NewsBlaze is now an American company, and of course we are still news for Americans.
At NewsBlaze we strive to provide useful news and information, and the editors work hard to maintain high editorial standards. We proofread and edit every story for spelling, grammar, format and meaning.
If you see a problem, we’d love to hear about it, so we can make corrections. Send us an email or call us on the phone. If you phone, please check the difference between our timezones, because we might be sleeping when you’re awake.
You can also connect with us on Facebook, Twitter, LinkedIn and a few other social media sites.
While head office is Utah, most of our news is meant for U.S. readers, just as it was when we lived in Australia.
Publisher
Emeritus Founder, Publisher and Editor-in-Chief: Alan Gray
Phone: +61 8 8531 0254 – in Australia
Editors
Senior Editor: Judyth Piazza
Editor: Carmen Alasagas
Editor: Sally Ann Gray
Contact NewsBlaze
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Newsroom
Phone: +61 8 8531 0254 – in Australia
Writers and Journalists
NewsBlaze has active writers all over the world.
Contact: Editors
Phone: +61 8 8531 0254 – in Australia
If it's only the backdrop of a story, it gets a little tricky. Probably a little like trying to mix oil and water, or deciding to buy magnetic catches; you know, deep down, it's just not going to work.
Seeming less like a doomsday doc than a US Defense Department PSA, Lucy Walker's Countdown To Zero is an alarmist neo-nuke proliferation outcry against the persistent dangers that appear to have never gone away, of nuclear annihilation on the plane
And so begins the determined but awkward journey in 2006 of populist homeboy director Joe Winston back to those heartland roots in the documentary, What's The Matter With Kansas? Or more to the point, what's a corn-fed Middle American to do, while
Life during Wartime also revolves around a 12 year-old (Dylan Riley Snider) studying for his bar mitzvah, but the dystopia in which he is immersed is far more bizarre than anything in the Coen's relatively comical adventure.
In 1922, he opened the Barnes Foundation in suburban Philadelphia, an unpretentious museum/school designed with aspiring young artists and working-class patrons in mind, two groups then generally shunned by the elitist art world.