from that. We need to put aside money to treat people with HIV across borders.
Al Jazeera: Malawi is reliant on foreign funding. Just under 70 percent of your treatment programmes are funded from overseas. How much longer will that continue?
KP: Well as long as we have got the will of the friends that keep on helping us, yes it is sustainable. But that's not how we should plan it nationally.
You cannot rely on the neighbour to keep on providing sugar and salt for your household. So we are in a programme of setting up new modalities of funds for health that should generate extra resources.
Al Jazeera: You have managed to improve life expectancy. But are people's lives better as well as longer?
PK: It is important to make sure that the quality of life is as good as the length of one's life. That's what we hope to do. Of course, the alternative is still worse. What tends to happen is that when a mother or a father dies, the young children are raised either by their uncles, aunties or their grandparents. Because their grandparents are not young enough to work, the quality of life, both of the grandparents and the children, becomes very poor.
So if we don't treat people, we end up pushing people into a life of poverty.
So this is the reason we think that "test and treat" is a good alternative. It's not just that it gives people long life but it also means we can save those still in their prime.


text:
using System;
using System.Threading.Tasks;
using System.Collections.Generic;
using AppStudio.DataProviders;
using AppStudio.DataProviders.Core;
using AppStudio.DataProviders.Twitter;
using AppStudio.Uwp.Actions;
using AppStudio.Uwp.Commands;
using AppStudio.Uwp.Navigation;
using AppStudio.Uwp;
using System.Linq;
using Windows10News.Config;
using Windows10News.ViewModels;

namespace Windows10News.Sections
{
    public class WhatArePeopleTalkingAboutConfig : SectionConfigBase<TwitterSchema>
    {
		private readonly TwitterDataProvider _dataProvider = new TwitterDataProvider(new TwitterOAuthTokens
        {
			ConsumerKey = "hIPQRTmDy99YUaPXHJp3LgxNt",
                    ConsumerSecret = "hG4vPA0D36RSr1cN5NoBibkkkGXTD9BqEZjhCuPrwh2QwKO8hR",
                    AccessToken = "3223747883-vCjyCYxwQ1vrU9D6II4gdyGoQ1ZaYmQpAcF3lkI",
                    AccessTokenSecret = "S4L19c8QrFyrlmRJWM2P352JoyhW4mbsClW2LcVIVwAFd"
        });

		public override Func<Task<IEnumerable<TwitterSchema>>> LoadDataAsyncFunc
        {
            get
            {
                var config = new TwitterDataConfig
                {
                    QueryType = TwitterQueryType.Search,
                    Query = @"Windows10"
                };

                return () => _dataProvider.LoadDataAsync(config, MaxRecords);
            }
        }

        public override ListPageConfig<TwitterSchema> ListPage
        {
            get
            {
                return new ListPageConfig<TwitterSchema>
                {
                    Title = "What are people talking about",

					PageTitle = "What are people talking about",

                    ListNavigationInfo = NavigationInfo.FromPage("WhatArePeopleTalkingAboutListPage"),

                    LayoutBindings = (viewModel, item) =>
                    {
                        viewModel.Title = item.UserName.ToSafeString();
                        viewModel.SubTitle = item.Text.ToSafeString();
                        viewModel.ImageUrl = ItemViewModel.LoadSafeUrl(item.UserProfileImageUrl.ToSafeString());
                    },
                    DetailNavigation = (item) =>
                    {
                        return new NavigationInfo
                        {
                            NavigationType = NavigationType.DeepLink,
                            TargetUri = new Uri(item.Url)
                        };
                    }
                };
            }
        }

        public override DetailPageConfig<TwitterSchema> DetailPage
        {
            get { return null; }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Iya Kirillova subtly reflects the problems of female creativity in her oeuvre. The "handmade" nature of her one-woman show embodies the idea of the versatility of female art. The cakes based on the artist's designs will be submitted for the approval of young and exacting viewers. The show has a common ring with Mikhail Larionov's theory of "everythingness"; Larionov believed that anything could be a work of art, including cookery.


To connect two f9p boards together as base and rover, do we simply connect rx2 to tx2 and vice versa between the two boards? Do we also need to connect the two IOREF's together?
To monitor the communications, can we also connect the rx2 and tx2 to serial inputs on the desktop, and simply run cutecom (for example) to watch these sentences as they happen?
You can aslo just connect TX2 (Base) to RX2 (Rover) is enough for RTK tesing.
Make sure you also supply IOREF, otherwise the UART pins will not be active.
IOREF: this is an input that will define the voltage levels of the next pins. If you input 1.8V, the next pins will be 1.8V level. It supports from 1.2V to 5.5V.
If your are connecting your own hardware to UART1 or UART2, it is mandatory to connect IOREF pin to the voltage required by your hardware, otherwise you may experience problems.
Ah, thanks Ardusimple. i miss it.
Thanks. I assume the little "handle" on the blue line is for connection to a computer to monitor.
Is there a table somewhere that specifies the suggested outputs from the base to the rover? Is there no need for feedback to the base from the rover?
Think I'll try to use a couple of UNO's as serial to USB translators to send the data to the monitoring computer. Was hoping to stay away from soldering. 🙂 Just gotta unsolder everything later after the tests are finished.
We do not need any feedback from Rover to Base.


text:
Purcell Sessions Anoushka Shankar
Ken Hunt
Submitted by admin on 9 December 2019
Purcell Sessions
Purcell Room, Southbank Centre, London
Reviewed by Ken Hunt
Photo: © Santosh Dass/Swing 51 Archives
The Southbank Centre's December 2019 brochure was skimpy on detail about Anoushka Shankar's Purcell Sessions residency. In eleven words, it distilled three consecutive evenings down to: "In a new collaboration, this genre-defying sitarist presents never-before-heard works". This is a review of the middle gig in the Southbank's intimate 295-seat venue. She made it homelier still.
Looking at the stage set-up before show time with its large central divan straightaway started me free associating with Goethe's West-östlicher Divan ('West-Eastern Diwan'). That book has nothing to do with furniture, though. It is a diwan or collection of lyrical poems but the décor stimulated my wordplay glands. Anoushka Shankar's return to the London stage came after no little adversity in her recent life. Maybe she needed the psychological boost of familiar objects around her… Like the light fixtures from home, she explained. (Their designer Martha was in the Wednesday audience.) Maybe it was like a subconscious echo or evocation of the way Indo-Pakistani musicians and rasikas or music connoisseurs transplanted and re-enacted the house recital scene in Delhi or Lahore to London, Leicester or Berkeley. Name musicians used to give private, intimate recitals in private homes. For example, in the pre-sitary boom years, Michael Davis wrote a superb, eyes-widening-open piece about this in The Observer entitled 'The Music of Kings in Belsize Park' about a private Ali Akbar Khan sarod recital. Two decades on, I sat in London living rooms in front of Nusrat Fateh Ali Khan and Lakshmi Shankar.
Accompanied by, sticking to their main roles, Nina Harries (double-bass, backing vocals), Danny Keane (cello, piano) Alev Lenz (vocals, tanpura, piano), Pirashanna Thevarajah (mridangam, kanjira, ghatam and morsing) and Nicki Wells (vocals), the ensemble opened with the instrumental 'Voice of the Moon' set in the Hindustani-assimilated southern rāgam Kirwani from her 2005 album Rise. Its sitar-cello interplay with Keane summoned memories of Anoushka Shankar's father's groundbreaking West Meets East project with Yehudi Menuhin where the violinist sight-read his improvisations to, within limitations, Ravi Shankar's more spontaneous sitar vocalisations. Sitar is a female voice and sarod is a male voice. Here sitar and cello also recalled her father and Ustad Ali Akbar Khan female and male musical dialogues. That said, free associating does give free rein to the imagination…
Next, in this living room atmosphere things turned dark. I happen to like dark. Like the way Tom Waits de-Disneyfies 'Heigh Ho' from Snow White and the Seven Dwarfs. Or Leonard Cohen kisses Death on Thanks For The Dance. Sticking to the songwriter's mantra of 'Keep it simple', the very raw 'Bright Eyes' to bowed double-bass and bowed cello introduced the evening's presiding theme of pain. It is a call or cry to an erstwhile lover: "Will you call her bright eyes, too?" 'Lovable' continued in a similar vein with "Am I still loveable if you stop loving me?" Turning to pain of another kind the sextet performed the first of three pieces from what I consider her non-classical masterwork: her 2016 album Land of Gold. It explores themes of migration and the plight of migrants. The sextet's rendition of its instrumental 'Boat To Nowhere' re-examined it afresh quite differently from previous recorded and live versions. For example, Pirashanna Thevarajah's hand percussion – an almost click track section followed by miked kanjira (small hand drum) – against bowed cello had the wow factor.
Another portent of Love Letters, Anoushka Shankar's 2020 album, was 'Sister Susanna'. She read aloud a twelve-point (bullet point) description of wifely duties ("There are others" was a late arrival) like she was reading a party-of-the-first-part contract. "Don't give me a hard time about work", "When I am staying away for work…" and "Be present…" are examples. Such was the piece's intensity my notes end where it started with Keane creating a sound effect by rubbing the cello's soundboard with his right hand and Thevarajah reflecting that by rubbing the kanjira's drumhead. Having caught the Land of Gold suite with Alev Lenz as a pre-recorded vocal track twice, finally getting to see Lenz sing her lyrics to 'Land of Gold' was lovely. That repeated outro line, "Tell them I walked…" gained added traction. Before the next to last piece Lenz coaxed something out of Shankar. It was something she had said the first night of the Purcell Sessions which had caught her ear. It went, "Sometimes lyrics last longer than romances…" It set the scene for Nicki Wells singing another new song with the lines: "Turning my face to your sunshine/And drinking you in." For Anoushka Shankar, the evening marked an inspiring return to the London fray. Its scenarios wouldn't have been out of place on any of the nearby National Theatre stages.

redpajama_set_name: RedPajamaCommonCrawl


Had an amazing time on assignment for the UK Daily Mail doing a piece on Travis Rupp a beer archaeologist working for the Avery Brewing company.
actually rendered things but it was close.
like when it comes out of Photoshop.
preview preset and the warm tone, the B&W made me more inspired by a mile.
And isn't that what we want – to be inspired to make photos?
like 5 negatives with the handles of tools in the foreground. Hmmm?
Technicals: Nikon D700 and Nikon AF-D 35mm f/2.0. ISO 400, f/2.0 @ 1/30th.
one of the top craft breweries in the country and luckily not that far from me.
stuff but it doesn't have that special thing that makes you swoon. Avery puts magic and love into 12oz bottles. It's that good.
make their limited release beers. It's amazing how precise their palettes are. They can detect the most minor flaw in a warm flat beer often just by it's smell. They will find a beer that most craft beer drinkers will like to be actually horribly flawed.
these guys who I admire. More to come as the project unfolds.
1/15th. Shot RAW and toned in post.


text:
Sam Hill to race Cairns World Championships 2017
Ed Thomsett
Published: September 6, 2017 at 11:25 am
We talk to one of mountain biking's all-time greats, who's making a downhill comeback on an enduro bike!
The 'flat pedal thunder from Down Under', Sam Hill has to be one of our all-time favourite riders, not to mention one of the fastest dudes to ever swing a leg over a DH bike. So, when it was announced that he'd be racing the World Champs in Cairns next weekend, of course we got excited!
This is why we love Sam Hill, ripping and roosting turns, no matter what the weather is doing. Photo: Andy Lloyd
With 4 titles to his name, the current Enduro World Series leader is no stranger to the World Champs, but in recent years he's stepped back from the downhill scene to focus on enduro. Now, with this year's Worlds taking place in Cairns, Australia, Sam has decided to make a comeback for what could be his last ever World Champs race.
Earlier in the year we saw Sam race at the Fort William World Cup, which gave an indication that he had Cairns on his agenda. He raced to prove himself worthy of a spot on the Australian team, easily making the cut.
We asked Sam what it's been like getting back into downhill and how he's prepared for this year's race:
"It's been good. Last season I was a bit over downhill and I just wasn't excited to be at the races. Once I decided to focus on enduro, I just packed the DH bike away for a few months, but I think being off it for that long made it really fun to be back at it. I didn't ride any downhill for 10 months before Fort Bill and then just did 12 runs in the week before the race. I had a goal of getting a top 20 and I got 18th, so I'm pretty happy with that. It wasn't an amazing result, but it was enough to secure a place on the Worlds team. After racing the last 2 EWS rounds in Aspen and Whistler, I've had a bit of a break and a chance to freshen up before Cairns. I've been trying to keep the fitness up and work on some sprints for that last pedal!"
Sam and our Ed shoot the shit, whilst out riding in France. Photo: Richard Bord
He's chosen to ride his Nukeproof Mega enduro bike over a full-on downhill rig and is hoping it'll secure him a home soil World Champs victory. Is this just because he feels more comfortable on his enduro race bike or because he reckons it will give him an advantage on the flatter Cairns track? We're not sure, but all we know is that with brutal rock gardens, massive alien tree roots and high speed whoops, it's going to be one wild ride!
The custom painted Nukeproof Mega that Sam is going to be racing at the Worlds this year. Photo: Fraser Britton
Sam's World Champs victories: Kaprun 2002, Lugano 2003, Rotorua 2006, Fort William 2007, Mont Saint Anne 2010. Photo: Fraser Britton
Aussie Aussie Aussie, Oi Oi Oi! Photo: Fraser Britton
And just to give you a reminder of what Sam is capable of at World Champs, this is his epic performance from Val Di Sole in 2008. Even with the crash (spoiler alert!), this ranks as one of the greatest downhill race runs of all time.
Tune in to watch the Worlds all this weekend on www.redbull.tv
Ed ThomsettContributor
Former Mountain Biking UK features editor Ed Thomsett is a downhiller at heart but has been riding bikes of all types since a young age. He's raced both nationally and internationally in downhill and enduro, and has spent several summers living in the Alps and Canada, riding, roadtripping and living the dirtbag lifestyle. Now Ed calls upon his years of experience riding bikes to the limit as a writer and reviewer for MBUK and BikeRadar. He's also an avid trail builder and has scraped out numerous steep and technical lines in the woodlands of his native North Yorkshire. These days Ed will happily turn his hand to any discipline and believes the sign of a good week is when every bike in his shed ends up muddy by the end of it.


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The composition of your image has a huge impact on how interesting your photo is. There are many rules for composition, this video goes over some simple ones that will give you the most bang for your buck as a beginner.
Here are some still images that illustrate a few composition rules.


The Biotechnology Research Program is the cornerstone of Lakehead's expanding research capabilities and many program members also conduce to the PhD. in Biotechnology.
By successfully combining the aim and expertise of faculty in both science and engineering into two interdisciplinary fields of biotechnology, Environmental Biotechnology and Medical Biotechnology, the Biotechnology Research Program puts Lakehead at the forefront of cutting edge biotechnology research in Northwestern Ontario.
In addition, work in Environmental Biotechnology approaches environmental matters in northern resource sectors, primarily pulp and paper processing and mining. On the other hand, Work in Medical Biotechnology focuses on genomics, toxicology and biomedical sciences.


The Christian tradition /1. The Christian tradition is the mystery of Jesus at work in time seen in its totality, and which operates in the various places of its expression: teaching, life, worship and evangelisation. All these spheres concern man in his historical evolution.
In some epochs more than in others it is arduous to address a subject such as tradition and renewal, in which various currents of thought seem to contrast with each other, some more convinced than others that truth is on their side. For the believer, therefore, who is a theologian or a pastor, there exists no other approach than that of having the courage to revisit the sources of our faith – and thus the tradition of the Church – in order to discern there the force of renewal that is always able to fertilise the situations and lives of men of this time, who wish to believe in Christ and follow him from closer at hand.
This explains the organisation of this essay which in essential terms springs more than any other subject from the specific nature of the subject of study. It will be advisable at the outset to see what tradition is in the Christian context. Then its fertilising strength within the framework of the various life situations of believers or in the work of enculturation can naturally be brought out. Through this apparent divagation – which in reality is only an application of the nature of tradition to daily reality – we will be able to see more effectively that the Christian tradition possesses in itself a force of discernment to 'organise' renewals in such a way that believers remain morally and intellectually free for Jesus Christ. Thus, through the force of living tradition the Gospel is defended against all initiatives involving an attempt to create a cultural phagocyte by which 'the world' seeks to neutralise it.
In the strong meaning of the term, Tradition, in the Christian context, means the mystery of Christ at work in time, seen in its totality. Understood in this way, Tradition operates in various places of expression: teaching, the Christian life, worship and evangelisation. And in particular one can talk about living Tradition because these contexts concern man as written into historical evolution. Tradition does not only perpetuate transmitted faith and teaching but also everything that is experienced in service to God and in the life of the Church, yet this is an experience that is often difficult to translate into words. This historical-theological way of seeing Tradition may be rooted in the concept of the history of salvation.
One intuits that in this definition of Tradition seen as the totality of the life of the Church and its faith, Scripture finds its full location. Thanks to the intervention of the various Fathers of the Second Vatican Council, the Catholic Church now understands better than before that Scripture is the criterion of an unceasing 'critique' of Tradition. Through its Dei Verbum, the Church entered a new era of theology. But we should remember that the Council showed that the objective Tradition of Scripture is made living and dynamic by the oral and living Tradition of the Community of the Church. At this level of reflection one can already grasp how Tradition, in the Christian context, can never be perceived as a phenomenon of pure and simple sterile repetition. Scripture on the one hand, and above all the Spirit, on the other, whose action consists in animating the Church, allow us to speak about an initial period that remains a point of reference for all Christians.
It may appear surprising that theology attributes a capital importance to a sequence of historical time, the initial period, to the point of making it a point of reference for all the stages of the unfolding of the history of the Church. Now, it is precisely here that there is to be found the expression of the originality of the Mystery-Tradition of Christ and its fertilising power. Indeed, to say that revelation underwent an absolutely insuperable constitutive time does not mean, clearly, to ignore the eschatological dimension that is written into Revelation. But this useful phrase demonstrates that Revelation – the Word of God – entered into the forms of transmission that were bequeathed to it by history. There was thus a precise period when Revelation became Tradition in order to remain accessible in the unfolding of history. There is thus a natural analogy between the Incarnation of the Word in the womb of the Most Holy Virgin Mary and the passage or entrance of Revelation into the matrix of Tradition. It is for this reason that Christian faith renders such honour to the dignity of history and to the category of historicity.
Now, to admit that an initial period remains absolutely referential has a dual meaning which at first sight is paradoxical. On the one hand, the material text of Scripture is the rule from which one can never depart. This is the apostolic tradition written down. There is thus an intrinsic need to receive the witness of those who believed before us because of the nature of the bond between the Holy Spirit and Christ. All the actions of Christ during the course of his history are meaningful for those who remain at the present time in the Spirit. On the other hand, the irreplaceable role of the Spirit in relation to Tradition makes it possible for renewals to be examined with reference to Revelation as it was manifested in Scripture. Expressed in other terms, the recognition of an initial period of reference also means that every human situation is susceptible to being involved in the proclaiming of the Gospel because the Holy Spirit has placed eschata in history.
We can thus state that the bond that the Church conserves with its past is not first and foremost of a historical nature. It is, rather, of a 'theological' nature – otherwise there could not be a 'mission' that is able to take on unprecedented situations. This role has often been described as being able to open up a future to the Church. With the title of missionary realism, itself founded on faith in the action of the Holy Spirit and on the nature of its bond with Christ, the notions of experience, of situation, find right of citizenship in the thought and action of the Church.
It is not necessary to spend too much time outlining the key notion of interpretation, given that the theology of Tradition as I have rapidly described it above demonstrates that theology always experiences an anteriority, namely that of the history of Christianity. It is for this reason that it is hermeneutics. It is clear that in exploring the action of Tradition as interpretation it is perceived better in its dynamic action of renewal: interpretation-Tradition produces a meaning that naturally enters the future hermeneutic life of the believing community. And, obviously enough, the question of the Church and its organs of transmission is renewed by such a vision of Tradition. The Magisterium, located within a believing community, is the privileged witness to the Word that is made flesh in every given situation. The role of the Magisterium, seen as an agent in history of the confessing community, appears as the organ entrusted with entering every given historical situation of believers – for basic theological reasons – in the interpretative act that seeks to take on board the resonances of the Word hic et nunc.
One easily perceives that the irreplaceable role of the Magisterium is based on the unceasing work of Tradition upon Tradition, which continually writes itself into new situations or new cultures. The need for a Magisterium of vigilance is thus explained by the fact that it is specifically Revelation that became, during the referential period, Tradition. To express this in another way, it is the eschatological dimension that explains the need for such a Magisterium, which is completely specific to the Catholic Church. But precisely this strong theological need that explains the raison d'être of this Magisterium of eschatological vigilance is also what founds the various renewals of the expression of Tradition or its fertilising power as regards every culture or situation and the power of assimilation of Tradition. The life situations of the confessing community, the new cultures into which the preached Gospel penetrates, the aesthetic, emotional and intellectual contributions, the scientific objections and the political-economic tensions, are equally events of historicity which, more than braking living Tradition, stimulate it and set to work, through the action of the Spirit, the criterion of apostolic Tradition which is written down and experienced or interpreted by the believing community, with its modes and organs. One should observe that such an amazing notion of Christian experience specifically implies renewal (of the Christian life) as written constitutively into the reality of Tradition. Indeed, the notion of Christian experience implies that Tradition is not only pure repetition of what has already been taught. Each time that the human reality of listeners in their life situations is not taken into consideration, Tradition is in fact abandoned, even if confessing words are pronounced externally. Expressed in other terms, nobody can exactly determine the gospel message as they place in brackets the current situation of the believer and the community in which man experiences the meaning of life and which possess an interpretative status for faith.
Lastly, let us cite the very rich notion of enculturation which, despite the recent character of this term, is as old as Christianity itself. Enculturation is coextensive with the history of salvation: it is this history of salvation underway. Once again the analogy with the incarnation of the Word is manifest: the freedom of the Word is written into a historical succession of cultures. Without entering an in-depth reflection, let us make clear that because of the incarnation of the Word as a paradigm of enculturation, this last is neither an angelism nor dehumanisation. On the contrary: it has a constitutive relationship with the humanisation of man, and to the point that the latter becomes the criterion of the sound functioning of the former.
To summarise, the Incarnation of the divine Word demonstrates that God chose to free and love man through the human contingency taken on by His Word. It is this, in the always limited but always new human determinations, that God continues to operate. The Son of God did not want to cede to the Tempter who proposed that he deny his humanity in the name of his absolute divine filiation. Renewals, therefore, are not only possible – they constitute, indeed, the habitual grammar by which the genetic code of the Church is expressed in the history of men, within which unfolds the Mystery of Christ. This grammar, which can never free itself from the writing read within the Church, is the Arianna's thread which makes possible progression in the perception of the intelligence of the mystery of Christ. Renewals are thus also of a dogmatic nature. This is the originality of the Catholic Church.
Christianity, which unfortunately in some instances is perceived as a fact of the past, is, however, the religious expression by which the always new news of the risen Christ never ceases to generate new experiences and expressions of faith, experienced, however, without falling into the 'delirium' of religious fanaticisms. And this through the vigilance of the apostolic Tradition at work in all historical periods, where the eschatological dimension of the Gospel is led to express itself by marrying the experience of meaning of life by those who become its listeners. Renewals are always safe from manipulations and attempts to change them into phagocytes that the Tempter never ceases to suggest to the confessing community and which are 'verified' and purified according to the yardstick of Scripture. The history of Christianity, which cannot be a pure repetition of the past, will continue to generate the amazement of those who listen to the message of the Gospel.
Umberto Betti, 'Storia della Costituzione dogmatica «Dei Verbum»', in La Costituzione dogmatica sulla divina Rivelazione. Storia, testo, traduzione, esposizione e commento (LDC, Torino-Leumann 1966), 9-50.
Jean-Georges Boeglin, La question de la Tradition dans la théologie catholique contemporaine (Cerf, Paris 1998).
Jean-Georges Boeglin, Pierre dans la communion des Églises. Le ministère pétrinien dans la perspective de l'Eglise-Communion et de la communion des Eglises (Cerf, Paris 2004).
Maurice Borrmans, 'La deuxième recontre islamo-chrétienne de Tunis', Islamochristiana 5 (1979), 221-242.
Walter Kasper, 'Das Verhältnis von Schrift und Tradition. Eine pneumatologische Perspektive', Theologisches Quartalschrift 170 (1990), 161-190.
Joseph Ratzinger, 'Dogmatische Konstitution über die göttliche Offenbarung (Constitutio dogmatica de divina Revelatione «Dei Verbum»). Kommentar zum I. Kapitel', in Lexikon für Theologie und Kirche (Herder, Freiburg 1967), 504-515.
Joseph Ratzinger, 'Dogmatische Konstitution über die göttliche Offenbarung (Constitutio dogmatica de divina Revelatione «Dei Verbum»). Kommentar zum II. Kapitel', in Lexikon für Theologie und Kirche (Herder, Freiburg 1967), 515-528.
Jean D. Zizioulas, 'La continuité avec les origines apostoliques dans la conscience théologique des Églises orthodoxes', Istina 19 (1974), 65-94.


As a Bay Area native, Natasha Kolenko is inspired by both the diversity and culture of the concrete jungle and the natural wonders that surround her. Natasha's fascination and compassion for earth's flora and fauna coupled with her creative drive, led her to attain degrees in both biology and residential interior design. Her photographic eye and design inclination drew her to a career as a photo stylist. Natasha's diverse portfolio includes all facets of photo styling including food, wardrobe, prop, and interior. Her desire to play with flowers comes organically as floral arranging combines botany and strategic design principles.