Public Opposition Comment – Food Bank of Contra Costa and Solano

Total Page:16

File Type:pdf, Size:1020Kb

Public Opposition Comment – Food Bank of Contra Costa and Solano April 1st, 2019 Certification Policy Branch SNAP Program Development Division Food and Nutrition Service, USDA 3101 Park Center Drive Alexandria, Virginia 22302 RE: Proposed Rule: Supplemental Nutrition Assistance Program (SNAP): Requirements for Able- Bodied Adults without Dependents RIN 0584-AE57 Dear Certification Policy Branch: The Food Bank of Contra Costa and Solano has been fighting hunger since 1975, giving out free food to community members in need. We store donated and purchased perishable and nonperishable food items, distributing them through our own programs and via our community partners. We operate 8 direct distribution programs and make food available for nearly 200 other nonprofit organizations serving people in need of food assistance. Our organization has grown dramatically over the last decades, and an alarming 1 in 8 people within Contra Costa and Solano counties turn to the Food Bank for emergency and supplemental food. In order to meet this incredible demand for our services, the Food Bank has grown to rely on more than 1,000 volunteers a month, over 70 staff members, a large fleet of trucks and two facilities totaling 70,000 square feet to procure and distribute food and grocery items. In Contra Costa and Solano alone, we serve about 178,000 individuals every month and distribute over 22 million pounds of food each year, over half of which is fresh produce. The Food Bank serves our community passionately and efficiently, but we know there continues to be unmet need. Many of the people we serve are only able to make ends meet through the combination of Food Bank groceries and Supplemental Nutrition Assistance Program (SNAP) benefits. For every meal we distribute, SNAP provides 12. If a significant number of community members were to lose eligibility for SNAP, our Food Bank would not be able to fill the gap and people would go hungry. It is for that reason that we take the opportunity to comment in opposition to USDA’s Proposed Rulemaking on SNAP requirements and services for Able-Bodied Adults without Dependents Ending hunger together (ABAWDs). Harshening SNAP time limits and taking away someone’s food increases hunger, not employment. According to the USDA itself, up to 570,000 Californians could have their food assistance threatened if this proposed rule were to go into effect. Contra Costa County’s ABAWD waiver is already set to expire in September 2019, and an estimated 3,900 - 4,600 people will lose the entirety of their food assistance as a result. We have been working diligently with Contra Costa County for over a year to prepare for these time limits and the expected increase in hunger (See Appendix 1.) If this proposed rule goes into effect, thousands more individuals in Solano County and across the vast North State region that our organization also services would suddenly be impacted as well, increasing their demand for our limited resources with very little time to prepare. SNAP Works In Contra Costa County Contra Costa County’s current ABAWD waiver will expire on August 31, 2019, and the Food Bank has been working for over a year to convene county administrators, Employment and Training (E&T) providers, community based organizations, and other stakeholders in preparation for the re-instatement of ABAWD time limits. (See Appendix 1) Despite the overall improvements to our local economy, the need for SNAP (CalFresh) remains high. Currently 10.1% of Contra Costa residents live below the official poverty level. The California Poverty Measure, which takes into account the cost of living and in-kind benefits, calculates that the poverty rate is really 14.8% in Contra Costa. According to the Public Policy Institute of California, poverty in the Bay Area would increase by 4% without safety net programs like CalFresh. According to a recent Contra Costa Employment and Human Services Department report, there were an average of 27,743 CalFresh cases in 2017. This represents 64,666 individuals. Forty- eight present of these individuals are children under the age of 18. The average monthly benefits issued in Contra Costa equaled an average of $8,816,127 each month. Given that every $1 provided in CalFresh benefits generates $1.79 in economic activity, in 2017 CalFresh brought $189 million into our local economy. The 2017 unemployment rate in Contra Costa was 3.6%. While this is less the current national unemployment rate of 3.8%, certain groups experience more barriers to work and much higher rates of unemployment. For example, the unemployment rate in Richmond, a predominantly- Ending hunger together African American city in West Contra Costa, was 4.5%. In spring 2018, California's overall unemployment rate sat at 4.2 percent. However, the Black unemployment rate was more than twice that of white Californians and 1.6 times higher for Hispanics. The unemployment rate in East Contra Costa, where public transportation is limited and fewer jobs are available, was 6.3%, significantly higher than the county average. As rents skyrocket in the urban core communities in the Bay Area, more and more people are getting pushed out to the rural, Eastern regions of Contra Costa where rent is cheaper. However this means that they live further away from where most jobs and community resources are located. Many of these individuals don’t have cars and it can take hours by bus to get to an E&T program, a job interview, or a job itself. (See Appendix 2) Far East Contra Costa County (including the communities of Bethel Island, Knightsen, Byron, Discovery Bay) can be considered a “transit desert,” as it lacks adequate public transit service and includes populations that are deemed transit-dependent. The Contra Costa Employment and Human Service’s Department found that as of May 2018, there is no public bus service farther east than Brentwood. Bus service into Discovery Bay was eliminated at the end of May 2018. There is no public bus service farther west than Oakley. This is particularly noteworthy, considering that 43% of ABAWDs in Contra Costa live in East County. (See Appendix 1) According to a report by the Workforce Development Board of Contra Costa, the most promising job sectors for Employment & Training are the healthcare industry, transportation and warehousing, and the construction sector. However all of these sectors often experience unpredictable schedules and often requires specific educational or on-the-job training. (See Appendix 1) The Contra Costa residents that are covered under the current, but soon to expire, waiver are incredibly vulnerable, despite the overall improvement of the economy. According to a March 2018 report from Contra Costa between 3,900 and 4,600 individuals will be at risk of losing benefits due to the ABAWD time limits. The majority of ABAWDs (61%) are men, and the vast majority are English-speaking (98%) and US citizens (97%). African Americans are disproportionately impacted by the time limits, representing 33% of ABAWDs compared to 9% of the overall population. Nearly half of all ABAWDs are under 30 and 8% are under 20. ABAWDs under 20 were the age group most at risk of losing benefits due to the time limit, with 89% of 18 and 19-year-olds estimated to have their benefits cut off. (See Appendix 2) Ending hunger together According to a county survey of ABAWDs nearly one-third (30%) of were currently working, though less than half were regularly working over 20 hours per week. The most common sectors people listed working in were retail and office work. (See Appendix 3) Of those who were unemployed, nearly half (45%) had been out of work for more than one year. Although over two-thirds (68%) of respondents said they were searching for a job, respondents reported several barriers to employment. Over two-thirds (69%) said they did not know of companies who were hiring near where they lived, and roughly one-quarter of respondents said they did not have references (29%), had gaps in their work history they could not explain (23%), or did not know what pay to expect (28%). Over 21% of respondents did not have a permanent place to live, were at risk of eviction, or homeless. One-third reported having a health condition or disability that impacted their ability to work. Nearly one-fifth (18%) said they were a caregiver for a dependent child or adult. Additionally, half of respondents said they did not own a car and over one quarter (29%) did not have a driver’s license. (See Appendix 3). The vast majority (95%) of respondents had graduated from high school, with 30% having only a high school diploma or GED. The remaining two-thirds of respondents had attended some college, had a college degree, or a career certificate. Still, over one-third (36%) said they were interested in taking community college classes and 40% said they would be interested in a job training and placement program. (See Appendix 3). Participation in an E&T program can help an ABAWD meet the work requirements and maintain CalFresh eligibility, but only 36 of California’s 58 counties offered such a program in 2018. Luckily, both Contra Costa and Solano counties have E&T programs, but neither is able to provide enough slots for all ABAWDs. Contra Costa County contracts with the Foundation of California Community Colleges to offer the Fresh Success program. Fresh Success participants gain access to educational programs and training to improve basic skills and improve employability (e.g. through English language learning and high school equivalency) as well as programs that provide career technical/vocational training and education. Participants also receive services such as career counseling; interview training; resume development, job search, and placement (E&T Job Club); job retention services; and other supports to reduce barriers to program participation such as reimbursement for transportation, textbooks, and supplies.
Recommended publications
  • Grant Resume
    AFTON GRANT, SOC STEADICAM / CAMERA OPERATOR - STEADICAM OWNER FEATURES DIRECTOR • D.P. PRODUCERS CHAPPAQUIDDICK (A-Cam/Steadi) John Curran • Maryse Alberti Apex Entertainment THE CATCHER WAS A SPY (Steadicam-Boston Photog) Ben Lewin • Andrij Parekh PalmStar Media MANCHESTER BY THE SEA (Steadicam) Kenneth Lonergran • Jody Lee Lipes B Story URGE (A-Cam/Steadi) Aaron Kaufman • Darren Lew Urge Productions AND SO IT GOES (A-Cam/Steadi) Rob Reiner • Reed Morano ASC Castle Rock Entertainment THE SKELETON TWINS (A-Cam) Craig Johnson • Reed Morano ASC Duplass Brothers Prods. THE HARVEST (Steadicam) John McNaughton • Rachel Morrison Living Out Loud Films AFTER THE FALL - Day Play (B-Cam/Steadi) Anthony Fabian • Elliot Davis Brenwood Films THE INEVITABLE DEFEAT OF MISTER & PETE (A-Cam/Steadi) George Tillman Jr. • Reed Morano ASC State Street Films KILL YOUR DARLINGS (A-Cam/Steadi) John Krokidas • Reed Morano ASC Killer Films THE ENGLISH TEACHER (Steadicam) Craig Zisk • Vanja Cernjul ASC Artina Films INFINITELY POLAR BEAR (Steadicam) Maya Forbes • Bobby Bukowsk Paper Street Films THE MAGIC OF BELLE ISLE (A-Cam/Steadi) Rob Reiner • Reed Morano ASC Castle Rock Entertainment MOONRISE KINGDOM (Steadicam) Wes Anderson • Robert Yeoman, ASC Scott Rudin Productions FUGLY! (Steadicam) Alfredo De Villa • Nancy Schreiber, ASC Rebel Films THE OTHER GUYS (2nd Unit B-Cam) Adam McKay • Oliver Wood, BSC Columbia Pictures THE WACKNESS (Steadicam) Jonathan Levine • Petra Korner Shapiro Levine Productions PLEASE GIVE (Addtl Steadicam) Nicole Holofcener • Yaron Orbach Feelin’ Guilty THE WOMAN (Steadicam) Lucky McKee • Alex Vendler Moderncine PETUNIA (Steadicam) Ash Christian • Austin Schmidt Cranium Entertainment THE NORMALS (Steadicam) Kevin Patrick Connors • Andre Lascaris Gigantic Pictures TELEVISION DIRECTOR • D.P.
    [Show full text]
  • 52 Officially-Selected Pilots and Series
    WOMEN OF COLOR, LATINO COMMUNITIES, MILLENNIALS, AND LESBIAN NUNS: THE NYTVF SELECTS 52 PILOTS FEATURING DIVERSE AND INDEPENDENT VOICES IN A MODERN WORLD *** As Official Artists, pilot creators will enjoy opportunities to pitch, network with, and learn from executives representing the top networks, studios, digital platforms and agencies Official Selections – including 37 World Festival Premieres – to be screened for the public from October 23-28; Industry Passes now on sale [NEW YORK, NY, August 15, 2017] – The NYTVF (www.nytvf.com) today announced the Official Selections for its flagship Independent Pilot Competition (IPC). 52 original television and digital pilots and series will be presented for industry executives and TV fans at the 13th Annual New York Television Festival, October 23-28, 2017 at The Helen Mills Theater and Event Space, with additional Festival events at SVA Theatre. This includes 37 World Festival Premieres. • The slate of in-competition projects represents the NYTVF's most diverse on record, with 56% of all selected pilots featuring persons of color above the line, and 44% with a person of color on the core creative team (creator, writer, director); • 71% of these pilots include a woman in a core creative role - including 50% with a female creator and 38% with a female director (up from 25% in 2016, and the largest number in the Festival’s history); • Nearly a third of selected projects (31%) hail from outside New York or Los Angeles, with international entries from the U.K., Canada, South Africa, and Israel; • Additionally, slightly less than half (46%) of these projects enter competition with no representation.
    [Show full text]
  • Dating While Fat: Notes from a Harmed Life
    DATING WHILE FAT: NOTES FROM A HARMED LIFE ____________ A Project Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in English ____________ by © Julie Ricks McClintic Spring 2018 DATING WHILE FAT: NOTES FROM A HARMED LIFE A Project by Julie Ricks McClintic Spring 2018 APPROVED BY THE INTERIM DEAN OF GRADUATE STUDIES: Sharon Barrios, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: . Robert Davidson, Ph.D., Chair Paul Eggers, Ph.D. PUBLICATION RIGHTS No portion of this project may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author. iii DEDICATION To the most beautiful girls in the world, Áine and Olivia iv ACKNOWLEDGEMENTS There are so many people to thank as I did not get to this place alone. Although writing is a solitary sport, we need to occasionally poke our heads out of our holes and say, “Hey! Anyone want to read this thing?” And it’s good to have someone(s) who will answer, even when, perhaps especially when, we are broken and not ourselves. It took a team of people to keep the fragmented parts of me together, however loosely that is, and pointed in the same direction, so the list is long. It’s a miracle I got here. I’ve told many people, “Grad school is harder than any job I’ve ever had. It’s every night, every weekend, every holiday, seven days a week.” Here I have discovered what it means—how to be present for everything I have needed to accomplish on my journey towards a graduate level degree—to be a professional.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • The Empowerment Manual
    Advance Praise for The EMPOWERMENT MANUAL It’s not easy to meld a sweeping vision with practical steps on how to implement it, but Starhawk has succeeded brilliantly in The Empowerment Manual. Filled with case histories, illustrative stories, and, most importantly, clearly written exercises for honing your collaborative skills, this book is a must-read for anyone interested in building community and truly empowering themselves and others. — Toby Hemenway, author, Gaia’s Garden: A Guide to Home-Scale Permaculture True social change is a collaborative art. Here’s a trove of tips, guidelines, deft strategies and open secrets, that will speed and ease our capacity to work together. It comes to us with Starhawk’s signature blend of vast experience, wit, and love for life. — Joanna Macy, author, The Work that Reconnects and co-author, Active Hope: How to Face the Mess We’re In Without Going Crazy This new book, The Empowerment Manual: A Guide for Collaborative Groups, is Starhawk at her best — wise woman elder, articulate thinker and witty writer, experienced leader and fierce guardian of the planet. This is the how-to we’ve been needing, an eloquent and thoughtful handbook of intelligent advice detailing exactly how to bring the principles of cooperation, caring, and demo- cratic sustainability fully into living practice. Extremely well done! — Vicki Noble, co-creator of Motherpeace, author of Shakti Woman and The Double Goddess The Empowerment Manualis truly a guide to ensure the survival of those of us who us who are struggling to work collaboratively. It sheds a light on those dark corners of group dynamics that can leave us confused and disheartened.
    [Show full text]
  • Derek Kompare, Southern Methodist University
    TV Genre, Political Allegory, and New Distribution Platforms “Streaming and the Function of Television Genre” Derek Kompare, Southern Methodist University Although it’s been less than four years since Netflix introduced House of Cards, such exclusive programming has become a standard expectation on streaming platforms, which now consistently premiere several such series throughout each year. Cable networks such as HBO, AMC, Showtime, and FX continue to roll out this sort of critic- and high-demo-friendly programming, but streamers have legitimately challenged their dominance. Given rapidly shifting metrics and secretive distributors, we’ll never know the scope of this challenge in real audience terms. That said, the impact of this programming in media coverage can still be assessed. There, programs’ forms and distribution models are still as much a matter of public discussion as character arcs or story events. The concept of a “cable series” came to represent a broadening of established television standards of form and genre in the 2000s; the concept of a “streaming series” is just beginning to represent a similar break from the now-normative expectations of cable. Streaming’s on-demand architecture has been its primary cultural impact (regardless of what viewers actually demand to watch), and this distribution model has affected how television series are now conceived, produced, promoted, and consumed. A brief look at three relatively prominent series, on each of the major streaming services, reveals a bit about how the perception of
    [Show full text]
  • John Cassavetes
    Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on
    [Show full text]
  • From June 2-8, Nyc's Ifc Center Celebrates the Art of Television with Star-Studded Split Screens Festival
    FROM JUNE 2-8, NYC'S IFC CENTER CELEBRATES THE ART OF TELEVISION WITH STAR-STUDDED SPLIT SCREENS FESTIVAL Inaugural Week-Long Event, Programmed By Critic/Author Matt Zoller Seitz, To Feature Exclusive Screenings and Panels Spotlighting Critically-Acclaimed Scripted Series World Premiere Screening of HBO’s Highly Anticipated Drama 'The Deuce' Kicks Off Curated Lineup On Friday, June 2nd; Featured Content To Include: 'Better Call Saul,' 'Billions,' ‘Brockmire,’ ‘Difficult People,’ 'The Get Down,' 'The Girlfriend Experience,' 'Mr. Robot,' ‘Orphan Black,’ ‘Search Party,’ ‘Underground’ Plus Other Special Events To Be Announced Specials Guests Include Hank Azaria, Sarah Violet Bliss, Lilly Burns, Asia Kate Dillon, John Fawcett, Nelson George, Stephen Adly Guirgis, Maggie Gyllenhaal, Anthony Hemingway, Aisha Hinds, Lodge Kerrigan, Julie Klausner, Brian Koppelman, Rami Malek, Tatiana Maslany, Michelle MacLaren, Graeme Manson, Michael McKean, Amanda Peet, George Pelecanos, Charles Rogers, Amy Seimetz and More Tickets on Sale Beginning May 11 [New York, May 11, 2017] – IFC Center today announced the first portion of its impressive lineup for the inaugural Split Screens Festival taking place Friday, June 2 through Thursday, June 8, 2017, at the IFC Center in New York City. Throughout the week, the festival will host a series of special events celebrating the art and craft of TV with exclusive screenings and vibrant panel conversations featuring the biggest and boldest names in scripted content. Tickets to the public go on sale beginning Thursday,
    [Show full text]
  • AA-Postscript 2.Qxp:Layout 1
    LIFESTYLE35 SUNDAY, NOVEMBER 1, 2015 Features Drew Barrymore talks her new book, having a family Review he last time Drew Barrymore released that? them and will be every single day for the However, I feel so grateful for the opportu- a book about her life, it was 1991’s Barrymore: It’s stories; it’s not a memoir. rest of my life, no matter how nuts they nities I got along the way because being a T“Little Girl Lost,” about her troubled It’s thinking about things and times in my drive me. young twenty-something and asking to be childhood. Her new book is titled life that were meaningful and special. I AP: You’re a boss at your production given the opportunity to do films and work “Wildflower,” and it reflects the positive always wanted to write, and I was never company and also an actress. What do you in this business and be trusted ... however changes in her life. The 40-year-old actress brave enough and I never had the time, say about the Hollywood pay gap? much I always want to support everyone, I is now married to art consultant Will which with two kids it’s ironic - that gave Barrymore: Obviously, it should be equal also want to always remain very, very grate- Kopelman and the mother of two young me the time, but I pushed so many other and that’s that. I don’t think there’s much ful. —AP daughters. She has a beauty line called things aside in my life to be present with more to say on it.
    [Show full text]
  • 2016 DGA Episodic Director Diversity Report (By SIGNATORY COMPANY)
    2016 DGA Episodic Director Diversity Report (by SIGNATORY COMPANY) Combined # Episodes # Episodes # Episodes Combined Male # Episodes Female Total # of Female + Directed by Male Directed by Directed by Female Signatory Company Title Female + Caucasian Directed by Caucasian Network Episodes Minority Male Minority % Female Female Minority % Minority % % Male Minority % Episodes Caucasian Caucasian Minority 50/50 Productions, LLC Workaholics 10 0 0% 10 100% 0 0% 0 0% 0 0% Comedy Central ABC Studios American Crime 10 9 90% 1 10% 4 40% 4 40% 1 10% ABC ABC Studios Blood & Oil 9 1 11% 8 89% 0 0% 1 11% 0 0% ABC ABC Studios Castle 22 5 23% 17 77% 0 0% 1 5% 4 18% ABC ABC Studios Catch, The 9 3 33% 6 67% 1 11% 1 11% 1 11% ABC ABC Studios Code Black 17 5 29% 12 71% 4 24% 1 6% 0 0% CBS ABC Studios Criminal Minds 22 10 45% 12 55% 3 14% 6 27% 1 5% CBS ABC Studios Criminal Minds: Beyond CBS 13 4 31% 9 69% 2 15% 2 15% 0 0% Borders ABC Studios Devious Maids 13 5 38% 8 62% 2 15% 3 23% 0 0% Lifetime ABC Studios Family, The 11 1 9% 10 91% 0 0% 1 9% 0 0% ABC ABC Studios Grandfathered 20 6 30% 14 70% 1 5% 5 25% 0 0% FOX ABC Studios Grey's Anatomy 24 14 58% 10 42% 4 17% 1 4% 9 38% ABC ABC Studios How To Get Away With ABC 15 7 47% 8 53% 4 27% 2 13% 1 7% Murder ABC Studios Marvel's Agent Carter 10 4 40% 6 60% 2 20% 2 20% 0 0% ABC ABC Studios Muppets, The 16 0 0% 16 100% 0 0% 0 0% 0 0% ABC ABC Studios Real O'Neals, The 12 4 33% 8 67% 0 0% 4 33% 0 0% ABC ABC Studios Secrets and Lies 10 3 30% 7 70% 1 10% 1 10% 1 10% ABC ABC Studios Wicked City 8 1 13% 7 88% 0 0% 1 13% 0 0% ABC Abso Lutely Films, Inc.
    [Show full text]
  • Federal Communications Commission DA 16-510 Before the Federal
    Federal Communications Commission DA 16-510 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of Competition in ) MB Docket No. 15-158 the Market for the Delivery of Video Programming ) SEVENTEENTH REPORT Adopted: May 6, 2016 Released: May 6, 2016 By the Chief, Media Bureau: TABLE OF CONTENTS Heading Paragraph # I. EXECUTIVE SUMMARY.................................................................................................................... 1 II. INTRODUCTION................................................................................................................................ 13 A. Scope of the Report........................................................................................................................ 13 B. Analytic Framework ...................................................................................................................... 14 C. Data Sources .................................................................................................................................. 15 III. PROVIDERS OF DELIVERED VIDEO PROGRAMMING.............................................................. 16 A. Multichannel Video Programming Distributors ............................................................................ 16 1. MVPD Providers ..................................................................................................................... 16 a. Regulatory Conditions Affecting Competition................................................................
    [Show full text]
  • Presented by Grand Sponsors
    PRESENTED BY GRAND SPONSORS 1 PRESENTING SPONSOR GRAND SPONSORS PREMIERE SPONSORS OFFICIAL SPONSORS SPONSORS ® drink water, not sugar Tickets: 213.480.7065 | outfest.org 2 DAY SPONSORS 15TH ANNIVERSARY FUNDERS PLATINUM SPONSOR OUTFEST FORWARD SPONSORS PROGRAM SPONSORS: FRIENDS OF OUTFEST: MEDIA SPONSORS: Akin Gump Strauss Hauer & Feld, LLP Christopher Street West/LA Pride Adelante Magazine Amazon’s One Mississippi Comedian Robbie Rob EuroChannel Inc. Amazon’s Transparent DoubleTree Downtown LA KSPC 88.7 FM The Film Collaborative Goethe Institut Latino Public Broadcasting FotoKem Hollywood Bowl Latino Weekly Review Hulu’s Difficult People International Documentary One More Lesbian Lesbian News Association Light Iron Precinct Bar The Next Family Sharpe Suiting Northern Trust SJ Linking System Project Greenlight WGAW Ramada WeHo Withoutabox SAG-AFTRA SAGIndie Search Party Section II Seed&Spark Sidley Austin LLP SmartSource Sony Pictures Entertainment Symon Productions Outfest 2016 Key Art designed by Alexander Irvine Visit Berlin Outfest 2016 Film Guide designed by Propaganda Creative Group SPONSORS @outfest #outfestla 3 TABLE OF CONTENTS Welcome to the 2016 Outfest Los Angeles LGBT ESSENTIALS Film Festival. It’s an election year, and that Film Icon Key 3 means powerful forces are out to separate our Schedule-at-a-Glance 18 community from the rest of the world, and even About Outfest | Major Donors 32 to turn us against each other. Your story, his Tickets | Venues 34 story, her story, their story - it is all our story. Our Film Index by Title 35 collective voice matters. And what better time or place to revel in our own stories — and to discover the commonalities within our own community — than Outfest Los Angeles? Every year, we urge you to explore and GALAS | CENTERPIECES to discover stories that might not, at first, seem Opening Night Gala 4 to be about your own experience.
    [Show full text]