The aspect ratio of an image describes the proportional relationship between its width and its height.

It is commonly expressed as two numbers separated by a colon, as in 16:9. For an x:y aspect ratio, no matter how big or small the image is, if the width is divided into x units of equal length and the height is measured using this same length unit, the height will be measured to be y units. For example, consider a group of images, all with an aspect ratio of 16:9. One image is 16 inches wide and 9 inches high. Another image is 16 centimeters wide and 9 centimeters high. A third is 8 yards wide and 4.5 yards high.

The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1.^[1] Two common videographic aspect ratios are 4:3 (1.33:1), the universal video format of the 20th century and 16:9 (1.77:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently.

In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras 16:9.^[2] Other aspect ratios, such as 5:3, 5:4, and 1:1 (square format), are used in photography as well, particularly in medium format and large format.

With television, DVD and Blu-ray Disc, converting formats of unequal ratios is achieved by enlarging the original image to fill the receiving format's display area and cutting off any excess picture information (zooming and cropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, by stretching (hence distorting) the image to fill the receiving format's ratio, or by scaling by different factors in both directions, possibly scaling by a different factor in the center and at the edges (as in Wide Zoom mode).

Practical limitations[link]

In motion picture formats, the physical size of the film area between the sprocket perforations determines the image's size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm×18.67 mm (0.980 in×0.735 in), leaving the de facto ratio of 4:3, or 1.33:1.^[3] A 4:3 ratio mimics human eyesight visual angle of 155°h x 120°v , that is 4:3.075, almost exactly the same.

With a space designated for the standard optical soundtrack, and the frame size reduced to maintain an image that is wider than tall, this resulted in the Academy aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.37:1 aspect ratio.

Cinema terminology[link]

The motion picture industry convention assigns a value of 1.0 to the image’s height; thus, an anamorphic frame (actually 2.39:1) is described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). In American cinemas, the common projection ratios are 1.85:1 and 2.40:1. Some European countries have 1.66:1 as the wide screen standard. The "Academy ratio" of 1.37:1 was used for all cinema films until 1953 (with the release of George Stevens's Shane in 1.66:1). During that time, television, which had a similar aspect ratio of 1.33:1, became a threat to movie audiences, Hollywood gave birth to a large number of wide-screen formats: CinemaScope (up to 2.66:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.66:1 to 2.00:1) to name just a few. The "flat" 1.85:1 aspect ratio was introduced in May, 1953, and became one of the most common cinema projection standards in the U.S. and elsewhere.

Movie camera systems[link]

Development of various film camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack area. One clever wide screen alternative, VistaVision, used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame, allowing a larger horizontal negative size per frame as only the vertical size was now restricted by the perforations. However, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard 4-perforation 35 mm film) to show in the projectors available at theaters, and was then masked in the projector to the US standard of 1.85:1. The format was briefly revived by Lucasfilm in the 1970s for special effects work that required larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). It went into obsolescence largely due to better cameras, lenses, and film stocks available to standard 4-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was later adapted to 70 mm film by IMAX.)

Super 16 mm film is frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm for theatrical release and therefore is sometimes used for feature films.

Current video standards[link]

4:3 standard[link]

4:3 (1.33:1) (generally read as "Four-Three", "Four-by-Three", or "Four-to-Three") for standard television has been in use since the invention of moving picture cameras and many computer monitors employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era and is used today for film production under the name Super 35. It is also very close to the 1.375:1 aspect ratio defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-on-film. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s). When cinema attendance dropped, Hollywood created widescreen aspect ratios (such as the 1.85:1 ratio mentioned earlier) in order to differentiate the film industry from TV.

16:9 standard[link]

16:9 (1.77:1) (generally named as "Sixteen-Nine", "Sixteen-by-Nine" and "Sixteen-to-Nine") is the international standard format of HDTV, non-HD digital television and analog widescreen television PALplus. Japan's Hi-Vision originally started with a 5:3 ratio but converted when the international standards group introduced a wider ratio of 5⅓ to 3 (=16:9). Many digital video cameras have the capability to record in 16:9, and 16:9 is the only widescreen aspect ratio natively supported by the DVD. DVD producers can also choose to show even wider ratios such as 1.85:1 and 2.39:1^[1] within the 16:9 DVD frame by hard matting or adding black bars within the image itself. Some films which were made in a 1.85:1 aspect ratio, such as the U.S.-Italian co-production Man of La Mancha, fit quite comfortably onto a 1.77:1 HDTV screen and have been issued anamorphically enhanced on DVD without the black bars.

Obtaining height, width and area of the screen[link]

Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (h), width (l for length) and area (A), where r stands for ratio and d for diagonal length.

Failed to parse (Missing texvc executable; please see math/README to configure.): h=\frac{d}{\sqrt{r^2+1}} \qquad l=\frac{d}{\sqrt{\frac{1}{r^2}+1}} \qquad A=\frac{d^2}{r+\frac{1}{r}}

Distinctions[link]

This article primarily addresses the aspect ratio of images as displayed, which is more formally referred to as the Display Aspect Ratio (DAR). In digital images, there is a distinction with the Storage Aspect Ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with square pixels, then these ratios agree; if not, then non-square, "rectangular" pixels are used, and these ratios disagree. The aspect ratio of the pixels themselves is known as the Pixel Aspect Ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity:

SAR × PAR = DAR.

Rearranging (solving for PAR) yields:

PAR = DAR/SAR.

For example, a 640 × 480 VGA image has a SAR of 640/480 = 4:3, and if displayed on a 4:3 display (DAR = 4:3) has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but is displayed on a 4:3 display (DAR = 4:3), so by this formula it would have a PAR of (4:3)/(5:4) = 16:15.

However, because standard definition digital video was originally based on digitally sampling analog television, the 720 horizontal pixels actually capture a slightly wider image to avoid loss of the original analog picture. In actual images, these extra pixels are often partly or entirely black, as only the center 704 horizontal pixels carry actual 4:3 or 16:9 image. Hence, the actual pixel aspect ratio for PAL video is a little different from that given by the formula, specifically 12:11 for PAL and 10:11 for NTSC. For consistency, the same effective pixel aspect ratios are used even for standard definition digital video originated in digital form rather than converted from analog. For more details refer to the main article.

In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, and "aspect ratio" refers unambiguously to DAR. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions.

Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose horizontal and vertical resolutions differ and are thus best described by non-square pixels – and also in some digital videocameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise particularly in transcoding between resolutions with different SARs.

DAR is also known as Image Aspect Ratio and Picture Aspect Ratio, though the latter can be confused with Pixel Aspect Ratio.

Visual comparisons[link]

Comparing two different aspect ratios poses some subtleties – when comparing two aspect ratios, one may compare images with equal height, equal width, equal diagonal, or equal area. More amorphous questions include whether particular subject matter has a natural aspect ratio (panoramas being wide, full-length images of people being tall), or whether a particular ratio is more or less aesthetically pleasing – the golden ratio (~1.618) is seen as especially pleasing. Of common display formats, 16:10 is the closest to the golden ratio, and 15:9 is the closest film format.

Given the same diagonal, the 4:3 screen offers more (over 12%) area, because it is closer to square (which maximizes area given a diagonal). For CRT-based technology, an aspect ratio that is closer to square is cheaper to manufacture. The same is true for projectors, and other optical devices such as cameras, camcorders, etc. For LCD and Plasma displays, however, the cost is more related to the area, so producing wider and shorter screens yields the same advertised diagonal but lower area, and hence is more profitable.

The following compares crops of a given image at 4:3 and 16:9, with different parameters equal; note that in terms of subject, the squarer aspect ratio emphasizes the public square, while the wider aspect ratio emphasizes the wide building.

• Two aspect ratios compared with images using the same diagonal size:

4:3 (1.33:1)

16:9 (1.77:1)

• Two aspect ratios compared with images using the same area (number of pixels):

4:3 (1.33:1)

16:9 (1.77:1)

• Two aspect ratios compared with images using the same height (vertical size):

4:3 (1.33:1)

16:9 (1.77:1)

• Two aspect ratios compared with images using the same width (horizontal size):

4:3 (1.33:1)

16:9 (1.77:1)

Previous and currently used aspect ratios[link]

See list of common resolutions for a listing of computer resolutions and aspect ratios.

See list of film formats for a full listing of film formats, including their aspect ratios.

Comparison between several film aspect ratios with the heights forced to be equal.

1.15

1: Sometimes referred to as the Movietone ratio, this ratio was used briefly during the transitional period when the film industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate 1.33 aperture in printing, resulting in an almost square image. Films shot in this ratio are often projected or transferred to video incorrectly using a 1.37 mask. Examples of films shot in the Movietone ratio include Sunrise, M and Hallelujah!.^[4]

1.33

1 (4:3, 12:9): 35 mm original silent film ratio, today commonly known in TV and video as 4:3. Also standard ratio for MPEG-2 video compression. This format is still used in many personal video cameras today and has influenced the selection or design of other aspect ratios. It is the standard 16 mm and Super 35mm ratio.

1.37

1: 35 mm full-screen sound film image, nearly universal in movies between 1932 and 1953. Officially adopted as the Academy ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used for other context.

1.44

1: IMAX format. Imax productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each image.

1.50

1 (3:2, 15:10): The aspect ratio of 35 mm film used for still photography when 8 perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally.

1.55

1 (14:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 (12:9) and 16:9. When converted to a 16:9 frame, there is slight pillarboxing, while conversion to 4:3 creates slight letterboxing.

1.60

1 (8:5, 16:10): Widescreen computer monitor ratio (for instance 1920×1200 resolution).

1.66

1 (5:3, 15:9): 35 mm Originally a flat ratio invented by Paramount Pictures, now a standard among several European countries; native Super 16 mm frame ratio. Sometimes this ratio is rounded up to 1.67:1. From the late 1980s to the early 2000s, Walt Disney Feature Animation's CAPS program animated their features in the 1.66:1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.33:1 ratio used for home video), this format is also used on the Nintendo 3DS's top screen as well.

1.75

1 (7:4): Early 35 mm widescreen ratio, primarily used by MGM and Warner Bros. between 1953 and 1955, and since abandoned, though Disney has cropped some of its post-50's Full Screen films to this ratio for DVD, including The Jungle Book.

1.77

1 (16:9 = 4²:3²): Video widescreen standard, used in high-definition television, one of three ratios specified for MPEG-2 video compression. Also used increasingly in personal video cameras. Sometimes this ratio is rounded up to 1.78:1.

1.85

1: 35 mm US and UK widescreen standard for theatrical film. Introduced by Universal Pictures in May, 1953. Projects approximately 3 perforations ("perfs") of image space per 4 perf frame; films can be shot in 3-perf to save cost of film stock.

2.00

1: Original SuperScope ratio, also used in Univisium. Used as a flat ratio for some American studios in the 1950s, abandoned in the 1960s, but recently popularized by the Red One camera system. In 2001 Studio Ghibli used this framing for its animated film Spirited Away.

2.10

1 (21:10): Planned futuristic aspect ratio for television and theatrical films.

2.20

1 (11:5, 22:10): 70 mm standard. Originally developed for Todd-AO in the 1950s. Specified in MPEG-2 as 2.21:1, but hardly used.

2.35

1: 35 mm anamorphic prior to 1970, used by CinemaScope ("'Scope") and early Panavision. The anamorphic standard has subtly changed so that modern anamorphic productions are actually 2.39,^[1] but often referred to as 2.35 anyway, due to old convention. (Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.

2.37

1 (64:27 = 4³:3³): As of 2010, TVs have been introduced with this aspect ratio and are marketed as "21:9 cinema displays". This aspect ratio is not recognized by storage and transmission standards.

2.39

1 (~12:5): 35 mm anamorphic from 1970 onwards. Aspect ratio of current anamorphic (wide-screen) theatrical viewings. Often commercially branded as Panavision format or 'Scope. Specified as 2.40:1 for Blu-ray Disc film releases (1920×800 resolution).

2.55

1 (~23:9): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.

2.59

1 (~13:5): Cinerama at full height (three specially captured 35 mm images projected side-by-side into one composite widescreen image).

2.66

1 (8:3, 24:9): Full frame output from Super 16 mm negative when an anamorphic lens system has been used. Effectively, an image that is of the ratio 24:9 is squashed onto the native 15:9 aspect ratio of a Super 16 mm negative.

2.76

1 (~11:4): Ultra Panavision 70 (65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1962 and 1966, such as the Battle of the Bulge (1965).

2.93

1: MGM Camera 65, an early version of Ultra Panavision used up until 1962 which used a 1.33× anamorphic squeeze instead to produce a wider aspect ratio. Used only on a few early Ultra Panavision films, most notably Ben-Hur (1959) and also for some sequences of How The West was Won with a slight crop to 2.89:1 when converted to three strip Cinerama.

4.00

1: Rare use of Polyvision, three 35 mm 1.33:1 images projected side by side. First used in 1927 on Abel Gance's Napoléon.

12.00

1: Circle-Vision 360° developed by the Walt Disney Company in 1955 for use in Disneyland. Uses nine 4:3 35mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications.

Aspect ratio releases[link]

Original aspect ratio (OAR)[link]

Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced – as envisioned by the people involved in the creation of the work. As an example, the film Gladiator was released to theaters in the 2.39:1 aspect ratio. It was filmed in Super 35 and, in addition to being presented in cinemas and television in the Original Aspect Ratio of 2.39:1, it was also broadcast without the matte altering the aspect ratio to the television standard of 1.33:1. Because of the varied ways in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used.

Modified aspect ratio (MAR)[link]

Modified Aspect Ratio is a home cinema term for the aspect ratio or dimensions in which a film was modified to fit a specific type of screen, as opposed to original aspect ratio. Modified aspect ratios are usually either 1.33:1 (historically), or (with the advent of widescreen television sets) 1.77:1 aspect ratio. 1.33:1 is the modified aspect ratio used historically in VHS format. A modified aspect ratio transfer is achieved by means of pan and scan or open matte, the latter meaning removing the cinematic matte from a 1.85:1 film to open up the full 1.33:1 frame. Another name for it is "prescaled" aspect ratio".

Problems in film and television[link]

A windowboxed image

Multiple aspect ratios create additional burdens on filmmakers and consumers, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format (cropped, letterboxed or expanded beyond the Original Aspect Ratio). It is also not uncommon for windowboxing to occur (when letterbox and pillarbox happen simultaneously). For instance, a 16:9 broadcast could embed a 4:3 commercial within the 16:9 image area. A viewer watching on a standard 4:3 (non-widescreen) television would see a 4:3 image of the commercial with 2 sets of black stripes, vertical and horizontal (windowboxing or the postage stamp effect). A similar scenario may also occur for a widescreen set owner when viewing 16:9 material embedded in a 4:3 frame, and then watching that in 16:9. Active Format Description is a mechanism used in digital broadcasting to avoid this problem. It is also common that a 4:3 image is stretched horizontally to fit a 16:9 screen to avoid pillar boxing but distorts the image so subjects appear short and fat.

Both PAL and NTSC have provision for some data pulses contained within the video signal used to signal the aspect ratio (See ITU-R BT.1119-1 – Widescreen signaling for broadcasting). These pulses are detected by television sets that have widescreen displays and cause the television to automatically switch to 16:9 display mode. When 4:3 material is included (such as the aforementioned commercial), the television switches to a 4:3 display mode to correctly display the material. Where a video signal is transmitted via a European SCART connection, one of the status lines is used to signal 16:9 material as well.

Still photography[link]

Common aspect ratios in still photography include:

• 1:1
• 4:3 (1.33:1)
• 3:2 (1.5:1)
• 5:3 (1.66:1)
• 16:9 (1.77:1)
• 3:1

Many digital still cameras offer user options for selecting multiple image aspect ratios. Some achieve this through the use of multi-aspect sensors (notably Panasonic), while others simply crop their native image format to have the output match the desired image aspect ratio.

1:1[link]

is the classic square image, and is available as a choice in some digital still cameras, and harkens back to the days of film cameras when the square image was somewhat popular with photographers using medium format cameras shooting 120 film rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today.

4:3[link]

is used by most digital point-and-shoot cameras, Four Thirds system, Micro Four Thirds system cameras and medium format 645 cameras. The 4:3 digital format popularity was developed to match the then prevailing digital displays of the time, 4:3 computer monitors.

The next several formats have their roots in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format Advanced Photo System (APS) film camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).

3:2[link]

is used by classic 35 mm film cameras using a 24 mm × 36 mm image size, and their digital derivatives represented by DSLRs. Typical DSLRs come in two flavors, the so-called professional "full frame" (24 mm × 36 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as the APS and the "-C" refers to "Classic" mode, which exposed images over a smaller area (25.1 mm × 16.7 mm) but retaining the same "classic" 3:2 proportions as full frame 35 mm film cameras.

When discussing DSLR's and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers Canon and Nikon each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls DX. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor.

The reason for DSLR image sensors being the flatter 3:2 versus the taller point-and-shoot 4:3 is that DSLRs were designed to match the legacy 35 mm SLR film, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent of HDTV which uses a 16:9 image aspect ratio.

16:9[link]

16:9 is another format that has its roots in the APS film camera. Known as APS-H (30.2 mm × 16.7 mm), with the "-H" denoting "High Definition", the 16:9 format is also the standard image aspect ratio for HDTV. 16:9 is gaining popularity as a format in all classes of consumer still cameras which also shoot High Definition (HD)video. When still cameras have an HD video capability, some can also record stills in the 16:9 format, ideal for display on HD televisions and widescreen computer displays.

3:1[link]

is another format that can find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:1 format was used for panorama photography. The APS-P panorama standard is the least adhered to of any APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the image is much longer than it is tall, in the classic "panorama" style.

Common print sizes in the U.S. (in inches) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27); large format cameras typically use one of these aspect ratios. Medium-format cameras typically have format designated by nominal sizes in centimeters (6×6, 6×7, 6×9, 6×4.5), but these numbers should not be interpreted as exact in computing aspect ratios. Print sizes are usually defined by their portrait dimensions (tall) while equipment aspect ratios are defined by their landscape dimensions (wide, flipped sideways). A good example of this a 4×6 print (6 inch wide by 4 inch tall landscape) perfectly matches the 3:2 aspect ratio of a DSLR/35 mm, since 6/2=3 and 4/2=2.

For analog projection of photographic slides, projector and screen use a 1:1 aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection technology typically supports vertically oriented images only at a fraction of the resolution of landscape-oriented images. For example, projecting a digital still image having a 3:2 aspect ratio on a 16:9 projector employs 84.3% of available resolution in horizontal orientation, but only 37.5% in vertical orientation.

See also[link]

• Active Format Description (AFD)
• Anamorphic widescreen
• Full frame
• Letterbox
• List of common resolutions
• List of film formats
• List of motion picture terminology
• Pan and scan
• Paper size
• Shoot and protect
• Widescreen
• Widescreen display modes

References[link]

Cited references

General references

External links[link]

Wikimedia Commons has media related to: Aspect Ratio

• The Letterbox and Widescreen Advocacy Page
• American Widescreen Museum
• Widescreen Apertures and Aspect Ratios
• Aspect – combined aspect ratio, frame size and bitrate calculator
• Calculator to Determine Size of 4:3 Image on 16:9 Screen (middle of the page)^{[dead link]}
• Aspect Ratios Explained: Part 1 Part 2
• Explanation of TV Aspect Ratio format description codes
• Display aspect ratio and pixel aspect ratio used in TV and video applications.
• Number of DVDs for each aspect ratio^{[dead link]}
• TECHNICAL BULLETIN Understanding Aspect RatiosPDF (708 KB)
• SCADplus: 16:9 Action plan for the television in the 16:9 screen format – European Union
• Online Aspect Ratio Calculator

Flo Rida
Flo Rida on the set of "Sugar" in 2009.
Background information
Birth name	Tramar Dillard
Born	(1979-12-16) December 16, 1979 (age 32) Carol City, Florida, U.S.
Genres	Hip hop
Occupations	Rapper, songwriter, actor
Years active	2006–present
Labels	Atlantic, Poe Boy, International Music Group, Strong Arm
Associated acts	Akon, Brisco, Lady Gaga, Timbaland, David Guetta, Kesha, T-Pain, Nicki Minaj , Taio Cruz, Sia Furler, Ne-Yo, Avicii
Website	officialflo.com

Tramar Dillard (born December 16, 1979) better known by his stage name Flo Rida (pronounced  /floʊ ˈraɪdə/), is an American rapper. He released his debut album, Mail on Sunday, in March 2008. His debut single "Low", featuring T-Pain, was a No. 1 hit for ten weeks in United States in early 2008. Two other singles resulted from Mail on Sunday: "Elevator" and "In the Ayer". In 2009, his second album R.O.O.T.S. was released; its most successful single "Right Round" was at the top of the Hot 100 for six weeks. Since then, he has released his third studio album titled Only One Flo (Part 1), which will see a sequel titled Wild Ones.

Biography[link]

Early life and career beginnings[link]

Tramar Dillard was born in the 187th Street projects of Carol City, Florida.^[1] His mother raised him and his seven sisters, some of whom sang in a local gospel group.^[2] Dillard's brother-in-law was a hypeman for local rap group 2 Live Crew, and while in ninth grade, Dillard formed his own amateur group with some friends called the GroundHoggz.^[3] Born and raised in Miami, the GroundHoggz formed in the 187 apartments in Carol City. Similar to Goodie Mob, they were making music for the love of the art and to feed their souls. With only three members, 1Bred, Key Lime, and Fist, they found their missing link when Flo Rida, who lived in the same apartments, spit a verse for them. They were instantly impressed. Together for eight years, they started recording at underground studios in Carver Ranches.^[4] His work with 2 Live Crew member Fresh Kid Ice attracted the attention of DeVante Swing, a member of the band Jodeci. However, he was rejected by several of the major labels, so he sought many other jobs outside of music.^[5] After graduating from high school in 1998, he studied international business management at the University of Nevada, Las Vegas for two years and attended Barry University for two months.^[5][6] He returned to Florida to continue pursuing his music career after receiving a phone call from a representative of the independent label Poe Boy Entertainment.^[5] Dillard signed with Poe Boy in 2006, and as Flo Rida he began affiliating with other artists, such as Rick Ross, Trina, T-Pain, and Trick Daddy. A promotional street single entitled "Birthday", featuring Rick Ross, was his first significant release. He made his debut guest appearance with the song "Bitch I'm from Dade County" on DJ Khaled's album We the Best, which featured Trick Daddy, Trina, Rick Ross, Brisco, C-Ride, and Dre.^[7]

[edit] 2007–08: Mail on Sunday

Rehearsing for the 2008 MuchMusic Video Awards in Toronto.

Flo Rida's first single was "Low", featuring T-Pain. It was his first official single from his debut album Mail On Sunday and the soundtrack to the movie Step Up 2: The Streets. "Low" reached No. 1 on the Billboard Hot 100 chart.^[7] "Elevator", featuring Timbaland, "In the Ayer" featuring will.i.am, and "Roll" featuring Sean Kingston followed and all charted on the Hot 100 and other charts.^[8]

T-Pain, who laced the first single, is only one of the many featured guests throughout the album. Timbaland, who produced the second single "Elevator", is also featured on the track. Rick Ross, and Trey Songz made appearances as well.^[9] Lil Wayne has also been added to the list^[9] with assistance on the "American Superstar" track while Sean Kingston appears on the J. R. Rotem-produced "Roll" the concept was created, and co-written by Compton rapper Spitfiya, from The Bullets Production Team, Various other guests include Birdman, Brisco, and Yung Joc. The third single is "In the Ayer" featuring Will.i.am. The fourth single was scheduled to be "Money Right" featuring Brisco, and Rick Ross, but was canceled due to the release of his upcoming second studio album R.O.O.T.S. His second collaboration with T-Pain, "I Bet", as well as his collaboration with Trina, named "Bout It", both didn't make the final tracklist, but were recorded. As for production, J. R. Rotem, DJ Montay, and Timbaland all provided tracks for Mail on Sunday, among others.

After the success of Mail on Sunday, Flo Rida made guest performances on other R&B, rap, and pop singles, including "Move Shake Drop" by DJ Laz, "We Break the Dawn" by Michelle Williams, the remix of "4 Minutes" by Madonna, "Running Back" by Australian R&B singer Jessica Mauboy, "Feel It" by DJ Felli Fel, and the remix of "Speedin'" by Rick Ross. During the summer of 2008, he did live performances on the Fox dance competition program So You Think You Can Dance in the US^[10] and 2008 MuchMusic Video Awards in Canada.^[11] He appeared on the albums We Global by DJ Khaled, Gutta by Ace Hood, and The Fame by Lady Gaga, among others.

[edit] 2009–10: R.O.O.T.S.

Flo Rida performing "Right Round" at the Circus Club in Finland on July 9, 2009.

According to Billboard magazine, Flo Rida began recording his sophomore nine months after Mail On Sunday. The album is titled R.O.O.T.S. and was released on March 31, 2009.^[12] The first single "Right Round" featured Ke$ha and was released for airplay in January 2009. "Right Round" jumped from number 58 to the top spot in one week in late February. The song broke a record for the most digital one week sales in the U.S., with 636,000, beating the previous record he had set himself with "Low".^[13] "Right Round" sampled "You Spin Me Round (Like a Record)", a 1985 hit by Dead or Alive.^[14] The second official single was "Sugar", which featured R&B singer Wynter Gordon. The song reached No. 5 on the Billboard Hot 100. "Jump" is the third official single and was released on July 27, 2009 in the UK, and July 28, 2009 worldwide.^[15] The song features Canadian singer Nelly Furtado. As of August 13, 2009 it has peaked at number fifty-four in the US, number twenty-seven in Canada, number twenty-one in the UK, and number eighteen in Australia. "Be on You" has been confirmed as the album's fourth official single for a release on October 6, 2009. The song features American singer Ne-Yo. When the album was released the single debuted at number ninety in the US. The song has received airplay since the albums release, and has since peaked at number nineteen in the US, and number fifty-one in the UK. "Available" was going to be released on iTunes but was cancelled. It charted at number 120 in Ireland. The song features Akon. A music video was also shot in mid-2009.^[16] R.O.O.T.S. debuted at number eight on the Billboard 200 chart, selling 55,000 copies in its first week.^[17] As of August, 2009, the album has sold 223,000 copies in the United States, and 536,000 worldwide. By the end of 2009, the album sold 247,000 copies becoming the eighth best selling rap album of 2009.^[18]

Flo Rida made guest performances on "Feel It" by DJ Felli Fel, "Starstruck" by Lady Gaga, and "Feel It" by Three 6 Mafia. "Bad Boys", the first single by winner of British reality show The X Factor Alexandra Burke that featured Flo Rida, debuted at No. 1 on the UK Singles Chart in October.^[19]

[edit] 2010–11: Only One Flo (Part 1)

Flo Rida's third album Only One Flo (Part 1) was released on November 24, 2010. In March 2010, Flo Rida announced on Twitter that the album would be titled The Only One.^[20] Billboard reported that The Only One was to be a double album.^[21] A promo single, titled "Zoosk Girl", which features T-Pain, was released on the internet, though the song is not featured on the album, the single does have its own music video. On June 28, 2010, Flo Rida released the song "Club Can't Handle Me" featuring David Guetta, which was stated to be the official first single for the album. The song was also featured in the Step Up 3D soundtrack.^[22] On November 2, 2010, "Come with Me" was released as the first promo single for the album, along with "Puzzle", produced, and featuring by Electrixx, which isn't featured on the album. On November 16, 2010, "Turn Around (5, 4, 3, 2, 1)" was released as the second official promo single for the album via the iTunes Store.^[23] It debuted on the Australian Singles Chart at number thirty-four on November 29, 2010.^[24] After the release of the album in the UK, "Who Dat Girl" started to receive a strong amount of downloads, thus causing it to debut at number 136^[25] on the UK Singles Chart and chart at a current peak of number thirty-one on the UK R&B Chart.^[26] "Why You Up In Here" was released as the fourth single, and third promo single, on May 11, 2011. The song features Ludacris, Gucci Mane, and Git Fresh.

Flo Rida also made guest appearances on "iYiYi", a song by Australian teen singer Cody Simpson, and on the song "Out My Video" by Bulgarian singer LiLana. Flo Rida collaborated with UK girl group The Saturdays, recording a new version of the girl's single, "Higher".^[27] In December 2010, the Associated Press reported that Flo Rida had created his own label, International Music Group, inspired by Nicki Minaj's signing with Lil Wayne's. He has signed an 18 year-old rapper, Brianna^[28] and Git Fresh^[29] to International. Lately, Flo Rida has teamed up with the Malaysian singer, Mizz Nina, on a song called Take Over.

Driving issues[link]

On June 9, 2011, Flo Rida was arrested in Miami Beach, Florida for DUI and driving with a suspended license.^[30][31] Flo Rida was released from jail after he posted $2,000 bail and obtained a signed court order allowing him to travel to Asia for a series of previously scheduled concerts in Bangkok over the weekend.^[32]

[edit] 2011–present: Wild Ones

Flo Rida performing live in 2012.

The first single from Rida's upcoming album, Wild Ones, originally Only One Rida (Part 2), is "Good Feeling", released on August 29, 2011.^[33] The songs samples "Levels" by Avicii, which samples Etta James' 1962 song, "Something's Got a Hold on Me". Following the death of Etta James on January 20, 2012, Flo Rida dedicated the song in her memory.^[34] The song has peaked at No. 3 on the Hot 100,^[35] topped the charts in Austria,^[36] Germany,^[37] Scotland,^[38] and the UK. It has also reached the top five in nine different countries worldwide.

On April 1, Flo Rida made an appearance at WrestleMania XXVIII and have a segment with Heath Slater, Curt Hawkins and Tyler Reks where Heath calls Flo Rida "Florida" and Flo Rida shoves him into a wall; making Tyler and Curt come out laughing at Heath. Later that night Flo Rida performed "Wild Ones" and "Good Feeling" before Dwayne "The Rock" Johnson came out to battle John Cena. On April 6, 2012 and exclusive Australian EP entitled Good Feeling was released in Australia which contains six of his biggest hits and two remixes.^[39] It debuted at No. 21 on the Australian ARIA Albums Chart^[40] On May 22, 2012, Flo Rida performed and closed the show at the first Q102 Springle Ball Concert, the following day he performed "Goin' In" with Jennifer Lopez on the America Idol finale.

Discography[link]

• Mail on Sunday (2008)
• R.O.O.T.S. (2009)
• Only One Flo (Part 1) (2010)
• Wild Ones (2012)

Awards and nominations[link]

References[link]

External links[link]

• Official website

3-2-1 Contact is an American science educational television show that aired on PBS from 1980 to 1988, and an adjoining children's magazine. The show, a production of the Children's Television Workshop, teaches scientific principles and their applications. Dr. Edward G. Atkins, who was responsible for much of the scientific content of the show, felt that the TV program wouldn't replace a classroom but would open the viewers to ask questions about the scientific purpose of things.^[1]

History[link]

3-2-1 Contact was the brainchild of Samuel Y. Gibbon, Jr., who had been the executive producer of The Electric Company for CTW from 1971 to 1977. (Gibbon actually left CTW before Contact's production began, though he was still credited as "Senior Consultant.")

The first season of 65 programs began airing January 14, 1980 on select PBS member stations; it featured a cast of three college students who discussed science in an on-campus room known as the Workshop. The first season came to an end on April 11, 1980, but funds for more episodes were not sufficient until 1982.

When production resumed for the second season, which premiered on October 17, 1983, the show presented a more realistic appearance, as the new cast convened in a suburban basement (these segments were shot at Reeves Teletape, which also housed Sesame Street at the time). This cast continued until October 18, 1985. Ozzie Alfonso was Contact's new director and Al Hyslop its executive producer.

When the fifth season began on September 22, 1986, a third cast was introduced. However, unlike the previous casts, they did not meet in any specific setting; instead, they appeared in various taped and filmed segments. Episodes continued to be produced through November 1988.

For a time in the mid-1980s, the program was co-produced with the French television network FR3 and featured several new French cast members in addition to the American cast. From 1982 to 1983 the program was aired in Spain with dubbed-over versions of the American original broadcasts, and some local add-ons with four Spanish cast members: Sonia Martínez, Luis Bollain, Fernando Rueda and Marifé Rodríguez.^[2] Another Spanish version of the broadcast was aired from 1990 to 1992.

From September 1, 1991 until May 1, 1992, an edited version of the series titled 3-2-1 Classroom Contact was produced, specifically for in-school viewing.

It was reported in 1984 that 3-2-1 Contact had an audience of over 7 million viewers and was broadcast in 26 countries including West Germany, France, Italy and Spain making their own dubbed-over versions.^[1]

Broadcasters wanted the children to record the episodes without being afraid of infringement of copyright violations.^[1]

Hosts[link]

The Bloodhound Gang[link]

A frequent segment of the show was The Bloodhound Gang, a series about a group of young detectives who used science to solve crimes. Episodes of the series needed to be run in regular sequence for understandable viewing, as many Bloodhound Gang mysteries were cut among two or three Contact episodes.

The magazine[link]

Three months before the show premiered, a print magazine of the same name that also focused on science was released. In 1985, the magazine absorbed some of the content of sibling publication Enter (which went out of print that same year), including reader submissions of computer programs written in the BASIC computer language as well as reviews of popular computer programs. A new feature called "The Slipped Disk Show" appeared in mid-1985, starring a fictional disc jockey who answered computer-related questions submitted by readers.

Beginning in 1987, the magazine also featured content from another CTW production, Square One Television. Such content frequently took the form of a two-page comic strip, often parodying a popular show or movie of the time, with a math-related question at the end.

The Bloodhound Gang mysteries also made the leap to the magazine, but they were subsequently replaced with a series entitled The Time Team in September 1990. These stories found teenage characters Sean Nolan and Jenny Lopez traveling to different time periods in the past and future. Their surroundings and personal encounters were described with great detail, educating readers as to the customs of various cultures throughout history, and – on trips to the future – often pushing present day hot-button issues. For example, a 1993 story saw the duo traveling to what appeared to be a prehistoric forest, but near the end, they found a Brazil flag, a newspaper clipping from 1995, and a bulldozer at work: this was in fact a Brazilian rainforest being levelled.

In 1996, The Time Team was replaced by a comic serial, Cosmic Crew, which focused on the adventures of a group of teenagers and their robot butler in space. Their first story arc (which ran for more than a year) had them trying to figure out a series of riddles relating to places in the solar system in order to claim a treasure (which turned out to be a scholarship fund). Another story arc had a delinquent (who had been a villain in the first arc) join them in order to chase down a gang of other delinquents. Despite being effectively replaced, a few Time Team stories were run whenever there were gaps between installments of Cosmic Crew.

Many of the magazine's cover stories involved current events, such as 1990s oil fires in the Middle East. In addition, the magazine offered a games section in which most of the games were related to the stories in the issue.

In 1996, CTW presumably concluded that faithful readers from the late 1980s and early 1990s had long since moved on, and the magazine began to reprint non-time-sensitive stories from years past. For example, a 1991 article on the geography of the Galápagos Islands – a relatively unchanging subject – could very well re-appear in an identical format a half a decade later.

Under Sesame Workshop the magazine later became Contact Kids, removing the original reference to the television show. Production of the magazine was suspended indefinitely in 2001.

After production[link]

Though the show went off the air in 1988, it appeared in reruns from 1999 to 2003 on the cable television network Noggin, then a joint venture of CTW and Nickelodeon. Occasionally, shows were also rerun on Nickelodeon's Cable in the Classroom time period. For all these Nickelodeon and Noggin airings, the series was rated TV-Y7 (possibly due to the target audience). It also still aired on some PBS stations as reruns from 1989 to 1998 before it was switched to Noggin in 1999. As of 2003, Noggin no longer airs any shows produced by Sesame Workshop. The shows were modified for the shorter running time on these networks to allow for their interstitials.

Sources of funding[link]

Funding for 3-2-1 Contact was provided by the following:^[3]

• National Science Foundation (January 14, 1980–November 18, 1988)
• United States Department of Education (January 14, 1980–November 18, 1988)
• Corporation for Public Broadcasting (January 14, 1980–November 18, 1988)
• Andrew W. Mellon Foundation (January 14, 1980–November 18, 1988)
• IBM Corporation (January 14, 1980–November 18, 1988)
• Carnegie Corporation of New York (October 31, 1983-November 18, 1988)

Five sponsors funded the show for its entire run. They were originally supposed to fund for 20 new episodes until 1989.^[1]

References[link]

External links[link]

• 3-2-1 Contact at the Internet Movie Database
• 3-2-1 Contact at TV.com

Milan Lucic
Born	(1988-06-07) June 7, 1988 (age 24) Vancouver, BC, CAN
Height	6 ft 4 in (1.93 m)
Weight	228 lb (103 kg; 16 st 4 lb)
Position	Left Wing
Shoots	Left wing
NHL team	Boston Bruins
National team	Canada
NHL Draft	50th overall, 2006 Boston Bruins
Playing career	2007–present

Milan Lucic (born Vancouver, June 7, 1988) is a Canadian professional ice hockey left winger currently playing for the Boston Bruins of the National Hockey League (NHL). He played major junior with the Vancouver Giants in the Western Hockey League (WHL) for three seasons and captured a Memorial Cup, while being named tournament MVP in 2007. He was selected 50th overall in the 2006 NHL Entry Draft^[1] and made the Bruins' roster as a nineteen-year-old in 2007–08. Three years later, he won a Stanley Cup with the Bruins. Internationally, he captained the Canadian national junior team at the 2007 Super Series. Lucic plays physically in the style of a power forward.^[2][3]

Early life[link]

Lucic was born in East Vancouver to parents Dobrivoje Lučić and Snežana Kesa.^[2] His father, a longshoreman, immigrated from Serbia when he was 27, while his mother arrived from Serbia with her family at the age of two.^[2] He has a younger brother named Nikola and an older brother named Jovan.^[4][5] His maternal uncle, Dan Kesa, is a retired NHL right winger who played for the Vancouver Canucks, Pittsburgh Penguins, Tampa Bay Lightning, and Dallas Stars.^[6]

Growing up, Lucic attended Killarney Secondary in Vancouver.^[7] He was a fan of the hometown Vancouver Canucks and has singled out power forward Todd Bertuzzi as one of his favourite players when following the team.^[8] At the age of 15, he was diagnosed with Scheuermann's disease, a condition that can cause the upper back to curve and has given Lucic a hunched over posture.^[2]

Lucic played minor hockey in Vancouver, but nearly quit the sport after being passed up in the 2003 WHL Bantam Draft.^[9] He was invited to play for the Coquitlam Express of the Junior A British Columbia Hockey League (BCHL), but was further demoralized when he initially failed to make the team out of rookie camp. He agreed to play, instead, for the Junior B Delta Ice Hawks, but later played his way onto the Express after five games.^[9]

Playing career[link]

Vancouver Giants (2004–07)[link]

Lucic began his junior career with the Coquitlam Express of the BCHL in 2004–05. In the same season, he made his major junior debut with the Vancouver Giants, his hometown WHL team, playing in one regular season game and two playoff games. Lucic joined the Giants full-time in 2005–06, scoring 19 points in 62 games. He added seven points in 18 playoff games to help the Giants to a WHL title and an appearance in the 2006 Memorial Cup. In the off-season, he was selected 50th overall by the Boston Bruins in the second round of the 2006 NHL Entry Draft. Bruins management had considered taking Lucic earlier in the second round with the 37th overall pick, but chose defenceman Yuri Alexandrov instead. The Bruins' director of scouting Scott Bradley admitted he did not expect Lucic to still be available with the 50th pick, adding "We were fortunate to get him."^[10]

Lucic's banner in the Giants' Ring of Honour

The following season, in 2006–07, Lucic emerged as one of the Giants' leaders, finishing first in team scoring with 68 points in 70 games.^[11] He added 19 points in 22 post-season games, as the Giants lost the WHL Finals to the Medicine Hat Tigers in seven games. Despite losing the WHL title, Vancouver appeared in the 2007 Memorial Cup as tournament hosts.^[12] Lucic and the Giants met Medicine Hat once more in the tournament final, capturing the Canadian Hockey League (CHL) title by a 3–1 score.^[12] Lucic assisted on Michal Řepík's tournament-winning goal with five minutes to play in regulation.^[12] He finished the tournament tied for the lead in scoring with Řepík (with more goals, Řepík was awarded the Ed Chynoweth Trophy as leading scorer) and earned the Stafford Smythe Memorial Trophy as tournament MVP.^[12]

Nearly four years after his last junior game, Lucic was honoured by the Giants prior to a game against the Chilliwack Bruins on February 25, 2011. Dubbed "Milan Lucic Night", he was added to the club's Ring of Honour, showcasing the top Giants alumni of all-time. The first 500 game-attendees were also given free Lucic bobblehead dolls.^[13] As part of the team's 10-year anniversary, he was also voted by fans as the team's best player of all-time.^[14]

Lucic during his rookie season with the Bruins in 2007–08

Boston Bruins (2007–present)[link]

In the 2007 off-season, Lucic signed an entry-level contract with the Bruins on August 2.^[15] He had been chosen as the Giants' next team captain,^[16] but made the Bruins' 2007–08 opening roster out of training camp. He played in his first NHL game on October 5, 2007, a 4–1 loss to the Dallas Stars, in which he fought opposing forward Brad Winchester.^[17] His first goal came a week later on October 12 against Jonathan Bernier, a game winner, in an 8–6 win against the Los Angeles Kings.^[18] By also fighting Kings forward Raitis Ivanāns and notching an assist, he recorded a Gordie Howe hat trick (an unofficial statistic constituting a goal, an assist and a fight in one game).^[19] Unsure of whether the Bruins would keep him or return him to junior,^[20] he stayed in a downtown hotel in Boston to start the season.^[10] However, Lucic made enough of an impression during his first set of games with the Bruins, showing grit and consistent willingness to fight (he recorded 13 fighting majors in his rookie season),^[2] that they decided to keep him in the lineup.^[21] Bruins management informed the Giants prior to Lucic's 10th game, accounting for the NHL's nine-game maximum for junior-eligible players to stay with their NHL club without initiating their contract.^[21] He was chosen to participate in the 2008 NHL YoungStars Game^[19] and finished his rookie campaign with eight goals and 27 points. Towards the end of the season, he was voted by Bruins fans for the team's Seventh Player Award for exceeding expectations.^[22] Matched up against the first-seeded Montreal Canadiens in the opening round, Lucic scored his first NHL playoff goal in game three on April 13, 2008.^[23] He finished his first NHL post-season with two goals as the Bruins were eliminated by the Canadiens in seven games.

Early into the 2008–09 season, Lucic recorded his first NHL hat trick and added an assist in a 5–4 win against the Atlanta Thrashers on October 25, 2008.^[24] Later that week, Lucic made a much-publicized return to his hometown in a game against the Vancouver Canucks, which featured a picture of him as a baby on the back page of Vancouver's The Province newspaper.^[25] Earlier in the year, Lucic's 2007 Memorial Cup ring had been stolen from his home in East Vancouver on July 10, 2008.^[26] In a private ceremony before the game against the Canucks, he was presented a replacement ring by Vancouver Giants ownership.^[27]

Lucic was chosen to his second YoungStars Game in January 2009. However, he did not compete for the sophomores in Montreal due to an undisclosed upper-body injury.^[28] Near the end of the season, on April 4, 2009, Lucic was awarded the Bruins' Eddie Shore Award for hustle and determination.^[29] He finished his second NHL season improving to 17 goals and 42 points in 72 games, while playing predominantly on a line with the Bruins' top centre, Marc Savard.^[30]

Entering the 2009 playoffs with the Bruins as the first seed in the Eastern Conference, Lucic received a one-game suspension after delivering a cross-check to the head of Montreal Canadiens forward Maxim Lapierre in game two of the first round. While the Bruins argued that Lucic used predominantly his glove, rather than his stick, the league held its decision.^[31] After serving his suspension, Lucic and the Bruins went on to eliminate the Canadiens, advancing to the second round against the Carolina Hurricanes, who the Bruins lost to in seven games. Lucic added nine points in 10 games in the playoffs.

With the 2009–10 season marking the final year of his original entry-level contract, it was announced on October 6, 2009 that Lucic had been signed to a three-year, US$12.25 million contract extension with the Bruins, to go through to 2012–13.^[32] The deal is structured at US$4 million for the first two seasons and US$4.25 million in the third, a raise from his US$685,000 2009–10 base salary.^[32] Ten days later, on October 16, he suffered a broken finger requiring surgery in a game against the Dallas Stars while hitting defenceman Stéphane Robidas.^[33][34] Lucic returned to the Bruins lineup on November 19, but was injured again four games later, suffering a sprained ankle in a game against the Minnesota Wild on November 25. His left leg had buckled from underneath him while reaching behind him to receive a pass from teammate Dennis Wideman.^[35] Missing an additional 18 games,^[36] Lucic was limited to 50 contests in his third NHL season. His play was perceived by head coach Claude Julien to have suffered following the two injuries;^[30] he recorded nine goals and 20 points to finish the regular season. He added nine points in 13 playoff games as the Bruins were eliminated in the second round by the Philadelphia Flyers. They became the third team in NHL history to lose a playoff series after having led three games to none.^[37] All five goals Lucic scored in the playoffs were recorded in the second round,^[30] including two in the deciding seventh game, which the Bruins lost 4–3.^[37]

Lucic celebrates with the Stanley Cup following the Bruins' Game 7 win against the Vancouver Canucks.

In the second month of the 2010–11 season, Lucic recorded a natural hat trick on November 18, 2010, during a 4–0 win over the Florida Panthers.^[38] Later in the campaign, he was fined $3,500 by the league for his actions during a game against the Atlanta Thrashers on December 23. After Lucic was hit by opposing defenceman Freddy Meyer, teammate Andrew Ference engaged Meyer in a fight. In the ensuing scrum, Lucic punched Meyer as the two were being restrained by referees, resulting in a match penalty. Three days following the game, Lucic received a $2,500 fine for his punch and an additional $1,000 for an obscene gesture he had made to players on the Thrashers' bench immediately afterwards.^[39] In January 2011, he missed three games with a shoulder injury.^[40] Lucic completed the season with a career-high 30 goals, 32 assists and 62 points in 79 games. He led the Bruins in goal-scoring while tying for the points lead with centre David Krejci.^[41] Entering the 2011 playoffs as the third seed in the East,^[42] the Bruins eliminated the Montreal Canadiens, Philadelphia Flyers and Tampa Bay Lightning in the first three rounds, en route to the Stanley Cup Finals against the Vancouver Canucks. Although Lucic scored below his regular season pace during the post-season with 12 points (5 goals and 7 assists) in 25 games, he helped the Bruins to their first Stanley Cup since 1972, as the team defeated the Canucks in Game 7 of the Finals.^[43] It was later reported that Lucic was playing through a couple of injuries during the playoffs. During the Eastern Conference Finals, he suffered a broken toe after blocking a shot from teammate Tyler Seguin during practice. He also struggled with a sinus infection, which was part of a larger problem in his right nostril that traced back to the end of the 2009–10 season and caused improper breathing. Lucic underwent surgery in the off-season to repair the sinus.^[44]

In August 2011, Lucic had his customary day in possession of the Stanley Cup, which he spent in Vancouver. While it is traditional for players to host public celebrations with the trophy in their hometowns, Lucic chose to keep the day private, explaining that "I grew up a Canucks fan. I know how it is."^[45] Following the Canucks' defeat in the Finals, fans had staged an hours-long riot in Downtown Vancouver. More personally, posters of Lucic at a local cultural community centre were defaced. Also, an appearance by Lucic at a Greek festival in Vancouver sparked a public brawl; The Vancouver Sun reported that Lucic did not throw any punches.^[46] While Lucic's day with the Cup was private, many of his functions were held in public venues, which were reportedly well-received by passers-by. He brought the trophy to his hometown church, St. Archangel Michael Serbian Orthodox Church in Burnaby, for a gathering of approximately 350 people and on a harbour cruise with friends and family. He finished the day atop Grouse Mountain, the same place where he and his Vancouver Giants teammates took the Memorial Cup after their CHL victory in 2007.^[45] Months later, in February 2012, the church he brought the trophy to was vandalized.^[47]

A month-and-a-half into the 2011–12 season, Lucic received considerable notoriety for a hit against opposing goaltender Ryan Miller during a game against the Buffalo Sabres. Miller had come well out of his net to play a puck that Lucic had lost control of outside of the blueline. After Miller had cleared the puck away, Lucic continued towards the goal line and knocked the goaltender heavily to the ice. Miller was diagnosed with a concussion and was sidelined for several games;^{[notes 1]} He also heavily cricitized Lucic as "gutless" in post-game comments. The day after the hit, the league held a hearing with Lucic and later announced that he would not be suspended for the play, citing that the minor penalty for charging that was assessed during the game was sufficient.^[49] A few weeks after this incident, he received a one-game suspension for an illegal hit on Philadelphia Flyers forward Zac Rinaldo. Lucic hit Rinaldo from behind during a battle for the puck along the boards. Rinaldo was not injured on the play.^[50]

International play[link]

In the off-season following Lucic's MVP performance at the 2007 Memorial Cup, he was named team captain of Team Canada for the 2007 Super Series against Russia.^[51] The series, an eight-game competition between Canada and Russia's under-20 teams, commemorated the 35th anniversary of the historic 1972 Summit Series.^[52] He recorded three assists as Team Canada won the series with seven wins and a tie.^[52]

Two years later, Lucic was invited to Team Canada's summer orientation camp in Calgary, Alberta for the 2010 Winter Olympics.^[53] He was not, however, chosen to the final roster.

Career statistics[link]

International statistics[link]

Awards[link]

Major junior[link]

NHL[link]

*Did not play due to injury

Boston Bruins[link]

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Milan Lucic

• Milan Lucic's career stats at The Internet Hockey Database
• Milan Lucic's NHL player profile
• Milan Lucic's Hockey Canada Profile

Howard Stern
Stern at WXRK in New York City, 2000
Born	Howard Allan Stern (1954-01-12) January 12, 1954 (age 58) Jackson Heights, New York City, New York, U.S.
Occupation	Radio personality, television host, author, actor, photographer
Years active	1975–present
Political party	Libertarian during 1994 Governor of New York campaign
Spouse	Alison Berns (1978–2001; div.) Beth Ostrosky Stern (2008–present)
Website
www.howardstern.com

Howard Allan Stern (born January 12, 1954) is an American radio personality, television host, author, actor and photographer best known for his radio show which was nationally syndicated from 1986 to 2005. He gained wide recognition in the 1990s where he was labeled a "shock jock" for his outspoken and sometimes controversial style. Stern has been exclusive to Sirius XM Radio, a subscription-based satellite radio service, since 2006. The son of a former recording and radio engineer, Stern wished to pursue a career in radio at the age of five. While at Boston University he worked at the campus station WTBU before a brief stint at WNTN in Newton, Massachusetts.

He developed his on-air personality when he landed positions at WRNW in Briarcliff Manor, WCCC in Hartford and WWWW in Detroit. In 1981, he was paired with his current newscaster and co-host Robin Quivers at WWDC in Washington, D.C. Stern then moved to WNBC in New York City in 1982 to host afternoons until his firing in 1985. He re-emerged on WXRK that year, and became one of the most popular radio personalities during his 20-year tenure at the station. Stern's show is the most-fined radio program, after the Federal Communications Commission (FCC) issued fines to station licensees for allegedly indecent material that totaled $2.5 million. Stern has won Billboard's Nationally Syndicated Air Personality of the Year award eight times, and is one of the highest-paid figures in radio.^[1]

Stern describes himself as the King of All Media for his ventures outside radio. Since 1987, he has hosted numerous late night television shows, pay-per-view events and home video releases. He embarked on a five-month political campaign for Governor of New York in 1994. His two books, Private Parts (1993) and Miss America (1995), spent 20 and 16 weeks respectively on The New York Times Best Seller list. The former was adapted into Private Parts (1997), a biographical comedy film that starred Stern and his radio show staff that earned $41.2 million in domestic revenue. Stern performs on its soundtrack which topped the Billboard 200 chart.

Early life and education[link]

Stern graduated from the College of Public Communications at Boston University in 1976.

Stern was born on January 12, 1954 into a Jewish family who lived in Jackson Heights, Queens in New York City.^[2][3] His parents Ben and Ray (née Schiffman) are children of Austro-Hungarian immigrants, and his sister Ellen is four years older than he.^[2] The family moved to the hamlet of Roosevelt on Long Island in 1955,^[4] where Stern developed an interest in radio at five years of age.^[5] While Ray was a homemaker and later an inhalation therapist,^[6][7] Ben was a co-owner of Aura Recording, Inc., a recording studio in Manhattan where cartoons and commercials were produced.^[8] When he made occasional visits with his father, Stern witnessed actors Wally Cox, Don Adams and Larry Storch voice his favorite cartoon characters,^[9][10] which influenced him to later talk on the air rather than play records.^[11] Ben was also an engineer at WHOM, a radio station in Manhattan.^[8] On completion of sixth grade, Stern left Washington-Rose Elementary School for Roosevelt Junior-Senior High School.^[12] In June 1969, the family moved to nearby Rockville Centre and Stern transferred to South Side High School.^[13]

Stern spent the first two of four years at Boston University in the College of Basic Studies.^[14] In 1973, he started to work at WTBU, the campus radio station where he spun records, read the news, and hosted interviews.^[14] He also hosted a comedy program with three fellow students called The King Schmaltz Bagel Hour.^[15] Stern gained admission to the School of Public Communications in 1974^[16] and earned a diploma in July 1975 at the Radio Engineering Institute of Electronics in Fredericksburg, Virginia which allowed him to apply for a first class FCC radio-telephone license.^[17][18] With the license, Stern made his professional debut at WNTN in Newton, Massachusetts, performing airshift, newscasting and production duties between August and December 1975.^[19] He graduated magna cum laude from Boston University in May 1976 with a degree in Communications^[3][14] and now funds a scholarship at the university.^[20]

Career[link]

Early professional radio career (1976–1981)[link]

After his graduation in 1976, Stern declined an offer to work evenings at WRNW, a progressive rock station in Briarcliff Manor, Westchester County, New York.^[21] He was unsure of his talent, and questioned his future in the professional industry. Stern took creative and media planning roles at Benton & Bowles, a New York advertising agency, followed by a job in selling radio time to advertisers.^[22] He realized the mistake of declining on-air work and contacted WRNW a second time where he agreed to work covering shifts over the Christmas holiday period.^[19][23] Stern was hired full time in 1977 and worked a four-hour midday shift, six days per week a $96 weekly salary.^[17] He subsequently worked as the station's production and program director for an increased salary of $250.^[19][24]

In 1979, Stern spotted an advertisement for a "wild, fun morning guy" at rock station WCCC in Hartford, Connecticut.^[25] He submitted a more outrageous audition tape with Robert Klein and Cheech and Chong records mixed with flatulence routines and one-liners.^[26] Stern was hired with no change in salary with a more intense schedule. After four hours on the air he voiced and produced commercials for another four. On Saturdays, following a six-hour show, he did production work for the next three. As the station's public affairs director he also hosted a Sunday morning talk show which he favoured.^[27] In the summer of the 1979 energy crisis, Stern held a two-day boycott of Shell Oil Company which attracted media attention.^[28] Stern left WCCC a year later after he was declined a pay increase.^[29] Fred Norris, the overnight disc jockey, has been Stern's producer and writer since 1981.^[30]

Management at rock outlet WWWW in Detroit, Michigan praised Stern's audition tape in their search for a new morning man.^[31] Stern was hired for the job which he started on April 21, 1980.^[13] He learned to become more open on the air and "decided to cut down the barriers...strip down all the ego...and be totally honest", he later told Newsday.^[32] His efforts earned him a Billboard award for "Album-Oriented Rock Personality of the Year For a Major Market" and the Drake-Chenault "Top Five Talent Search" title.^[33][34] The station however, ran into problems after Stern's quarterly Arbitron ratings had decreased while it struggled to compete with its stronger rock competitors. In January 1981, WWWW switched to a country music format much to Stern's dislike, who left the station soon after.^[35] He received offers to work at WXRT in Chicago and CHUM in Toronto, but did not take them.^[34][36]

Washington and WNBC New York (1981–1985)[link]

Stern moved to Washington, D.C. to host mornings at rock station WWDC on March 2, 1981.^[37][38] He wanted to develop his show further, and looked for a co-worker with a sense of humor to riff with on news and current events.^[39] The station paired Stern with Robin Quivers, a newscaster and consumer affairs reporter from WFBR in Baltimore.^[40] Though he felt restricted and controlled by management who enforced a strict format, Stern had the second highest rated morning radio program in January 1982.^[41][42] Impressed with his ratings success, NBC approached Stern with an offer to work afternoons at WNBC in New York City. After Stern signed a five-year contract worth $1 million in March,^[43] his relationship with WWDC management worsened,^[44] and his contract with the station was terminated on June 25. He had more than tripled the station's morning ratings during his stay.^[45] In its July issue The Washingtonian named Stern the area's best disc jockey.^[46] Stern released 50 Ways to Rank Your Mother, a comedy album of his radio bits. The record was re-released as Unclean Beaver in November 1994.^[47]

On April 2, 1982, a news report by Douglas Kiker on raunch radio featuring Stern aired on NBC Magazine.^[48] The piece stimulated discussion among NBC management to withdraw Stern's contract. When he began his afternoon program in September,^[49] management closely monitored Stern, telling him to avoid talk of a sexual and religious nature.^[50] In his first month, Stern was suspended for several days for "Virgin Mary Kong", a segment featuring a video game where a group of men pursued the Virgin Mary around a singles bar in Jerusalem.^[48] An attorney was hired to man a "dump button", and cut Stern off the microphone should potentially offensive areas be discussed. This became the task of program director Kevin Metheny, who Stern nicknamed "Pig Virus".^[48] On May 21, 1984, Stern made his first appearance on Late Night with David Letterman, launching him into the national spotlight.^[13] A year later he claimed the highest ratings at WNBC in four years with a 5.7% market share.^[51]

On September 30, 1985, Stern and Quivers were fired for what management termed "conceptual differences" regarding the show.^[52] "Over the course of time, we made a very conscious effort to make Stern aware that certain elements of the program should be changed...I don't think it's appropriate to say what those specifics were",^[53] said program director John Hayes, who Stern nicknamed "The Incubus". In 1992, Stern believed Thornton Bradshaw, chairman of WNBC's owner RCA, heard his "Bestiality Dial-a-Date" segment and ordered his firing.^[50] Stern and Quivers kept in touch with their audience throughout October and November where they toured club venues with a stage show.^[52]

K-Rock, early television endeavors and Fartman (1985–1992)[link]

Stern signed a contract with Infinity Broadcasting worth around $500,000^[54] and returned to afternoons on its New York rock station WXRK on November 18, 1985.^[52] The show moved to mornings on February 18, 1986 and entered national syndication on August 18 when WYSP in Philadelphia first simulcast the program.^[52] In October 1992, Stern became the first to have the number one morning radio show in New York and Los Angeles simultaneously.^[55] In the New York market The Howard Stern Show was the highest-rated morning program for seven consecutive years between 1994 and 2001.^[56] In 1994, Billboard magazine added the "Nationally Syndicated Air Personality of the Year" category to its annual radio awards based on entertainment value, creativity and ratings success.^[57] Stern was awarded the title from 1994 to 2002.^[58][59]