Why Little-Known Northpoint Scares Directv Scare Cable
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Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
Past, Present and Future: a Thai Community Newspaper Sukanya
The Asian Conference on Media and Mass Communication 2013 Official Conference Proceedings Osaka, Japan Past, Present and future: A Thai Community Newspaper Sukanya Buranadechachai Burapha University, Thailand 0006 The Asian Conference on Media and Mass Communication 2013 Official Conference Proceedings 2013 Abstract This study focuses on Thai newspapers in Los Angeles, regarding services and benefits offered to the Thai community, their individual characteristics, and challenges they have encountered. In-depth interviews were conducted among 7 Thai newspaper publishers. A focus group consisted of 15 Thai readers with varying ages. Although, having provided critical contributions to Thai community, research found that Thai newspapers in LA lacked professional newspaper organization and quality reporting regarding local issues. iafor The International Academic Forum www.iafor.org 1 The Asian Conference on Media and Mass Communication 2013 Official Conference Proceedings Osaka, Japan Introduction Background, importance and problem of the research; Funding was granted by Isra Amantagul Foundation, the Thai Journalist Association under the Asian Partnership Initiative of University of Wisconsin at Madison, having been funded properly, the researcher was eligible to research Thai communities in the United States of America to increase the knowledge and understanding of mass communication. While a visiting professor at in the United States, the researcher recognized that local newspapers play an important role in local development, for it publicizes all information and connects people among the community. The status and existence of community newspapers in Los Angeles was interesting, especially in the aspects of pattern, content, and organizational management. The existence of local newspapers are beneficial to both government and private organizations, readers within the community, and the newspapers in the community itself. -
The Crisis of Contemporary Arab Television
UC Santa Barbara Global Societies Journal Title The Crisis of Contemporary Arab Television: Has the Move towards Transnationalism and Privatization in Arab Television Affected Democratization and Social Development in the Arab World? Permalink https://escholarship.org/uc/item/13s698mx Journal Global Societies Journal, 1(1) Author Elouardaoui, Ouidyane Publication Date 2013 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Crisis of Contemporary Arab Television | 100 The Crisis of Contemporary Arab Television: Has the Move towards Transnationalism and Privatization in Arab Television Affected Democratization and Social Development in the Arab World? By: Ouidyane Elouardaoui ABSTRACT Arab media has experienced a radical shift starting in the 1990s with the emergence of a wide range of private satellite TV channels. These new TV channels, such as MBC (Middle East Broadcasting Center) and Aljazeera have rapidly become the leading Arab channels in the realms of entertainment and news broadcasting. These transnational channels are believed by many scholars to have challenged the traditional approach of their government–owned counterparts. Alternatively, other scholars argue that despite the easy flow of capital and images in present Arab television, having access to trustworthy information still poses a challenge due to the governments’ grip on the production and distribution of visual media. This paper brings together these contrasting perspectives, arguing that despite the unifying role of satellite Arab TV channels, in which national challenges are cast as common regional worries, democratization and social development have suffered. One primary factor is the presence of relationships forged between television broadcasters with influential government figures nationally and regionally within the Arab world. -
How Cable News Reshaped Local Government$
How Cable News Reshaped Local GovernmentI Sergio Gallettay, Elliott Ashy yETH Zürich Abstract Partisan cable news broadcasts have a causal effect on the size and composition of bud- gets in U.S. localities. Utilizing channel positioning as an instrument for viewership, we show that exposure to the conservative Fox News Channel shrinks local government budgets, while liberal MSNBC enlarges them. Revenue changes are driven by shifts in property taxes, a key tool for local redistributive policy. Expenditure changes are driven by public hospital expenditures, an important discretionary public good provided by lo- cal governments. We also find evidence that Fox exposure increased privatization (while MSNBC decreased it). An analysis of mechanisms suggests that the results are driven by changes in voter preferences, but not by changes in partisan control of city governments. IWe are grateful to Stefano DellaVigna, Mirko Draca, Ruben Durante, Tore Ellingsen, Benny Geys, Massimo Morelli, Suresh Naidu, Giovanni Pica, Carlo Schwarz, Alex Stremitzer, and Alois Stutzer for helpful suggestions. We have also benefited from comments by participants at the "Causes and Consequences of Populism workshop" in Bocconi (Milan), "Workshop on Political Economy" at the IEB (Barcelona), "Swiss Workshop on Local Public Finance" (Lugano), "Petralia workshop" (Petralia), EEA-ESEM conference (Manchester) and seminars at the University of Lugano, ETH Zürich and IAE- CSIC (Barcelona). We are grateful to Christian Dippel for sharing his data on city elections and to Greg Martin for sharing data on Nielsen ratings. David Cai, Romina Jafarian, Selina Lorusso, and Matteo Pinna provided excellent research assistance. This version: September 2019 (First version: April 2019) ∗Corresponding author: Sergio Galletta. -
Complaint, Cablevision Sys. Corp. V. Viacom Int'l
Case 1:13-cv-01278-LTS Document 9 Filed 03/07/13 Page 1 of 60 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ) CABLEVISION SYSTEMS CORPORATION ) and CSC HOLDINGS, LLC, ) ) Civil Action No. 13 CIV 1278 (LTS) Plaintiffs, ) (JLC) -against- ) ) COMPLAINT VIACOM INTERNATIONAL INC. and BLACK ) ENTERTAINMENT TELEVISION LLC, ) REDACTED PUBLIC VERSION ) Defendants. ) ) Plaintiffs Cablevision Systems Corporation and CSC Holdings, LLC (collectively, “Cablevision”), by their attorneys Ropes & Gray LLP, bring this Complaint against Viacom International Inc. and Black Entertainment Television LLC (collectively, “Viacom”) for violations of federal and state antitrust laws, and allege as follows: NATURE OF THE ACTION 1. This case involves Viacom’s abuse of its market power over access to commercially critical networks – its highly popular Nickelodeon, Comedy Central, BET, and MTV networks – to force Cablevision to license and distribute over scarce bandwidth some dozen other Viacom networks, which Viacom calls Suite Networks, that many Cablevision subscribers do not watch and for which Cablevision would prefer to substitute competing networks. Viacom strong-armed Cablevision into carrying Suite Networks by threatening to impose a near $ billion penalty if Cablevision licensed only the Viacom networks Cablevision wanted, networks Viacom calls its Core Networks. Stated differently, unless Cablevision agreed to distribute Viacom’s Suite, Cablevision would pay nearly as much for just the Core (which includes commercially critical networks) than for the Core and Suite 1 Case 1:13-cv-01278-LTS Document 9 Filed 03/07/13 Page 2 of 60 combined. Viacom’s diabolical and coercive scheme, which harms competition, consumers, and Cablevision, constitutes tying and block booking in violation of the Sherman Act and New York law. -
Building a Transatlantic Digital Marketplace: Twenty Steps Toward 2020
Building a Transatlantic Digital Marketplace: Twenty Steps Toward 2020 Report of the Atlantic Council Task Force on Advancing a Transatlantic Digital Agenda Co-Chairs: H.E. Carl Bildt The Hon. William E. Kennard Project Director: Frances G. Burwell Rapporteur: Tyson Barker Building a Transatlantic Digital Marketplace: Twenty Steps Toward 2020 Report of the Atlantic Council Task Force on Advancing a Transatlantic Digital Agenda Co-Chairs H.E. Carl Bildt The Hon. William E. Kennard Project Director Frances G. Burwell Rapporteur Tyson Barker ISBN: 978-1-61977-943-3 This report is written and published in accordance with the Atlantic Council Policy on Intellectual Inde- pendence. The authors are solely responsible for its analysis and recommendations. The Atlantic Council and its donors do not determine, nor do they necessarily endorse or advocate for, any of this report’s conclusions. March 2016 Table of Contents Foreword...................................................................................................................................................v Note from the Co-Chairs ..........................................................................................................................vii Task Force on Advancing a Transatlantic Digital Agenda .....................................................................ix Executive Summary .................................................................................................................................1 Redefning the Rules of Digital Trade......................................................................................................11 -
IDC MUX-5012I
Flexible multiplexer for broadcast applications Fully Compliant with ISDB-T and ISDB-Tb Description Easy to use PSI/SI rebuilding, editing and gener- International Datacasting’s MUX-5012i is an extremely There is a complete set of backlit alphanumeric full- ating feature rich ISDB-T/ISDB-Tb transport stream multiplex- travel buttons on the front panel for easy configuration, Descriptor data inserting er. Up to 12 ASI inputs can be supported. The output even in the dark. The large LCD display is illuminated, yet provides high contrast for visibility in direct sunlight. Accurate PCR adjusting may be configured as two separate multiplex groups to simplify feeding different service providers with differ- Control may be via the simple front panel interface or SFN support, supporting hierarchy ent groups of services. via the integrated web browser controlled software transmission interface. Up to twelve (12) ASI inputs Ideal for converting your transport to ISDB-T per unit TSM5012i multiplexer is a TS re-multiplexer that is de- Reliable and affordable Two (2) separate TS re-multiplexed signed for ISDB-T and ISDB-Tb Digital Terrestrial Televi- The MUX-5012i multiplexer provides an industry-leading ASI outputs per unit sion broadcast video distribution. The TSM5012i sup- set of features in a highly compact, highly affordable PID Remapping ports 2 separate multiplexers which are fully complying package. The unit is designed for demanding 24 / 7 Support input 188/204 byte TS with ISDB-T/ISDB-Tb standard. This multiplexer can environments for years of reliable operation. packet transfer the head-end SPTS and MPTS to ISDB-T stand- Support IIP packet editing and gen- ard TS as required . -
PBS Engineering Technology Advisory Committee ATSC 3.0 Position Paper
PBS Engineering Technology Advisory Committee ATSC 3.0 Position Paper Introduction The PBS Engineering Technical Advisory Committee (ETAC)* has created a working group focused on the pending ATSC 3.0 broadcast transmission standard and its impact on PBS member stations. The ETAC ATSC 3.0 Working Group is made up of Public Television station technology leaders with support from PBS. The current digital broadcast technology was developed in the early 1990s by a large group of industry professionals with overall leadership from the FCC Advisory Committee on Advanced Television Service and the Advanced Television Systems Committee (ATSC).* The standard was published in 1995 and then adopted by the FCC in 1996. In July of 1996, WRAL TV in Raleigh, NC became the first North American television station to broadcast a digital service. In time, the standard we now refer to as ATSC 1.0 was introduced across the country. With the demise of analog television broadcast, it became the operating standard in 2009. ATSC 2.0 was an enhancement of ATSC 1.0, adding new technologies such as advanced video and audio coding and new features such as second screen and Conditional Access. While ATSC 2.0 did become a standard, it was not widely adopted. Many of the capabilities 2.0 enabled, however, were used and expanded on in ATSC 3.0. Technology changes rapidly and the need for an advanced broadcast standard not hampered by the backwards compatibility restraints of ATSC 1.0 is clear. Given consumers’ rapid adoption of mobile and handheld devices for video consumption, it is clear that broadcasters need to adapt to meet current consumer demands and ensure scalability for future needs. -
A Brief History of Net Neutrality
A Brief History of Net Neutrality Professor Daniel Lyons, Boston College Law School 71st NECPUC Annual Symposium May 21, 2018 Origins: 1996 Telecommunications Act “Today, with the stroke of a pen, our laws will catch up with our future.” --President Bill Clinton, signing the 1996 Telecommunications Act Origins: 1996 Telecommunications Act Title I Title II Title III Title VI Information Telecom Wireless Cable Services Services Services Services Lightly Common Licensing Local Regulated Carriage Franchising Example: Example: Example: Example: Voicemail Telephone Broadcast Cable TV What About the Internet? • 1996: only 50% of Americans have Internet Access • Act mentions Internet almost entirely in context of regulating online pornography • Mentions Broadband only once What About the Internet? “I want to create an oasis from regulation in the broadband world, so that any company, using any technology, will have incentives to deploy broadband in an unregulated or significantly deregulated environment.” --FCC Chairman William Kennard 1999 What About the Internet? Title I Title II Title III Title VI Information Telecom Wireless Cable Services Services Services Services Lightly Common Licensing Local Regulated Carriage Franchising Example: Example: Example: Example: Voicemail Telephone Broadcast Cable TV City of Portland, Oregon (1999) Title I Title II Title III Title VI Information Telecom Wireless Cable Services Services Services Services Lightly Common Licensing Local Regulated Carriage Franchising Example: Example: Example: Example: Voicemail -
MITCHELL SYROP Born 1953, Yonkers, New York Lives and Works
MITCHELL SYROP Born 1953, Yonkers, New York Lives and works in Los Angeles, CA EDUCATION 1978 MFA, California Institute of the Arts, Santa Clarita, CA 1975 BFA, Pratt Institute, Brooklyn, NY SOLO EXHIBITIONS 2015 Niza Guy, Ghebaly Gallery, Los Angeles, USA The Same Mistake, Croy Nielsen, Berlin, GERMANY 2014 It is Better to Shine Than to Reflect, Midway Contemporary Arts, Minneapolis, USA Hidden, Midway Contemporary Arts, Minneapolis, USA Gallery 3001 and the Chapel gallery at USC Roski School of Fine Arts and Design, Los Angeles, USA 2012 Thomas Solomon Gallery, Los Angeles, USA 2011 WPA Gallery, Los Angeles, USA 2004 Rosamund Felsen Gallery, Los Angeles, USA 2001 Spokane Falls College, Spokane, USA 1998 The Same Mistake, Rosamund Felsen Gallery, Los Angeles, USA 1997 Galeria Oliva Arauna, Madrid, Spain 1996 Rosamund Felsen Gallery, Los Angeles, USA 1994 Why I Wish I Was Dead, Santa Monica Museum of Art, Santa Monica, USA 1993 Paralysis Agitans, Rosamund Felsen Gallery, Los Angeles, USA Galeria Oliva Arauna, Madrid, Spain Rosamund Felsen Gallery, Los Angeles, USA 1990 Galeria Oliva Arauna, Madrid, Spain Lieberman & Saul Gallery, New York, USA 1989 University Art Museum, University of California, Santa Barbara, USA Lieberman & Saul Gallery, New York, USA 1988 Kuhlenschmidt-Simon, Los Angeles, USA 1987 Matrix Gallery, University Art Museum, University of California, Berkeley, USA 1986 Kuhlenschmidt-Simon, Los Angeles, USA 1984 Richard Kuhlenschmidt Gallery, Los Angeles, USA SELECTED GROUP EXHIBITIONS 2016 Le Merite, Treize, Paris, France -
COMEDY CENTRAL Records Releases Ryan Stout's "Touche" Debut Digital Album on December 6
COMEDY CENTRAL Records Releases Ryan Stout's "Touche" Debut Digital Album on December 6 NEW YORK, Nov. 21, 2011 /PRNewswire/ -- Ryan Stout tends to say the wrong thing – in exactly the right way. Or, maybe, it's the right thing in the wrong way! In any case, COMEDY CENTRAL Records releases Ryan Stout's debut digital album, "Touche" on Tuesday, December 6. Recorded live at Acme Comedy Company in Minneapolis, MN, "Touche" is packed with complex twists, unexpected turns, and sharp punch lines. Exploring morally repugnant subject matter with smart and sterile objectivity, Stout's delightful insincerity and self-righteousness make this digital album both witty and wicked. To assure his brand of "offensive humor" stays on an intellectual level, he generally keeps profanity out of his act, even while touching on such subjects as sexual assault and abortion in his own clever manner. Ryan Stout has toured the globe with his extremely well-crafted stand-up for more than ten years. When he was only 22 years old, he won first place in the Boston International Comedy Festival's Stand-up Comedy Competition. Many opportunities soon followed, including performances at "The Comedy Festival" in Las Vegas, at HBO's "U.S. Comedy Arts Festival" in Aspen, and at the prestigious "Just for Laughs" International Comedy Festival in Montreal. In the world of television, Stout has hosted various series and specials for MTV, including the iconic "MTV's Spring Break." He has appeared as a regular guest on "Chelsea Lately," made his late-night stand-up debut on "Conan," -
Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent.