#joe surtees

[magicalflower67]

[frenchcurious]

John Surtees & Peter Schetty (SEFAC - Ferrari 512 S #1004) 1000 Km de Monza 1970 © Joe Honda. - source Carros e Pilotos.

[ulkaralakbarova]

When Manny Singer’s wife dies, his young daughter Molly becomes mute and withdrawn. To help cope with looking after Molly, he hires sassy housekeeper Corrina Washington, who coaxes Molly out of her shell and shows father and daughter a whole new way of life. Manny and Corrina’s friendship delights Molly and enrages the other townspeople. Credits: TheMovieDb. Film Cast: Corrina Washington: Whoopi Goldberg Manny Singer: Ray Liotta Molly Singer: Tina Majorino Jonesy: Joan Cusack Sid: Larry Miller Jevina: Jenifer Lewis Jenny Davis: Wendy Crewson Grandma Eva: Erica Yohn Grandpa Harry: Don Ameche Brent Witherspoon: Brent Spiner Bratty Boy: Tommy Bertelsen Repeat Nanny: Lin Shaye High Heels: Noreen Hennessey Shirl: Lucy Webb Miss O’Herlihy: Juney Ellis Rita Lang: Mimi Lieber Liala Sheffield: Karen Leigh Hopkins Mrs. Wang: Pearl Huang Tommy: Marcus Toji Joe Allechinetti: Louis Mustillo Wilma: Patrika Darbo Delivery Man 1: Don Pugsley Annie: Lynette Walden Business Associate: Bryan Gordon Club Singer: Jevetta Steele Woman in Audience: Yonda Davis Percy: Curtis Williams Lizzie: Briahnna Odom Mavis: Ashley Taylor Walls Frank: Harold Sylvester Anthony T. Williams: Steven Williams Lewis: Asher Metchik Howard: Courtland Mead Mrs. Werner: Sue Carlton Gregory: Kyle Orsi Mrs. Rodgers: Maud Winchester Mrs. Morgan: K.T. Stevens John Brennan: Christopher Chisholm Chubby Boy: Bryan A. Robinson Mrs. Murphy: Roz Witt 2nd Delivery Man: Sean Moran Film Crew: Screenplay: Jessie Nelson Editor: Lee Percy Producer: Steve Tisch Executive Producer: Ruth Vitale Original Music Composer: Rick Cox Producer: Paula Mazur Executive Producer: Bernie Goldmann Director of Photography: Bruce Surtees Music: Thomas Newman Stunts: Ben Scott Stunts: Kym Washington Longino Associate Producer: Joe Fineman Line Producer: Eric McLeod Casting: Mary Gail Artz Casting: Barbara Cohen Music Supervisor: Bonnie Greenberg Costume Design: Francine Jamison-Tanchuck Production Design: Jeannine Oppewall First Assistant Director: Phillip Christon Second Assistant Director: David Minkowski Second Second Assistant Director: Peggy Hughes Production Accountant: Gwen Everman Script Supervisor: Benita Brazier Camera Operator: Geary McLeod First Assistant Camera: Heather Page Steadicam Operator: Kirk R. Gardner Still Photographer: Suzanne Hanover Gaffer: Alan Brownstein Best Boy Electric: Steve Reinhardt Key Grip: Charles Saldaña Production Sound Mixer: David Kelson Boom Operator: Randall L. Johnson Key Makeup Artist: Michael Germain Makeup Artist: Deborah La Mia Denaver Key Hair Stylist: Candy L. Walken Hairstylist: Julia L. Walker Hairstylist: Michael Pachal Property Master: Barbara Benz Assistant Property Master: Michael D’Imperio Art Direction: Dina Lipton Set Designer: Louisa Bonnie Set Decoration: Lauren Gabor Leadman: John Maskovich Construction Coordinator: Lars Petersen Construction Foreman: Steven C. Voll Transportation Coordinator: Billy G. Arter Additional Editor: Lynzee Klingman Supervising Sound Editor: Steve Richardson ADR Voice Casting: Barbara Harris Sound Re-Recording Mixer: Matthew Iadarola Sound Re-Recording Mixer: Gary Gegan Color Timer: Mato Dialogue Editor: Lewis Goldstein Dialogue Editor: James Matheny Dialogue Editor: Kimberly Lambert Dialogue Editor: Jim Brookshire Dialogue Editor: Alison Fisher Supervising Sound Effects Editor: Joel Valentine ADR Editor: Darrell Hanzalik ADR Editor: Mary Ruth Smith ADR Editor: Jeff Watts Assistant Sound Editor: Paul Silver Assistant Sound Editor: Catherine Calleson Assistant Sound Editor: Tony Cappelli Foley Artist: Alicia Stevenson Foley Artist: Zane D. Bruce Foley Mixer: David Jobe Foley Recordist: Don Givens ADR Mixer: Charleen Richards-Steeves ADR Recordist: Greg Steele Music Editor: Will Kaplan Set Dresser: Mike Malone Movie Reviews:

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 7 / 10

Título Original: Joe Kidd

Año:  1972

Duración: 88 min

País:  Estados Unidos  

Dirección: John Sturges

Guion: Elmore Leonard

Música: Lalo Schifrin

Fotografía: Bruce Surtees

Reparto: Clint Eastwood, Robert Duvall, John Saxon, Don Stroud, Stella Garcia, James Wainwright, Gregory Walcott, Paul Koslo 

Productora:  Universal Pictures

Género: Western

https://www.imdb.com/title/tt0068768/

TRAILER:

[scenesandscreens]

Risky Business (1983)

Director - Paul Brickman, Cinematography by Bruce Surtees & Reynaldo Villalobos

"Joel, you wanna know something? Every now and then say, "What the fuck." "What the fuck" gives you freedom. Freedom brings opportunity. Opportunity makes your future."

[stillsmybeatingheart]

[byneddiedingo]

Sam Bottoms, Eileen Brennan, and Timothy Bottoms in The Last Picture Show (Peter Bogdanovich, 1971) Cast: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ben Johnson, Cloris Leachman, Ellen Burstyn, Eileen Brennan, Clu Gulager, Sam Bottoms, Sharon Ullrick, Randy Quaid, Joe Heathcock, Bill Thurman, Barc Doyle. Screenplay: Larry McMurtry, Peter Bogdanovich, based on a novel by McMurtry. Cinematography: Robert Surtees. Production design: Polly Platt. Film editing: Donn Cambern Ben Johnson and Cloris Leachman won Oscars for The Last Picture Show, Jeff Bridges and Ellen Burstyn were nominees, and Cybill Shepherd and even Randy Quaid went on to more prominent careers, but the protagonist of the film is Sonny Crawford, played by Timothy Bottoms. His quiet, shyly withdrawn character is the one that carries the movie from beginning to end. The role could have been played by Bridges, but I think director Peter Bogdanovich made the right decision: Bridges is too up-front an actor for the role of Sonny. Bottoms's ability to fade handsomely into the background makes him a perfect actor for a character who needs to be quietly passive. He shouldn't outshine the rest of the ensemble, but instead bring home the film's message about the damage that can be done in a dying community like Anarene, Texas -- an antithesis to the sentimentalized small towns that for so long dominated American movies. What emerges from the starved lives of the citizens of Anarene is not a sense of community, a willingness to love and help one's neighbor, but a kind of deep meanness, a self-righteous self-centeredness. For me, the scene that best captures this emotional and moral stuntedness is the one in which the town goes out in hysterical pursuit of Joe Bob Blanton (Barc Doyle), the preacher's son whom we see being bullied and mocked throughout the movie. In our times, I suspect, Joe Bob's revenge would have involved shooting up the local high school, but instead he picks up a little girl and drives off into the country with her, setting off a frenzy. But when he's found and carted off to jail, everyone seems to forget about the little girl: We see her tagging along, virtually unnoticed, after the mob that's rejoicing in its victory. We remember how surprised and disgusted people were when Sam the Lion (Ben Johnson) left Joe Bob a thousand dollars in his will -- probably to tell the boy to get the hell out of Anarene before it's too late. Unfortunately, it seems to be too late for everyone else. Duane goes off to Korea, but he promises to return if he doesn't get shot. Jacy, we hear, is in Dallas, but she'll maintain the carapace of vanity and manipulativeness she evolved in Anarene wherever she goes. At the end, we're left with Sonny and Ruth (Leachman), reunited in lonely hopelessness.

[gibier3000]

John Surtees (1934 - 2017). Surtees was the son of a south-London motorcycle dealer. His father Jack Surtees was an accomplished grasstrack competitor and in 1948 was the South Eastern Centre Sidecar Champion. He had his first professional outing, which they won, in the sidecar of his father's Vincent at the age of 14. However, when race officials discovered Surtees's age, they were disqualified. He entered his first race at 15 in a grasstrack competition. In 1950, at the age of 16, he went to work for the Vincent factory as an apprentice. He first gained prominence in 1951 when he gave Norton star Geoff Duke a strong challenge in an ACU race at the Thruxton Circuit. In 1955, Norton race chief Joe Craig gave Surtees his first factory sponsored ride aboard the Nortons. He finished the year by beating reigning world champion Duke at Silverstone and then at Brands Hatch. However, with Norton in financial trouble and uncertain about their racing plans, Surtees accepted an offer to race for the MV Agusta factory racing team, where he soon earned the nickname figlio del vento (son of the wind). In 1956 Surtees won the 500 cc world championship, MV Agusta's first in the senior class. In this Surtees was assisted by the FIM's decision to ban the defending champion, Geoff Duke, for six months because of his support for a riders' strike for more starting money. In the 1957 season, the MV Agustas were no match for the Gileras and Surtees battled to a third-place finish aboard a 1957 MV Agusta 500 Quattro. When Gilera and Moto Guzzi withdrew from Grand Prix racing at the end of 1957, Surtees and MV Agusta went on to dominate the competition in the two larger displacement classes. In 1958, 1959 and 1960, he won 32 out of 39 races and became the first man to win the Senior TT at the Isle of Man TT three years in succession.

(picture and text taken here - read the comments!) 

[1962dude420-blog]

Today we remember the passing of Peter Green who Died: July 25, 2020 in Canvey Island, Essex, England

Peter Allen Greenbaum (29 October 1946 – 25 July 2020), known professionally as Peter Green, was an English blues rock singer-songwriter and guitarist. As the founder of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Green's songs, such as "Albatross", "Black Magic Woman", "Oh Well", "The Green Manalishi (With the Two Prong Crown)" and "Man of the World", appeared on singles charts, and several have been adapted by a variety of musicians.

Green was a major figure in the "second great epoch" of the British blues movement. Eric Clapton praised his guitar playing, and B.B. King commented, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats." Green was interested in expressing emotion in his songs, rather than showing off how fast he could play. His trademark sound included string bending, vibrato, and economy of style.

In June 1996, Green was voted the third-best guitarist of all time in Mojo magazine. In 2015, Rolling Stone ranked him at number 58 in its list of the "100 Greatest Guitarists of All Time". Green's tone on the instrumental "The Super-Natural" was rated as one of the 50 greatest of all time by Guitar Player in 2004.

Peter Allen Greenbaum was born in Bethnal Green, London, on 29 October 1946, into a Jewish family, the youngest of Joe and Ann Greenbaum's four children. His brother, Michael, taught him his first guitar chords and by the age of 11 Green was teaching himself. He began playing professionally by the age of 15, while working for a number of East London shipping companies. He first played bass guitar in a band called Bobby Dennis and the Dominoes, which performed pop chart covers and rock 'n' roll standards, including Shadows covers. He later stated that Hank Marvin was his guitar hero and he played the Shadows' song "Midnight" on the 1996 tribute album Twang. He went on to join a rhythm and blues outfit, the Muskrats, then a band called the Tridents in which he played bass. By Christmas 1965 Green was playing lead guitar in Peter Bardens' band "Peter B's Looners", where he met drummer Mick Fleetwood. It was with Peter B's Looners that he made his recording début with the single "If You Wanna Be Happy" with "Jodrell Blues" as a B-side. His recording of "If You Wanna Be Happy" was an instrumental cover of a song by Jimmy Soul. In 1966, Green and some other members of Peter B's Looners formed another act, Shotgun Express, a Motown-style soul band which also included Rod Stewart, but Green left the group after a few months.

In October 1965, before joining Bardens' group, Green had the opportunity to fill in for Eric Clapton in John Mayall & the Bluesbreakers for four gigs. Soon afterwards, when Clapton left the Bluesbreakers, Green became a full-time member of Mayall's band from July 1966. Green made his recording debut with the Bluesbreakers in 1966 on the album A Hard Road (1967), which featured two of his own compositions, "The Same Way" and "The Supernatural". The latter was one of Green's first instrumentals, which would soon become a trademark. So proficient was he that his musician friends bestowed upon him the nickname "The Green God". In 1967, Green decided to form his own blues band and left the Bluesbreakers.

Green's new band, with former Bluesbreaker Mick Fleetwood on drums and Jeremy Spencer on guitar, was initially called "Peter Green's Fleetwood Mac featuring Jeremy Spencer". Bob Brunning was temporarily employed on bass guitar (Green's first choice, Bluesbreakers' bassist John McVie, was not yet ready to join the band). Within a month they played at the Windsor National Jazz and Blues Festival in August 1967, and were quickly signed to Mike Vernon's Blue Horizon label. Their repertoire consisted mainly of blues covers and originals, mostly written by Green, but some were written by slide guitarist Jeremy Spencer. The band's first single, Spencer's "I Believe My Time Ain't Long" with Green's "Rambling Pony" as a B-side, did not chart but their eponymous debut album made a significant impression, remaining in the British charts for 37 weeks. By September 1967, John McVie had replaced Brunning.

Although classic blues covers and blues-styled originals remained prominent in the band's repertoire through this period, Green rapidly blossomed as a songwriter and contributed many successful original compositions from 1968 onwards. The songs chosen for single release showed Green's style gradually moving away from the group's blues roots into new musical territory. Their second studio album Mr. Wonderful was released in 1968 and continued the formula of the first album. In the same year they scored a hit with Green's "Black Magic Woman" (later covered by Santana), followed by the guitar instrumental "Albatross" (1969), which reached number one in the British singles charts. More hits written by Green followed, including "Oh Well", "Man of the World" (both 1969) and the ominous "The Green Manalishi" (1970). The double album Blues Jam in Chicago (1969) was recorded at the Chess Records Ter-Mar Studio in Chicago. There, under the joint supervision of Vernon and Marshall Chess, they recorded with some of their American blues heroes including Otis Spann, Big Walter Horton, Willie Dixon, J. T. Brown and Buddy Guy.

While touring Europe in late March 1970, Green took LSD at a party at a commune in Munich, an incident cited by Fleetwood Mac manager Clifford Davis as the crucial point in his mental decline. Communard Rainer Langhans mentions in his autobiography that he and Uschi Obermaier met Green in Munich, where they invited him to their Highfisch-Kommune. Fleetwood Mac roadie Dinky Dawson remembers that Green went to the party with another roadie, Dennis Keane, and that when Keane returned to the band's hotel to explain that Green would not leave the commune, Keane, Dawson and Mick Fleetwood travelled there to fetch him. By contrast, Green stated that he had fond memories of jamming at the commune when speaking in 2009: "I had a good play there, it was great, someone recorded it, they gave me a tape. There were people playing along, a few of us just fooling around and it was... yeah it was great." He told Jeremy Spencer at the time "That's the most spiritual music I've ever recorded in my life." After a final performance on 20 May 1970, Green left Fleetwood Mac.

Green was eventually diagnosed with schizophrenia and spent time in psychiatric hospitals undergoing electroconvulsive therapy during the mid-1970s. Many sources attest to his lethargic, trancelike state during this period. In 1977, Green was arrested for threatening his accountant David Simmons with a shotgun. The exact circumstances are the subject of much speculation, the most famous being that Green wanted Simmons to stop sending money to him. In the 2011 BBC documentary Peter Green: Man of the World, Green stated that at the time he had just returned from Canada needing money and that, during a telephone conversation with his accounts manager, he alluded to the fact that he had brought back a gun from his travels. His accounts manager promptly called the police, who surrounded Green's house.

In 1979, Green began to re-emerge professionally. With the help of his brother Michael, he was signed to Peter Vernon-Kell's PVK label, and produced a string of solo albums starting with 1979's In the Skies. He also made an uncredited appearance on Fleetwood Mac's double album Tusk, on the song "Brown Eyes", released the same year.

In 1981, Green contributed to "Rattlesnake Shake" and "Super Brains" on Mick Fleetwood's solo album The Visitor. He recorded various sessions with a number of other musicians notably the Katmandu album A Case for the Blues with Ray Dorset of Mungo Jerry, Vincent Crane from The Crazy World of Arthur Brown and Len Surtees of The Nashville Teens. Despite attempts by Gibson Guitar Corporation to start talks about producing a "Peter Green signature Les Paul" guitar, Green's instrument of choice at this time was a Gibson Howard Roberts Fusion guitar. In 1986, Peter and his brother Micky contributed to the album A Touch of Sunburn by Lawrie 'The Raven' Gaines (under the group name 'The Enemy Within'). This album has been reissued many times under such titles as Post Modern Blues and Peter Green and Mick Green – Two Greens Make a Blues, often crediting Pirates guitarist Mick Green.

In 1988 Green was quoted as saying: "I'm at present recuperating from treatment for taking drugs. It was drugs that influenced me a lot. I took more than I intended to. I took LSD eight or nine times. The effect of that stuff lasts so long ... I wanted to give away all my money ... I went kind of holy – no, not holy, religious. I thought I could do it, I thought I was all right on drugs. My failing!"

Enduring periods of mental illness and destitution throughout the 1970s and 1980s, Green moved in with his older brother Len and Len's wife Gloria, and his mother in their house in Great Yarmouth, where a process of recovery began. He lived for a period on Canvey Island, Essex.

Green married Jane Samuels in January 1978; the couple divorced in 1979. They had a daughter, Rosebud(born 1978).

Green died on July 25, 2020 at the age of 73.

[nj-stone]

US Election: Progressed Mercury in Joe Biden’s Astrology ChartBy Kelly Surtees https://www.kellysastrology.com/2020/10/01/us-election-progressed-mercury-in-joe-bidens-astrology-chart/

[mavrock1]

Grand Prix: 50 years since the greatest racing film of all time

Andrew Roberts

21 DECEMBER 2016 • 11:23AM

Nearly every motoring enthusiast has a favourite racing film. Some will opt for Le Mans, the Steve McQueen epic in which almost everyone is out-acted by various Porsches, while others prefer Mask of Dust, a 1954 B-feature that at least had the merit of extensive footage from the Goodwood circuit.

One might also enjoy the square-jawed Rank epic Checkpoint about manly chaps competing in the 1956 Mille Miglia or 1961’s The Green Helmet, with Sidney James as an Australian mechanic. But 50 years ago today, MGM released possibly the ultimate Formula 1 screen drama.

Grand Prix employed no second unit work as the director John Frankenheimer personally supervised every detail of the production.  The film’s technical advisor was Carroll Shelby – best known for the performance cars that bear his name  and Frankenheimer collaborated with the cinematographer Lionel Linden to devise a system of harnessing an electronic remote control pan-and-tilt-head camera, originally designed for NASA, to the right side of the car.  

For other motion shots, the director employed helicopters, an AC Cobra and Phil Hill piloting a Ford GT40 prototype with a remote-control Panasonic camera mounted in the front boot. Frankenheimer approached the cameraman John M Stephens with the memorable words: “How would you like to be the cameraman going at 180mph in a specially built camera car while photographing the actual Grand Prix circuit?”

Multiple split screen and layered superimpositions are employed throughout the narrative to emphasise the drama and the result is a picture that after 50 years still has the power to amaze, from the Saul Bass opening credits to the final reel. There is no undercranked footage a la Hell Drivers and nor are there any shots of helmeted actors gripping a steering wheel apparently borrowed from a Ford Consul against some obvious back-projection.

Location work commenced in May 1966 and finished in October, and focused on six Grand Prix races – Brands Hatch, Monaco, Spa, Monza, Zandvoort and Clermont-Ferrand. The last-named was the only occasion in the film where the racing footage was not shot during a 'live’ weekend, as Frankenheimer did not use the actual Reims circuit.

Brian Bedford (the British driver 'Scott Stoddard’), Yves Montand ('Jean-Pierre Sarti’) and Antonio Sabato ('Nino Barlini’) were all given three weeks of training at Jim Russell’s racing school. Phil Hill eventually had to double for Bedford, due to the actor’s problems in changing gear. As for the film’s leading man, the director was in favour of using Steve McQueen but the eventual choice of actor to portray the American driver Pete Aron – a character partially based on Phil Hill – was James Garner.

The filmmaker was to claim later that “I’m not saying there is anything wrong with Garner, but he is not McQueen!” which is more than unfair to very underrated and extremely dedicated actor who noted that “Frankenheimer wanted someone who didn’t have much of an opinion”.

Few actors could have delivered the line “Something to do with the possibility of death and to survive it is to feel life and living much more intensely” with Garner’s low-key sincerity.

Before shooting commenced Garner undertook stints at the Willow Springs Road Course under the tutelage of Bob Bondurant and at one point Lloyds of London were somewhat distressed to learn that the star of Grand Prixhad piloted a racing car that caught fire during a stunt. For the rest of the production, Garner drove without coverage, and he was to subsequently to reflect that "When you are in a Formula car or any race car, you don’t worry about acting. You just concentrate on your braking and your turning points and just driving".

After the completion of the Monte Carlo scenes, Frankenheimer sent 30 minutes of footage to Enzo Ferrari, resulting his granting the film crew access to his works. Grand Prix also boasts appearances from Jimmy Clark, Jackie Stewart, John Surtees, Jochen Rindt, Bruce McLaren, Dan Gurney, Richie Ginther, Jack Brabham, Denis Hulme, Lorenzo Bandini, Joe Bonnier, Jo Schlesser and Juan Manuel Fangio. Graham Hill was even given some dialogue as the British driver 'Bob Turner’.

The use of such figures was more than a casting gimmick; from the outset, Frankenheimer used footage of actual pit crew and crowds in Monte Carlo, mixing reality with Robert Alan Arthur’s screenplay that resembles a Second World War fighter pilot drama, combined with 1960s soap opera. Some prefer the taciturn McQueen approach of Le Mans, but others cannot have enough of “Yes, I definitely think you should go to the Greek islands with your American boyfriend. I think you should go to hell!” and other gems of dialogue.  

Viewers will also have the pleasure of noting which of the “F1” machinery is a disguised F3 racer – a decision made in part because of the problems in mounting the 70mm Cinerama cameras – and how the Japanese 'Yamura’ team is using modified McLarens. There are also plenty of opportunities to relish the machinery off the circuit, from a Ferrari 330 GTC and a Shelby 350 GT H to a Citroen ID19 Break.

Any good film, regardless of budget, will capture the ideals and values of the past and will have elements that impact on the audience long after its original release. After five decades it is still possible to imagine the impact of the picture to the occupants of the 1/9d seats at the Southampton ABC and today Grand Prix is a glimpse into a lost world of F1 just before the advent of sponsorship and aerodynamics.

In 1966, Italian cars were red, the French livery was blue, a British car automatically meant BRG while Brylcreemed drivers wore immaculate sports jackets off duty. Above all, it is a film that attempts to convey the risks taken by the protagonists in the name of their sport. Frankenheimer once stated that “all of my films have the same theme, and that’s a definite choice on my part. I take a character and push him to his physical or emotional limit, to see how he reacts”. And that is why Grand Prix is possibly the greatest motor racing film of all time.

[vm4vm0]

Figure 3 - Korri Singh Aulakh from Bertil Nilsson on Vimeo.

How do you deal with life's curveballs? FIGURE 3 tells trapeze artist Korri Singh Aulakh's story of being diagnosed with the chronic autoimmune condition Myasthenia Gravis. It's the third installment in FIGURES, a new series of portrait films. Shot on a mix of 16mm film, VHS and digital.

NOWNESS Pick: nowness.com/picks/figure-3-bertil-nilsson

Director: Bertil Nilsson, bertil.uk Cinematographer: Luciana Riso Editor: Joseph Comar Music: Jordan Hunt Sound Design & Mix: Angel Pérez Grandi Rigger: Nich Galzin

Film lab: Cinelab Camera equipment: ARRI Rental Lighting equipment: Greenkit and Pixipixel Production: Duktiga

Special thanks: Philip Nichols, Simon Surtees and Gema Beasley With thanks: Matt Burch, Hannah Crystal, Laura Hemming-Lowe, Maverick Projects, Joe Jowers, Pat McEnallay and Nadine Khan

[indiedarlingdujour-blog]

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[kwebtv]

The Chinese Detective  -  BBC One - April 30, 1981  -  November 5, 1982

Crime Drama (14 episodes)

Running Time:  60 minutes

Stars:

David Yip as Detective Sergeant John Ho

Derek Martin as Detective Chief Inspector Berwick

Arthur Kelly as Detective Sergeant Donald Chegwyn

Larrington Walker as Ezra (Series 1—2)

Robert Lee as Joe Ho (Series 1)

Allan Surtees as Ex-Detective Chief Inspector Marley-Harris (Series 1)

John Bott as Detective Chief Superintendent Halsey (Series 1—2)

Richard Rees as Dr. David Li (Series 2)

[mikemortgage]

Why new subscribers are proving the lifeblood of the wireless gameplan

New immigrants, a strong economy, millennials who abandon home phones for wireless plans, hand-me-down mobile devices for younger kids, the rise of second smartphones exclusively for work.

Telecom executives rattle off these reasons whenever asked to explain the seemingly unstoppable growth in Canada’s wireless market, which has added new subscribers every quarter since the end of 2015 despite analyst predictions that, at some point, growth will taper.

Investors tend to focus on subscriber retention rates and how much cash each customer spends on their monthly wireless bill, but as average customer spending increases more slowly, sheer volume is becoming a more critical part of the game for telecom players.

In the first half of 2018, the five largest carriers — Rogers Communications Inc., BCE Inc., Telus Corp., Shaw Communications Inc.’s Freedom Mobile and Quebecor Inc.’s Videotron — collectively added 745,476 wireless subscribers, up 39.7 per cent from 533,460 in the same period last year. (These figures include Shaw’s results even though it reports from December through May.)

Yet average revenue per user (ARPU) growth fell to about 2.1 per cent in the second quarter based on a weighted average, Desjardins analyst Maher Yaghi noted to clients. That’s down from an industry average of around three per cent per quarter for the past two years, according to a report by Scotiabank analyst Jeff Fan.

“Average billings per user is declining despite continued strength in subscriber additions, which in our view indicates that competition has increased in the Canadian wireless market,” Yaghi noted to clients.

If each customer is spending less — bigger data buckets have become more common in the largest provinces since Freedom sparked a brief promotional war during the 2017 holiday shopping season — the number of new subscriptions matters more.

“In a moderating (average revenue per user) environment where we do well on lifetime revenue given our churn, we look for growth by market expansion,” Telus chief executive Darren Entwistle said in a quarterly call with analysts in August.

Entwistle and his competitors expect that expansion to continue since Canada has relatively fewer wireless subscribers for its population compared to its other Western countries.

Canada’s wireless penetration rate is about 87 per cent, or 31.5 million subscriptions based on the 2016 census population of 36.3 million, which gives it the lowest mobile broadband penetration rate in the G7, according to the Organisation for Economic Co-operation and Development. Japan, Finland and Estonia have the highest penetration rates at more than 130 per cent.

Wireless penetration in the United States is about 120 per cent, with more than 400 million connections for a population of 325 million. Executives believe Canada can match the U.S. rate, which would mean an additional 12 million subscriptions for companies to fight over.

One thing in telecom companies’ favour is that new subscriber growth takes time and consumers are increasingly switching to smartphones, most of which are tethered to data plans.

In 2012, 80 per cent of Canadians had a cellphone, with 51 per cent owning a smartphone, according to a 2016 Media Technology Monitor report. The overall cellphone rate inched up to 87 per cent by 2016, with almost 90 per cent of those devices being smartphones.

“The volume component is still a big opportunity for us given the (penetration) rate comments and the fact that within this digital society and digital economy, a single human being frequently now has a multiplicity of revenue-generating devices,” Entwistle said.

Rogers chief executive Joe Natale expressed the same sentiments on his quarterly call with analysts in July.

“There is really no reason, no structural reason why we shouldn’t be at U.S. levels of penetration,” Natale said. “In the fullness of time, we will advance that from 87 to 120 as an industry, and it will happen over the course of the next few years.”

One obvious source of new customers is immigration, since Canada annually accepts about 300,000 new immigrants.

But there are other growth avenues. Natale pointed to an increased reliance on wireless, particularly among younger people who join the workforce and set up wireless-only households. He also noted an increase in people having two wireless plans, one for work and one for personal use. This becomes more prevalent as devices last longer and become easier to add to shared plans.

The phenomenon of secondary phones, already common in the U.S., is starting to take root in Canada, Natale said.

Statistics Canada’s household spending survey captures the shift to cellphones from landlines. Nearly one fifth of the 88 per cent of households that reported having at least one mobile subscription in 2016 had three or more mobile devices. The number of households with a landline fell to 67 per cent in 2016 from 84 per cent in 2012.

Another reason for growth in mobile could be an increase in low-cost plans. Desjardins’ Yaghi noted to clients that wireless is now likely reaching demographics that have smaller disposable incomes. Of course, this trend could potentially affect the growth in billings, he added.

Scotiabank’s Fan, who credits the industry’s volume growth to increases in the penetration rate, population and the number of devices per consumer, described the number of new subscribers as “very healthy,” but cautioned that volume isn’t everything.

“We believe lifetime value per subscriber is the biggest driver of valuation and valuation per subscriber,” he said.

Lifetime value is less sensitive to subscriber additions than it is to churn — the rate of customers ditching a service, usually for another one — and average revenue per user, Fan noted.

In the latest quarter, the Big Three all reported higher churn rates and indicated they don’t expect revenue growth to re-accelerate, he added.

“Even with higher adds, we do not believe the conditions support higher valuation multiples for the wireless industry as a whole,” Fan said.

Still, wireless will remain the driver of telecom growth over the next five years, according to industry analyst IDC Canada’s market study released in August.

“The burgeoning popularity of wireless, coupled with a growing mobile workforce and increasing wireless substitution, strengthens the primacy of wireless as the preferred method of communications and the engine of telecom revenue growth in Canada,” study author Lawrence Surtees said in a statement.

IDC’s predictions for wireless penetration, however, are less bullish than the telecoms. It predicted the number of wireless subscribers will grow to 34 million by 2022, an 89-per-cent penetration rate based on the estimated population.

IDC acknowledged the wireless sector outperformed expectations in 2017, but stated that adding new subscribers will be less important than adding new services and applications.

“This will particularly be the case when 5G networks begin to come on stream at the end of the forecast period,” the researcher found.

Next-generation 5G networks are also expected to pave the way for technologies such as smart homes and self-driving cars. Executives are already planning for the day when a single household has dozens of connected devices in need of wireless subscriptions. As data becomes cheaper, every new subscription will count that much more.

Financial Post

ejackson@postmedia.com

  from Financial Post https://ift.tt/2ok4RPl via IFTTT Blogger Mortgage Tumblr Mortgage Evernote Mortgage Wordpress Mortgage href="https://www.diigo.com/user/gelsi11">Diigo Mortgage

[boombergnews]

Picture copyright Getty Pictures

Client teams have highlighted their concern over the “vital minority” of scholars going through overdraft money owed regularly.

Two separate stories are alerting undergraduates to the dangers of a debt spiral, though in addition they notice many are assured managing their cash.

After A-level and vocational ends in current days, many youngsters will now be contemplating additional schooling funding.

Which means selecting from an array of pupil financial institution accounts.

Client group Which? stated that suppliers had been tempting new college students with perks starting from railcards and Amazon vouchers to extra conventional competitors between rates of interest.

Utilizing pupil suggestions and its personal product evaluation, the buyer group judged Santander and Nationwide as offering the very best pupil accounts.

Hire burden ‘results in pupil stress’

Why clearing is ‘not the top of the world’

Which? stated that, nonetheless appropriate the chosen account was, many quickly discovered themselves in private debt for the primary time regardless.

“It’s regarding to see that a fifth of scholars relied on their overdraft to handle their residing prices, whereas just below a half stated that they had requested their dad and mom or household for more money,” stated Harry Rose, of Which?.

Separate analysis by the government-backed Cash Recommendation Service additionally discovered that a fifth of scholars discovered themselves incessantly overdrawn.

Of those that had gone overdrawn, 40% had used an unauthorised overdraft resulting in extra prices and charges.

The place to go for assist

Scholar finance: What that you must know, from the unbiased Cash Recommendation Service

Save The Scholar web site

Upkeep loans and grants info in England, Wales, Scotland, and Northern Eire

Cash and funding, from the Nationwide Union of College students

The survey of 5,000 college students, carried out with the Nationwide Affiliation of Scholar Cash Advisers, discovered that 38% of current college students had some type of excellent non-student mortgage debt.

Some 18% of these requested had money owed of 1,000 or extra, with some turning to payday loans to cowl residing prices.

Whereas some confronted monetary difficulties, there was some optimism within the report over how nicely many college students take care of their funds.

Eight in 10 stated that they stored monitor of their private expenditure, with three in 5 setting a finances.

Picture copyright Getty Pictures

Joe Surtees, from the Cash Recommendation Service, stated: “Our analysis challenges the concept college students are financially irresponsible. Most appear to point out indicators of being financially succesful, protecting an in depth monitor of their cash and incessantly placing financial savings apart for a wet day.

“Nevertheless, a big minority are nonetheless battling their funds, which can enhance the probabilities of falling right into a spiral of debt sooner or later. Most significantly in the event you’re struggling, do not be afraid to hunt assist.”

The stories come after earlier analysis revealed the extent to which hire is answerable for draining pupil funds.

A survey earlier this yr, by pupil finance web site Save The Scholar, claimed that common hire for pupil lodging totalled £131 every week, consuming up practically all of a typical upkeep mortgage or grant, even earlier than a typical £509 in upfront letting charges and deposit had been taken into consideration.

The common award left a typical UK pupil with solely £eight every week for all different residing prices akin to meals, journey and toiletries, after the hire has been paid.

The upkeep mortgage is designed to cowl residing prices, is separate from the coed mortgage to pay for tuition charges, and depends on household family revenue.

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