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PG Post 03.31.05 Vol.73#13F
The Prince George’s Post A COMMUNITY NEWSPAPER FOR PRINCE GEORGE’S COUNTY Since 1932 Vol. 75, No. 47 November 22 — November 28, 2007 Prince George’s County, Maryland Newspaper of Record Phone: 301-627-0900 25 Airspace Opened for Thanksgiving Fliers By DAN LAMOTHE Capital News Service BWI Thurgood Marshall Airport to Benefit from Decision essential projects, Bush said in his International Airport, said Jonathan 2006 Thanksgiving season, Dean WASHINGTON — Commercial prepared remarks, allowing its Dean, a BWI spokesman. said. Airport officials predict Nov. airliners will be able to fly unused employees to focus on limiting “It will benefit us, certainly, but 21, the day before Thanksgiving, military airspace to accommodate delays. BWI is typically a low-delay air- will be the busiest, with about an unprecedented number of peo- The decision benefits travelers port,” Dean said. “Of all the air- 74,000 travelers. ple traveling for Thanksgiving, using Baltimore-Washington ports serving the Northeast, we The changes will also be in President Bush has announced. International Thurgood Marshall have the lowest amount of delays place during the equally busy The additional airspace runs Airport, Maryland’s major airport, this year.” Christmas travel season, Bush said. from Maine to Florida. The Federal but not as much as it helps more About 490,000 travelers are Nationally, a record-setting 27 Aviation Administration will also delay-prone airports like New expected to use BWI from Nov. 19- million passengers are expected to About 490,000 travelers are expected to use BWI Thurgood place a moratorium on its non- York’s John F. -
Limitations on Copyright Protection for Format Ideas in Reality Television Programming
For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers. -
The Apprentice Free Download
THE APPRENTICE FREE DOWNLOAD Tess Gerritsen | 366 pages | 01 Aug 2003 | Random House Publishing Group | 9780345447869 | English | New York, NY, United States Бизнес - шоу "The Apprentice" The player must perform well in a series of business tasks, played across 18 minigamesto avoid a boardroom confrontation with Donald Trump and his advisors, George Ross and Carolyn Kepcher. Currently, the show is being broadcast by Band and Canal Sony. The Apprentice Malaysian version spin-off in Asiastarted on October 3,and aired every Monday on He presents two weekly shows on The Apprentice Lord Sugar tweet broke UK advertising rules, says watchdog. Pro Sieben fires "Hire or Fire" - show cancelled after first episode which was The Apprentice byviewers 2. The candidates are divided into two teams, treated as "corporations" within the show. Add the first question. Wikinews has related news: Award show producers try Emmy Idol. Sign in. Talking Points Memo. The Apprentice: Martha Stewart. The Apprentice host says his wife is upset he The Apprentice never been allowed to keep a statuette. The Apprentice franchise. Unfortunately, applications are now closed for the The Apprentice, however, this may well change if they decide to do two series next year. Williams and Jeff Lippencott of Ah2 Music. Retrieved July 11, For more information about how we hold your personal data, please see our privacy policy. Key scenes were filmed in Rotterdamalthough the Boardroom scenes take place in a theatre in the city of Bredawhich is the city where Ouborg's HQ. It has a very different visual and musical style to the US series, and in keeping with BBC guidelines, features no product placement. -
2006 ANNUAL REPORT BUSINESS DESCRIPTION We Are the World’S Largest Marketer, Producer, and Distributor of Coca-Cola Products
2006 ANNUAL REPORT BUSINESS DESCRIPTION We are the world’s largest marketer, producer, and distributor of Coca-Cola products. In 2006, we distributed more than 2 billion physical cases of our products, or 42 billion bottles and cans, representing 19 percent of The Coca-Cola Company’s worldwide volume. We operate in 46 U.S. states and Canada; our territory encompasses approximately 81 percent of the North American population. In addition, we are the exclusive Coca-Cola bottler for all of Belgium, continental France, Great Britain, Luxembourg, Monaco, and the Netherlands. We employ 74,000 people, operate 444 facilities, 55,000 vehicles, and 2.4 million vending machines, beverage dispensers, and coolers. Our stock is traded on the New York Stock Exchange under the “CCE” symbol. TABLE OF CONTENTS Financial Highlights…fold-out Letter to Our Shareowners…1 A Case For Change…5 Financials…25 Shareowner Information…Inside Back Cover TERRITORIES OF OPERATION CANADA 3 Market Units 34 Sales Centers MIDWEST 6 Market Units 59 Sales Centers GREAT LAKES 6 Market Units 39 Sales Centers NORTHEAST 7 Market Units 46 Sales Centers WEST 9 Market Units 46 Sales Centers SOUTHEAST 8 Market Units 55 Sales Centers SOUTHWEST 6 Market Units 41 Sales Centers COCA-COLA ENTERPRISES AT-A-GLANCE GEOGRAPHIC CASE DISTRIBUTION BRAND MIX 42 billion bottles and cans, or 2 billion physical cases NORTH AMERICA 6% 8% 9% 24% 57% 26% 70% GREAT BRITAIN THE NETHERLANDS QUnited States QEurope QCanada QCoca-Cola Trademark QSoft Drink Flavors/Energy BELGIUM QSports Drinks/Juices/Teas QWater LUXEMBOURG EUROPE EUROPEAN CASE DISTRIBUTION BRAND MIX 9 billion bottles and cans, or 480 million physical cases EUROPE FRANCE 3% 10% 10% 18% 46% 19% 68% 26% QGreat Britain QFrance QCoca-Cola Trademark QSoft Drink Flavors/Energy QBelgiumlLuxembourg QThe Netherlands QSports Drinks/Juices/Teas QWater FINANCIAL HIGHLIGHTS Coca-Cola Enterprises Inc. -
The Reality of Reality Television: Understanding the Unique Nature of the Reality Genre in Copyright Infringement Cases
Vanderbilt Journal of Entertainment & Technology Law Volume 8 Issue 1 Issue 1 - Winter 2005 Article 7 2005 The Reality of Reality Television: Understanding the Unique Nature of the Reality Genre in Copyright Infringement Cases J. Matthew Sharp Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation J. Matthew Sharp, The Reality of Reality Television: Understanding the Unique Nature of the Reality Genre in Copyright Infringement Cases, 8 Vanderbilt Journal of Entertainment and Technology Law 177 (2021) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol8/iss1/7 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. The Reality of Reality Television: Understanding the Unique Nature of the Reality Genre in Copyright Infringement Cases I. A BRIEF BACKGROUND ON COPYRIGHT INFRINGEMENT ............... 180 A. Protectinga Compilation of Ideas ..................... 181 B. SubstantialSimilarity and the Tests for Infringement ..... 183 II. RECENT CASES INVOLVING REALITY SHOWS AND IN FRIN GEM EN T ........................................................................... 186 III. THE PROBLEM: THE UNIQUENESS OF THE REALITY GENRE ..... 193 A. The Differences -
“The Coca-Cola Company” Annual Economic Report for the Fiscal Year Ended at December 31, 2006
“THE COCA-COLA COMPANY” ANNUAL ECONOMIC REPORT FOR THE FISCAL YEAR ENDED AT DECEMBER 31, 2006 CONTENTS 1. General………………………………………………………………………………………….2 2. Operating Segments……………………………………………………………………………2 3. Products and Distribution……………………………………………………………………..3 4. Seasonality……………………………………………………………………………………...6 5. Competition…………………………………………………………………………………….6 6. Raw Materials………………………………………………………………………………….7 7. Patents, Copyrights, Trade Secrets and Trademarks……………………………………….7 8. Employees………………………………………………………………………………………8 9. Risk Factors…………………………………………………………………………………….8 10. Management’s Discussion and Analysis of Financial Condition and Results of Operations…………………………………………………………………………………...14 10. 1 Overview…………………………………………………………………………………………14 10. 2 Our Business…………………………………………………………………………………….15 10.2.1 General………………………………………………………………………...…………..15 10.2.2 The Nonalcoholic Beverages Segment of the Commercial Beverages Industry..……..16 10.2.3 Our Objective……………………………………………………………………………..16 10.2.4 Areas of Focus…………………………………………………………………………….16 10.2.4.1 Consumer Marketing………………………………………………..………..16 10.2.4.2 Customer and Commercial Leadership…………………………………..….16 10.2.4.3 Franchise Leadership……………………………………………….………...16 10.2.5 Challenges and Risks…………………………………………….……………………….17 10.3 Critical Accounting Policies and Estimates……………………………………………………18 10.3.1 Basis of Presentation and Consolidation…………………………………………..…….18 10.3.2 Revenue Recognition…………………………………………………………..………….18 10.3.3 Income Taxes………………….…………………………………………………………..18 10.4 Operations Review……………………………………………………………………………….19 -
SECURITIES and EXCHANGE COMMISSION Washington, D.C. 20549
SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 8-K CURRENT REPORT Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): July 17, 2003 THE COCA-COLA COMPANY (Exact name of Registrant as specified in its charter) Delaware 001-02217 58-0628465 (State or other (Commission (IRS Employer jurisdiction File Number) Identification No.) of incorporation) One Coca-Cola Plaza Atlanta, Georgia 30313 (Address of principal executive offices) (Zip Code) Registrant's telephone number, including area code: (404)676-2121 Item 7(c). Exhibits Exhibit 99.1 Press Release of The Coca-Cola Company, dated July 17, 2003, reporting The Coca-Cola Company's financial results for the second quarter and year-to-date 2003. Exhibit 99.2 Supplemental Information prepared for use in connection with the financial results for the second quarter and year-to-date 2003. Item 9. Regulation FD Disclosure This information set forth under "Item 9. Regulation FD Disclosure" is intended to be furnished under said Item 9 and also under "Item 12. Results Of Operations And Financial Condition" in accordance with SEC Release No. 33-8216. Such information, including the Exhibits attached hereto, shall not be deemed "filed" for purposes of Section 18 of the Securities Act of 1934, nor shall it be deemed incorporated by reference in any filing under the Securities Act of 1933, except as shall be expressly set forth by specific reference in such filing. Attached and incorporated herein by reference as Exhibit 99.1 is a copy of a press release of The Coca-Cola Company, dated July 17, 2003, reporting The Coca-Cola Company's financial results for the second quarter and year-to-date 2003. -
NEWSLETTER a N E N T E R T a I N M E N T I N D U S T R Y O R G a N I Z a T I On
March 2011 NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on Lights, Camera, Action – and Brands! Brand in Entertainment CEO Rolfe Auerbach explains why DR marketers should try brand integration. BY CHRIS ROSICA The President’s Corner DVRs, TiVo and Hulu.com are just a few of the reasons why advertisers have created alternative ways to reach audiences rather than rely on traditional commercials. In Our first joint venture with the AIMP, the Music Industry movies, television programs, video games, live theater Toolbox on February 22nd, was an astounding success. productions, books—virtually every form of Hundreds of music industry professional flooded the entertainment—branded products increasingly have Gibson Showroom in Beverly Hills to network and check roles. Not only are products seen in passing like the out the products and services of cutting edge companies cereals on the shelves in Jerry Seinfeld’s kitchen, they in music and income tracking. are woven into plots. Giving products cameos or even I look forward to this evening's panel on Branding in the bigger parts has become a widely used and accepted Music Industry, moderated by CCC Past-President marketing practice, especially in movies. Cheryl Hodgson. Please make sure to join us next month when Past-President Teri Nelson Carpenter moderates a Movie-goers have grown accustomed to seeing familiar panel of guest from overseas discussing changes in the products on screen and even having them used as plot music industry from an International perspective. -
Showcase Luncheon EWTG's Calendar of Events
PUBLISHED BY EXECUTIVE WOMEN IN TEXAS GOVERNMENT JANUARY 2007 Showcase Luncheon Roxanne Wilson “Lessons from the Austin Apprentice” by Laure McLaughlin, 2006 Program Director EWTG’s Austin attorney Roxanne Wilson is used to challenges. Calendar of Events As an undergraduate at Baylor University, she was the first woman, the second African American member, and later, the president of the Baylor Chamber of January 24 Showcase Luncheon Commerce. While a University of Michigan law student, she received a leadership award for helping raise more than $200,000 in grants for law students wishing to Austin Woman’s Club, 708 San spend their summers working in non-paid, service-based legal positions. And before Antonio, at noon. Speaker: Roxanne becoming an appellate attorney with Winstead Sechrest & Minick PC in Austin, Wilson, Austin appellate attorney. Roxanne clerked for two justices of the Supreme Court of Texas. Topic: Lessons from the Austin Apprentice. For information and Her biggest and most recent challenge, however, was becoming one of the four reservations, contact [email protected] or call 512.248.2044 (note new finalists during the fifth season of NBC’s show, The Apprentice, the first African number). American woman to do so. “The Donald” Trump said of her, “Roxanne is very, very smart...brilliant...she is really something.” He continued, stating, “You’re a very good February 28 Scholarship speaker... I would like to have you represent me in court. You are very impressive." Application Deadline Besides remaining active in Baylor alumni organizations, Roxanne remains involved EWTG scholarships are awarded on in her community as a founding member of the Riverbend Church’s Young a quarterly basis to those wanting an opportunity for professional Professionals group, Riverbend choir member, Jazzercise instructor and franchisee, advancement or personal growth. -
Reinventing Nollywood: the Impact of Online Funding and Distribution on Nigerian
Reinventing Nollywood: the impact of online funding and distribution on Nigerian cinema Abstract The Nigerian film industry often referred to as Nollywood, is currently experiencing significant transformations in its mode of production and distribution. These far-reaching transformations are driven by tech-savvy Nigerian filmmakers who are willing to consider innovative models in the filmmaking practice – from crowdfunding to content distribution via online platforms – in their effort to become relevant in the changing digital global marketplace. Drawing on pertinent case studies and in-depth interviews with stakeholders in the Nigerian film industry, this paper suggests that advances in digital technologies, such as the Internet and digital media are creating new ways for ‘new generation’ filmmakers in Nigeria to fund and circulate their creative work to a vast global audience. Keywords Nollywood, new media, digital distribution, Nigerian cinema, crowdfunding, crowdsourcing, online distribution, digital media, digital filmmaking, digital cinema. Introduction Whilst the mode of screen content production, circulation and consumption continue to transform in an age that is driven by technological innovations, change in market dynamics and audience behaviour are radically altering traditional business models globally. The drift is overthrowing institutional relationships, cultural hierarchies, and conventional business models (Curtin et al, 2014). In Nigeria especially, some of the traditional business models associated with the industry have become less viable as emerging and established filmmakers are increasingly looking to the Internet as an alternative means to raise funds and distribute their work. Although some of these web-based funding and distribution models are in their infancy, current trends in Nollywood suggest that these innovative approaches to film finance and distribution are gradually establishing themselves alongside the traditional Nollywood system. -
Alluvion! Seizing Momentum Driving Change
ALLUVION! SEIZING MOMENTUM DRIVING CHANGE ALLUVION! SEIZING MOMENTUM DRIVING CHANGE ALLUVION! SEIZING MOMENTUM DRIVING CHANGE WELCOME! Alluvion! Seizing Momentum, Driving Change Africa matters! Africa’s economic pulse has quickened, infusing the continent with new commercial vibrancy. Africa’s economic growth has given rise to an environment that can be characterized as “Alluvion” By definition this is an overflowing; an inundation; a flood of change. Relationships, policies, institutions are currently inundated with ideas and changing in non-linear ways. Continent wide, organizations are working at intersections of policy, institutional and behavior change to address those issues. There is an unprecedent- ed opportunity for a more strategic and collaborative, social impact agenda and a need to be adept at seizing the opportunities present in this overflow environment. Current dynamics are highly favorable for strengthening cross-sectoral collaboration. Over the last few years, new spaces have opened up for engaging actors around their com- parative advantages and respective interests as the benefits of partnering have become obvious. The private sector understands that it needs the access and knowledge of local partners and national governments to grasp the enormous opportunities available. Gover- ments and civil society organizations are recognizing the value of the resources, capaci- ties, and expertise that the private sector can bring to their development efforts. As the interests of various sectors continue to converge and improvements in regulatory environ- Doyin Oluntona ments make cooperating easier and safer, opportunities for partnerships continue to grow. Co-Founder/CEO, Uturn Africa The private sector is incentivized to invest in well thought out social ventures not just for immediate returns but for longer-term change that will strengthen the entire value chain and social stability. -
Appraisal of Media and Youth Entrepreneurship in Nigeria
83 APPRAISAL OF MEDIA AND YOUTH ENTREPRENEURSHIP IN NIGERIA Chinwe Okpoko Department of Mass Communication University of Nigeria, Nsukka. Anthony Chinedu Ekwueme Department of Mass Communication University of Nigeria, Nsukka. Abstract All over the world, particularly in a developing country like Nigeria, millions of youth daily roam the streets in desperate search of non-existing jobs. Given the high level of unemployment in Nigeria and the associated social vices, the need to open avenues through which youths can be gainfully employed and in addition create wealth becomes very imperative. One of these avenues is media entrepreneurship. The media are known to have diverse dimensions which provide opportunities for creative-minded youths to become significant job creators and income multipliers. Some of these opportunities can therefore be explored and exploited by our youths. Media entrepreneurship is used here to refer to any innovative effort to create wealth or job by exploiting the intrinsic relationship between the media, business and society. This exploratory study used available literature and observation to address the subject matter and makes recommendations. Key words: Entrepreneurship, Media entrepreneurship and youth Introduction The high level of global unemployment has, for some time now, been a major concern for governments across the world. Here and there, all over the world particularly in developing countries, millions of youths armed with certificates roam the streets desperately searching for non-existing jobs. According to Haftendorn and Salzano (2003, p.iii), “66 million young people are unemployed and an even higher number are underemployed…” This state of affairs and the attendant negative social consequences portend bleak future for youths in many developing countries if not properly addressed.