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Making Morse code available to more people on Gboard

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Earlier this year, we partnered with developer Tania Finlayson, an expert in Morse code assistive technology, to make Morse code more accessible. Today, we’re rolling out Morse code on Gboard for iOS and improvements to Morse code on Gboard for Android. To help you learn how to type in Morse code, we’ve created a game (on Android, iOS, and desktop) that can help you learn it in less than an hour! We’ve worked closely with Tania on these updates to the keyboard and more—here, she explains how Morse code changed her life:

My name is Tania Finlayson, and I was born with cerebral palsy. A few doctors told my parents that I probably would not amount to anything, and suggested my parents put me in an institution. Luckily, my parents did not take the advice, raised me like a normal child, and did not expect any less of me throughout my childhood. I had to eat my dinner first before I could have desserts, I had to go to bed at bedtime, and I got in trouble when I picked on my older brother.

The only difference was that I was not able to communicate very effectively; basically, I could only answer “yes” and “no” questions. When I was old enough to read, I used a communication word board with about 200 words on it. I used a head stick to point to the words. A couple of years later, my dad decided that I should try a typewriter and press the keys with the head stick. Amazingly, my vocabulary grew. My mom did not dress me in plaid any more, I could tell on my brother, and I finally had the chance to annoy my Dad with question after question about the world. I am quite sure that my Dad did not, in any way, regret letting me try a typewriter. Ha!

Several years later, I was one of four kids chosen to participate in a study for non-verbal children at the University of Washington. The study was led by Al Ross, who wrote a grant funding the creation of a Morse code communicator for disabled children. Morse code, which is a communication system that dates back to the 1800s, allowed us to spell out words and communicate just by using two buttons: a dot “.” and a dash “—”.

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    Me using the Morse code communication device Al Ross created.

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    Me using the Morse code communication device Al Ross created.

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    Me using the Morse code communication device Al Ross created.

The device was revolutionary.  It would convert my Morse code into letters then speak out loud in English and had a small printer installed in it.  I could activate a light to “raise my hand in class.” At first I thought learning Morse code would be a waste of time, but soon learned that it gave me total freedom with my words, and for the first time, I could talk with ease, without breaking my neck. School became fun, instead of exhausting. I could focus on my studies, and have real conversations with my friends for the first time. Also, I did not need an adult figure with me every moment at school, and that was awesome.

My experience with the Morse code communicator led me to a partnership with Google on bringing Morse code to Gboard. Working closely with the team, I helped design the keyboard layout, added Morse sequences to the auto-suggestion strip above the keyboard, and developed settings that allow people to customize the keyboard to their unique needs. The Morse code keyboard on Gboard allows people to use Morse code (dots and dashes) to enter text, instead of the regular (QWERTY) keyboard. Gboard for Android lets you hook external switches to the device (check out the source code my husband Ken and I developed), so a person with limited mobility could operate the device.

gboard ios

I’m excited to see what people will build that integrates with Morse code—whether it’s a keyboard like Gboard, a game, or educational app, the possibilities are endless. Most technology today is designed for the mass market. Unfortunately, this can mean that people with disabilities can be left behind. Developing communication tools like this is important, because for many people, it simply makes life livable. Now, if anyone wants to try Morse code, they can use the phone in their pocket. Just by downloading an app, anyone anywhere can give communicating with Morse code a try.

When I was first able to communicate as a child, the first feeling that I had was “Wow! This is pretty far out!” The first thing I typed was “You’re an old fart, Dad!” That was the first time I saw him laugh with tears in his eyes; I still don’t know if I made him really laugh or if I made him really sad! Probably a little of both.


Harry and Meghan Are Still Traipsing About Ireland

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Trousers! Dogs! Handbags! Harry!

Elie Saab Fall 2018 Couture Collection

Cardi B Announces Birth of Daughter on Instagram

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The announcement comes two weeks after Cardi B confirmed she and rapper Offset secretly married in September 2017.

Krysten Ritter and Rachael Taylor on the Set of “Jessica Jones,” Looking Cute and Kickass

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We will always stan the kickass women, which is possibly why this show remains the only one of the Marvel Netflix offerings that still holds any interest to us, even though the last season didn’t set us on fire.

 

 

 

A note about the costumes here. First, Rachael’s coming damn close to wearing a sort of real-world take on her comic book look, which is kind of fun and cleverly rendered, even if we do think the girl should’ve been locked up for the nasty shit she pulled last season.

Second, Krysten’s surprisingly cute skirt, tee and kicks ensemble is probably not a costume, but what she wore on the days she was directing an episode. It’s an adorable look, but there’s no way Jessica Jones would ever wear it.

 

[Photo Credit: INSTARImages]

The post Krysten Ritter and Rachael Taylor on the Set of “Jessica Jones,” Looking Cute and Kickass appeared first on Tom + Lorenzo.

Viktor & Rolf Serves Up Reruns at Couture Week

Is This a Real Trailer for ‘Forrest Gump 2’?

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Some viewers mistook a spoof trailer for a sequel to the movie "Forrest Gump" as genuine in June 2018.

Carla Gugino, Pablo Schreiber and Neve Campbell at the “Skyscraper” New York Premiere

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The co-stars of that movie we have no intention of ever seeing came out to celebrate its premiere, darlings. Since we’re not going to buy a ticket, the least we could do is offer our opinions on their outfits, wouldn’t you say?

 

Carla Gugino

Normally we might find the butt-ruffle a bit unnecessary, but given the type of movie this is, not to mention how relatively plain the rest of the dress is, we find ourselves not minding it too much. It just needs to be reduced in size by about a third. It’s the sandals that truly bug. The color and style are completely wrong.

Pablo Schreiber in Etro


Big kudos to him for choosing an unconventional suit. It’s a shame the fit is off in the shoulders and chest. It’s giving him ladyhips.

 

 

Neve Campbell in Barney Cheng


Not to be total bitches about it or anything, but she doesn’t get the chance to walk that many big-budget premiere red carpets, so we can appreciate why she’d want to glam it tf up. Personally, we think there are fresher ways to do a glittering Hollywood look than this. The style comes off a bit aging to our eyes. And we can’t say we love the mismatched metallics or the abundance of design elements. A little editing is called for.
 

[Photo Credit: INSTARImages]

The post Carla Gugino, Pablo Schreiber and Neve Campbell at the “Skyscraper” New York Premiere appeared first on Tom + Lorenzo.


I Guess It’s Wacky Couture Day on GFY, Because Here Comes Maison Margiela

Street Smart: teaser

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TEN has begun teasing its upcoming comedy Street Smart, which follows a gang of would-be criminals who despite spectacularly failing each time, approach every heist with blind optimism.

From the co-creators of Here Come The Habibs, Street Smart stars cult comedy star Tahir Bilgic (Pizza, Swift and Shift Couriers) as wannabe criminal mastermind Steve, whose big dreams of girls, riches and respect, are constantly thwarted by his nemesis parking officer Joseph (Rob Shehadie) (Housos) and his dedicated side-kick Tia (Casey Donovan).

Join all the gang – Steve, Hung (Andy Trieu), Shane (Dave Eastgate) and Raj (Neel Kolhatkar) for laugh out loud comedy coming soon to TEN and WIN Network.

Street Smart has received principal production investment from Screen Australia. It is produced by CJZ with the assistance of Screen Australia and Create NSW.

Airdate: Quest’s World of Wonder

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CNN’s Richard Quest has another new travel series on the way, Quest’s World of Wonder.

First stops on his destination cities are Washington DC, Berlin, Budapest, and Panama City.

“Quest’s World of Wonder can be summed up in one sentence: We’re going to interesting places to meet fascinating people,” says Richard Quest, host of the new immersive travel series on CNN International.

He continues: “We’re not tourists, we’re travelers. It’s a show about meeting the people who reveal the heart of the city and help you understand what makes the place tick, leading you to that ‘wow’ moment when you realize you belong.”

Each month Quest will travel to a different destination to dig deep into its DNA, exploring what drives a city and the people who live in it. Viewers will meet larger than life characters who explain how the city’s past has created a unique fabric that is still evolving today. But this isn’t a show about tourism, food or culture – it’s about finding the essence of a place.

The first episode takes viewers into the heart of a city the world is watching closely: Washington, D.C. From the major political upheavals past and present, Quest explores Washington’s power – the good and the bad – with the help of those who have pulled its levers.

“People are fascinated by the spirit of a city – something built up over millennia, centuries or decades that defines what the place stands for and offers its residents and visitors,” says Ellana Lee, Senior Vice President, CNN International. “No one is better at finding and telling those stories than Richard Quest – a true internationalist with vast experience in travelling the world and reporting on it. Through this new show, CNN viewers will experience a world of wonder that will inform and inspire in equal measure.”

Quest’s World of Wonder will also explore Berlin, Budapest, Panama City and more fascinating cities this season. The half-hour show will be complemented by a wealth of content online at a dedicated site within CNN Travel as well as on social media.

Saturday, 14th July at 2130 AEST
Sunday, 15th July at 0500 AEST, 1530 AEST and 2000 AEST
Monday, 16th July at 0430 AEST and 1830 AEST
Wednesday, 18th July at 1930 AEST
Thursday, 19th July at 0230 AEST

Joel Creasey, Nazeem Hussain in Netflix stand-up series.

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Joel Creasey, Nazeem Hussain, Cal Wilson & Uzila Carlson will feature in a Netflix stand-up comedy series of international acts in 2019.

47 comedians from 13 regions will perform a half-hour stand-up special, some of which will be recorded at the upcoming Just for Laughs Festival in Montreal, with sets also being taped in Brazil, Mexico, India, Germany and The Netherlands. All episodes will be released at once.

“Few things are better than discovering a new comedian you love,” said Lisa Nishimura, VP, Original Documentary and Comedy, Netflix. “With this event, we’re creating a true comedy festival experience for our members where they can scour the globe from home to find some of the freshest voices in comedy.”

The groundbreaking event series (title to be announced) will feature a range of stand-up specials from comedians diverse in style, gender, and ethnicity and will tape in seven languages (French, Spanish, Portuguese, Arabic, Dutch, German and English). Stand-up fans around the world can celebrate as they discover their new favorite comedians, with all episodes launching at once.

The roster of stand-up comedians that will record at this year’s Just for Laughs from July 24 – July 29 in Montreal, is listed below:

United States
Chris D’Elia
Neal Brennan
Nicole Byer
Nick Swardson

United Kingdom
Nish Kumar
Joel Dommett
Mae Martin
Ellie Taylor

France
Shirley Souagnon
Jason Brokerss
Two additional comedians to be announced

Africa
Loyiso Gola
Loyiso Madinga
Tumi Morake
Riaad Moosa

Australia
Joel Creasey
Nazeem Hussain

New Zealand
Urzila Carlson
Cal Wilson

Canada
Adib Alkhalidey
François Bellefeuille
Ivan Decker
Louis-José Houde
Katherine Levac
Dave Merheje
Deanne Smith
K. Trevor Wilson

Middle East
Moayad Alnefaie
Adi Khalefa
Rawsan Hallak
Ibraheem Alkhairallah

Netflix adds smarter downloads feature

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Android users will be the first to take advantage of a new smarter downloads feature for offline Netflix viewing.

“Now, when you finish watching a downloaded episode, Smart Downloads will delete it, and then automatically download the next episode. You watch, we do the work,” it announced.

“We know how annoying it can be to go through all your apps and delete files you no longer need; we also understand that when it comes to Netflix, the faster you can get to the next episode you want to watch, the better. Whether it is smart downloading or viewing a mobile preview, we realize the best part of Netflix is connecting with the stories you will love in an easier and more fun way.

“We also want to emphasize that giving consumers more control over their entertainment experience is at the heart of everything we do, and members can choose when they want to use Smart Downloads. There are more details on how to use the Smart Downloads feature here and we hope you enjoy it!”

The feature will download the next episode when you are connected to wifi.

No word on when this will be available to iOS users.

The Point: July 12

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NITV current affairs program, The Point, tonight celebrates NAIDOC Week by looking at the invaluable contributions and legacy that Aboriginal and Torres Strait Islander women have made.

The Point’s NAIDOC Week special, will be broadcast live from the top of the Museum of Contemporary Art with the backdrop of Sydney Harbour and will encompass this year’s theme, ‘Because of Her, We Can!’. Hosts for this week’s program, Rachael Hocking and Nakari Thorpe, will be joined by an all-female guest panel. The stellar line-up includes, Shadow Minister for Human Services and Preventing Family Violence, Linda Burney, Mayor for the Torres Shire Council, Vonda Malone, copyright lawyer Terri Janke and the National Co-Director of Seed, a branch of the Australian Youth Climate Coalition, Larissa Baldwin.

Also on the program, NITV’s Queensland correspondent, Ella Archibald-Binge meets with Tori Nikolaou, one of the first Indigenous women to fly as a commercial airline pilot. We celebrate the achievements of eight generations of Indigenous nurses and midwives in the Queensland town of Toowoomba, and Rachael Hocking speaks with Julie Ann Guivarra, the first Indigenous female Ambassador to Spain.

8:30pm tonight on NITV.

Airdate: Food Safari Water

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Maeve O’Meara returns with long-running SBS foodie series now with a Food Safari Water theme, exploring both fresh water and saltwater fish.

This season will air on Wednesday nights instead of the traditional Thursday slot.

SBS Director of Television and Online Content, Marshall Heald, said: “We’re thrilled to be bringing back one of Australia’s most iconic food programmes. Food Safari Water is a visual delight featuring world-class chefs and the best cooks of multicultural Australia.

“Fear of fish can afflict even the most confident cook. Food Safari Water presents seafood via practical, healthy recipes that are approachable and attainable. Whether it’s showcasing recipes that have been handed down over generations or multicultural dishes with a twist using local ingredients, Maeve O’Meara is the perfect tour guide for this flavourful voyage to some of our country’s most beautiful destinations.

“Maeve’s appetite for adventure and knowledge of these quintessential seafood dishes is evident during her travels, as she gives Australians a front row seat to all the deliciousness and fun.”

Maeve O’Meara added, “Our research showed a vast number of seafood recipes across the cuisines of the world but putting the episodes together and seeing the stories and the dishes come together gave us goosebumps – this is one of our very best Food Safari series!

“Seafood is definitely the protein of the future and to see the way the world’s cuisines use this wonderful food in so many inventive ways is nothing short of dazzling. Food lovers will adore the inventiveness and many lightbulb culinary moments, and everyone will love the colourful cast of characters and celebration of multicultural Australia!”

SBS’s much-loved food series, Food Safari, returns in a wave of glory to explore the bounty of the water, both salt and freshwater.

Hosted by Australia’s empress of food television, Maeve O’Meara, Food Safari Water is a vibrant 13-part series that serves up an abundance of multicultural seafood recipes and cuisines, traditions and tastes. It seems every country on earth does something inventive and delicious with seafood, and all of it can be found here in Australia.

Now in its 12th year on SBS, the latest stimulating series not only showcases the diverse seafood dishes of the world, it dives deep into the customs of catching and preserving fish, shellfish, crustaceans and sea vegetables. It’s also a celebration of the hardworking fishermen and women, divers and foragers, processors and smokers as well the brilliant chefs and home cooks who share their treasured recipes and techniques.

The Food Safari magic that SBS viewers have come to love, continues – showcasing cuisines as diverse as Senegalese, Sri Lankan, Greek, Spanish, Peruvian, Lebanese, Turkish, Thai, English and Brazilian.

Take a journey with Maeve as she unearths Peter Conistis’s signature scallop and taramasalata moussaka; Frank Camorra’s mastery of Spanish seafood tapas; a masterclass on how to cook fish with Australia’s top seafood chef Steve Hodges; and the heart-beat-faster excitement of the mullet run, up Australia’s east coast with Giovanni Pilu.

Wednesdays at 8.00pm on SBS from 1 August.


Producer to exit Northern Pictures

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Northern Pictures founder Sue Clothier will depart as  Head of Content & Production in August.

Over the past 8 years Sue has overseen the production of over 260 hours of content including factual titles as Life on the Reef, Kakadu, Outback, Changing Minds, Employable Me and feature documentaries, Blue and Whiteley.

Peter Anderson, MD Northern Pictures, said “We had wanted Sue to stay on at Northern Pictures but after 8 years she and her husband felt they needed a breath of fresh air – which they will be doing big time by moving to Tasmania. Whilst we are sad to be losing someone of the calibre of Sue we are lucky that over the years she has built up a strong creative team that leaves us well placed to continue the tradition of creating and producing high quality content that has the capacity to make a positive difference in people’s lives. On the bright side, Sue will have an ongoing relationship with Northern Pictures consulting on projects in post-production and collaborating with us on her current development projects.

“On behalf of everyone at Northern Pictures, I would like to thank Sue for working so tirelessly to build and make the company what it is today. We wish Sue and Preston the very best for the future. “

David Haslingden, Executive Director of Blue Ant Media, added “Not only did Sue found Northern Pictures but she’s been centrally involved in every important financial or creative decision the business has made and key to putting together the amazing team we have here at Northern Pictures. She deserves full credit for the company’s evolution from small startup to a well-respected fixture in Australia’s creative industry.”

Sue Clothier said, “When Preston and I made the decision to start Northern Pictures, we set ourselves the lofty goal to produce two shows a year. 8 years on, I could not have foreseen that this once tiny start up would become a serious producer of global content and valued member of a multinational group like Blue Ant.

“It’s been a rollicking ride, but success in my opinion never happens overnight and is never down to just one person. It can take years to build that perfect combination of economic success and creative rewards in this constantly moving media landscape and alongside me on this journey has been an extraordinarily talented team coupled with encouragement and support from the wider industry. Of course, I’m sad to leave my friends at Northern Pictures but excited that Peter will build on our success. As for me, I love being a producer and I’m looking forward to whatever happens next. “

Cast announced for Playmaker’s Reckoning

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Aden Young (Rectify, The Disappearance) and Sam Trammell (The Fault In Our Stars, True Blood) head up the cast of Reckoning, a new US thriller produced by Playmaker for Sony Pictures Television Networks including AXN, in select territories in Europe and Latin America,

Set in California, the 10-episode series is being filmed and wholly produced and post produced in Australia. Production began this week in Sydney, with the assistance of Create NSW.

“We are excited to have Aden and Sam leading a talented ensemble cast to bring this riveting and suspenseful thriller to life,” said Playmaker’s David Taylor and David Maher.

“Aden and Sam and the fantastic ensemble cast are crushing it in rehearsals. We’re thrilled that production has started in beautiful Sydney,” said Marie Jacobson, EVP, Programming and Production, Sony Pictures Television Networks.

An Australian broadcaster is yet to be announced.

Reckoning explores the darkest corners of the human psyche through the eyes of two fathers, one of whom is a serial-killer. Mike (Aden Young) and Leo (Sam Trammell) try to do what’s best for the people they love and the families they protect. But as both struggle to suppress their inner demons, the murder of a local teenager sets them on a course of mutual destruction that will emanate through every facet of their quiet, suburban community.

Also joining the cast are Simone Kessell (Pine Gap, The Crossing), Laura Gordon (Undertow, Secret City 2), Gloria Garayua (How To Get Away With Murder, Bounty Hunters) Mitzi Ruhlmann (Hiding, The Code), Milly Alcock (Pine Gap, Fighting Season), Ed Oxenbould (Wildlife, Paper Planes), Finn Little (Tidelands, Angel of Mine), Anthony Phelan (The Kettering Incident, Deep Water) and Diana Glenn (The Slap, Secrets and Lies).

Created by David Hubbard (Noel) who is co-showrunner with David Eick (Battlestar Galactica, Falling Skies), Reckoning is executive produced by Playmaker’s David Taylor and David Maher (The Code, Chosen), produced by Diane Haddon (The Code, Friday On My Mind), directed and co-executive produced by Shawn Seet (The Code, Storm Boy) with Jennifer Leacey (Bite Club, Pulse) and Peter Andrikidis (Bite Club, Underbelly) also directing.

Rebel Wilson lodges High Court appeal

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Rebel Wilson will fight on in her legal battle with Bauer Media.

Her lawyers have lodged a special leave to appeal to the High Court after the Victorian Court of Appeal reduced her $3.917m in special damages to $600,000.

Bauer has 21 days to file a response.

“We are considering the issues raised by Ms Wilson and our position in relation to them,” said Bauer general counsel Adrian Goss.

Last month she tweeted, “Everybody knows I lost money after those maliciously defamatory articles were printed about me by @bauermedia in 2015. The learned trial judge and Australian jury on the case who heard all the evidence clearly agreed.”

Source: The Australian

Home Delivery distances itself from Germaine Greer comments

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ABC and Julia Zemiro’s Home Delivery have distanced themselves from recent comments made by Germaine Greer after she suggested the punishment for rape should be reduced.

Last month Greer said some rape cases should be considered as “non-consensual… bad sex” rather than “spectacularly violent crime” as most “don’t involve any injury whatsoever”.

ABC yesterday said in a statement, “The 11 July episode of Julia Zemiro’s Home Delivery featuring Germaine Greer was recorded several months prior to Ms Greer’s recent comments about rape.

“There is no reference to rape or sexual assault in the episode. Neither the ABC nor Julia Zemiro endorse or support Ms Greer’s claims about rape and violence.

“Sexual violence is a serious problem in Australia. We treat any comments or claims about sexual violence very seriously and disavow any suggestion that rape does not involve injury or violence.

“Julia Zemiro is a proud ambassador of Our Watch, which drives nationwide change in the culture, behaviours and power imbalances that lead to violence against women and their children.”

ABC initially had the Greer episode scheduled to run earlier in the season run, but moved it to the series final last night.

Earlier this season a frank episode with Rebecca Gibney reflecting on historic abuse within her family became the subject of tabloid headlines following an unauthorised press release.

If you or someone you know is impacted by sexual assault or family violence, call 1800RESPECT on 1800 737 732 or visit www.1800RESPECT.org.au.

ABC Chairman: “If not the ABC, then who?”

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Increasing US-ownership of Australian commercial media and a shrinking newspaper market underline the need for strong public broadcasting in Australia, says ABC Chairman Justine Milne.

Foxtel owned by the Australian arm of News Corp. in New York and CBS-owned Channel TEN, indicative of increasing overseas ownership, would only commercialise local content about the arts, sciences, religion or music, if produced at all.

Speaking at an American Chamber of Commerce lunch in Sydney yesterday, Milne reiterated the need for public broadcasters, at a time when there have been calls to privatise the ABC.

“If not the ABC, then who else will provide Australians with services no matter where they live? If not us, who else will define Australian culture in a world of global platforms and content? Who else will provide an independent and trusted voice in a world of contested facts, or promote democratic debate about matters of public importance, or drive accountability through investigative journalism, or underpin a healthy and strong creative sector for all Australians?” he asked.

“The point is this. The need for a successful public broadcaster must be acknowledged today, just as it was first recognised when the ABC was established in 1932, and again in 1956 when the ABC broadcast television for the first time, and again this century when the Government wrote digital services into our charter.

“To paraphrase the European Commissioner for Human Rights: “you can’t have a healthy democracy without a healthy public broadcaster.”

He also spoke to criticism of the ABC, acknowledging “we are sometimes wrong” but denied bias is entrenched inside the broadcaster, with 81% of Australians trusting ABC and defended the shift to digital, which has come under fire from other media players.

“Let’s be clear: if the ABC were barred from serving audiences on digital platforms, it would wither away and cease to exist. Linear broadcast audiences are in steady decline because Australians, just like people everywhere else on the planet, value the convenience of consuming their favourite content whenever, wherever and however they like,” he said.

Full speech:

“An ABC Fit for the Future”

I’d like to thank AmCham and its CEO, April Palmerlee, together with our hosts PwC and its media industry leader, Megan Brownlow, for inviting me here to talk about one of my favourite subjects.

The role of public service broadcasting and its future have always aroused great passion among Australians: a passion which, in itself, is evidence that democratic debate is alive and well.

Each of us has ideas about how the ABC could be improved – from politicians to their constituents, from police officers to journalists, from your cousin to my sister. We are all engaged in the debate because we know that our taxes keep the ABC in business, so it’s no surprise that so many Australians offer opinions, both brickbats and bouquets.

Let me assure you, by the way, that those brickbats are taken seriously, because we can and do make mistakes. At this moment, for example, there are more than 60 ABC microphones open all around the country. Four television networks and 10 radio networks are broadcasting 24/7. And online articles are published every minute or so. Given that volume, unsurprisingly we are sometimes wrong, and some of those brickbats turn out to be well-founded complaints. Irrespective of that, I can assure you that our 4,000 people are dedicated to telling the truth and providing accurate and impartial content. And for the vast majority of the time they are spectacularly successful.

But the biggest question facing the ABC is not whether one journalist or another makes a mistake today. Nor, frankly, is it even a question of bias. The vast majority of Australians – some 80 per cent – think the ABC is not biased. Nonetheless I have come to discover that complaints come equally from men and women, from Catholics and Protestants, and from places as far apart as Port Douglas and Port Lincoln. Labor supporters are outraged that we are ‘captive to the right’, and Liberals complain we are a ‘hotbed of communism’. Situation normal.

The bigger question facing the ABC, which was, in a way, the one prompted by our critics, is this: how can Australia have a public broadcasting system that is fit for purpose, as efficient as possible, and just as valuable to our children as it has been to us?

The debate about public broadcasting, by the way, is not confined to Australia. In recent years the same discussion has played out in different ways in Greece, Hungary, Austria, Japan, even Britain. And the debate is not new, especially here in Australia.

Back to the future

Allow me to rewind back to 1934. Just months after the ABC was created, the proper role of public broadcasting was first debated when Sir Keith Murdoch bitterly opposed the Corporation’s right to broadcast an air race held to celebrate Melbourne’s centenary.

Two years later, he again challenged the ABC, this time over its bid to develop an independent news service. Smith’s Weekly, a tabloid newspaper founded by a group including the Packer dynasty, wrote in 1936:

“If the national stations are able to broadcast news without restriction it will be a sorry state of affairs for the daily newspapers. [They] may find themselves brought early to their repentance for their folly in not again taking the opportunity of hamstringing the ABC.”

Relations became so strained that, by 1939, commercial media had banned the ABC’s first political correspondent from even attending press conferences. Prime Minister Menzies was obliged to speak separately to the ABC’s press gallery journalist.

In the 1950s, as debate flared about whether Australia really needed television, there was again lobbying against the ABC. In the shadow of the Cold War, some warned darkly about the menace of establishing a state-controlled television service, and they came perilously close to achieving their aim. The constant refrain from commercial rivals was that the ABC competed ‘improperly’ with private enterprise.

Despite howls of protest for more than 80 years, and despite the participation of public broadcasters in radio and television markets, Australia did develop a diverse media sector which has served our nation extremely well. In fact, in the process, we developed one of – if not the most – diverse, peaceful and best-functioning democracies in the world, in no small part due to the fourth estate.

Yet the sniping of commercial foes and partisans has continued to this very day. Only now, one of the key debates is about whether the ABC should have a role in the digital age. In a familiar echo of the past, commercial interests, supported by some on the political fringe, lobby for the ABC to vacate digital platforms.

You can hear their arguments: “I run an excellent media business which employs hundreds of Australians. We provide excellent journalism which is under enormous pressure from the Internet. Why should public money be used for a media service that duplicates what we already do?”

Of course, when you unpack this argument – even a little – it is revealed as simplistic, facile and entirely self-serving. Throughout the Western world, governments have recognised the public benefit in hybrid public-private models for infrastructure and service delivery, whether you think about education, health, airports, roads, public transport or many more examples.

Technology change and diversity

So, allow me to turn to one of the key challenges facing Australians: how to maintain diversity of voice in a media landscape that is rapidly consolidating.

It is now widely recognised that giant companies like Facebook, Amazon, Apple, Netflix and Google – known collectively by some as the ‘FAANGs’ – have fundamentally transformed the media landscape around the globe.

Facebook and Google alone capture two-thirds of the digital ad market in Australia. Amazon has become a trillion-dollar company. And Netflix’s annual spend on content is now three times that of all Australia’s commercial, public and pay television businesses combined.

By contrast, audiences and revenues for incumbent commercial media organisations are tumbling, and ownership is consolidating, especially Down Under. Our three pay television operators have become one, owned by the Australian arm of News Corporation in New York. Channel Ten is now in US hands too. And since 2003, the number of owners of Australian newspapers has halved.

In television and radio, some 70 per cent of the market is now owned by just four organisations. And in print, 90 per cent is owned by three organisations. These figures will worsen if speculation is correct and Fairfax merges with another incumbent, or regional television businesses merge with their capital-city partners.

By diluting ownership restrictions and boosting commercial incumbents with progressive licence-fee cuts, over time, governments of both persuasions have dealt with the onslaught of the FAANGs by enabling further consolidation. Many would argue they had little choice.

Whatever your view on the business or political logic of this, the effect has been to hand control over many Australian media voices to businesses in the US – while substantially diluting the diversity of voices that remain.

Those who would cripple or even abolish the ABC would clearly exacerbate that consolidation, leading to further homogeneity of voices. That may mean that pretty soon our kids only see American stories and perspectives to mould their morals, culture and behavior as adults. And those same kids would need to give up any aspiration to work in a healthy domestic production sector.

The importance of trust

Australians clearly value a diverse media ecosystem, but within the sector, it turns out they value the ABC above all others. In fact, according to multiple independent surveys, 81 per cent say they trust the ABC: a figure that is 20 percentage points higher than commercial media, and more than double the level of trust in Facebook.

The reason for this is obvious to me. Around the world, trust in all kinds of institutions is under challenge. Partisanship is on the rise, debate is becoming polarised, and even reported facts cannot always be trusted.

By contrast, trust is what we do at the ABC. We don’t push a proprietor’s line. We don’t take sides. Neither the managing director nor I can direct our journalists to say one thing or another, and most importantly, neither can any political interest. And it is this slavish endeavour to be accurate, truthful and impartial which entirely distinguishes the ABC from commercial media.

This is well understood by Australians, and it is the chief reason why they trust us so much. It’s also why, as citizens, most Australians are content to pay a few cents a day for public service broadcasting that gives them facts, content and analysis that is not conditioned by the interests of proprietors, sponsors or politicians.

Contribution to Australia

The ABC does many other things commercial media does not, including making programs about science, education, classical music, art, religion and ethics – not to mention Triple J, which is by far the most popular youth music station in Australia, breaking new bands regularly, and supporting the live music industry.

In doing all this, the ABC can produce content that commercial media would judge as too bold or uncommercial. Which commercial network in the 1970s, for example, would have devised a comedy about an obese cross-dressing trucker called ‘Aunty Jack’, as the ABC did. Which commercial network forty years ago appointed women such as Margaret Throsby and Caroline Jones to host national television news and current affairs programs? Which commercial networks dared to define our culture with characters like Norman Gunston, or broach taboos with productions like Brides of Christ or Mother and Son? And which commercial network would produce Redfern Now or You Can’t Ask That?

If not the ABC, then who else will provide Australians with services no matter where they live? If not us, who else will define Australian culture in a world of global platforms and content? Who else will provide an independent and trusted voice in a world of contested facts, or promote democratic debate about matters of public importance, or drive accountability through investigative journalism, or underpin a healthy and strong creative sector for all Australians?

The point is this. The need for a successful public broadcaster must be acknowledged today, just as it was first recognised when the ABC was established in 1932, and again in 1956 when the ABC broadcast television for the first time, and again this century when the Government wrote digital services into our charter.

To paraphrase the European Commissioner for Human Rights: “you can’t have a healthy democracy without a healthy public broadcaster.”

A digital ABC

Allow me to finish by outlining the necessity of investing in the ABC’s digital future.

In an echo of the past, some rivals today advocate that the ABC Act should be amended to ban us from digital and restrict us to linear radio and television, broadcast technologies that matured 50 years ago.

Let’s be clear: if the ABC were barred from serving audiences on digital platforms, it would wither away and cease to exist. Linear broadcast audiences are in steady decline because Australians, just like people everywhere else on the planet, value the convenience of consuming their favourite content whenever, wherever and however they like.

Convenience is the very definition of the Internet, and it’s why Internet users have exploded from 20 million in 1995 to more than four billion today. It’s also why 84 percent of Australian phones are smart, why our homes have an average of six connected devices, why most households now use a tablet, and why nearly a third already have a television connected to the Internet. In fact, only a few weeks ago, US citizens for the first time spent more time on the Internet than on television. The crossover point has been reached, so modernising the ABC has become a matter of urgency.

The migration to digital platforms will only accelerate. Already, few millennials use broadcast products, and many homes no longer bother with television antennas. Within a generation, a majority of Australians will no longer use broadcast platforms at all.

That means that at least some of the spectrum currently used to broadcast television will soon be available to the government to be auctioned to other users, like telcos, who will use it to connect people and things, raising billions of dollars for government along the way. There are sound arguments for investing just a small part of that future windfall in modern digital media platforms for the public.

This would mean that, when the day finally arrives and linear platforms are switched off for good, Australians would be assured of reliable access to high quality public broadcasting content and platforms.

It would provide Australians with greatly enhanced digital services that, for instance, know what ABC shows you like, how you like to watch, and where in a program you finished watching last time.

Investing to make our public broadcaster future-ready would have other substantial public benefits. Imagine, for instance, if a single platform could provide all Australians with all the digitised assets of the ABC, and the National Film and Sound Archive, the Australian War Memorial, the National Library of Australia, or state orchestras. This would have significant implications for future education and the digital economy.

An ABC for the future

So today Australia must decide whether it wants an ABC in the future.

Perhaps we should leave the commercial media to entertain our toddlers, educate our students, define Australian culture, unite a nation, and serve regional audiences. Some would argue an enlightened private sector dominated by owners in the United States will find a way of marrying commercial and Australian national interest, and produce local content about the arts, sciences, religion or music. What could possibly go wrong?

Australia has reached another decision point in respect of public broadcasting just like those of the past. The first was whether to establish an ABC, then whether to equip it to deliver a news service independent of the commercial media barons, then once again whether to invest in a public television service. And now, as we enter a digital age, Australia must decide whether it wants an ABC fit for the future, and if so, what investments the nation is willing to make to achieve that.

Today, in a world of global platforms and content, it has never been more important for Australia to retain its identity. And in a world of contested views and facts, it has never been more important to provide an independent and trusted voice, to promote informed democratic debate, and to drive public accountability through investments in investigative journalism.

Our mission at the ABC is to deliver on those possibilities for the benefit of all Australians.

Thank you. 

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