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Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S
Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Prepared by Orange Silicon Valley SG/OSV April 5, 2016 Orange Silicon Valley | April 5, 2016 1 Contents 4 Key Takeaway 6 Recommendation: 8 Origin of the Big Content Shift 8 1. New Behaviors -> Transitioning from one form of distribution to another 8 The continuous decline of linear TV 10 The Cort Cutters 11 Economics of Content 12 Mobile Mobile Mobile 14 New Content - the rise of the new creators 15 New Content Approach 16 New Monetization Approach 17 US TELCO RESPONSE 19 Rise of New Studios and New Media Companies 29 Telco and Cable Operator Initiatives 34 Conclusions Orange Silicon Valley | April 5, 2016 2 Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Key Takeaways • Video consumption behaviors are shifting. Live linear TV remains the primary way video content is being consumed but is losing its relevance to over-the-top services such as Netflix, Hulu or Amazon, that are offering consumers access to “Whatever” content they want, “Whenever,” and “Wherever” they want it. • Cracks are appearing in the traditional content distribution model amidst an explosion in mobile-centric content consumption. Content consumption is growing as well as content acquisition cost. • TV is even less relevant to the newer generation of consumers, the millennials (being born from early 1980s to around 2000) and generation Z (being born from early 2000s to 2010), who use primarily smartphones to access video content. • Smartphone users 24 and younger use an average of 6.2 GB of data (cellular and WiFi combined) every month for video streaming versus older smartphone users that use an average of 4.9 GB of data per month. -
Viacom Boosts Direct-To-Consumer Pitch with $340 Million Acquisition
Publication date: 24 Jan 2019 Author: Kia Ling Teoh Senior Research Analyst, Advertising and Television Media Viacom boosts direct- to-consumer pitch with $340 million acquisition of Pluto TV Brought to you by Informa Tech Viacom boosts direct-to-consumer pitch with 1 $340 million acquisition of Pluto TV Viacom has revealed its intentions to go direct-to-consumer via the acquisition of ad-supported streaming service Pluto TV. The deal is worth a reported $340m and will see Pluto TV operate as an independent subsidiary of Viacom. The transaction is expected to close in the first quarter of 2019. Viacom is the owner of MTV, Comedy Central, Nickelodeon and Paramount Pictures. In 2017, it reported annual revenues of $13 billion from media networks and filmed entertainment businesses. Pluto TV was founded in 2013 and had received several rounds of funding from investors including broadcasters ProsiebenSat.1 and Scripps Networks in 2016. Our analysis The acquisition came at a time when Viacom’s media networks advertising revenues were under pressure. Nearly half of its media networks revenues are advertising and in the first nine months of 2018, advertising revenues dropped 3.5% year-on-year from $3.57 billion to $3.44 billion, largely due to lower linear impressions. The ad-supported streaming market is becoming intensely competitive, with each player trying to counter the influence of global giants Google and Facebook as advertising budgets continue to focus more on cross- border growth. Alongside Awesomeness TV, the youth-targeted video service Viacom acquired in July 2018, Pluto TV will complement Viacom’s advertising strategy. -
Dave Lougee, President and CEO, TEGNA, Inc
Participant Biographies Ty Ahmad-Taylor, Vice President, Business Product Marketing, Facebook, Inc. As Vice President of Business Product Marketing, Ty leads Facebook’s monetization strategy and global go-to- market efforts for products that connect people and businesses on the platform. Prior to Facebook, Ty served as CEO of THX Ltd., a global media and entertainment company. Ty brings to Facebook 25+ years of information design, 20+ years of consumer-facing software and product development leadership, along with interactive television services development experience. Ty has a diverse portfolio of technology and hardware patents, and has held roles at several startups and large media and consumer electronic companies, including Viacom, Comcast, The New York Times, and Samsung. Kevin Arrix, Senior Vice President, DISH Media Kevin Arrix, Senior Vice President of DISH Media Sales, is responsible for DISH TV’s and Sling TV’s advertising sales, analytics and operations. He leads the team spearheading the company’s advanced advertising initiatives, which include cross-platform addressable, programmatic sales and dynamic ad insertion. Arrix is a seasoned revenue executive with 20+ years of experience leading Sales, Operations, Client Services and Strategy teams. He is a recognized thought-leader fluent in the various disciplines of digital and mobile advertising and marketing. Prior to joining DISH in 2018, Arrix served as Chief Revenue Officer of Verve, leading the mobile marketing platform’s Direct and Enterprise sales, customer success and advertising operations teams. Prior to Verve, Arrix served as Chief Revenue Officer at mobile rewards entertainment platform Viggle, where he arrived prior to product launch to build out the sales team, the operational infrastructure and revenue foundation. -
Celeb Secrets Media
Celeb Secrets is a digital organization specializing in entertainment. About The media outlet covers breaking news in verticals such as culture, celebrity, fashion, lifestyle, movies, music, politics, sports, and television, making it a one-stop shop for its Millennial and Gen Z the Site audience. The organization also has a website specifically catered to Country news titled Celeb Secrets Country and a YouTube channel, CelebSecretsTV. Our Audience 54.5K+ | 38M+ 50K+ 42K+ 23K+ Age Interests 13-17 Digital & Tech Festivals 35-44 13.1% 10.5% 12.2% 17.3% Beauty & Fashion 11% Travel 11.7% Sports 9.4% Music 25-34 11.9% 26.6% 18-24 Gossip 10.6% 43% Awards Movies & TV 11.6% 11.1% 4 0 8 - 8 0 0 - 2 7 4 8 • c e l e b s e c r e t s . c o m • @ c e l e b s e c r e t s Celeb Secrets Country Celeb Secrets Country sticks to Celeb Secrets' core values, country style. Covering the biggest talent of today and tomorrow, the special vertical features news, exclusive interviews and more. @celebsecretscountry celebsecretscountry.com CelebSecretsTV Celeb Secrets houses over 2,000 short-form videos on their YouTube channel, CelebSecretsTV. Featuring top-tier talent, daily videos include red carpet interviews, exclusive movie, television, sports, and music festival coverage as wells as chats with celebrities at either The YouTube Space or on- location. 54.5K+ subscribers 38M+ views 500K+ monthly visitors @celebsecrets4u About the Owner Created by Juliet Schroder in 2010 at the age of fifteen, the organization has become one of the fastest rising media outlets in its niche, making the homemade project become a bi-coastal business that’s had representation at high-profile media events in North America. -
Estado Diario Subdirección De Marcas 20/05/2021 1
Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1355767 AZ Y COMPAÑÍA, en representación de Monster Mixta M MONSTER ENERGY CARES Energy Cares 1374851 CLAUS KREBS POULSEN, en representación de Denominativa TIME TO ROLL OXYGENTRACK LLC 1375493 JOHANSSON & LANGLOIS, en representación de Mixta Vital Spaces Sodexo SODEXO 1375693 CARLA ANDREA JACQUELINE MUÑOZ SILVA, Mixta M MUSIL INGENIERIA Y en representación de INGENIERÍA Y CONSTRUCCIÓN CONSTRUCCIÓN MUSIL LIMITADA 1384587 CHRISTIAN GUSTAVO ERNST SUÁREZ, en Denominativa MYSTERY.ORG representación de MYSTERY ORGANIZATION, INC. 1385862 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385863 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385984 CLAUS KREBS POULSEN, en representación de Mixta SONGS for LIFE Apple Inc. 1387395 JUAN ALBERTO LUCIANO DÍAZ WIECHERS, en Mixta QG QATARGAS representación de Qatargas Operating Company Limited 1388637 ESTUDIO CAREY LTDA., en representación de Mixta b: Bazaarvoice, Inc. 1390799 Jacqueline Magaly Cornejo Calderón, en Mixta SINDICATO NACIONAL DE representación de Sindicato Interempresa TRABAJADORES DE LA Nacional de Trabajadores de la Construccion CONSTRUCCION, MONTAJE Y OTROS Montaje y Otros SINTEC -CHile SINTEC CHILE 1396145 MAX FELIPE CANALES CASTRO, en Mixta Alto Impacto representación de MTK Spa 1396759 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1396761 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1 Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1396821 Tomislav Marcelo Vucina Martínez, en Denominativa MEIER representación de Francisco José Rodríguez Lifschitz 1397552 NAYAT SANCHEZ PI, en representación de Inria Denominativa MAIA Chile 1398347 LUCY LORENA ESPINA FERNÁNDEZ Mixta Lorena Pastelería S.A. -
“Decreasing World Suck”
Dz dzǣ Fan Communities, Mechanisms of Translation, and Participatory Politics Neta Kligler-Vilenchik A Case Study Report Working Paper Media, Activism and Participatory Politics Project AnnenBerg School for Communication and Journalism University of Southern California June 24, 2013 Executive Summary This report describes the mechani sms of translation through which participatory culture communities extend PHPEHUV¶cultural connections toward civic and political outcomes. The report asks: What mechanisms do groups use to translate cultural interests into political outcomes? What are challenges and obstacles to this translation? May some mechanisms be more conducive towards some participatory political outcomes than others? The report addresses these questions through a comparison between two groups: the Harry Potter Alliance and the Nerdfighters. The Harry Potter Alliance is a civic organization with a strong online component which runs campaigns around human rights issues, often in partnership with other advocacy and nonprofit groups; its membership skews college age and above. Nerdfighters are an informal community formed around a YouTube vlog channel; many of the pDUWLFLSDQWVDUHKLJKVFKRRODJHXQLWHGE\DFRPPRQJRDORI³GHFUHDVLQJZRUOGVXFN.´ These two groups have substantial overlapping membership, yet they differ in their strengths and challenges in terms of forging participatory politics around shared cultural interests. The report discusses three mechanisms that enable such translation: 1. Tapping content worlds and communities ± Scaffolding the connections that group members have through their shared passions for popular culture texts and their relationships with each other toward the development of civic identities and political agendas. 2. Creative production ± Encouraging production and circulation of content, especially for political expression. 3. Informal discussion ± Creating and supporting spaces and opportunities for conversations about current events and political issues. -
Warten Auf Das Neue Album
# 2018/01 dschungel https://jungle.world/artikel/2018/01/warten-auf-das-neue-album In diesem Jahr erscheint das neue Album von The Breeders Warten auf das neue Album Von Dierk Saathoff Zehn Jahre sind vergangen, seit The Breeders ihr letztes Album veröffentlicht haben. Nun wurde ein neues für 2018 angekündigt. Die beiden Gitarre spielenden Frauen sahen sich zum Verwechseln ähnlich, auch ihre Singstimmen waren kaum voneinander zu unterscheiden. Der Moderator Conan O’Brien, in dessen Sendung dieser Auftritt 1993 stattfand, hatte die Band anhand ihrer Selbstbeschreibung angekündigt: »Just a bunch of rock chicks who like to play loud guitar music.« Und das taten die Breeders dann auch, vor einer Videoprojektion, die Menschen beim Billard zeigte, spielten sie laute Gitarrenmusik, genauer gesagt den Song »Divine Hammer«, wobei man nicht eindeutig klären kann, ob in dem Stück über einen gigantisch großen Penis oder doch über eine religiöse Erweckung gesungen wird. Über die Breeders wird durchgängig kolportiert, es handele sich bei ihnen um ein Nebenprojekt der Bassistin der Pixies, Kim Deal. Mit der Verwendung des Wortes »Nebenprojekt« geht eine Abwertung einher, eingefleischte Fans der Pixies reden sich so ein, die Mitglieder ihrer heiligen Band seien auf diese verpflichtet, wenn einer von ihnen noch in einer anderen Band involviert ist, sei das nur eine Spielerei, passiere nur nebenbei. Für Kim Deal war es wohl mehr als das: Genervt von den Attitüden des Sängers der Pixies, Frank Black, gründete sie 1989 wohl nicht zufällig eine fast ausschließlich aus Frauen bestehende Band, die Breeders. Auch Tanya Donelli und Josephine Wiggs hatten schon in anderen Bands gespielt und suchten bei den Breeders ein neues Umfeld, um besser das musikalisch verwirklichen zu können, was ihnen vorschwebte. -
WICT Pulse: the Inside Scoop on Educational Opportunities & More
Click here to view this email in your web browser In this issue: NEWS FROM WICT GLOBAL WICT Celebrates 40 Years at the Signature Luncheon Nominate Outstanding Leaders for WICT's 2019 Woman of the Year and Woman to Watch Awards Meet the 2019 Rising Leaders EDUCATIONAL OPPORTUNITIES Registration Open for the 2019 WICT Leadership Conference 2019 Betsy Magness Graduate Institute: Join Us in Atlanta this November WICT SHINES ONLINE Access Members' Only Resources in WICT's Online Learning Library Help Your Colleagues Shine by Sharing www.wictnow.org ADVOCACY & INDUSTRY RELATIONS WICT's #LeadWithMore PSA Campaign Continues Through June 4 Adaptive Spirit Silent Auction Cable Hall of Fame Dinner 2019 WICT Signature Luncheon Thursday, May 2 | 12:00 pm | The Plaza Hotel New York The excitement is building as we prepare for the Signature Luncheon next month in New York! We will convene to honor the past, celebrate the present and imagine the future of WICT and the industry we represent. WICT has built on the strong foundation laid by its early leaders to become an organization that encompasses more than 10,500 members in 24 chapters worldwide, including the U.K., Latin America and Europe. WICT is the largest and oldest professional association serving women in media, representing the industry's most influential stakeholders. To help mark the occasion, we have invited some of our favorite Pearls of Wisdom speakers from the past to return and share their latest insights with us, including Kimberly Brooks, Abbe Raven and Egypt Sherrod. Tables and tickets are sold out, but you can learn more about the event by visiting our website. -
Flyer News, Vol. 59, No. 17
miami outlasts flyers in overtime, PagE 12 friday news, SOCIETY OF FREETHINKERS mEETS ON CamPUS, PagE 4 NOV. 18, 2011 a&e, WHaT’S THE DEaL?, PagE 6 opinions, PIZZa FOR THaNKSgIVINg DINNER?, PagE 8 sports, EDITOR ENCOURagES STUDENT support OF FOOTBaLL TEam PagE 12 flyernews.com univerSiTy of dayTon vol. 59 No. 17 students raise money for service trip Cornerstone Bar & Grille owner opens new restaurant sarA DorN Chief News Writer The owner of the former Corner- stone Bar & Grille on Brown Street opened a new restaurant called Jimmie’s Ladder 11 on Friday Nov. 11. Jimmie Brandell said it wasn’t easy to let go of the bar popularly known as The Hills – he had owned it for 26 years, celebrated his wed- ding night there and had both his sons work at the restaurant. But he said he knew he was in luck when he cut the red tape to Jimmie’s Ladder 11 at 145 Warren A group of University of Dayton students pose outside the Honduran medical clinic they worked during a UD service breakout trip in January. The Center for Social Concern is hosting a pancake breakfast Sunday, Nov. 20, to raise money for a similar breakout program to Honduras this winter. PHOTO CONTRIBUTED BY NICOLE SCHECKELHOFF St., just across the street from his old bar’s location. CHriS rizer breaks. and faith-based medical brigades, throughout Honduras, she said. He said he acquired Cornerstone News Editor Shannon Hallinan, a senior biolo- Scheltens said. Scheltens said the January 2011 Bar & Grille, located at 936 Brown gy major and a fundraising chair for These supplies include dietary Honduras breakout was led by Rob- St., only three years after he mar- The University of Dayton Center the trip, said the pancake breakfast supplements, pain medications, an- ert Kearns, a biology professor and ried Sue Brandell, and the couple for Social Concern will hold an all- will raise money to help two causes: tibiotics, topical creams, asthma, si- director of premedical programs had owned the bar ever since. -
Lori Goldston Lorigoldston.Com | +1 206.715.4540| [email protected]
Lori Goldston lorigoldston.com | +1 206.715.4540| [email protected] Selected Commissioned Works Death and the Mourning After for Timothy White Eagle Improvised solo acoustic cello score for an livestreamed theater performance, part of La MaMa’s Reflections of Native Voices Festival. 2021 Manzanar, Diverted Composed a score for a feature-length documentary by Ann Kaneko, in collaboration with Steve Fisk, Alexander Mirana, Susie Kozawa and Matt Chamberlain. 2021 What You Can Hear From Here for Art Saves Me Commissioned by One Reel to create new work for an online exhibition. In collaboration with videographer Isaac Hanson. Seattle. 2020 Rivulet, for Nonsequitur Composed and performed an evening-length piece for a small ensemble; with Greg Kelley, Kole Galbraith, Dave Abramson and Haley Freedlund. Chapel Performance Space, Seattle. 2019 Yellowstone, for Jon Jost Recorded an improvised solo amplified cello score for a work-in-progress video installation. Featured as part of Nonsequitur’s “Wayward In Limbo”. Seattle. 2019 Ama (The Woman Diver), for Nalanda West Performed an improvised solo acoustic cello score for Jim Fletcher and Katiana Rangel’s production of a 14th Century Japanese play. Seattle. 2018 Études N°11, for Paris Fashion Week Composed and performed a solo acoustic cello score accompanying the runway show for fashion house Études. Paris, France. 2017 That Sunrise, for the BBC Scottish Symphony Composed and performed a new work for amplified cello and orchestra as part of Glasgow Tectonics Festival. Glasgow. 2017 The Seawall , for the City of Seattle With drummer Dan Sasaki, composed and recorded a response to Seattle’s seawall reconstruction project. -
Pm-The Breeders-09.01.2018.Pdf
FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 09.01.2018 The Breeders für zwei Konzerte in Deutschland „Good Morning!“ Mit dieser freundlichen Begrüßung beginnt „Wait In The Car“, die erste Single von den Breeders seit 2009. In der gleichen Besetzung der Mitt-90er, die auch „Last Splash“ eingespielt hat, haben sich die Zwillingsschwestern Kim und Kelley Deal, Josephine Wiggs und Jim Macpherson wieder zusammengetan und arbeiten weiter an neuen Tracks für ein neues Album. 2013 feierte das Quartett seine Reunion zum 20-jährigen Jubiläum des Platin-Albums und verkaufte auf der Tour acht Monate lang alle Auftritte aus. Auch für die exklusive und ziemlich großartige und gefeierte Show, die The Breeders im Oktober in Berlin gespielt haben, gab es selbstverständlich keine Tickets mehr. Eigentlich war die Band einst als Seitenprojekt von vier sehr energischen Frauen gedacht: Kim Deal von den Pixies, Tanya Donelly von den Throwing Muses, Josephine Wiggs von The Perfect Disaster und Britt Walford von Slint veröffentlichten ihr Debütalbum „Pod“, produziert von Steve Albini, und spielten ein paar Gigs. Ende der Geschichte, könnte man denken. Doch der Sound blieb den Damen im Kopf, und der Einfluss der Frauen stieg immer weiter. 1992 brachte Kim ihrer Schwester Kelley das Gitarrespielen bei, holte Jim Macpherson als Schlagzeuger dazu und nahm zusammen mit Josephine „Last Splash“ auf. Man supportete Nirvana, spielte in Glastonbury und hatte mit „Cannonball“ sogar einen Hit. Ende der Geschichte? Weit gefehlt. The Breeders blieben in den Köpfen und Herzen. Ihr Einfluss nahm immer weiter zu, einzelne Auftritte wurden verklärt, die Coolness und Souveränität der Musik hervorgehoben. -
Breeders Interview
ART REGISSEUR RUUD GIELENS MAAKT THEATER UIT ANGST THE BREEDERS ZIJN WEER HELEMAAL TERUG MARIA BARNAS Hopen op uitputting R i ch t i n g e kunstenaar Guillau- me Leblon zei ooit te- gen mij: ik wou dat ik In Vlaanderen kon schrijven. Hij zei dat hij niet in woor- veroorzaakten de D den dacht, maar in beelden. Hij ging ervan uit dat ik als voorstellingen van Ruud schrijver een hoofd vol met zinnen klaar had liggen. Hij was teleurge- Gielens veel rumoer. In steld toen ik zei dat ik geen woorden- C yn is c h re a lis m e , p o lit ie ke magazijn had in mijn hoofd maar p o p , kit s c h a r t . De ku n s t Rotterdam regisseert hij hooguit vage contouren van een va n Ch in a is o p zo e k n a a r beeld. Maar hoe kun je dan schrijven, zic h ze lf e n le t o p h e t We s t e n . Kijk m a a r in Gro n in g e n . nu ‘Kroum’, een stuk Het wilde Leblon weten. Hij stond op het punt om iets le- Ee n s ie rlijke z w a a n va n vensgevaarlijks te doen. Hij zou in b ro n s . Ee n p o m p o e n over de onderkant van navolging van Yves Kleins Saut dans le va n t e rra c o t t a . Me e m e t vide een sprong maken.