American Idol: Evidence of Same-Race Preferences?
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Gunsmokenet.Com
GUNSMOKE ! By GORDON BUDGE f you had lived in Dodge City in I the 1870’s, Matt Dillon-the fic- tional Marshal of CBS Radio and TV’s Gunsmoke-would have been just the sort of man you would like to have for a friend. The same holds for his sidekick, Chester, and his special pals, Kitty and Doc. They are down-to-earth, ‘good and honest people. That one word “honest” is, to a great extent, responsible for the success of Gunsmoke on both radio and TV. It best describes the sto- ries, characters and detailed his- torical background which go to make up the show. Norman Macdonnell and John Meston, Gunsmoke’s producer and writer, are the two men who created the format and guided the show to its success (the TV version has topped the Nielsen ratings since June, 1957)) and the show is a fair reflection of their own characters: Producer Macdonnell is a straight- forward, clear-thinking young man of forty-two, born in Pasadena and raised in the West, with a passion for pure-bred quarter horses. He joined the CBS Radio network as a page, rose to assistant producer in two years, ultimately commanded such network properties as Sus- pense, Escape, and Philip Marlowe. Writer John Meston’s checkered career began in Colorado some forty-three years ago and grass- hopped through Dartmouth (‘35) to the Left Bank in Paris, school- teaching in Cuba, range-riding in Colorado, and ultimately, the job as Network Editor for CBS Radio in Hollywood. It was here that Meston and Macdonnell met. -
American Idol Synthesis
English Language and Composition Reading Time: 15 minutes Suggested Writing Time: 40 minutes Directions: The following prompt is based on the accompanying four sources. This question requires you to integrate a variety of sources into a coherent, well-written essay. Refer to the sources to support your position: avoid mere paraphrase or summary. Your argument should be central; the sources should support this argument. Remember to attribute both direct and indirect citations. Introduction In a culture of television in which the sensations of one season must be “topped” in the next, where do we draw the line between decency and entertainment? In the sixth season of popular TV show, “American Idol”, many Americans felt that the inclusion of mentally disabled contestants was inappropriate and that the remarks made to these contestants were both cruel and distasteful. Did this television show allow mentally disabled contestants in order to exploit them for entertainment? Assignment Read the following sources (including any introductory information) carefully. Then, in an essay that synthesizes the sources for support, take a position that defends, challenges, or qualifies the claim that the treatment of mentally disabled reality TV show contestant, Jonathan Jayne, was exploitative. Refer to the sources as Source A, Source B, etc.: titles are included for your convenience. Source A (Americans with Disabilities Act) Source B (Kelleher) Source C (Goldstein) Source D (Special Olympics) **Question composed and sources compiled by AP English Language and Composition teacher Wendy Turner, Paul Laurence Dunbar High School, Lexington, KY, on February 7, 2007. Source A The Americans with Disabilities Act of 1990. -
Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth. -
Putting National Party Convention
CONVENTIONAL WISDOM: PUTTINGNATIONAL PARTY CONVENTION RATINGS IN CONTEXT Jill A. Edy and Miglena Daradanova J&MC This paper places broadcast major party convention ratings in the broad- er context of the changing media environmentfrom 1976 until 2008 in order to explore the decline in audience for the convention. Broadcast convention ratings are contrasted with convention ratingsfor cable news networks, ratings for broadcast entertainment programming, and ratings Q for "event" programming. Relative to audiences for other kinds of pro- gramming, convention audiences remain large, suggesting that profit- making criteria may have distorted representations of the convention audience and views of whether airing the convention remains worth- while. Over 80 percent of households watched the conventions in 1952 and 1960.... During the last two conventions, ratings fell to below 33 percent. The ratings reflect declining involvement in traditional politics.' Oh, come on. At neither convention is any news to be found. The primaries were effectively over several months ago. The public has tuned out the election campaign for a long time now.... Ratings for convention coverage are abysmal. Yet Shales thinks the networks should cover them in the name of good cit- izenship?2 It has become one of the rituals of presidential election years to lament the declining television audience for the major party conven- tions. Scholars like Thomas Patterson have documented year-on-year declines in convention ratings and linked them to declining participation and rising cynicism among citizens, asking what this means for the future of mass dem~cracy.~Journalists, looking at conventions in much the same way, complain that conventions are little more than four-night political infomercials, devoid of news content and therefore boring to audiences and reporters alike.4 Some have suggested that they are no longer worth airing. -
From Broadcast to Broadband: the Effects of Legal Digital Distribution
From Broadcast to Broadband: The Effects of Legal Digital Distribution on a TV Show’s Viewership by Steven D. Rosenberg An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2007 Professor Marti G. Subrahmanyam Professor Jarl G. Kallberg Faculty Adviser Thesis Advisor 1. Introduction ................................................................................................................... 3 2. Legal Digital Distribution............................................................................................. 6 2.1 iTunes ....................................................................................................................... 7 2.2 Streaming ................................................................................................................. 8 2.3 Current thoughts ...................................................................................................... 9 2.4 Financial importance ............................................................................................. 12 3. Data Collection ............................................................................................................ 13 3.1 Ratings data ............................................................................................................ 13 3.2 Repeat data ............................................................................................................ -
Sliders Nielsen Ratings.Xlsx
"Sliders" Nielsen Ratings Television Universe 95.4 million Share (percentage of sets in use) * denotes a ratings tie Season 1 (1995) Viewers (in millions) Ratings Point 954,000 TV Households Episode Network Airdate Day Time Viewers Rating Share Rank Pilot Fox 3/22/95 Wednesday 8:00 p.m. EST 14.1 9.5 15 51 Fever Fox 3/29/95 Wednesday 9:00 p.m. EST 11.6 7.6 12 *62 Last Days Fox 4/5/95 Wednesday 9:00 p.m. EST 10.1 7.2 12 *58 Prince of Wails Fox 4/12/95 Wednesday 9:00 p.m. EST 10.3 7.2 7.2 *66 Summer of Love Fox 4/19/95 Wednesday 9:00 p.m. EST 9.3 6.7 10 69 Eggheads Fox 4/26/95 Wednesday 9:00 p.m. EST 7.9 5.9 10 *78 The Weaker Sex Fox 5/3/95 Wednesday 9:00 p.m. EST 8.8 6.1 10 *73 The King is Back Fox 5/10/95 Wednesday 9:00 p.m. EST 7.7 5.6 9 80 Luck of the Draw Fox 5/17/95 Wednesday 9:00 p.m. EST 9.9 6.7 11 70 Season Two (1996) Television Universe 95.9 million Ratings Point 959,000 TV Households Episode Network Airdate Day Time Viewers Rating Share Rank Into the Mystic Fox 3/1/96 Friday 8:00 p.m. EST 9.3 6.2 11 76 Love Gods Fox 3/8/96 Friday 8:00 p.m. EST 9.5 6.5 11 83 Gillian of the Spirits Fox 3/15/96 Friday 8:00 p.m. -
Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows. -
Reality Television Participants As Limited-Purpose Public Figures
Vanderbilt Journal of Entertainment & Technology Law Volume 6 Issue 1 Issue 1 - Fall 2003 Article 4 2003 Almost Famous: Reality Television Participants as Limited- Purpose Public Figures Darby Green Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Privacy Law Commons Recommended Citation Darby Green, Almost Famous: Reality Television Participants as Limited-Purpose Public Figures, 6 Vanderbilt Journal of Entertainment and Technology Law 94 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol6/iss1/4 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]. All is ephemeral - fame and the famous as well. betrothal of complete strangers.' The Surreal Life, Celebrity - Marcus Aurelius (A.D 12 1-180), Meditations IV Mole, and I'm a Celebrity: Get Me Out of Here! feature B-list celebrities in reality television situations. Are You Hot places In the future everyone will be world-famous for fifteen half-naked twenty-somethings in the limelight, where their minutes. egos are validated or vilified by celebrity judges.' Temptation -Andy Warhol (A.D. 1928-1987) Island and Paradise Hotel place half-naked twenty-somethings in a tropical setting, where their amorous affairs are tracked.' TheAnna Nicole Show, the now-defunct The Real Roseanne In the highly lauded 2003 Golden Globe® and Show, and The Osbournes showcase the daily lives of Academy Award® winner for best motion-picture, Chicago foulmouthed celebrities and their families and friends. -
Rca Records to Release American Idol: Greatest Moments on October 1
THE RCA RECORDS LABEL ___________________________________________ RCA RECORDS TO RELEASE AMERICAN IDOL: GREATEST MOMENTS ON OCTOBER 1 On the heels of crowning Kelly Clarkson as America's newest pop superstar, RCA Records is proud to announce the release of American Idol: Greatest Moments on Oct. 1. The first full-length album of material from Fox's smash summer television hit, "American Idol," will include four songs by Clarkson, two by runner-up Justin Guarini, a song each by the remaining eight finalists, and “California Dreamin’” performed by all ten. All 14 tracks on American Idol: Greatest Moments, produced by Steve Lipson (Backstreet Boys, Annie Lennox), were performed on "American Idol" during the final weeks of the reality-based television barnburner. In addition to Kelly and Justin, the show's remaining eight finalists featured on the album include Nikki McKibbon, Tamyra Gray, EJay Day, RJ Helton, AJ Gil, Ryan Starr, Christina Christian, and Jim Verraros. Producer Steve Lipson, who put the compilation together in an unprecedented two-weeks time, finds a range of pop gems on the album. "I think Kelly's version of ‘Natural Woman' is really strong. Her vocals are brilliant. She sold me on the song completely. I like Christina's 'Ain't No Sunshine.' I think she got the emotion of it across well. Nikki is very good as well -- very underestimated. And Tamyra is brilliant too so there's not much more to say about her." RCA Records will follow American Idol: Greatest Moments with the debut album from “American Idol” champion Kelly Clarkson in the first quarter of 2003. -
Words by ELIZABETH FORREST Photos by CATHERINE POWELL
MADDIE POPPEWords by ELIZABETH FORREST Photos by CATHERINE POWELL 06 Maddie Poppe, winner of show with her family and admired on the show, ‘how many people Season 16 of American Idol, the track record for its winners and are really watching?’” she explains. remembers exactly what she was contestants. That might intimi- It was hard for her to picture the thinking when Ryan Seacrest date some, but when it came to millions behind the screen. “But called her name during the season auditions, Maddie wasn’t afraid. “I after the show when we met people finale. “I had a flashback of every- didn’t think I had anything to lose. and looked out into the crowd, you thing that happened on the show,” I had been told ‘no’ so many times saw little girls with ponytails and she says. “I went from my audition, that I wasn’t really scared anymore. overalls. They were so excited to to the Hollywood week, to Top 50, I decided to just go for it,” she says. meet me and it’s crazy because I to Top 24. I kind of reflected on Being separated from her family still feel like I’m still such a regular, all the moments I never thought during the show was difficult. normal person,” Maddie laughs. I could do it, and it was unbeliev- Time with them was limited and Not only did Maddie win the able.” Music had always been a she was exposed to an entirely hearts of young girls; Katy Perry part of Maddie’s life, but she was new lifestyle far from her Midwest and Idina Menzel are fans of the no stranger to the word “no” going hometown. -
Kelly Clarkson American Idol 2004
Kelly clarkson american idol 2004 Since U Been Gone Live on The Christmas Special of American Idol: Kelly, Ruben & Fantasia: Home for. Kelly Clarkson performing Breakaway Live On the American Idol Christmas Special. Kelly Clarkson - Breakaway (Live American Idol Christmas Special) . This is my favourite song and. Kelly's emotions run as high as her vocals while performing her intimately personal song "Piece by Piece. Kelly Brianne Clarkson (born April 1, ) is an American pop-rock of her multi-platinum second album, Breakaway (), Clarkson moved to a more pop. 1 on two charts, Kelly Clarkson is the first American Idol contestant to earn reign on the Top Independent Albums chart on April 24, When American Idol premiered on Fox-TV on June 11, , it was far Then along came Kelly Clarkson, though the singer from Burleson, Texas, .. , "Idol" executive producers Nigel Lythgoe and Ken Warwick were. Kelly Clarkson performs on The Tonight Show with Jay Leno on August 9, in Burbank, California. Her second album, Breakaway, came. (CNN) Season 1 "American Idol" winner and breakout star Kelly Clarkson returned to the stage that made her famous Thursday night to mark. 'American Idol' is returning from the dead, but its top dawgs, Kelly Clarkson and Simon Cowell aren't coming along for the ride. Jennifer Hudson — who was on American Idol back in — will be a coach on Season 13 of. Kelly Brianne Clarkson was born in Fort Worth, Texas, to Jeanne Ann (Rose) She was the first winner of the series American Idol, in American Idol (TV Series) (performer - 20 episodes, - ) (writer - 4 episodes, - ). -
Rebooting Roseanne: Feminist Voice Across Decades
Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season.