2006-07 Communications Report
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Licensee Bidder No. Radio 2SM PTY LTD 200 3UZ Pty Ltd (T/As Radio
Licensee Bidder No. Radio 2SM PTY LTD 200 3UZ Pty Ltd (t/as Radio Sport 927) 201 Radio Perth Pty Ltd 202 Triple M Brisbane Pty Ltd 203 Today FM Brisbane Pty Ltd 204 Triple M Adelaide Pty Ltd 205 Austereo Pty Ltd 206 Perth FM Pty Ltd 207 Consolidated Broadcasting System (WA) 208 Triple M Melbourne Pty Ltd 209 Austereo Pty Ltd 210 Triple M Sydney Pty Ltd 211 Today FM Sydney Pty Ltd 212 Victorian Radio Network Pty Ltd 213 Malbend Pty Ltd 214 Nova 106.9 Pty Ltd 215 Harbour Radio PT 2GB 216 Southern State Broadcasters 217 5AD Broadcasting Company Pty Ltd 218 ARN Communications Pty Ltd 219 Brisbane FM Radio Pty Ltd 220 ARN Broadcasting Pty Ltd 221 Double T Radio Pty Ltd 222 Commonwealth Broadcasting Corporation Pty 223 ARN Communications Pty Ltd 224 Muslim Community Radio 301 Lot No. Designated BSA Excess Reserve Price Highest bid price Highest bidder Second highest bid Second highest bidder Percentage differential Area and Channel Capacity (excludes GST) (Reserve Price vs Lot Highest Bid) 1 Brisbane 9A 64 Kbps $69,000 $ 120,000.00 203 $ 109,000.00 215 174% 2 Brisbane 9A 64 Kbps $69,000 $ 120,000.00 203 $ 118,000.00 215 174% 3 Brisbane 9A 32Kbps $34,500 $ 60,000.00 219 $ 55,000.00 215 174% 4 Brisbane 9A 32Kbps $34,500 $ 60,000.00 215 $ 58,000.00 219 174% 5 Brisbane 9A 32Kbps $34,500 $ 65,000.00 219 $ 60,000.00 215 188% 6 Brisbane 9A 32Kbps $34,500 $ 62,000.00 215 $ 60,000.00 219 180% 7 Brisbane 9A 32Kbps $34,500 $ 60,000.00 215 $ 55,000.00 219 174% 8 Brisbane 9A 32Kbps $34,500 $ 55,000.00 215 $ 50,000.00 219 159% 9 Brisbane 9A 32Kbps $34,500 -
Marco Balzarotti
MARCO BALZAROTTI (Curriculum Professionale liberamente fornito dall'utente a Voci.FM) link originale (thanks to): http://www.antoniogenna.net/doppiaggio/voci/vocimbal.htm Alcuni attori e personaggi doppiati: FILM CINEMA Spencer Garrett in "Il nome del mio assassino" (Ag. Phil Lazarus), "Il cammino per Santiago" (Phil) Viggo Mortensen in "American Yakuza" (Nick Davis / David Brandt) Michael Wisdom in "Masked and Anonymous" (Lucius) John Hawkes in "La banda del porno - Dilettanti allo sbaraglio!" (Moe) Jake Busey in "The Hitcher II - Ti stavo aspettando" (Jim) Vinnie Jones in "Brivido biondo" (Lou Harris) Larry McHale in "Joaquin Phoenix - Io sono qui!" (Larry McHale) Paul Sadot in "Dead Man's Shoes - Cinque giorni di vendetta" (Tuff) Jerome Ehlers in "Presa mortale" (Van Buren) John Surman in "I'll Sleep When I'm Dead" (Anatomopatologo) Anthony Andrews in "Attacco nel deserto" (Magg. Meinertzhagen) William Bumiller in "OP Center" (Lou Bender) Miles O'Keefe in "Liberty & Bash" (Liberty) Colin Stinton in "The Commander" (Ambasc. George Norland) Norm McDonald in "Screwed" Jeroen Krabbé in "The Punisher - Il Vendicatore" (1989) (Gianni Franco, ridopp. TV) Malcolm Scott in "Air Bud vince ancora" (Gordon) Robert Lee Oliver in "Oh, mio Dio! Mia madre è cannibale" (Jeffrey Nathan) John Corbett in "Prancer - Una renna per amico" (Tom Sullivan) Paul Schrier in "Power Rangers: Il film" e "Turbo - A Power Rangers Movie" (Bulk) Samuel Le Bihan in "Frontiers - Ai confini dell'inferno" (Goetz) Stefan Jürgens in "Porky college 2 - Sempre più duro!" (Padre di Ryan) Tokuma Nishioka in "Godzilla contro King Ghidora" (Prof. Takehito Fujio) Kunihiko Mitamura in "Godzilla contro Biollante" (Kazuhito Kirishima) Choi Won-seok in "La leggenda del lago maledetto" (Maestro Myo-hyeon) Eugene Nomura in "Gengis Khan - Il grande conquistatore" (Borchu) FILM D'ANIMAZIONE (CINEMA E HOME-VIDEO) . -
THE CHERRY ORCHARD Zoë Atkinson
MEDIA KIT DIRECTOR Clare Watson A Black Swan State Theatre Company of WA production presented in association with Perth Festival ASSOCIATE DIRECTOR Ian Michael SET & COSTUME DESIGNER THE CHERRY ORCHARD Zoë Atkinson Adapted by Adriane Daff and Katherine Tonkin after Anton Chekhov LIGHTING DESIGNER Lucy Birkinshaw Sunset Heritage Precinct 17 Feb – 14 March 2021 COMPOSER & SOUND DESIGNER Party like it’s 1988! Dr Clint Bracknell Black Swan State Theatre Company of WA has announced additional seats have been released for its production of Anton Chekhov’s The Cherry Orchard. CAST Humphrey Bower Presented in association with Perth Festival, The Cherry Orchard is a wildly Emily Rose Brennan Australian take on Anton Chekhov’s comedy of inevitable catastrophe, written by Grace Chow Adriane Daff and Katherine Tonkin. Kieran Clancy-Lowe Michelle Fornasier This immersive experience will see audiences traverse the character-filled Brendan Hanson Sunset Heritage Precinct in Dalkeith 17 Feb – 14 Mar 2021. Sam Longley Hayley McElhinney Black Swan Artistic Director Clare Watson says, “Our 2021 Season ‘With Love’ Bridie McKim marks the company’s 30th birthday year. Site specific Perth Festival productions Ben Mortley were synonymous with Black Swan in our early years. So, it makes sense that Mark Nannup our first performance of the year is performed at such an iconic site in Dalkeith, George Shevtsov on the banks of the river as part of Perth Festival.” Firs’ dog Jezebel, (Irish Wolfhound Cross) and The final play written by Chekhov in his dying days was intended to be his most Arlo (Cavoodle) hilarious comedy. This adaptation takes the story from Russia in the 1880s and replants the orchard to a fictional late 1980s Manjimup in WA. -
2021 NBN Plan Awards Methodology Report
Mozo Experts Choice Awards NBN Plans 2021 This is the third year running that we’ve gathered together countless pieces of information and applied our methodology to find the leading NBN broadband plans in Australia. Product providers don’t pay to be in the running with our awards, and we don’t play favourites. Our judges base their decision on hard-nosed calculations of value to the consumer, using Mozo’s extensive product database and research capacity. We identify the most important features of each product, group each product into like-for-like comparisons, and then calculate which are better value than most or offer market-leading features. This report lists the winners and explains the judging methodology for our 2021 NBN awards. 1 NBN Plans - 2021 Winners Fast (NBN 100) This category assessed Premium plans offering the NBN’s top speeds and no data limits. Accord with Officeworks Super Fast Dodo nbn100 Exetel Premium nbn100 iPrimus Premium Kogan Gold Mate Soul Mates Spintel Premium 100 Tangerine Telecom XXL Speed Boost TPG NBN100 Unlimited Standard Plus (NBN 50) For this category, the judges looked at plans for the middle tier NBN speed, with no limit on data usage. Belong Standard Plus Exetel Standard Plus nbn50 iPrimus Standard Plus Kogan Silver Spintel Plus 50 Tangerine Telecom XL Speed Boost 2 Standard (NBN 25) People looking for a more entry level internet service may not need to high speeds of other tiers, and have lower data usage. In this category, plans with a data limit of at least 500GB could qualify, as long as there was a meaningful price benefit. -
The Future of Live Music in South Australia
The Future of Live Music in South Australia Live Music Thinker: Martin Elbourne THE DON DUNSTAN FOUNDATION ProjEcT partners The Don Dunstan Foundation Level 3, 230 North Terrace THE UNIVERSITY OF ADELAIDE SA 5005 www.reverb.net.au © The Don Dunstan Foundation, 2013 www.dunstan.org.au Recommendation 13: Continue the 49 Contents 4 implementation of The National Indigenous Contemporary Music Action Plan within SA and about the residency 7 appraisal of its progress and outcomes. Recommendation 14: Invest in creative hubs that 50 about martin elbourne 9 provide artistic stimulation and rehearsal spaces for musicians, and support ‘cross fertilisation’ of the arts. overview 11 Recommendation 15: Develop a Government 51 Policy to reduce barriers to creative hubs. Context 15 Recommendation 16: Form a new creative hub 53 from an existing cluster of creative organisations. governance and leadership 29 Recommendation 1: Create the South Australian 30 development of industry Professions 55 Contemporary Music Advisory Council (SACMAC) to develop strategies for the economic development of Recommendation 17: Ensure a high quality 58 the local music industry and to champion it. website exists to profile contemporary musicians, and include quality film clips, statistics on their performance history, and other information that acts education and Creative development for artists 33 as criteria to indicate the current status of the artists. Recommendation 2: Implement the proposed 33 new national curriculum for the Arts to its fullest Recommendation 18: Establish a network of 58 in South Australia and maximise opportunities for accomplished professionals – Friends of SA. creative musical expression in children. Recommendation 19: Develop music industry 59 Recommendation 3: Better equip generalist 34 specific traineeships or internships. -
History of Radio Broadcasting in Montana
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1963 History of radio broadcasting in Montana Ron P. Richards The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Richards, Ron P., "History of radio broadcasting in Montana" (1963). Graduate Student Theses, Dissertations, & Professional Papers. 5869. https://scholarworks.umt.edu/etd/5869 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE HISTORY OF RADIO BROADCASTING IN MONTANA ty RON P. RICHARDS B. A. in Journalism Montana State University, 1959 Presented in partial fulfillment of the requirements for the degree of Master of Arts in Journalism MONTANA STATE UNIVERSITY 1963 Approved by: Chairman, Board of Examiners Dean, Graduate School Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number; EP36670 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Oiuartation PVUithing UMI EP36670 Published by ProQuest LLC (2013). -
Ro-TV: Process and Participation
3CMedia Journal of Community, Citizen’s and Third Sector Media and Communication ISSN 1832-6161 Issue 2 October 2006 Ro-TV: Process and participation Michelle Johnston 3CMedia is an e-journal hosted at http://www.cbonline.org.au. For further information, please contact [email protected]. 3CMedia 30 Ro-TV: Process and participation Michelle Johnston Abstract RO-TV is a community television program, produced in collaboration with Rotary WA that demonstrates the ideals and objectives of community media. This paper discusses the pilot series of RO- TV in both a theoretical and practical sense. The production technique employed by the program and the experience of the program’s participants is explored in terms of the theoretical principles and ideals of community media. As a University lecturer in Film and Television I have produced many hours of programming for Perth’s community television station, Access 31. When approached to produce a television program for Rotary Western Australia I saw an opportunity to explore some of the principles of community television in both a practical and theoretic sense. The program was produced and broadcast over the summer of 2004/05, and became the subject of my Honours Project. My experience in its production and the outcomes of that experience are discussed in this paper. Of particular interest to community television program makers, I believe, are the program’s production style and technique, and the value of participation for those involved in the program’s production. There is an expectation that the programs that feature on community television generally, and hence Access 31 in particular, will serve the local community in some way. -
ASX/Media Release
ASX/Media Release 29 March 2017 Sale of Investment in Macquarie Telecom Group Vocus Group Limited (ASX: VOC, ‘Vocus’) today announces that it has disposed of 3,358,511 shares representing ~16% relevant interest in the ordinary shares of Macquarie Telecom Group Limited (ASX: MAQ). The shares were held via a total return swap as described in the FY16 Vocus financial statements. Attached is the Form 605 Notice of ceasing to be a substantial holder. ENDS For further information please contact: Kelly Hibbins Investor Relations Debra Mansfield Corporate Communications P: +61 2 8316 9856 P: +61 3 9674 6569 M: +61 414 609 192 E: [email protected] E: [email protected] About Vocus: Vocus Group (ASX: VOC) is a vertically integrated telecommunications provider, operating in the Australian and New Zealand markets. The Company owns an extensive national infrastructure network of metro and back haul fibre connecting all capital cities and most regional centres across Australia and New Zealand. Vocus infrastructure now connects directly to more than 5,500 buildings. Vocus owns a portfolio of brands catering to corporate, small business, government and residential customers across Australia and New Zealand. Vocus also operates in the wholesale market providing high performance, high availability and highly scalable communications solutions which allow service providers to quickly and easily deploy new services for their own customer base. For more information please go to our website www.vocusgroup.com.au. VOCUSGROUP.COM.AU 605 page 1/2 15 July 2001 Form 605 Corporations Act 2001 Section 671B Notice of ceasing to be a substantial holder To Company Name/Scheme ACN/ARSN 1. -
Changing Stations
1 CHANGING STATIONS FULL INDEX 100 Top Tunes 190 2GZ Junior Country Service Club 128 1029 Hot Tomato 170, 432 2HD 30, 81, 120–1, 162, 178, 182, 190, 192, 106.9 Hill FM 92, 428 247, 258, 295, 352, 364, 370, 378, 423 2HD Radio Players 213 2AD 163, 259, 425, 568 2KM 251, 323, 426, 431 2AY 127, 205, 423 2KO 30, 81, 90, 120, 132, 176, 227, 255, 264, 2BE 9, 169, 423 266, 342, 366, 424 2BH 92, 146, 177, 201, 425 2KY 18, 37, 54, 133, 135, 140, 154, 168, 189, 2BL 6, 203, 323, 345, 385 198–9, 216, 221, 224, 232, 238, 247, 250–1, 2BS 6, 302–3, 364, 426 267, 274, 291, 295, 297–8, 302, 311, 316, 345, 2CA 25, 29, 60, 87, 89, 129, 146, 197, 245, 277, 354–7, 359–65, 370, 378, 385, 390, 399, 401– 295, 358, 370, 377, 424 2, 406, 412, 423 2CA Night Owls’ Club 2KY Swing Club 250 2CBA FM 197, 198 2LM 257, 423 2CC 74, 87, 98, 197, 205, 237, 403, 427 2LT 302, 427 2CH 16, 19, 21, 24, 29, 59, 110, 122, 124, 130, 2MBS-FM 75 136, 141, 144, 150, 156–7, 163, 168, 176–7, 2MG 268, 317, 403, 426 182, 184–7, 189, 192, 195–8, 200, 236, 238, 2MO 259, 318, 424 247, 253, 260, 263–4, 270, 274, 277, 286, 288, 2MW 121, 239, 426 319, 327, 358, 389, 411, 424 2NM 170, 426 2CHY 96 2NZ 68, 425 2Day-FM 84, 85, 89, 94, 113, 193, 240–1, 243– 2NZ Dramatic Club 217 4, 278, 281, 403, 412–13, 428, 433–6 2OO 74, 428 2DU 136, 179, 403, 425 2PK 403, 426 2FC 291–2, 355, 385 2QN 76–7, 256, 425 2GB 9–10, 14, 18, 29, 30–2, 49–50, 55–7, 59, 2RE 259, 427 61, 68–9, 84, 87, 95, 102–3, 107–8, 110–12, 2RG 142, 158, 262, 425 114–15, 120–2, 124–7, 129, 133, 136, 139–41, 2SM 54, 79, 84–5, 103, 119, 124, -
Living in Australia
Unit 2 Place and liveability Living in Australia Both Indigenous Australians and early European settlers to Australia made decisions about where to live based on the availability of resources they needed to survive – things like water, food and shelter. The factors that influence where people live today are more varied. As well as needing access to food, water and shelter, people also choose where to live based on things like access to services (such as hospitals and schools), environmental quality (such as access to clean air and parklands) and safety. Connections to family, friends and places also influence where we live. Where we choose to live can also change over time due to a range of factors, such as work and property prices. In retirement, many people opt for a sea change or tree change to enjoy a more relaxed lifestyle. chapter Source 1 An oblique aerial photograph of the Melbourne showing the suburb of St Kilda in the foreground4 4A 4B DRAFT Where do Australians live and How do people connect why? to places? 1 What features shown in Source 1 tell you that many 1 What common interests or hobbies might people people live in the suburb of St Kilda? who live in St Kilda share? 2 Why do you think people choose to live in 2 How might the lifesavers at St Kilda Beach be St Kilda? considered a community of their own? 112 oxford big ideas humanities 7 victorian curriculum chapter 4 living in australia 113 4A Where do Australians live and why? Islander peoples have developed very strong connections with your learning 4.1 4.1 Why we live where we do their places. -
Analogue Nation, Digital Community Ellie Rennie and Julian Thomas 1
Chapter 14 Analogue Nation, Digital Community Ellie Rennie and Julian Thomas 1 Introduction Community television test transmissions commenced in Australia in 1987, at a time when the structure of the national media system was changing dramatically. Equalisation policy was passed by the Senate the same year, making way for a comprehensive restructuring of commercial media, including changes in the ownership and control of the networks. Regional services were to be aggregated, and the ownership of metropolitan services would be concentrated. Alarmed by these prospects, Melbourne’s screen development agency Open Channel published a report which restated the case for community television. The report’s editors, filmmaker John Hughes and Kim Dalton, now the ABC’s Director of Television, observed how ‘commer- cial and Government services continue to centralise, generalise, move away from the local. There is no commitment within broad- casting to innovation, to creative development, to training or to participation, local origination or local accountability’.2 Hughes and Dalton did draw hope from the arrival in 1985 of Indigenous television in the remote townships of Ernabella in South Australia and Yuendumu in the Northern Territory.3 With no policy or legal KKenyon.inddenyon.indd 336464 225/9/075/9/07 66:26:13:26:13 AMAM framework for Indigenous television, the communities had gone ahead and broadcast without permission, prompting the government to issue experimental licences under the Radiocommunications Act 1992 (Cth). Community television campaigners then envisioned a ‘low power micro-station network evolving on the basis of diverse and particular local initiatives and needs’.4 Two decades on, Australian media are experiencing another ownership upheaval with ramifications for local content and diver- sity, brought about by the dismantling of cross-media ownership rules. -
Channel 31, Community Educational Television Limited (Access 31)
CHANNEL 31, COMMUNITY EDUCATIONAL TELEVISION LIMITED (ACCESS 31) Access 31 was a free‐to‐air community television station based in Perth, which started broadcasting on 18 June 1999, and received a permanent broadcasting licence in 2002. The station was originally based at the Mt Lawley campus of Edith Cowan University before moving to premises in Belmont in late 2003. Access 31 broadcast a daily, live breakfast show and a number of popular local programs, including Wake Up! At its height, Access 31 competed favourably with other local networks but with the emergence of digital television its audience plummeted. On 6 August 2008 Access 31 eventually ceased transmission. PRIVATE ARCHIVES MANUSCRIPT NOTE (MN2837; ACC 7856A) SUMMARY OF CLASSES AGREEMENTS MINUTES AWARDS NEWSLETTERS CERTIFICATES POLICY CORRESPONDENCE PROCEDURES DEEDS PROGRAMMES EVENTS REPORTS FILES SUBMISSIONS GRANTS SURVEYS LICENCES TECHNICAL COMMITTEE MARKETING Acc. No. DESCRIPTION AGREEMENTS 7856A/1 2005 Transmitter maintenance contract and correspondence 7856A/2 April 1998 Agreement between Access31 and universities and others 7856A/3 April 1999 Agreement between Access31 and universities and others 7856A/4 1999 – 2002 Sponsorship agreements (2 folders) 7856A/5 2002 ECU computer agreement 7856A/116 2005 – 2006 Sample External Program Provider (EPP) Agreement, Community Program Provider (CPP) Agreement 7856A/117 2002 – 2004 Sponsorship agreements (3 folders), correspondence, TVC detail request, payment authorities. MN2837 Page 1 of 9 Copyright SLWA ©2011 COMMUNITY PROGRAM