This is a chronological look at the history of broadcast radio in New Zealand.
(TRN's Source: "The Radio Years", By Patrick Day.
"The Shoestring Pirates" by Adrian Blackburn. Published 1975 & 1989.
and my own acquired knowledge.
NB: More information about other stations will be coming to fill in the gaps at later dates when I get the information.
November 17TH 1921: Professor Robert Jack assembles a small transmitter at Otago University in Dunedin and broadcasts the first ever radio programme heard on New Zealand airwaves. The only known fact about the programme's content is that it included the then popular song "Hello My Dearie".
1923: A set of Broadcasting regulations are issued under the Post And Telegraph Act 1920. Under the new regulations the country is divided into four numerical transmission regions. The regulations also stipulate that the owner of a receiving set is to pay an annual license of five shillings while permission to transmit costs tow pounds.
1925: The Radio Broadcasting Company (RBC) begins operating after reaching an agreement with the government to begin a national broadcasting system. The company succeeds a number of separate stations (1YA, 2YK, 3AQ, 4YA) which the government has been paying a subsidy of 15 pounds a week.
1927-1929: The RBC starts setting up relay stations in provincial towns and country districts to counter its metropolitan bias. The provincial areas were wholly dependant on the privately owned and poorly financed "B" stations which struggled to survive until becoming a political issue in 1935.
1931: After being bombarded by over hundreds letters full of new ideas for the station, the RBC's 2YA in Wellington employs a Mrs Maude Basham who later becomes known as "Aunt Daisy". She is dismissed months later due to a governmental instruction that only men are to be employed during the depression.
1932: The RBC's assets are acquired by the New Zealand Broadcasting Board (NZBB), which is now in charge of New Zealand's broadcasting services. The Board's 4 year term was largely regarded as a stopgap measure before eventual nationalisation.
1934: Controversy plagues the NZBB. The Board bans the broadcast of a talk by Indian philosopher Jidda Krishnamurti for being "too objectionable" and George Bernard Shaw broadcasts his pro-Communist views to a scandalised and unsuspecting audience. The Board also incenses listeners by purchasing private "B" stations and closing them down.
1934: Colin Scrimgeour ("Uncle Scrim") buys the private station in Auckland, 1ZB, for 50 pounds.
November 24th 1935: On this night just before polling day, it was widely anticipated Uncle Scrim's regular weekly broadcast would be the climax of his long fight on the closure of the "B" stations. There was a rumour that he would indicate to electors the course that was open to them. Just after Uncle Scrim began his on air broadcast 1ZB's transmissions were jammed.
1936: A newly elected New Zealand Prime Minister, Michael Joseph Savage announces his commitment to broadcasting intention to set up its own commercial network. The NZBB is dismantled and the National Broadcasting Service (NBS) is established as a separate government department.
1936: Auckland's 1ZB is bought and opened as the first station of the government owned National Commercial Broadcasting Service (NCBS). Aunt Daisy is re-employed by the station to broadcast her famous morning show nationwide.
1937: 2ZB opens in Wellington, quickly followed by 3ZB in Christchurch and 4ZB in Dunedin.
1939: The NCBS adds the temporary 5ZB to its ranks. Built into a refitted luxury railway carriage the mobile station tours the North Island for three months.
1940: Commercial stations start to be used in numerous war effort campaigns, one of the most successful being the Apple Appeal. Persuasive tactics such as national pie baking competitions and a competition for an apple song were used to sell over a million cases of apples which would usually be marked for export bar war time shipping shortages.
1942: Children's birthday greetings are banned due to stepped up censorship during the war. Weather forecasts, references to shipping movements or anything that could potentially be a code were forbidden.
1944: Auckland station 1ZM is loaned to the United Sates Army for the use of American troops stationed here.
1944: King Of Quiz begins. The brainchild of the then 2ZB Announcer Lyell Boyes, the quiz show runs for twenty years initially on Wellington's 2ZB and then throughout the network.
1946-1947:A Mobile Recording Unit is created to travel parts of New Zealand not within easy access of a radio station. Talented performers in the areas are recorded on the spot and broadcast from one of the central stations. The idea was inspired by the success of recording units, which worked overseas during the war and was intended to assist cultural development and national pride in post-war New Zealand. However when new lightweight portable recorders arrive in the late 1940's the Mobile Recording Unit was shelved.
1949: Four new community stations open as part of the NZBS post-war expansion.
1949: 1ZB Breakfast host Phil Shone runs foul of the Minister Of Broadcasting when he broadcasts an April Fools bulletin about a mile wide swarm of wasps that was moving across Auckland. Housewives dutifully heeded his ridiculous anti-wasp precautions - which included wearing socks over trousers and leaving honey smeared traps outside the front door. Phil had the city spellbound for hours with his reports but the Broadcasting Minister was not amused and condemned the hoax, assuring party members that steps were being taken to ensure nothing like it would happen again.
1953: After almost a quarter of a century of enduring makeshift lines, high fidelity landlines finally became available. NZBS stations were now bale to link over long distances without loss of quality.
1953: A major step forward for radio drama. Production centres in Dunedin & Christchurch were opened in addition to the flourishing studios in Auckland & Wellington. The writing of plays and serials were now an established branch of the service.
1955-1956: The 45rpm single disc is introduced and the manufacture of 78rpm discs soon cease altogether.
1956: The pop revolution. Rock 'N' Roll had well and truly arrived and with the change of music a new breed of announcer. Shedding the old style formality, the new jocks were noisy, talkative and spoke hip new jargon which older listeners found largely incomprehensible.
1962: Control passes from the government department New Zealand Broadcasting Service (NZBS) to an independent body - the New Zealand Broadcasting Corporation (NZBC).
1964-1965: To counteract the lure of television, the NZBC establishes the National programme, the Overseas Programme Exchange, a Maori programme section and NZ's first talkback show.
Mid-1965: The idea for a Private radio station in New Zealand in the form Of Radio Hauraki crystallised in a pub in Wellington. David Gapes, a Newspaper journalist, moves to Auckland to start the radio station.
Mid-March 1966: 1480kHZ-AM was the decided frequency to broadcast on because it was well away from and frequency currently being used by the New Zealand Broadcasting Corporation (NZBC) and any Australian broadcasters.
The Hauraki idea came to light in the public eye through an article in the Auckland based New Zealand Herald - "PIRATE RADIO STATION IN GULF PLANNED".
2 Ex-NZBC employees, Derek Lowe & Chris Parkinson join David Gapes & technician Denis "Doc" O'Callahan in putting Radio Hauraki together. Hauraki tried to get a private broadcasting licence by the book but the NZBC & the NZ Government turned their application down.
Sunday May 1ST 1966: Radio Hauraki gets some editorial support from the Wellington based Dominion Sunday Times through a headlined reading - "BREAK THIS MONOPOLY".
May 1966: An on air target date was set - 11am 1ST October 1966.
Radio Hauraki hears of pirate radio rivals through an advertisement in an evening edition of The Auckland Star - the rival, Radio Maverick then renamed Radio Ventura.
July 25TH 1966: Yet another possible rival for Hauraki? Radio Southern Cross. A Headline ran in The Sunday News - "PIRATE RADIO BATTLE: TWO NEW STATIONS IN FIGHT FOR AIR-WAVE FORTUNE". Yet another announcement of another radio station a little while later - Radio International.
August 1966: Radio Hauraki chooses their transmission vessel The M.V. TIRI – she needed a lot of work on her though before she would be ready for the rough International waters just beyond New Zealand's 3 mile limit.
Friday September 16TH, 1966: One day before setting sail the TIRI was detained. Radio Hauraki is prevented in taking the TIRI to sea - by the Government.
11am, October 1ST 1966: This was the date set for Hauraki to be on the air but the TIRI is still berthed at the Western Viaduct in Auckland.
Sunday October 23RD, 1966: THE BATTLE OF THE TIRI.
The Hauraki crew decide to set sail. The TIRI gets stuck up against the drawbridge but with a little help from a 200 strong crowd who were lined up along the wharf to see what was happening. The TIRI is set free and starts sailing but eventually the police stopped to the TIRI going any further by pulling the fuel line, which shut down the main engine. The Hauraki crew were arrested and the TIRI put back to its berth all to the disappointment of the Hauraki fans but were later set free on bail in the early hours of Monday October 24th 1966.
A public meeting in the Auckland Town Hall set up by Hauraki with the Government Spokespersons invited to speak. Over 2,000 Hauraki supporters jammed the Auckland Town Hall with banners reading: "LICENCE RADIO HAURAKI"; "WE WANT PIRATES"; "SURFIES SUPPORT HAURAKI"; "FLAT EARTH SOCIETY SUPPORTS RADIO HAURAKI"; "DOWN WITH THE NZBC".
Radio Hauraki directors in court over the detaining orders of the TIRI.
Hauraki wins. The Government had detained the TIRI to stop it being used as a pirate radio station NOT because the TIRI was to be surveyed before being allowed to be put to sea.
The TIRI set sail again with hardly any one insight except for 3 young teenage Hauraki fans who had been asked to keep the TIRI's departure a secret for at least an hour. The Pirates were unaware that Jack Scott who was the Minister Of Broadcasting, Minister Of Marine & the Post Master General, also saw the TIRI quietly slip away. The dream was nearly complete. All that was needed now was to get the TIRI beyond the NZ 3-mile limit & into International waters, start the transmitter up and begin broadcasting. No news of the departure of the TIRI was broadcast on the NZBC's final news broadcast to the exultant cheer of the Hauraki crew aboard the TIRI.
The TIRI anchors at what would be her home, or the closest to it, for the next 31/2 years.
Hauraki starts test transmission on 1480AM – although a bit weak and distorted Hauraki was on the air for the first time. They had technical difficulties and began to improve the signal.
Radio Hauraki began transmissions in earnest at sea aboard the TIRI in the Hauraki Gulf on 1480AM just after 8pm. The station jingle rang out loud and clear. "Radio Hauraki, Top Of The Dial". And then Hauraki DJ Bob Lahey's voice came over the air: "You're listening to Radio Hauraki, Top of the Dial, and we're broadcasting a test transmission on 1480. …We've done some modifications to the transmitter and we've erected our full antenna, so we're expecting to be putting out quite a good signal tonight. We'd like to know how well you are receiving us. So, drop us a line: Radio Hauraki, Post Office Box 2964 in Auckland - 2964, and let us know how you're picking up Radio Hauraki. (Pause) Twelve minutes past eight now, Top of the Dial…" A while later trouble for Hauraki: 30 - 35 knot winds knock the huge transmitter mast off the TIRI and Hauraki off the air.
9am, Sunday, December 4TH, 1966: On air tests started up again.
Listeners who were tuned in to 1480AM heard the sound of seagulls at the start of the documentary, that was produced weeks before, all about Radio Hauraki. That was the programme that reintroduced commercial private broadcasting to New Zealand after a gap of almost 30 years. The dream was now complete - Radio Hauraki was officially on air. The first song played on Radio Hauraki - "Born Free" by Matt Munro.
Saturday, January 28TH 1968: "MAYDAY, MAYDAY, MAYDAY".
The TIRI runs aground upon rocks in treacherous weather in the entrance to Whangaparapara Harbour. All communication equipment on the TIRI had failed except the on air broadcast frequency. Paul Lineham made the mayday call on air. Derek King kept listeners tuned into 1480AM informed with a "blow-by-blow" commentary as the TIRI hit the rocks. Paul Lineham made what was to be the final broadcast for Hauraki from the beloved yellow TIRI. "Hauraki News: Hauraki crew is abandoning ship. This is Paul Lineham aboard the TIRI. Good Night." Then a station jingle - "RADIO HAURAKI - NUMBER 1". Then only silence. Radio Hauraki is off the air.
The TIRI is towed back to Auckland. The TIRI was badly damaged and is beyond repair. The TIRI's days for Hauraki are over.
Most Hauraki's transmitter and studio equipment from the TIRI is salvaged and the search for a new vessel to broadcast from starts in earnest straight away. 4 days after the grounding of the original TIRI a new vessel is found - the KAPUNI which was repainted in the TIRI's original yellow and "unofficially" re-named by the Hauraki crew as the TIRI II. Work on refitting the TIRI II with Hauraki's broadcasting equipment begins immediately.
The TIRI II sets sail for International waters from Auckland.
Hauraki resumes regular programming after evening transmission test the night before. The Hauraki team set an on air target of 5am - they missed it by 21/2 hours. Hauraki was back on the air just under a month after the loss of the original TIRI.
April 10TH, 1968: THE WAHINE STORM.
The TIRI II battles the storm and ends up beached again at Whangaparapara Harbour. The new 160-ft transmitter mast on board was badly damaged. The old mast from the TIRI I is pulled up to be put into use. The storm continues down the country towards the country's capital city Wellington for its rendezvous with the ill-fated inter-island ferry WAHINE.
Because of the storm the WAHINE had beached itself upon rocks at the entrance to Wellington Harbour. Over 50 people lost their lives aboard the WAHINE. The TIRI II crew were a bit more fortunate than those aboard the WAHINE.
After repairing the transmitter mast back in Auckland, Hauraki was back on the air at 6pm, just missing out on the Easter Weekend Advertising which was needed.
Radio inspectors catch Hauraki broadcasting in NZ internal waters on several occasions. Hauraki was starting to worry that this was going to be the end and that they would never get a private broadcasting licence for land transmissions.
May 15TH 1968: The TIRI II is beached at Whangaparapara.
They're back on air on May 19th 1968.
The TIRI II runs aground at Uretiti Beach, about 20 miles south of Whangarei, Near Waipu. The Hauraki crew again safe.
Hauraki started 24 hour broadcasting just before Christmas 1968.
The first station in NZ to be on air 24 hours. They called the session "Yawn To Dawn". The transmitter didn't seem to fail as much now. It seemed to like running constantly.
Applications for private broadcasting were being put together to be put before the Broadcasting Authority by Radio Hauraki and two other companies - Radio Auckland Ltd, a station to be jointly run by the 2 daily Auckland newspapers - The New Zealand Herald and The Auckland Star, and by Radio Hauraki's old enemy Radio International which was now calling itself Radio i.
With student politics such a strong force it's hardly surprising that Campus radio established itself through the 70s largely as a 'Student political' challenge to the extremely conservative and stale system of state broadcasting and Broadcasting legislation.
Radio Bosom first hit the air as a capping stunt in 1969 transmitting from a hired boat that the students even managed to let run aground. The message was that radio should be fun. The group went on to 'Broadcast' over a network of speakers around the student union slowly building up studio facilities under where bFM is presently, the programme was mainly music/student political in content. It's clear that the main interest was to get on air again legally, several applications were made to transmit (narrowcast) programme to University halls of residence in the early 70s but the legislators wouldn't budge.
Hearings for private broadcasting began on the fifth floor of Caltex House in Downtown Auckland. The room overlooked the Viaduct Basin where the battle of the TIRI I was fought.
The Broadcasting Authority made its announcement rejecting the NZBC's claims against private broadcasting and awarding 2 private broadcasting licences for the Auckland area. Radio Hauraki was granted one of the private broadcasting licences. The other one to long time rival Radio i.
The final sea broadcast of the "pirate" radio station Radio Hauraki from aboard the TIRI II - after 1,111 days out at sea the pirates were finally coming ashore. The final part of the broadcast of the "old" Hauraki was a documentary of Hauraki's history up till now. The last song played aboard the TIRI II was Matt Munro's "Born Free" which was the first song played on Radio Hauraki on the 4TH of December 1966 from the TIRI I. The broadcast finished at 10:00pm. The faithful transmitter shut down for the final time and the TIRI II headed for Auckland.
Announcer Rick Grant was lost overboard. A bitter end to what was a successful day for the Radio Hauraki team who had fort so long and hard to get on land.
The battle was on once again between Radio Hauraki and Radio i to get on the air first.
Only 98 days after being granted its private broadcasting licence, Radio Hauraki was on the air - LEGALLY, broadcasting on 1480AM, from the studios on the 4th floor of Caltex House, just one floor below the room where the Broadcasting Authority heard Hauraki's plea to come ashore. Radio Hauraki had done it, breaking a 30 year State broadcasting monopoly by the NZBC, and beating the rivals Radio i, to air by more than a month. But it wouldn't be Hauraki without something going wrong. A friendly bulldozer later opening day managed to slice through the direct line between the studio and the transmitter towers to briefly put the Hauraki Pirates off the air. But never the less, finally there was private radio in New Zealand.
Late 1970 or Early 1971: A 3RD private radio station went on the air from Hamilton. This was Radio Waikato broadcasting on 930AM.
Bay Of Plenty. One was a nationwide non-commercial station (1YZ - National Radio), and the other, based in Tauranga, was commercial (1ZD). Both were owned by the state broadcaster - the NZBC (now known as Radio New Zealand - RNZ).
Limited by the Broadcasting Authority.
12pm Midday, June 30TH 1971: 1XX (One Double X) went to air broadcasting on 1240AM, becoming the 4TH private radio station in New Zealand after Radio Hauraki and Radio i, both in Auckland, and Radio Waikato in Hamilton. 1XX was also the first private provincial commercial station in New Zealand. Until sometime in 1979 1XX was on air for only 19 ½ hours a day from 5:00am - 12:30am. In the late 1970's 1XX was also known as Coastline 124. 1XX is now under the company name of Radio Bay Of Plenty Limited and 1XX's AM frequency has gone from 1240AM to 1242AM.
A Private radio station goes to air Dunedin - Radio Otago Limited's 4XO - broadcasting on 1210AM.
August 1973: Radio Avon begins broadcasting in Christchurch on 1290AM. In its peak in about 1977 Radio Avon had over 50% of the listenership in the Canterbury area blowing away its state rivals 3ZB and 3ZM. Radio New Zealand tried to combat Radio Avon's hughe success by turning its youth rock oriented station 3ZM into an easy listening station – Radio Nova. That failed after a couple of years and the format was dropped was reverted back to 3ZM.
Mid 1970's: The mid 70's saw a change in legislation allowing short term broadcasts by special interest groups for special events only, Radio Bosom (soon Radio B for political reasons) took to the air for capping and later orientation, transmitting low power A.M. from the top of the student union building.
the broadcast was to be aimed only at university students with no music or entertainment and was to be non-commercial. This was however a "foot in the door", the rest of the decade saw the boundaries constantly pushed back.
1975: Evidence that Radio B was trying to achieve a licence to broadcast more than just information for students exists in the records of many applications for an FM Broadcast licence and the pirate FM transmissions in 1975 (these officially had nothing to do with Radio B for obvious reasons). A.U.S.A. strongly supported these challenges to NZ Broadcasting, evidenced by its ads for the broadcasts in copies of "Craccum" that year.
By the end of the decade regulations had been relaxed enough to allow semi-commercial broadcasting throughout term with a strong entertainment element, the justification was as a service to students; the students running the station saw the potential to show the public a whole new way of broadcasting. 'Bigger and Better' grew as a major theme for the next decade. By this stage A.U.S.A Executives were putting so much time into the expanding operation that they created a sub-committee called the Radio B Administration Board; this had the authority to hire and pay staff (who were required to be students) and work at Radio B for the whole year.
1976: The NZBC becomes the Broadcasting Corporation Of New Zealand (BCNZ) which also encompasses the Listener, the New Zealand Symphony Orchestra (NZSO) and the company which would become Television New Zealand (TVNZ).
1977: Wellington's Radio Active hits the AM airwaves as a project of the radio club of the Victoria University of Wellington Students' Association.
September 1977: David Gapes resigns from Radio Hauraki. He later ran the news service for one of Auckland's 2 new FM stereo radio stations. That station was 89FM which started in 1983.
1979: Radio Pacific starts broadcasting in Auckland on 1593AM.
1980's: The 80's saw a large expansion of Radio B. New studios were built and much work saw the acquisition of a transmitting site on reclaimed land at Shore Road. This expanded coverage of the station greatly, bringing with it the capability and necessity of maintaining a commercial operation. At this stage other broadcasters were looking very closely at the station, concerned and aware of the 'back door' methods by which the station was developing. This was an on-going theme of objection but some of the newly formed private stations were very supportive.
1982: FM Stereo transmissions were being tested. Radio Bay Of Plenty Limted, which operated 1XX in Whakatane, ran what was the first of many short-term summer stations and this station was the 1ST licensed FM Stereo Radio station in New Zealand - FM 90.7.
Ultimately the main inspiration of FM 90.7 was to broaden the outlook and attitudes of the listening audience and to place radio at the forefront of public communication.
FM 90.7's main on-air studio was studio B in the 1XX Building, but on other occasions the 1XX caravan was utilised.
It was the entent of FM 90.7 to convey the many aspects of music in an informative, as well as an entertaining programme.
& staff members, while others were recruited form the public.
Each one come in to practise their shifts, before their big moment on New Zealand's first FM radio station - FM 90.7.
Managing Director of the 26 frequency nation-wide network station.
1982: Wellington's student radio station Radio Active became one of the first radio stations in New Zealand to broadcast on FM.
Mid-1982: Radio Hauraki applied for an FM licence but later pulled that application.
1983: The Broadcasting tribunal was authorising Campus Radio, as it had become known in Auckland, to "provide an entertainment and information service and to promote campus activities to students", quite a change from the 1975 directives. The new transmitter and expanded hours of broadcast in the early 80's attracted a whole new range of personalities who saw the great potential available to them. Music was the major focus and in this time the station developed its strong NZ, 'underground', 'alternative' music focus, the roots of the bFM philosophy today. All the staff were students, many 'dropped out' of studies to commit themselves to Radio B.
1983: 2 FM stations began broadcasting in Auckland. These stations were the 1ST fulltime licenced FM stereo stations - 89FM and 91FM.
1984: The first major evaluation of Campus Radio 1XB.
Private FM Broadcasting had arrived and Campus Radio was no longer 'leading the way' with its noisy old A.M. transmitter. A major gamble was taken on the allocation of an FM frequency, tests were done and excuses were found to replace everything. A major promotional drive and a general meeting packed with student supporters of the station saw a loan granted by A.U.S.A. State of the art was 89FM's new $1.5M station. Campus Radio came as close as it could (this was actually an objective!) with $100,000.
February 1985: The newly named bFM began broadcasting from a 50 Watt transmitter atop the Sheraton Hotel. The application to the Broadcasting Tribunal for this year was a huge piece of work with much put into justification of existence and coverage. With the first transmitter coverage was not good and it was always an objective to obtain equivalent power and coverage to the major operators, money was the concrete factor but the station had to be incredibly cautious in its official politics. Other operators were pissed off that Radio B had converted to FM when they had been unable to and strongly opposed any further expansion, plus, the conversion had brought much general public acclaim, support and listenership to bFM.
but it didn't go unnoticed by the other operators in their objections.
bFM was always looking for initiatives which would increase favour with the tribunal, the biggest of these was a move toward subscriber funding through the B-card, based on research of Australian radio.
May 1986: Independent Radio News (IRN) a network news & sports bulletin service from Wellington for private stations came into service.
1986: At the end of 1986 a major problem had arisen; the Sheraton Hotel no longer wanted bFM on their building and no other transmission possibilities had materialised. Radio Pacific came to the rescue with an interview and plea for help on air, it worked and permission was granted to use the Museum for 6 weeks while another site was found, a real P.R. coup for Radio Pacific!
Mt. Eden was extremely good, giving better reception than the other stations in some areas) and the only option was moving to the Waitakere ranges giving full metropolitan coverage but at a capital cost of around $20,000 plus $40,000 per year.
Finances were only one problem, it seemed that full metropolitan coverage by a short term operator would be strongly objected to and there was little chance of success. The challenge had always been to go before the tribunal in a full warrant hearing on an equal footing with other applicants and the bFM administration board decided this was the approach to take giving the opportunity to gain coverage, 365 day operation and freedom from endless broadcast applications and objections. To comply with the conditions required to apply for a warrant, bFM had to become an independent company, (this was required to guarantee security and continuity of objectives). To meet all of these requirements much research and evaluation was done and a legal structure drawn up. This had the company Campus Radio BFM Ltd holding the warrant and a trust which would own the assets, keeping them secure for the company, and ensure the objectives and philosophies of bFM were followed (as would be detailed in the warrant application). Much work was done to identify these objectives, philosophies and policies which define the station and set them concretely in the legal deed of trust.
A general meeting was called and once again there was overwhelming student support to go ahead with the plans, grant a $60,000 loan to set up the new transmission facilities and get the company started. It soon became apparent that the transfer of assets could not eventuate so an alternative structure was implemented, as at present with AUSA holding shares and administering assets and a board of directors taking on the role of trustees in guarding the objectives and philosophies of bFM.
The intent of the original structure as developed and approved by the general meeting was to be preserved; it was that: the assets would be safeguarded and guaranteed to the company. bFM be an independent entity from AUSA (and therefore immune to changes there), guided by a board of directors and bound by the objectives which were: To run a student-orientated alternative programme radio station for members of Auckland's radio listening community; To provide accessibility of Auckland University through communication of services, news and information; To provide an effective Training ground in facets of radio broadcasting and administration for students and other interested parties; To encourage and promote the participation of women and ethnic and minority groups in broadcasting; To maintain a contemporary progressive alternative music format; To promote New Zealand music and artists and to record such music, To publish a newspaper; (in considering these objectives, remember that some were included largely to better our chances of being granted a warrant).
Monday, 2ND March 1987: Radio 1XX in Whakatane played a vital part straight after the one thing most people in the Eastern Bay Of Plenty would rather forget - the 6.3 earthquake that rocked the Eastern Bay Of Plenty at 1:42pm that hot Monday afternoon. 1XX did go off the air for a time immediately following the earthquake for about 20 minutes as there was a concern about the landline from the 1XX building to the 1242AM transmitter at Whakatane Airport. Eventually 1242 1XX got back on the air through a microwave radio link from the transmitter to the 1XX building. 1242 1XX was the immediate information outlet in and for the Eastern Bay Of Plenty and the country. 1XX set up its broadcasting equipment, which was manned 24 hours, in the worst hit area of the region - Edgecumbe, for the next 2 weeks after the main earthquake.
1987: Auckland's 1ZB becomes Newstalk 1ZB and later Newstalk ZB - the pioneer news talk station in New Zealand.
December 1987 – March 1988: 1XX ran its 2nd short term summer station in a Lockwood Home next to Brendon's Of Ohope (now the Ohope Beach Resort) across the road from Ohope Beach - 93 Splash FM. The station went to air from December 1987 to March 1988. The 93 Splash FM programme was simulcast on 1242 1XX from 7pm - 6am each day.
1988-1989: Radio Bay Of Plenty Limited - 1XX was granted a permanent FM broadcasting licence and at 12:12:12pm on December 12TH 1988, 1XX began permanently broadcasting on 90.5FM and simulcasting on 1242AM. 1XX FM brought back 93.0FM permanently on February 6 1989, which was used for 93 Splash FM in the summer of 1987/1988, to broadcast the 90.5 1XX FM programme for listeners in Ohope.
February 1989: bFM began transmission at 800 Watts on 91.8MHz from Waiatarua. Subsequently after extended legal hearings the bFM warrant was granted leaving the way open for year round operation.
The large jump in professionalism of transmission brought with it the need for more professionalism in management but the process was not smooth. A conflict had developed between new staff keen to restructure and implement more 'corporate' values and methods, and existing staff who felt that their values and the station identity were threatened. Complicating this was distrust and consequent Ignoring of the consultant's recommendations and a board of directors split in opinion and ineffectual in action.
Mid-1989: Hauraki re-applies for the FM licence and get it.
1990: Radio Hauraki drop the 1476AM frequency they were currently broadcasting on and started broadcasting on 99.0 MHZ-FM as HAURAKI 99FM - Auckland's Original Rock Station.
1990's: A change of frequency for bFM to 95.0MHz in 1990 and the biggest coup of the station: getting the university to spend almost $150,000 renovating the studio complex, all for the installation of a toilet. The period from this date has been somewhat of a consolidation and a re-integration of ideals. Turnover of staff and directors has been high but all the time seen as leading toward a realistic and integrated base for the future.
1991-1992: Another 1XX-run short term summer station which was broadcasting out of the 1XX caravan which was parked outside the Whakatane Surf Life Saving Club at Ohope Beach. This station was 99.3 Cadbury Moro FM. The 1XX FM & AM programme was simulcast on 99.3 Cadbury Moro FM from 11pm - 6am each day.
1992: The 89.4FM frequency, which had been used as private station 89FM in Auckland since 1983, was bought by Radio New Zealand (RNZ) and the station became 89X - a rock station.
1992: Though still located at the university, Radio Active has been a private company since it was sold by VUWSA. Active 89FM is now owned and operated by Radio Active Ltd, and is funded through advertising revenue and funding from NZ On Air for programmes profiling New Zealand music. Though Radio Active is privately owned and operated, the "student" status is maintained by part of the Student Radio Network (SRN) which is now known as b.Net.
1993: The Radio Bureau – a national advertising agency for radio was established in Auckland.
February 10TH, 1993: Radio New Zealand's Auckland rock station 89X was unexpectedly shut down and 89.4FM started broadcasting RNZ's high rating station in Auckland, Newstalk 1ZB, which was at the time and still is broadcasting on 1080AM.
1993-1994: Yet another 1XX-run short-term summer station.
This time based in Whakatane and this time a rock station – Bayrock 97-7FM. This ran from 12 Midday, 26TH December 1993 until 4pm, February 6 1994. After many letters, phone calls & petitions from the public, Radio Bay Of Plenty Limited brought Bayrock 97-7FM back as a permanent rock station at 12pm Midday on July 8TH 1994. Bayrock started broadcasting on 99-3FM for Ohope Beach in December 1994. 99.3FM was used before by 1XX for 99.3 Cadbury Moro FM in the summer of 1991/1992. Bayrock has also broadcast its programme to Mount Maunganui on 91-0FM from the night of Christmas Eve (24th December) 1994 to March 1995. For a time Bayrock programmed by NZ's first private radio station based in Auckland - Radio Hauraki, but is now self-programmed by Bayrock, based on Hauraki's rock format. Bayrock has received calls from listeners from the Coromandel Peninsula to Taupo saying that they can receive Bayrock's signal on 97-7FM.
1994: Radio New Zealand's "Classic Hits" brand group was launched nationwide.
1995-1996: RNZ is split into Radio New Zealand Commercial and New Zealand Public Radio. The "ZM" brand is expanded – firstly into Whangarei with 93ZM and then into Dunedin with 96ZM.
Radio Hauraki relays its Auckland programme into Hamilton & the Waikato on 100.0 MHZ-FM as HAURAKI 100FM - Rock Of The Waikato. This remained on air until November 1997.
March 1996: For 6 weeks the sound of great country came to the Eastern Bay Of Plenty in the form of 100 FM Country. This was relayed to the 1XX building by satellite from the Auckland-based FM Country with local advertisements from local Eastern Bay Of Plenty clients produced at the studios of 1XX in Whakatane.
August 1996: RNZ sells its 41 commercial stations for $89 Million and on August 1ST became The Radio Network Of New Zealand Ltd, who has since bought Radio Hauraki, Radio i, and the Auckland based private radio news & sports bulletin service IRN along with other private stations in Auckland & Hamilton, some of which have been sold once more. RNZ still exists today out of Wellington, operating 2 non-commercial nationwide stations - National Radio and Concert FM, its short wave service Radio New Zealand International and broadcasts of the New Zealand Parliament sessions on the YCAM network.
1997: The Student Radio Network (SRN), now known as b.Net, is consolidated. b.Net consists of the following stations: 95bFM - Auckland (Auckland University); Contact 89FM - Hamilton (Waikato University), which changes in 1999 to UFM; Radio Massey 99.4FM - Palmerston North (Massey University); Radio Active 89FM - Wellington (Victoria University); RDU 98.3FM - Christchurch (Lincoln University) and Radio One 91FM - Dunedin (Otago University).
In 1998 a New Plymouth based polytechnic station – 92.3FM The Most joins b-Net.
1997: Radio Otago Limited sells its 7 North Island stations to Radio Pacific subsidiary Energy Enterprises Limited. Radio Otago then buys Christchurch based C93FM (Christchurch) Ltd, owners and operators of Classic Rock C93FM (which was formerly Radio Avon) and Easy Listening i 94.5FM.
1997-1998: The summer time sports station Sports Roundup is expanded by TRN as a 24 hour sports station all year round on new AM & FM frequencies nationwide, firstly taking over Easy Listening i 98FM's (Radio i) 1332AM frequency. The "ZM" brand is expanded further into Invercargill with 96ZM, in Auckland by taking over The Breeze 91FM as 91ZM and into Hamilton taking over The Breeze 89.8FM and becoming 89.8ZM. TRN also change Classic Rock 98.3FM in Rotorua as 98ZM and Hauraki 96FM in Hawke's Bay into 96ZM.
1997-1998: Radio Pacific's subsidiary company Energy Enterprises launches a new music network playing music from the 50's to the early 70's in the form of Solid Gold FM and expands it 2 Hamilton based stations The Rock and The Edge nationwide.
1997-1998: XS Corporation in Palmerston North who own & operate 92.2XS FM & Magic 828AM/98.6FM in Palmerston North and Masterton station Hitz 89 FM buys Radio Horowhenua Ltd in Paraparaumu who operate 90.2 2XX FM & Classic Gold 1377AM which for a while became Magic 1377AM in Paraparaumu & 95FM in Levin.
1998: Radio Pacific buys XS Corporation and also buys Phoenix Broadcasting station The Quake in Wellington as well their 94.3FM frequency in Paraparaumu which was relaying Wellington Based station 92 Hitz FM at the time and another Phoenix frequency, 98.3FM based in Masterton. The Quake's 97.5FM frequency in Wellington will become part of the Solid Gold FM network as of 1ST April 1998.
1999: Radio Pacific & Radio Otago Limited merge and become The RadioWorks NZ Limted – the 2ND biggest commercial radio company in New Zealand. The RadioWorks expands its 3 music brands - Solid Gold FM, The Rock & The Edge into Radio Otago's markets in the South Island – while retaining the existing local stations in the provincial markets from the Radio Pacific/Radio Otago merger.
The formats of Radio Otago's existing South Island stations – 4XO & Radio Dunedin in Dunedin, Radio Central in Alexandra & Wanaka, Resort Radio – Queenstown, Foveaux FM/AM - Invercargill, Lite FM (formerly Easy Listening i94.5FM) in Christchurch & Fifeshire FM in Nelson stay as they are. Classic Rock C93FM in Christchurch drops its rock format and becomes C93FM – Canterbury's Big Music Mix.
Some of the existing Radio Otago frequencies in some markets change into one of the 3 RadioWorks network music brands in the South Island.
1999: Radio Hauraki re-launches its Auckland based programme back into Hamilton & the Waikato but this time on 96.0FM.
April 2000: Radio Hauraki expands even further, this time into Tauranga and the Western Bay Of Plenty on 89.0FM.


Prince Harry took Meghan Markle to Botswana for their third date…. how is anyone going to beat that?
Gina Yashere explains the British Media's not so subtle racism towards the newly engaged couple.
They went Green before they went black!
Lols! Gina you don crack us up!
Van Jess touch the floor single is littt!


Julia Ladewski is currently the Director of Parisi Speed School in Indiana and works with youth and adults. From 2002 to 2009, she was the Assistant Director of Strength and Conditioning at the University of Buffalo. Ladewski is also a professional powerlifter and an elitefts.com athlete and staff member. She is part of the Institutional Review Board for MusclePharm as well.


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IQ Morning Report
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Your Thursday serving of... 'MiracleGro for Your Mind'
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You already possess the SKILLS... to discover your own greatness!
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it happen' will come to you from the most unlikely places. There's more to learn, and then do, in Les' amazing presentation.
Question... How High are Your Standards?
Seth Godin's story about his 6 year old young son and the 12' high dive is the best 'overcoming fear' story I've ever heard. Seth's mission is to provoke people to do things they previously thought was impossible. Another great question that came out of this
Q&A session with Seth was "How do you connect the disconnected?" Figure out how to do that and you have a brand new business opportunity.
The Making of a Champion
You are never too young or too old to have a big dream. 95% of the people who know you will laugh at you or think you're in serious need of psychological services. The other 5% of the people you know will think you're a genius. That was Walt Disney's
experience when he told people about wanting to build a 28 acre park. DisneyLand, in California. It happened to him again when he told people about wanting to build a 28,000 acre park, DisneyWorld, in Florida. The more outrageous your dream, the more likely you are to get it. Harland Sanders had been a failure most of his life. People thought he was crazy when, at the age of 65, he used his first Social Security check to load his pots and pans and head out in his car to sell his fried chicken recipe.
Two short "Build-A-Better-Life" videos from "Peak Performance Experts"
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It's always advisable to do some research before you take action!
A major steel company, feeling it was time for a shakeup, hired a new CEO. The new boss was determined to rid the company of all slackers. On a tour of the facilities, the CEO noticed a guy leaning against a wall. The room was full of workers and he wanted to let them know that he meant business. He asked the guy, "How much money do you make a week?" A little surprised, the young man looked at him and said, "I make $400 a week. Why?" The CEO said, "Wait right here." He walked back to his office, came back in two minutes, and handed the guy $1,600 in cash and said, "Here's four weeks' pay. Now GET OUT and don't come back." Feeling pretty good about himself the CEO looked around the room and asked, "Does anyone want to tell me what that goof-ball did here?" From across the room a voice said, "Pizza delivery guy from Domino's."
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text:
Q: Introduced Value with Category In what I'm making, you introduce values into a Input Text, that has an ID of Inpt1 and goes all the way to 5.
If jQuery finds a correlation to those values in an array, it will place the correspondant value of the array app_end in the label in front of it with the ID Inpt1_L, in other words, the associated category.
Here is how the code looks below:
 var choices = ['Cookie', 'Meat', 'Milk']; // The Choices available
 var app_end = ['(CookieCategory)', '(MeatCategory)', '(MilkCategory)']; // Their appendages

    var elem2 = $('#Inpt1_L');
    $('#Inpt1').each(function() {
    var elem = $(this);
    // Save current value of element
    elem.data('oldVal', elem.val());

    // Look for changes in the value
    elem.bind("propertychange change click keyup input paste",
    function(event){

     if (elem.data('oldVal') != elem.val()) {

         var lowercasedElem = elem.val().toLowerCase();
         // Run through array
         for (i=0;i<choices.length;i++){
                   var appendage_For = app_end[i];

                   if((choices[i].toLowerCase() == lowercasedElem)){

                    elem2.empty();
                    elem2.append(appendage_For);
                    return true;
                 } else {
                    elem2.empty();
                }
             }
        }
    });
});

I'm trying to make it so that the comparison can also pick up any kind of text before and after. As in, someone can type milk, but they can also type Goat Milk or Cow Milk Light and it will still categorize it as Milk.
So far my attemps have been futile. I've tried creating:
if(
   (choices[i].toLowerCase() == lowercasedElem) ||
   (choices[i].toLowerCase() == lowercasedElem+"") ||
   (choices[i].toLowerCase() == ""+lowercasedElem+"")
  ){

But nothing happened. Not even with spaces.
.substr came to mind but I'm not sure how to apply it to this situation.
How could I achieve the intended?
And secondly, encapsulating all of this code, into a function, and applying a For(){} to count through the number of fields with the class #Inpt, would it make this function re-useable?
Thank you for the help.

A: With the help of Elmer Dantas, I was able to narrow down what I needed.
I changed the if condition to use .search and it worked.
Here is the code below and the functioning snippet.
if(lowercasedElem.search((choices[i].toLowerCase())) > -1)

var choices = ['Cookie', 'Meat', 'Milk'];
var app_end = ['(CookieCategory)', '(MeatCategory)', '(MilkCategory)'];

var elem2 = $('#Label1_L');
$('#Inpt1').each(function() {
  var elem = $(this);
  elem.data('oldVal', elem.val());
  elem.bind("propertychange change keypress click keyup input paste select reset", function(event) {
    elem2.empty();
    if (elem.data('oldVal') != elem.val()) {
      var lowercasedElem = elem.val().toLowerCase();
      for (i = 0; i < choices.length; i++) {
        var appendage_For = app_end[i];
        if (lowercasedElem.search((choices[i].toLowerCase())) > -1) {
          elem2.empty();
          elem2.append(appendage_For);
          return true;
        } else {
          elem2.empty();
        }
      }
    }
  });
});

      <input type="text" id="Inpt1">

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You need specialized search engines you really want to dig down into a particular subject. These 6+ search engines will help you with information on legal. Search Tools for Kids, Teens, and Teachers. What's the difference between different search engines and directories? What search tools are best for particular.


text:
Home News Don't drink while you are pregnant
Don't drink while you are pregnant
MEC Nomafrench Mbombo speaking to the security at the local alcohol retailer about the dangers of alcohol for pregnant women.
No amount of alcohol is safe for women to drink when they are pregnant.
This is the message MEC for Health Dr Nomafrench Mbombo stressed when she and her entourage of health practitioners and traditional healers visited Gugulethu Mall last Wednesday to raise awareness about the dangers of drinking alcohol when pregnant.
The campaign was held to mark Foetal Alcohol Spectrum Disorders Day, observed on the ninth day of the ninth month of the year – September 9 at 9:09am.
Foetal alcohol syndrome (FAS) is a group of birth defects caused by drinking alcohol when one is pregnant.
Giving out pamphlets to the shoppers and passers-by, the MEC said if pregnant women drink alcohol, the liquor can have lifelong effects on their unborn children.
She said it was important that people should know because the country has the highest prevalence of FAS disorder in the world.
"Drinking can harm the development of a baby's brain in any quantity or at any stage during pregnancy. If you do not believe that, take an egg, put it in a mug and then pore a bit of alcohol and see the results. That is exactly what happens to the baby's brain.
"That is why we sometimes have kids who it is hard to discipline.
Children exposed to alcohol prenatally are at risk of suffering from impaired abilities," she warned.
Dr Mbombo also appealed to the friends and spouses of pregnant women not to drink near them so that they won't be tempted to drink. "Do not drink around them because they might
be tempted. We want pregnant women to eat healthy. And they should refrain from smoking too. Those who drink during pregnancy are putting the baby's health at risk. Babies may in the long run develop a serious condition called foetal alcohol syndrome (FAS)," she said.
Members of the Western Cape Inyangi Forum, who were part of the campaign, commended Dr Mbombo for raising awareness around FAS. Chairman Monwabisi Yamani said the campaign was an eye-opener but the time was "too little".
He said it should have been something that was discussed in detail.
"We were fortunate to be part of it and we appreciate that. But we felt there was not enough time. Next time they need to make it better. We are talking about the lives of people here, so we should not rush things," he said.
Another member Mavusi Gqawula said he hoped that people would adhere to the MEC's message.
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text:
Let's Have Another Go at Subtitles, Shall We?
"Downfall," everyone's favorite canvas for subtitle humor.
On Monday morning I wrote my most controversial and reviled post of the year so far. The subject was subtitles in movies. Perhaps, I suggested, they are not the greatest thing since sliced bread.
Subtitles! Does this strike you as an odd topic to generate a huge Twitter storm? If so, it just shows that you don't know Twitter very well. Of course people went nuts over it. It's Twitter! A couple of people decided they didn't like what I said, and a mob followed in their wake.
Normally I just get a laugh out of this stuff. The tweets are mostly from the same gang of folks who despise me already and don't really care what the latest two-minutes hate is about. But a few of the comments were offered in good faith, and they got me curious. Before I get to that, though, here's a short clarification of my position on movie subtitles:
Do you, Kevin Drum, hate subtitles?
No, not at all. More on that later.
Then you must hate the hearing impaired?
Nope. I myself am mildly hearing impaired and always watch movies on TV with closed captioning on. But my post was about subtitles (i.e., words that are translations from the spoken language of a film), not closed captioning (i.e., words in the same language as the film, primarily meant as hearing assistance). They are different things.
Then you must be racist. Why do you hate foreign films? Why do you hate Korea? Why do you hate Parasite?
Don't be ridiculous.
You said you didn't see any movies last year. But if you know nothing about movies, why even weigh in on this?
It's true that I went to very few theatrical releases last year. Partly this is because I just didn't, and partly it's because my moviegoing has been severely curtailed since I got cancer. (Generally speaking, it's good to avoid crowded, germy places when your immune system is compromised.) However, this doesn't mean that I've never seen any movies and know nothing about them. Nor does it mean that I never watch movies on TV.
Your father was a film scholar! Your parents wrote a biography of Carl Th. Dreyer! How could you?
This is true, and my father, if he were alive, would be the first to defend subtitles. However, my father was also good at reading comprehension, so he probably wouldn't have been upset at my brief little post.
Because I didn't say that subtitles are bad in an absolute sense. I said that subtitles detract from the theatrical experience and there are legitimate reasons to dislike them. This seems obvious: if possible, everyone would prefer to watch movies made in their native tongue. This is because subtitles distract from the cinematography; take a long time to read for some people; don't replicate the vocal nuances of the spoken voice; and never perfectly capture the words written by the screenwriter and spoken by the actors. We need subtitles if we want to watch foreign language films, but that doesn't mean we have to deny that they do indeed have drawbacks.
This really should be all I need to say, but it turns out that many people got upset by a collateral point I made: that everyone hates subtitles and it's faux sophistication to pretend that no one should have a problem with them. So let's address that.
First off, "everyone hates subtitles" was, I thought, humorous hyperbole. I meant that most people dislike subtitles. What's more, the context was my annoyance at Alissa Wilkinson saying that "Americans just don't like reading subtitles," a derisive attitude that's uncalled for since in fact it's a very global phenomenon.
But is even this true? Do most people around the world dislike subtitles? This is not really a provable statement, but I think the evidence certainly points strongly in that direction. What follows is a bit scattered, but should be enough to persuade you that, indeed, "most people dislike subtitles."
Let's start at the start: When sound was added to movies, intertitles went away almost instantly all over the world. Plainly, people preferred to listen to human conversation instead of reading dialogue on the screen.
Next: Anyone of my age who's traveled a lot has seen the changes in film translation in Europe since the '70s. In the past, an American could turn on a TV in Europe and find quite a bit of English-language content because most imported shows were subtitled American productions. Over time, that went away. There were more shows produced locally, and the remaining American shows were mostly dubbed. Subtitles slowly but steadily disappeared.
More recently, Monday's subtitle Twitter storm was kicked off by the fact that Parasite was the first subtitled movie to win Best Picture and that, more generally, subtitled movies have long had difficulty gaining large audiences in America. This certainly suggests something pretty similar to "most people dislike subtitles."
But different countries have evolved different preferences. Germany, France, Italy, and Japan, for example, are "dubbing countries," meaning that dubbing is popular with theater audiences. The Nordic countries, by contrast, are "subtitle countries." But even there nuances abound. In France, for example, Hollywood blockbusters are always dubbed, while smaller, less popular films are usually subtitled.
Why? Mostly it's because dubbing is expensive, which means it's only practical in countries with a fairly large movie market. Generally speaking, dubbing is common in large, rich countries, while subtitles are common in smaller, poorer countries. This suggests that subtitles are mostly used only where there's no choice. They start to fade away as countries become richer and develop a large, mass movie market that can support the cost of doing voiceovers instead.
But there are exceptions. China, for example, started out as a dubbing country, even though it was very poor, for reasons related to literacy rates, political dictates, and a desire to standardize Mandarin—although this is changing as China continues to develop its own movie industry. Spanish-speaking countries, regardless of how rich they are, have long been dubbing countries and still are, for reasons that are unclear. Conversely, the United States, the richest country of all, has always been a subtitle country (albeit one with a very limited appetite for foreign films).
All this said, there are also demographic differences between those who like subtitles and those who don't—and this is true all over the world. This gets us into delicate territory. Sandra Vega explains things this way: "Popular classes prefer the dub, the sense of immediacy and ease in understanding, enjoyment effortlessly." Put more bluntly, we intellectual types prefer subtitles. The unwashed masses prefer dubbed movies. More on this shortly.
Even rich, English-speaking countries can switch away from subtitles if people are given the opportunity. Great Britain, for example, is historically a subtitle country, but Miguel Mera tells the following story: "In 1987 the United Kingdom's Channel 4 questioned the idea of a single dominant form by broadcasting twenty-six episodes of the French soap opera Châteauvallon twice weekly, once with subtitles and once in a dubbed version. This was the first time in the history of British television that such a long foreign language series had been shown and that a programme was transmitted with a choice of the language transfer method. The audience response to this experiment was gauged and the results were fascinating and completely unexpected. In a country that generally looks down on dubbing as being inferior, a significant preference was shown in all age groups for the re-voiced version."
You should not be surprised to learn that in countries with a long tradition of dubbing, they've gotten very good at it. If you're thinking about the kind of comical dubbing you hear in old Japanese Godzilla movies, think again. Because dubbing is uncommon in the US, most Americans are way behind the times on what the technology is like and haven't bothered to learn anything new about it since the 1960s. But in many dubbing countries, lip syncing and voice acting have gotten very sophisticated, and the voice actors who do the dubbing have become well-known names.¹
Even in America, where our position as the world's pre-eminent moviemaker has meant that we don't have to tolerate foreign-language movies in any form, dubbing is becoming more popular as streaming companies start to buy up more foreign content. Netflix has been dubbing like crazy over the past few years. Why? Because their research shows that "dubbed versions of hit shows are more popular than their subtitled equivalents." For example, "the German drama Dark was watched in its dubbed version by 81 percent of audiences in English-speaking countries."
My main message here is: (1) Don't be parochial. America is generally a subtitle country, and most of my readers are pretty educated folks. Of course you prefer subtitles! You're a product of your culture just like everyone else. That's probably also why I personally prefer subtitles most of the time. (2) Don't be classist. People who aren't film buffs generally prefer their Hollywood blockbusters to be dubbed, and that's a perfectly defensible choice. Stop sneering at them because they don't read as rapidly and fluently as you do.² (3) Don't be stuck in the past. The technology of dubbing as an alternative to subtitles has changed a lot over the past couple of decades. (4) Don't ignorantly sing the praises of subtitles. They are a necessary evil, not a sacred cow. A true film buff understands the pros and cons of both subtitles and dubbing and feels no need to pretend that subtitles are faultless. (5) Don't be racist. Lots of movie audiences in brown-majority countries prefer dubbed movies over subtitles. Your preferences are no better than theirs.
And that's that. Civil conversation about this is welcome, either in comments or on Twitter.
¹Here's an excerpt from a Hollywood Reporter piece: "Christian Bruckner — the actor whose deep rumbling bass has been synonymous with Robert De Niro in Germany for nearly 40 years — has become a star in his own right, using his aural connection to the two-time Oscar winner to build a successful career in commercials and audio books….Across the globe, other voice-over stars have emerged. Spain's Constantino Romero has given voice to Clint Eastwood for decades. In Japan, Koichi Yamadera is the go-to voice for pretty much every big African-American star from Eddie Murphy and Denzel Washington to Will Smith. Not wanting to become typecast, Yamadera also has provided the Japanese voice for Charlie Sheen, Jim Carrey, Brad Pitt and Tom Hanks. The prolific dubber recently pulled off an impressive double play, providing the voice for Don Draper in the Japanese version of Mad Men and Walter White for Breaking Bad."
And another from The National: "Deeny Kaplan, executive vice president of Miami dubbing house The Kitchen, describes the process as painstaking work, going from breaking down the original script by syllable and delivering a translation in a metre and structure as close as possible to the original. Actors are used who have carefully studied the tone and tempo of the original speech, with intricate time coding also a feature of the process, while video is slowed down or sped up to correctly lip sync speech on occasions when an appropriate translation can't help by itself. The key to a successful dub, she says, lies in 'using native speakers, correct casting and proper adaption'. 'There's no room for mistakes today,' she says. 'You have several levels of quality checks, for everything from sound checks to music and mixing. All of it is scrutinised.' "
²Plus there are way more of them than you. This is why it's safe to say that "most" people don't like subtitles. The number of highly-educated film buffs may seem large on Twitter, but in real life there just aren't that many of them.
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CPMFITness: What is your CrossFit/Paleo 60 second commerical?
What probably annoys me the most about people is when they say "I need to get in better shape to work out at CrossFit."
And here's my response... "I don't know a single person who started CrossFit who wasn't gassed, and I've seen every sort of person imaginable start there from gym rats to army guys (and girls), stay at home Mom's, to people that need to lose a significant amount of weight. Absolutely every shape and size. It's just a plain fact of life that Globo gyms don't prepare you for the mental and physical push that CrossFit will. Everybody has to start somewhere and NOW is always the best time to start. Just come and try it out."


Home Les bulletins GEAB GEAB 90 Global systemic crisis 2015 – Oil, currencies, finance, societies, the Middle East : Massive storm in the Western port!
Global systemic crisis 2015 – Oil, currencies, finance, societies, the Middle East : Massive storm in the Western port!
For almost two years, by combining various points of view (speculative, geopolitical, technological, economic, strategic and monetary…), we have continued to anticipate a major crisis in the entire oil sector.
Today, no one doubts the fact that we are actually at that point, and the GEAB must therefore anticipate the consequences of this veritable atomic bomb, which has begun to blow up all the old system's pillars: everything which we have known, international currencies, financial markets, the US, the Western alliance, world governance, democracy, etc.
Here, we would like to look back on a historic GEAB anticipation, that of Franck Biancheri in February 2006, which announced the beginning of the global systemic crisis under the title "the end of the West we have known since 1945" (1). It will have taken nine years for this Western world to collapse (or seven years, if we begin the process with the 2008 subprime crisis, as one should really do)… During these nine years, the GEAB has worked to educate on the crisis, with the avowed aim of raising all the existing solutions to exit it as quickly and as painlessly as possible. Apparently, outside the work carried out by the BRICS which, also anticipated by the GEAB, got through a huge task to lay down the foundations of tomorrow's world, the Western world, meanwhile, has made some positive efforts here and there, signs of which we detect in some places. But at the end of 2014, and after the huge destabilization caused by the crash of Euro-Russian relations in the Ukrainian crisis, our team is struggling to put forward a positive scenario for the coming year.
2015 will show the complete collapse of the Western world we have known since 1945. It will be a gigantic hurricane, which will blow and rock the whole planet, but the breach points are to be found in the "Western Port", which hasn't been a port for a long time but, as will be clearly shown in 2015, has been in the eye of the storm in fact, as we have repeatedly said since 2006. Whilst some boats will try to head offshore, the Ukrainian crisis has had the effect of bringing some of them back to port and firmly re-mooring them there. Unfortunately, it's the port itself which is rocking the boats and it's those with the strongest moorings which will break up first. Of course, we are thinking of Europe first and foremost, but more so Israel, the financial markets and world governance.
Let's return for a moment to the principal characteristics of this systemic oil crisis which we have analyzed. To quickly summarize and to highlight the systemic nature of this crisis, to better position our anticipations which follow, it's the oil market's world governance system OPEC, which has been undermined. The US, which was its master until around 2005 (2), has seen the arrival of the emerging nations whose levels of consumption has inevitably made them joint masters.
Oil consumption: in red, by the US, Western Europe and Japan; in blue, by the rest of the world. Source : Yardeni / Oil market intelligence.Of course, it would have been necessary to acknowledge this change by a reform of the old system of governance to put everybody in the same boat. Instead, frightened by the idea of a rise in oil prices to which the US economy ( totally dependent on oil, unlike Europe, and lacking any significant and coordinated investment in renewable energy) was unable to resist, the US decided to break any rationale of global coordination by creating a competing market, the shale market, intended to reduce prices. Unfortunately, we know what competition in terms of access to energy resources leads to… at least Europe is supposed to know (3).
US shale oil production – Source : HPDI, LLCAnother strong trend is combining with this major trend break, currently little mentioned in the media, that of the end of oil as the world economy's primary energy source. And it is this second factor that now makes the situation totally uncontrollable. Prices are falling apart because the oil era is coming to an end and nobody can do anything about it. We anticipated this many months ago (4) : China is creating an all electric car fleet (5), and, in so doing, will turn the global car fleet into an all-electric one: once the technology has been mastered and mass production becomes inevitable, all the world will go electric. We anticipated that this transformation would be in place in less than 10 years and that, in five years, the turning point as regards consumption would be reached. But a year at least has passed since this anticipation. Speculators of all stripes are starting to see a horizon four years out (6).
In reality, « peak oil » is what LEAP calls a "successful anticipation": putting it into perspective, has allowed the problem to be "avoided". Fear of a shortage and a price explosion, good and bad avoidance strategies (renewable and shale), all combined with a huge economic downturn and, as a grand finale, and an ecological agenda whose resumption we will see from this year (7), and the world is "ready" to close the oil era… except that, to this, the players existentially related to this commodity will make themselves heard loud and long before disappearing.
Here again, so that our readers don't misunderstand: for a long time oil will continue to be used to fuel the world's engines and factories (it even has many years ahead of it again since the risk of shortage has been postponed for several decades), but the "era" of sovereign oil is ending and, of course, that constitutes a systemic change.
(2) In fact, the beginning of the rise in oil prices dates from 2003, and began to explode in 2006. But 2005 is a recurring date as soon as we analyze price increases in terms of the emerging nations' consumption instead of the vagaries of Middle Eastern geopolitics, and generally as soon as one sees the emerging nations' rise in power.
(7) Last month we noted the very tangible results achieved in promises to reduce CO2 emissions, including from the US, under Chinese leadership. And although the Lima Summit hasn't seemed to produce much in the way of results meanwhile, it's particularly because the poor countries are pretending to continue to believe that Western dollars are going to finance their energy transition. But in substance, the environmental agenda is very dynamic currently, essentially because it coincides with the strategic objectives for the first time of the world's first (or second) power, China.


Horse Racing market report is made by our industry experts to understand the worldwide Horse Racing production, growth rate, consumption, market share, production volume, price, gross margin, and revenue. Our industry experts give the overview of the market by past, present, future demands and opportunities which helps the stakeholders and individuals interested in Horse Racing.
Horse Racing market report prepares to understand upcoming challenges and take benefit of lucrative opportunities by giving a comprehensive study of market situations. Horse Racing market report also benefits to set new business objectives with changes in customer needs, customer preferences, and the vendor landscape of the global market.
Top Manufacturers of Horse Racing Market: Bwin, Tabcorp Holdings, Singapore Pools, Hong Kong Jockey Club, Macau Jockey Club, Ladbrokes, William Hill, .
Regions Mentioned in the Report are North America, Europe, China, Japan, Middle East & Africa, India, South America, Others.
Chapter 1: Horse Racing Market Overview, Product Overview, Market Segmentation, Market Overview of Regions, Market Dynamics, Limitations, Opportunities and Industry News and Policies.
Chapter 2: Horse Racing Industry Chain Analysis, Upstream Raw Material Suppliers, Major Players, Production Process Analysis, Cost Analysis, Market Channels, and Major Downstream Buyers.
Chapter 3: Value Analysis, Production, Growth Rate and Price Analysis by Type of Horse Racing.
Chapter 4: Downstream Characteristics, Consumption and Market Share by Application of Horse Racing.
Chapter 5: Production Volume, Price, Gross Margin, and Revenue ($) of Horse Racing by Regions (2014-2019).
Chapter 6: Horse Racing Production, Consumption, Export and Import by Regions (2014-2019).
Chapter 7: Horse Racing Market Status and SWOT Analysis by Regions.
Chapter 8: Competitive Landscape, Product Introduction, Company Profiles, Market Distribution Status by Players of Horse Racing.
Chapter 9: Horse Racing Market Analysis and Forecast by Type and Application (2019-2024).
parenting advice from Care and Feeding.


As the new year approaches, Rexx of Pincode fame whose single Sistah ft Orezi and Solidstar is still burning up the airwaves teams up with Mira one of Port Hacourt's finest on this prophetic and melodious tune titled This Year. The song is a fusion of local folk percussions and high life chords that ushers in a new year full of promises. If you belive say Amen and download!


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Home Collections Art Fairs JAMES NARES: MONUMENTS
JAMES NARES: MONUMENTS
Kasmin is pleased to present an exhibition of James Nares' newest body of work, entitled Monuments, on view at 509 West 27th Street between May 23 – June 29, 2019.
New York City's oldest surviving downtown sidewalks were made almost 200 years ago by immigrant masons who lined the streets with giant paving stones of solid granite. These monolithic slabs they then chiseled with improvised marks and designs, to prevent pedestrians from slipping. These carvings have withstood the erosion of time and foot traffic, leaving a record of free thought and personal markings from the hands and minds of long-forgotten workmen.
Nares made wax frottage rubbings of selected stones and brought them back to his studio where he gilded them with 22-carat gold. Hanging vertically on the wall, they are shining monuments to whom he calls, "the unknown souls whose touch still lingers on the city's sidewalks."
Continuing Nares' lifelong investigation into motion, time and gesture —the "central conceits of Nares' artistic production"1—these works register the topography of the city which has acted as protagonist and collaborator throughout his oeuvre, notably in films such as Ramp(1976) and STREET (2011). Tracing the materiality of lower Manhattan, where Nares has lived and worked since the 1970s, the works spotlight immigrant labor and its integral place in the fabric of the city.
ABOUT JAMES NARES
Over the course of a five-decade career, Nares has investigated, challenged, and expanded the boundaries of his multimedia practice that encompasses film, music, painting, photography, and performance. He continues to employ various media to explore physicality, motion, and the unfolding of time.
This summer, the Milwaukee Art Museum will show a major retrospective, Nares: Moves. The artist has been the subject of solo exhibitions at, among others, the Metropolitan Museum of Art, New York; the National Gallery of Art, Washington, D.C.; and Alte Oper, Frankfurt. Nares is included in several prominent public collections, including the Albright-Knox Gallery, Buffalo, NY; The Metropolitan Museum of Art, New York; Museum of Modern Art, New York, and the Whitney Museum of American Art. A career-spanning survey of his film and video works were presented in 2008 at Anthology Film Archives, New York; and in 2011 at IFC Center, New York. In 2014, Rizzoli published a comprehensive monograph on Nares' career to date. Nares has lived and worked in New York since 1974. He has been represented by Kasmin since 1991.
1 Marcelle Polednik, PhD, Donna and Donald Baumgartner Director. Excerpted from "James Nares: Motion Pictures" from the exhibition catalogue "Nares: Moves," Milwaukee Art Museum.
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On Wednesday, Apple released OS X 10.11.1, the first maintenance release to El Capitan. According to Apple, this release contains the following improvements.
As we previously reported here, users of Microsoft Office 2016 were experiencing a high incident of the applications crashing since they upgraded to OS X El Capitan. Microsoft acknowledged the problem and indicated they were working closely with Apple to come up with a solution, which now appears to be in place.
If you previously experienced issues with Microsoft Office 2016 and now find those problems resolved, let us know by leaving a comment below.
And don't forget to "Like" us on Facebook and "Follow" us on Twitter.


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December 2020, Essays
The New Abnormal: On Flourishing in a Pandemic
We live in apparently unprecedented times. If common parlance speaks truly, humanity is encountering uncertainty as never before. A pandemic ravages the globe. Schools close. Quarantines, stay-at-home orders, and lockdowns begin. The economy is shut down, subsequently crashing. Armchair virologists crack open their laptops, taking to Facebook to report the results of their research to the general public. Zoom's quarterly revenue increases to over $600 million more than the revenue for the same quarter in 2018. Suicide rates skyrocket. Borders are closed. New York City becomes a death trap. Mask mandates and social distancing guidelines are instituted and enforced.
The situation in which we find ourselves can easily be felt as one that has fundamentally altered human interaction. In most public places, it's taken for granted that everyone present will be wearing a face covering. It's not outside the realm of possibility that today I could receive an email that would send me into quarantine for at least fourteen days. Events are cancelled or changed to look dramatically different. Classes move online at a moment's notice, if they're not already online. We've been thrown off. The pandemic seems to have attacked community itself, throwing into jeopardy such essential human activities as cooking for one another, meeting face-to-face, singing, hugging, laughing. We're tempted to view our time as a categorically different kind of time from others—indeed, as an inherently worse one.
The Second World War could be conceived as a time similar to the present. This comparison risks equating disease with war and fighting a pandemic with fighting a human enemy, neither of which I think are totally fair. But there are some elements of that time which may aid us as we consider our own. In a 1939 essay titled "Learning in Wartime," C. S. Lewis articulates how to rightly conceive of the war and its effect on human life and flourishing, saying: "The war creates no absolutely new situation: it simply aggravates the permanent human situation so that we can no longer ignore it."
We would do well to listen to Lewis's reflection here. Lewis would say that the pandemic has not fundamentally altered the human condition. It has aggravated it, to be sure. We have been forcibly awakened to the uncomfortable reality of human frailty, sin, and death. Even in unassuming emails and advertisements, we're constantly reminded of the uncertainty of our times, as if other times are at all certain. We speak of the unprecedented-ness of the pandemic as if plague is anything but precedented. But if anything here is unprecedented, it is the relative peace, prosperity, and health that we have enjoyed in the West for the past half-century or so. Those goods are always contingent, never certain. The pandemic has not created this reality; it has only exposed it.
It's easy to find ourselves saying things like I wish it could just go back to normal or If we just embrace the new normal, we can go back to normal. But what exactly do we mean by "normal" in the first place? What good are we striving towards in the new normal? Or is normal something to strive for at all? Lewis addresses these questions as well, saying,
Human life has always been lived on the edge of a precipice. We are mistaken when we compare war with 'normal life.' Life has never been normal. Even those periods which we think most tranquil, like the nineteenth century, turn out, on closer inspection, to be full of cries, alarms, difficulties, emergencies.
The sentiment expressed in a desire to return to normal is problematic, not because it is an illegitimate emotional response to the times—it certainly is legitimate—but because, after a closer evaluation, we will find that life was never really normal, anyway.
I think we all have experienced a sense of loss in recent months. And there's justifiable grief that responds to this sense of loss. But it is worth reflecting on what we make of this sense. At the end of spring semester 2020, finishing school online, we missed our friends at school. We missed the tight-knit community we have here, the sharing of loads, the late-night writing sessions. Perhaps we even missed Saga. But there was a deeper sense of loss, more than the usual missing of one's friends over a summer break. Those of us who were close to graduating seniors—and to a greater degree, those of us who were ourselves graduating—felt a deep incompleteness about the end of the school year. So many goodbyes left unsaid. So many "last things" left undone. Being on campus for commencement in July was an experience of having too little time to say too much to too many people.
One response to this sense of loss could be bitterness. It's easy enough to justify, at least as an initial reaction. But I propose another way. If Lewis is right that times such as these merely aggravate our condition, allowing us to see what was already going on with greater clarity, perhaps we can learn something from this sense of loss. The incompleteness of our hurried goodbyes in July—and of our less intentional, more casual goodbyes in March—seems strangely appropriate. For even in the best of times, we never quite manage to say all that we would like to. There's always an element left unsaid, missed opportunities that we regret, conversations that we never got to have. Our words are often incapable of bearing the weight we assign to them. This is nothing new. The unfinishedness of last school year exposed the reality that, until our death, nothing worth doing is ever really finished.
For indeed, we live our lives with death crouching at the door, never too far off. In all the disorientation and confusion of our times, we are reminded of this fact: life ends in death. My parents will die, I will die, everyone I know and love will one day die. I say this not to make light of death, and not to depress the reader. I simply say it because I fear that with all the blessings of modern medicine we may sometimes forget the sheer contingency of our life. It's too precious a thing to waste. And at the same time, we ought not to cling to it, either. For Christians have a hope—hope that speaks beyond this world, to a time and place that is unprecedented, at least to us. (Though we will recognize even that time and place not as one opposed to our own, but as a redemption and an ennobling of it—we will see face to face what we now only glimpse as in a mirror, darkly.)
Every moment is not the same. Different pressures and circumstances present themselves to us each day. Sometimes these pressures are greater than at other times. When everything is stripped away, what still stands? How can we respond when we are able to join Job in saying that the Lord has taken away, and how can we remember to say that He has given, too? For His mercy is new every morning. Every moment presents itself to us as an opportunity to choose virtue, or not. The circumstances governing the moment may determine, even drastically change, what the virtuous action looks like. The question is not how to get back to normal, but how to act in prudence, in the midst of all these factors. The pandemic will end one day, but sickness, uncertainty, and death will continue until the Lord is all in all. Until that day, we must do the best we can to move forward with courage on the paths to which we are called. For we are always free to choose that much. No tyranny, no virus, no evil, no principalities and powers can take that freedom away. This is the day the Lord has made. Let us rejoice and be glad in it.
Dominic is a senior studying music and English.
Hillsdale Forum January 7, 2021 January 7, 2021 #Dominic Bulger, #Hillsdale College
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H.S. GIRLS BASKETBALL: Piche leads B-R past Brockton
By Scott Roche, Enterprise Correspondent
Junior guard Kylee Piche scored 14 of her 16 points in the second half to go along with nine rebounds as the Trojans improved to 8-4 and remained perfect in 2018 with 55-45 non-league victory over Brockton on Friday night.
Junior guard Kylee Piche made sure that the Bridgewater-Raynham girls basketball team would not be denied its sixth consecutive win.
Piche scored 14 of her 16 points in the second half to go along with nine rebounds as the Trojans improved to 8-4 and remained perfect in 2018 with 55-45 non-league victory over Brockton on Friday night.
Leading 31-23 a halftime, Bridgewater-Raynham put the ball in Piche's hands in the second half and she did not disappoint, as she scored 11 of the 13 third-quarter points for the Trojans, while B-R's defense held the Boxers to only two field goals on 3-pointers by Jade Wint and Analeesia Fernandes.
After a Kenzie Matulonis basket gave B-R a 36-25 lead, Piche scored the final eight points of the quarter , including two 3-pointers to give the Trojans a 44-34 edge.
Brockton (5-5) made a final push in the fourth quarter and closed the deficit to 51-43 with 2:38 left in the game on a Fernandes 3-pointer, but Kenzie Matulonis hit four free throws down the stretch for Bridgewater-Raynham.
Bridgewater-Raynham broke open a 3-3 game in the first quarter with a 6-0 run on baskets by Kaleigh Matulonis, Brooke Regan and Piche. The Boxers responded with six consecutive points to tie the game on three-points plays by Wint and Fernandes.
Victoria Dacey began an 8-3 run over the final minute of the first quarter for Bridgewater-Raynham with a 3-pointer. After Fernandes answered with a trey for Brockton, a Kaleigh Matulonis 3-pointer and a basket by Shannon Lynch gave the Trojans a 17-12 lead after the first quarter.
Freshman Kenzie Matulonis and Nina Morrison gave B-R a 21-12 lead a minute into the second quarter before five free throws by the Boxers cut the deficit to 21-16.
Jalia Smith drilled a 3-pointer to pull Brockton to 23-19 with three minutes left in the second quarter, before back to back 3-pointers by Kaleigh Matulonis and Marissa Beauvais gave B-R a 29-19 lead. Two baskets by Wint followed by two free throws by Kaleigh Matulonis (10 points and six assists) gave B-R a 31-23 halftime lead.
Fernades finished with 15 points and 10 rebounds for Brockton, while Wint also finished with double-double with 14 points and 11 rebounds.


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Since 2015, several states have tried to defund Planned Parenthood. | Pat Sullivan/AP Photo
Trump's HHS worked with conservative group on Planned Parenthood policy
By JENNIFER HABERKORN
A conservative legal organization worked with the Trump administration to make it easier for states to defund Planned Parenthood, according to documents obtained by congressional Democrats and shared with POLITICO.
HHS last month told states they no longer have to comply with Obama administration policy that made it difficult for states to exclude the women's health group from their Medicaid programs — an announcement timed to the March of Life anti-abortion rally. HHS received a draft legal analysis from the conservative Alliance Defending Freedom a week before the announcement, according to House Oversight Committee ranking Democrat Elijah Cummings.
Cummings cited a whistleblower who shared emails and documents.
"The documents provided by the whistleblower raise serious concerns about whether the Trump administration is now taking orders from an extreme right-wing interest group that is trying to deny American citizens the ability to exercise their right to obtain family planning services from the provider of their choice, which is guaranteed by federal statute," Cummings wrote in a letter to HHS Monday.
The Alliance defended its work, calling Cummings' allegations "misleading and inaccurate."
"It is common practice for constitutional attorneys to be consulted regarding constitutional matters," the organization said in a statement. "What should also be common practice is refusing to award Americans' hard earned tax dollars to scandal-ridden Medicaid providers. HHS' recent guidance brings the agency back into conformity with decades of federal court precedent and empowers state legislatures to allocate Medicaid funding to women's health providers not entangled in alleged fraud and abuse."
HHS acknowledged it received Cummings' letter.
The Alliance-administration collaboration could be pivotal as courts sort out the legality of excluding Planned Parenthood. Since 2015, several states have tried to defund the organization. Two appeals courts have issued conflicting decisions, raising the possibility the issue could reach the Supreme Court.
According to emails obtained by Cummings, several HHS officials last month discussed a draft letter they would soon be getting. A senior HHS official told others that processing the letter should be "an utmost priority."
A four-page letter with legal analysis was sent the same day. House Democrats say the letter came from the Alliance Defending Freedom and attorney Casey Mattox, who previously worked there. He has since left for the conservative Charles Koch Institute.
The letter HHS ultimately issued was dramatically shorter and less expansive than the draft. In the January letter, HHS said additional guidance could be forthcoming. Cummings said the letters achieved the same result and demanded that HHS turn over more documents related to the latest Medicaid letter.
HHS' decision to expedite the letter allowed the Trump administration to tout the effort at last month's March for Life, the nation's largest anti-abortion rally. "I have also just reversed the previous administration's policy that restricted states' efforts to direct Medicaid funding away from abortion facilities that violate the law," President Donald Trump said on Jan. 19, when addressing the rally.
Matt Bowman, HHS deputy general counsel, worked at the Alliance Defending Freedom prior to joining the administration.
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Planned Parenthood and its allies argue existing law doesn't allow states to exclude the organization from Medicaid for political reasons. But several states, such as Arkansas, say they have a right to decide which health care providers participate in their programs.
Arkansas Gov. Asa Hutchinson terminated Planned Parenthood in 2015 after anti-abortion activist David Daleiden issued a series of sting videos alleging the organization sold fetal tissue. The group has denied the allegations.
The Trump administration roll back won't have an immediate impact, since it doesn't have the force of law. Congressional Republicans tried several times in 2017 to enact legislation to allow states to eliminate Planned Parenthood from Medicaid but were not successful.
Dan Diamond contributed to this report.
Asa Hutchinson


The owner wanted space rent at Santa Paula West Mobile Home Park to be raised by about $268 a month and a city study recommended $111, but on a split vote the city's Rent Review Commission allowed a scant $2.31 a month increase.
By Peggy KellySanta Paula TimesThe owner wanted space rent at Santa Paula West Mobile Home Park to be raised by about $268 a month and a city study recommended $111, but on a split vote the city's Rent Review Commission allowed a scant $2.31 a month increase.The vote came after an almost four-hour long hearing that drew hundreds of residents and supporters to the Community Center on Sept. 16th.The hearing had been rescheduled from January.Residents of the park told Mobile Home Rent Review Commissioners Timothy Hicks, Shirlee O'Malley and Carmita Wood that the rents at Santa Paula West are already among the highest in the city and disputed the basis of the increase sought by SP West, LLC.The city sponsored an analysis report to "determine an allowable rent adjustment and implementation schedule," that would "balance the needs of residents" against the owner's fair rate of return on the investment, said city consultant Sonia Seeman.The owner is receiving a return of 5.4 percent to 6.3 percent, noted Dr. James Gibson of NewPoint Group Management Consultants, who recommended that a $111.47 monthly increase would provide the owner with a fair return as mandated under state and federal constitutional law.The increase would also have to be spread over several years so as not to violate city ordinance and the report noted that "we recognize that this increase places SP West's rents way over the top for rents in this city. . ."Commissioners had to contend with reports inches thick as well as the testimony of residents and the attorneys and consultants representing SPW LLC.Attorney Jack Schwartz, representing the park owner, said although the initial request for a rent request had been scaled back, the recommendation would be acceptable and lower-income residents could be subject to less rent increases on a "one-to-one" basis.The figures submitted by the park owner do not "seem kosher," said tenant representative Richard Weinstock, an attorney.Weinstock said the basis of the studies urging a large rent increase are flawed and that commissioners are "entitled to come to your own conclusions" regarding any increases.
Resident Richard Hughes, a leader of the opposition, said the requested increase is "unjust and exorbitant" and that tenants' "hopes for a modest, affordable life are dashed" by the proposed increase which, if approved, would impact the city's stock of affordable housing.Hughes questioned changes in the financial reports and the issue of fair return: "Consider the economic climate we're in right now. . .an 8 percent return is a stellar performance" compared to stock market losses and dipping CD and money market interest rates.Julie Howard questioned park comparisons, noting that the rent of a Camarillo park cited in a report includes all utilities except telephone."Where would seniors get a fair income return of 9.6 percent on Social Security?" asked Edna West.Former City Councilwoman Laura Flores Espinosa, who lives in SP West adjacent Las Pasadas and is a member of the Ventura County Mobile Home Rent Review Commission, said the city's ordinance is "convoluted." Raising rents would pit the city against its own Housing Element, General Plan and state mandates for affordable housing, she noted.Tenants questioned park maintenance, rent comparisons to other area parks, and lack of children play space, and actual rent profit, among other issues.Hicks asked one speaker about the cost of a mobile home as added to park rent and resident Lynda Gruber suggested that park tenants be reimbursed for past increases.After a brief discussion commissioners voted 2-1 with Hicks casting the lone nay vote, to raise the rent an average of $2.31 per month.". . .the way the situation is today in this country," with rising employment and diminishing wages, "I think 6.4 percent is fair," said Wood."We're elated at this decision and the humanity of the commission," said Hughes after the meeting. "Their compassion and understanding was outstanding.""I'm glad to get my husband back," noted Mary Hughes.