Video of the B9 robot from "Lost In Space" and his most famous catchphrases.; Credit: timtomp (via YouTube)

Robert Kinoshita, the Los Angeles native who designed the iconic robots from "Lost in Space" and "Forbidden Planet," has passed away. He was 100 years old.

Konishita died Dec. 9 at a Torrance nursing home, according to the Hollywood Reporter, citing family friend Mike Clark. His creations included "Forbidden Planet's" Robby the Robot, the B9 robot from "Lost in Space," Tobor from "Tobor the Great" and more. Kinoshita also created "Lost in Space's" iconic flying-saucer-shaped Jupiter 2 spaceship.

Kinoshita built the original miniature prototype of Robby the Robot out of wood and plastic by combining several different concepts, according to the Reporter; the Rafu Shimpo reported that he struggled with the design.

"I thought, what the hell. We’re wasting so much time designing and drawing one sketch after another. I said to myself, I’m going to make a model," Kinoshita told the Rafu Shimpo in a 2004 interview. "Then one day, the art director sees the model. He says, ‘Give me that thing.’ He grabbed it and ran. ... Ten minutes later, he comes running back and puts the model back on my desk and says, ‘Draw it!’"

Watch Kinoshita and his colleagues talking about the construction of Robby the Robot:

Robby the Robot's construction

The 1956 classic sci-fi movie "Forbidden Planet" — based on Shakespeare's "The Tempest" — went on to be nominated for a special effects Oscar.

Kinoshita later served as art director on the 1960s sci-fi TV series "Lost in Space," creating the arm-flailing robot — named B9 — who delivered the classic line "Danger! Danger, Will Robinson!" That robot received as much fan mail as the actual humans on the show, according to the Reporter.

Watch the robot's feud with "Lost in Space's" Dr. Smith:

The robot vs. Dr. Smith

The "Lost in Space" robot even inspired a B9 Robot Builders Club, featured in Forbes. Kinoshita sent a message in 2000 to the club, thanking them for their support for the robot he originally nicknamed "Blinky."

"I'm truly flabbergasted and honored by your support for 'Blinky!' It's a well-designed little beauty," Kinoshita wrote. "Your thoughtful remembrance is something we designers seldom are lucky enough to receive."

Kinoshita described the thought process behind its design in a 1998 interview.

"You're laying in bed, and something comes to you," he said. "Until, finally, you get to a point where you say, 'This could work,' 'OK, let's see what the boss man says.' And you present it to him."

He told the Rafu Shimpo that he tried to create his robots to disguise the fact that there was a person inside. "I tried to camouflage it enough so you’d wonder where the hell the human was," he said.

Both the Japanese-American Kinoshita and his wife, Lillian, were sent to an Arizona internment camp during World War II, though they were able to get out before the end of the war and moved to Wisconsin, according to the Reporter.

While in Wisconsin, Kinoshita learned industrial design and plastic fabrication, designing washing machines for the Army and Air Force before returning to California, according to the Rafu Shimpo.

Kinoshita said that he had to overcome racial prejudice to break into working in Hollywood.

Kinoshita attributed his long life to clean living — along with daily doses of apple cider vinegar, family friend Clark told the Reporter.

Kinoshita also worked as a designer and art director on numerous classic TV shows, including "Kojak," "Barnaby Jones," "Hawaii Five-O," "Bat Masterson," "Sea Hunt," "Tombstone Territory," "Star Trek" creator Gene Roddenberry's "Planet Earth" and more, according to his IMDB. His last TV show was 1984's "Cover Up."

Kinoshita grew up in Boyle Heights, according to the Reporter, attending Maryknoll Japanese Catholic School, Roosevelt High School and USC's School of Architecture. His career began with work on 1937's "100 Men and a Girl." Kinoshita graduated cum laude from USC, according to the Rafu Shimpo.

Watch Kinoshita speak at his 95th birthday gathering with the B9 Robot Builders Club. He said he hoped to make it to 100, and he ended up doing so.

Kinoshita's 95th birthday speech

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Hoy le exigen a uno hablar inglés hasta para servir en un chiringuito de playa, pero no para presidir el país

The long lost remains of Thomas Kent, one of the 16 men executed in 1916 following the Easter Rising, have been identified by scientific DNA analysis...

Badfinger is proud to unveil the forthcoming release of their long-lost album 'Head First' scheduled for 2024

The Broncos lost to Kansas City in the most excruciating way possible, but they found their guy.

Před 50 lety zavraždil ve městě Amityville třiadvacetiletý Ronald DeFeo celou svou rodinu. Motivy zločinu jsou dodnes neznámé a celý příběh je opředen mnoha nevyjasněnými okolnostmi. Není proto divu, že lidoví vypravěči a filmoví scénáristé začali vinu svalovat na démony. Strašidelné filmy o posedlém domu v Amityville nejsou bohužel jedinou hororovou sérií inspirovanou skutečnými událostmi.

Piráti mají za sebou zásadní sjezd, na kterém si zvolili jako předsedu bývalého primátora Prahy Zdeňka Hřiba. Nahradí tak ve vedení strany jejího dlouholetého předsedu Ivana Bartoše, který byl na sjezdu za potlesku všech přítomných slavnostně digitalizován.

"I would basically eat everything and anything under the sun that is unhealthy," Sunaina Roshan reveals in her latest social media post.

Police in Utah have arrested an 18-year-old fan on an assault charge after BYU cheerleading coach Jocelyn Allan was struck in the head with a water bottle after Saturday's win over Utah.

The Indianapolis Colts are heading in a new direction with the quarterback position again, naming Anthony Richardson the new QB1 just two weeks after he was benched.

On November 12, a new poster for the film was revealed, accompanied by a caption that read, "Official entry: India. Best International Feature Film - 97th Academy Awards."

The new facility will have an annual production capacity of 180,000 tons, tripling TCEL’s current pharmaceutical-grade sodium bicarbonate production capacity in the UK

It seems that Aamir Khan and Kiran Rao have started their Oscar campaign for Laapataa Ladies.

Хорошее
https://www.politico.com/news/magazine/2024/11/11/why-democrats-lost-latinos-00188769
"Why Democrats Lost Latinos", by Jack Herrera.

Латинксы голосовали за Трампа и Харрис примерно поровно,
в прошлый раз это было 4/6, а за Обаму голосовали типа 2/8.

Не знаю уж, что тут сыграло роль, возможно, то, что
демократы видятся партией финансовых и чиновных элит.
Но эффект занятный.

Привет

Bloody feet. Blisters. That wasn’t the expectation of eager Transform participants who left the conference in Rome to join OM Spain on a unique journey.

Ancelotti for a long time in the future can not use the team's heart and soul Harvey - Alonso. According to Spanish media reports said Alonso being sidelined at least until the end of October or early November in order to come back, ...

Arsenal desperate steering Suarez
Tottenham Baldini broker a secret meeting with Roberto Soldado

Higuain fly, as quoted in the £ 23 million increase on the unwilling, Real Madrid halt the...

The third instalment of this iconic franchise is running super-strong at the box office. The latest surpassed the previous box office records and became the highest-grossing film of the franchise. Sadly, the original choices of this franchise were Aishwarya Rai and Vidya Balan.

When the landslide hit, Sruthi's house was washed away, along with its inhabitants. She lost her entire family and some relatives. All she had left for a close confidante was her fiance Jenson. Days after the landslide and the loss of her family, Jenson died in a road accident that also left Sruthi with serious injuries. News of the accident and Sruthi's backdrop as the lone surviving member of a family wiped out in the July landslide, was picked up by the media, and people rushed to help.

The South Korean hit drama returns for a second season in December.

Update: I found it, YAY!

I'm in dire straits. I just lost my expensive
(Aaak!) 5G Video iPod & I've been tearing
out my hair looking for it! Augh, Aak, Argh!!!

If you’re wondering about sustainable business models, bear with me while I rant about ABC’s free episode streaming, or just skip the first bunch of paragraphs to the Sustainable Business Models heading.  Ohterwise bear with me, I’ve got a couple lung-fulls to spend talking about why I’m not having the best time I could be [...]

I wonder why we haven't read more about Håkan Lans's fight against Dell and Gateway in American media. Here is an excerpt from Peter Zura's post, Håkan Lans Is Back at The Federal Circuit (and Sweden Will Be Watching):

In one of the strangest, and most controversial patent infringement cases in recent history, Håkan Lans (aka Uniboard Aktiebolag) returns to the Federal Circuit on October 6, where the court will determine his fate on the disastrous enforcement effort regarding U.S. Patent No. 4,303,986 (Panel J: Friday, October 6, 2006, 10:00 A.M., Courtroom 203 - 2006-1070 Lans v. Gateway 2000) .

A prolific inventor and a folk hero in his native Sweden, Lans was granted the '986 patent in 1981, which covered Video Graphics Array (VGA) technology. In 1989, Lans agreed to license the ’986 patent to IBM. However, for tax reasons, Lans wanted to have his shell company, Uniboard, grant the license. To assure that Uniboard possessed the rights it was purporting to license, IBM requested that Lans first execute an assignment of the ’986 patent to Uniboard. Lans executed the assignment to Uniboard personally and then, on behalf of Uniboard, executed the license to IBM. Lans soon obtained licenses from others, including Hitachi, HP, and Apple.

In 1996, Lans sent letters to the computer industry accusing numerous companies of infringing the ’986 patent. The letters identify Lans as “the inventor and owner” of the ’986 patent, but did not mention Uniboard.

In 1997, Lans personally sued numerous companies for infringement of the ’986 patent. The complaint did not include Uniboard as a plaintiff. During discovery, the defendants found out about the assignment, and concluded that Lans had no business asserting the patent claim, because he wasn't, in fact, the owner.

And that's when everything started to unravel for Lans. (271patent.blogspot.com, 09/28/06.)

Old-school Apple fans probably remember a time, just before the iPhone became a massive gaming platform in its own right, when Apple released a wide range of games designed for late-model clickwheel iPods. While those clickwheel-controlled titles didn’t exactly set the gaming world on fire, they represent an important historical stepping stone in Apple’s long journey through the game industry. Today, though, these clickwheel iPod games are on the verge of becoming lost media—impossible to buy or redownload from iTunes and protected on existing devices by incredibly strong Apple DRM. Now, the classic iPod community is engaged in a quest to preserve these games in a way that will let enthusiasts enjoy these titles on real hardware for years to come. ↫ Kyle Orland at Ars Technica A nice effort, of course, and I’m glad someone is putting time and energy into preserving these games and making them accessible to a wider audience. As is usual with Apple, these small games were heavily encumbered with DRM, being locked to both the the original iTunes account that bought them, but also to the specific hardware identifier of the iPod they were initially synchronised to using iTunes. A clever way around this DRM exists, and it involves collectors and enthusiasts creating reauthorising their iTunes accounts to the same iTunes installation, and thus adding their respective iPod games to that single iTunes installation. Any other iPods can then be synced to that master account. The iPod Clickwheel Games Preservation Project takes this approach to the next level, by setting up a Windows virtual machine with iTunes installed in it, which can then be shared freely around the web for people to the games to their collection. This is a rather remarkably clever method of ensuring these games remain accessible, but obviously does require knowledge of setting up Qemu and USB passthrough. I personally never owned an iPod – I was a MiniDisc fanatic until my Android phone took over the role of music player – so I also had no clue these games even existed. I assume most of them weren’t exactly great to control with the limited input method of the iPod, but that doesn’t mean there won’t be huge numbers of people who have fond memories of playing these games when they were younger – and thus, they are worth preserving. We can only hope that one day, someone will create a virtual machine that can run the actual iPod operating system, called Pixo OS.

The Man in the Can and the squirrel family have made it into the sewers. However, they are far from the other animals, and the sewer is a maze. Will they find the others?

Find out in today's episode of the Adventures of the Man in the Can.




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With Easter upon us there is much talk about the so-called lost gospel of Judas, the disciple best known for betraying Jesus Christ. Apparently this manuscript paints Judas in a more favorable light as someone who was only doing Christ's bidding.

According to radiocarbon dating the papyrus is purported to be dated between A.D. 220 and 340. Other tests confirm it is consistent with known ancient methods and ingredients in known inks from the third and fourth centuries A.D.

It's all very interesting, but given that it was written by someone else a considerable time after the death of Judas it amounts to little more than the stuff that myths and legends are made of.

Happy Easter!

Related links: daily fisk, current events, current affairs, opinion, jesus christ, judas, religion, easter

The Internal Revenue Service today announced that approximately 275,000 organizations under the law have automatically lost their tax-exempt status because they did not file legally required annual reports for three consecutive years. IRS Identifies Organizations that Have Lost Tax-Exempt Status

I’m a member of the Amazon “Vine Program”. If you’re unaware of it, this is a cool little channel Amazon run where top reviewers on Amazon’s website get to choose a couple of items from a pre-defined list every month, to receive for free. In return, you must review on the Amazon website at least three out of every four items you receive.

It’s a good programme, I’ve received a couple of dozen books from it over the years and it has this quality of both being free and serendipitous that book lovers should - and seemingly do - love. Publishers get lots of reviews on their product’s page, Amazon get UGC and the people who love to read and review books get free stuff. Win-win for everybody.

I’ve just received a very odd email from Amazon about it though. First, can I just say to whoever sent this out, that putting at the end:

Please note: This e-mail was sent from a notification-only address that cannot accept incoming e-mail. Please do not reply to this message

has made an error. They’ve sent it from order-update@amazon.co.uk which the above implies is you know, a fake, non-read email account. So why then is the email itself cc’ed to that address? I think somebody does read mail at that address. Smart anti-spam skills Amazon! Alas, the game is up!

Anyway, that’s not the really weird bit. It goes on:

We are contacting you to let you know that there have been some changes to the Amazon Vine Voice Participation agreement. 

Do we all get a free pony? Really, I love Amazon Vine, that’s the only way it could get better… Somehow when I get an email informing me of changes to T&Cs though, I always feel the rest of the email is going to be me being told off for something I didn’t do. It goes on:

Please note the following changes: 

1) The ownership status of Vine products and the circumstances in which you may dispose of Vine products has been clarified. Ownership of Vine products supplied by Amazon or one of its subsidiaries (such as AmazonEncore books, AmazonCrossings books and Amazon Basics) transfers immediately to you upon receipt of the item and you can dispose of them at your convenience, but you may not transfer ownership to another person at any time. In the case of products provided by other suppliers, the product supplier retains ownership for six months from the date of your review, after which you may keep or destroy the product, but again you may not transfer ownership to anyone else. 

Wait, what now? Amazon: do you know you’re dealing with people who know how to read? From http://wordnetweb.princeton.edu/perl/webwn?s=ownership:

ownership: the relation of an owner to the thing possessed; possession with the right to transfer possession to others

So, if they transfer ownership, they are transferring the right to transfer possession to others. That’s what the word means.

I can understand publishers and Amazon getting sniffy if review copies are flooding the market before release dates, but the answer to that is simple: make it policy that selling pre-release copies (and it’s obvious when you get a review reader copy), before the release of the actual book will result in you being evicted from the Amazon Vine programme.

I’ve never sold any of the items I’ve received on Vine. I love books, I collect books, and I’m happy that my collection grows at 2 books/month beyond what I buy at no cost to myself in return for a review on the website for the majority of them. I’ve had books I’ve loved, books I’ve hated, and books I’ve simply just not seen the point of and been indifferent to. But I have always considered those books mine on receipt, and without logging into the Amazon Vine site, I wouldn’t even be able to identify which books came from the programme any more. They do not sit on a special shelf, so when the time comes to start selling copies off, I’m not sure I can definitely state that in 10 years time I will not sell off an edition I received via Vine.

Because these books are typically first prints of first editions, if the book should become very popular, this of course means I might profit greatly from the transaction. Publishers don’t want that to happen. All I can say is, the great success of the book to get it to that point is in part thanks to us reviewers talking it up in its earliest days. Stop being so silly.

Whilst I also understand the need of publishers to make sure the hundreds of review copies they give away don’t reduce initial sales because the reviewers are all flogging them on Amazon or eBay, I think this is a little silly. Just ask reviewers to play fair, and we will. We’re not bad people.

In fact, make it a condition that selling anything within six months is a no-no. I don’t think we’d have a problem with that. But trying to redefine the meaning of the word “ownership”? That’s crazy talk.

It gets better though:

2) You may submit Vine reviews on other websites, but not to any online or offline channel that advertises or offers the Vine product for sale except in the form of a link to a website operated by Amazon or its affiliates. 

So if you get a free copy of a book from Vine, you love it, you tell all your friends about it, and you go onto forums that happen to be affiliated with Waterstone’s (or B&N in the states) rather than Amazon, you’re in breach of T&Cs.

Amazon are - I suspect - paid by the publisher to distribute their books via Vine. I can’t imagine they make a loss on it. Therefore, I can’t quite understand how it’s in the publisher’s interest for a reviewer to talk less about a book that they love. I also have no idea how Amazon intend to police this.

If I recommend a book to a friend whilst in a bookshop, do I also have to “subtly hint” in the conversation that the book is available on Amazon.co.uk don’t you know and that Amazon is really good, or is discussion of the book whilst in a bookshop to be met with a mute indifference by me? If not, it possibly means I am submitting a review in an “offline channel” in a context that “advertises or offers” the book for sale in a form that isn’t a link to Amazon.

My friend might actually buy the book on my recommendation right there and then. How is it in the publisher’s interest that I refuse to discuss it. What if I forget that I originally got my copy on Vine and the Amazon police are around the corner and get to hear of it? Will I be punished?

These two combined make the Vine programme a little more crazy than I thought, when you try and stick to the letter of the T&Cs as opposed to perhaps the spirit.

On receiving a book, I can only discuss it on Amazon or Amazon-affiliated websites and nowhere else and I must keep the book for ever more and not sell it, give it away, donate it, or let anybody else consider it theirs until the end of time.

I am permitted however, to set fire to it. Book-burning: the kind of party Amazon Vine approves! Just you know, don’t talk about the books unless you have a laptop open nearby with Amazon.co.uk up…

I ordered up two books last night on Vine I am looking forward to receiving. I suspect they may be my last. I simply can’t see how I can commit to complying with those two conditions in a sensible way until the end of time, and I’m not somebody who likes to know he might be breaching an agreement unintentionally.

Maybe one day somebody will see sense at Amazon or at the publishers and they’ll make this all a lot simpler: don’t sell the books within six months, and whilst you’re free to talk about them wherever you want, your first and primary review should be submitted on Amazon. Simple.

3ZM 1400 AM in Christchurch, New Zealand promoted it's all night New Year's Eve Party for December 31 1976 with this cool ad in the local newspaper the day before. A one-off promotion.

When Wellington, New Zealand, was battered by storms in December 1976, local Radio Windy 1080 AM provided superb coverage...

Over the Christmas - New Year period of 1976-77, Radio Rhema broadcast an experimental 10 day short-term AM program from Ferrymead Historic Park, Christchurch, New Zealand...

Sports broadcaster Harry Millard smiles for the camera in this early photo from 2SM Sydney, Australia...

Toohey's Oatmeal Stout sponsored 'Mrs 'Arris and Mrs 'Iggs' an entertaining program from 2UW Sydney, Australia...

This photo of the 3ZB Christchurch [New Zealand] staff was taken for the 21st anniversary of the station...

Women announcers were often found as 'Shopping Reporters' on the 'women's hour' programs...

Senior Technician Bill McMillan works a bank of Magnecorders in the main control room of the new Broadcasting House, Fiji Broadcasting Commission, Suva, Fiji in 1954...

Isareli Racule was the first head of the Fiji section, Fiji Broadcasting Commision in 1954...

KCCN Honolulu 1420 AM was one of the most popular radio stations in the Hawaiian islands. It broadcast Hawaiian music and culture and has since moved to FM where its popularity continues...

We recently ran a competition celebrating 50 years of Hawaiian statehood. Readers were asked a number of questions about KHBC Hilo as featuring in our Art of Radio Hawaii...

Australian radio station 3BA Ballarat supported the Sunshine Singers. Here they are pictured at Lorne in Victoria on January 24, 1938...

Lost Password Recovery for MAC allows to retrieve and view saved passwords from Google Chrome, Edge and Opera web browsers. The program recovers website, email, social media passwords from Chrome, Edge, Opera browsers and backup all your passwords to HTML,CSV,TXT file or copy to clipboard.

LPR Lost Password Recovery allows to retrieve and view saved passwords from Google Chrome, Edge and Opera web browsers. The program recovers website, email, social media passwords from Chrome, Edge, Opera browsers and backup all your passwords to HTML,CSV,TXT file or copy to clipboard.

Save Relationship, Broken Heart, Breakup, Breaking up Advice, Save Marriage, Stops Divorce, Bring Back Lost Love

I have a confession to make: I misplace things all the time. That copy of Ship of Theseus I bought that I was saving for a rainy day? Gone. The transparent lock I used for lockpicking practice? Haven’t seen it in years. My Flynn Lives pin, from the Tron Legacy ARG? Fell off my lanyard […]

The post The Ministry of Lost Things Takes PostCurious in an Episodic Direction first appeared on ARGNet: Alternate Reality Gaming Network.

Leaving Needles in our rearview mirror, although seemingly in a pocket of far off mountains, the headlights shown on what was nothing but bleak desert, endless, flat, miles of sand. Although Billy was speeding along about 60 mph, I felt as if the car was standing still since there was nothing to see, not even trees outside the window that at least gave one a sense of motion.

December 21, 2005 – Last week a computer tape containing the names, addresses, account information, payment histories and Social Security Number of 2 million people disappeared while in transit. The tape, which contained data on all of LaSalle Bank’s mortgage customers, had been shipped via DHL to Experian by the bank in November. It then reappeared two days ago.

Catégorie - FEMMES » Genre - Pop

As the city celebrates its 385th birthday, a group of architects highlight some lessons on sustainability and climate-responsive architecture from the past

The Gloster Blackstorm edition comes with all the bells and whistles that are offered on the regular Gloster.