GAO-10-369 Media Programming: Factors Influencing the Availability
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Audio Today a Focus on African American & Hispanic Audiences April 2014
STATE OF THE MEDIA: AUDIO TODAY A FOCUS ON AFRICAN AMERICAN & HISPANIC AUDIENCES APRIL 2014 STATE OF THE MEDIA: AUDIO TODAY Q2 Copyright © 2014 The Nielsen Company 1 GROWTH AND THE AUDIO LANDSCAPE NATIONAL AUDIENCE HITS ALL-TIME HIGH Growth is a popular word today in America, whether you’re talking about the stock market, entertainment choices, or census trends. Through it all, radio consumption continues to increase; nearly 92% of all Americans 12 or older are tuning to radio in an average week. That’s 244.4 million of us, a record high! 244 MILLION AMERICANS LISTEN TO RADIO EACH WEEK This growth is remarkable considering the variety and number of media choices available to consumers today over-the-air and online via smartphones, tablets, notebooks/desktop computers and digital dashboards. Radio’s hyper-local nature uniquely serves each market which keeps it tied strongly to our daily lives no matter how (or where) we tune in. The radio landscape is also a diverse community of listeners from every corner of America, who reflect the same population trends of the country as a whole. Radio is one of the original mass mediums and as the U.S. population grows and the makeup of our citizens change, radio audiences follow suit. Alongside the national growth headline, both African American and Hispanic audiences have also reached a historic high with more than 71 million tuning in each week. Source: RADAR 120, March 2014, M-SU MID-MID, Total Listeners 12+/Hispanic 12+/African American 12+ 2 STATE OF THE MEDIA: AUDIO TODAY Q2 RADIO’S GROWTH CHART IS DIVERSIFIED Weekly Cume (000) March 2013 June 2013 Sept 2013 Dec 2013 March 2014 All Listeners 12+ 243,177 242,876 242,530 242,186 244,457 Hispanic 12+ 39,586 39,577 39,506 39,380 40,160 African American 12+ 30,987 30,862 30,823 30,742 31,186 71 MILLION AFRICAN AMERICANS AND HISPANICS The focus for this quarter’s Audio Today report is the African American and Hispanic listener; combined these listeners account for nearly a third (29.6%) of the total national audience. -
A Toolkit for Working with the Media
Utilizing the Media to Facilitate Social Change A Toolkit for Working with the Media WEST VIRGINIA FOUNDATION for RAPE INFORMATION and SERVICES www.fris.org 2011 Media Toolkit | 2 TABLE OF CONTENTS Media Advocacy……………………………….. ……….. 3 Building a Relationship with the Media……... ……….. 3 West Virginia Media…………………………………….. 4 Tips for Working with the Media……………... ……….. 10 Letter to the Editor…………………………….. ……….. 13 Opinion Editorial (Op-Ed)…………………….. ……….. 15 Media Advisory………………………………… ……….. 17 Press/News Release………………………….. ……….. 19 Public Service Announcements……………………….. 21 Media Interviews………………………………. ……….. 22 Survivors’ Stories and the Media………………………. 23 Media Packets…………………………………. ……….. 25 Media Toolkit | 3 Media Advocacy Media advocacy can promote social change by influencing decision-makers and swaying public opinion. Organizations can use mass media outlets to change social conditions and encourage political and social intervention. When working with the media, advocates should ‘shape’ their story to incorporate social themes rather than solely focusing on individual accountability. “Develop a story that personalizes the injustice and then provide a clear picture of who is benefiting from the condition.” (Wallack et al., 1999) Merely stating that there is a problem provides no ‘call to action’ for the public. Therefore, advocates should identify a specific solution that would allow communities to take control of the issue. Sexual violence is a public health concern of social injustices. Effective Media Campaigns Local, regional or statewide campaigns can provide a forum for prevention, outreach and raising awareness to create social change. This toolkit will enhance advocates’ abilities to utilize the media for campaigns and other events. Campaigns can include: public service announcements (PSAs), awareness events (Take Back the Night; The Clothesline Project), media interviews, coordinated events at area schools or college campuses, position papers, etc. -
Collected Press Clips
Future of Music Coalition press clips following release of radio study November 2002 - January 2003 Study Shows an Increase in Overlap of Radio Playlists; The report by an artists' rights group says that morestations with different formats play the same songs. Industry officials disagree. By Jeff Leeds Los Angeles Times, November 15, 2002 http://www.latimes.com/business/la-fi-radio15nov15,0,4652989.story Ever since the Clinton administration Moreover, the study says, radio handful of giant media companies, loosened restrictions on how many companies that have grown the most including Clear Channel and Viacom radio stations a broadcaster could under deregulation are limiting the Inc.'s Infinity Broadcasting, which own, record label executives have choice of music by operating two or operates more than 180 stations. complained that media consolidation more stations in the same market Radio industry officials dismissed the would lead to bland playlists and with the same music format. The study's conclusions. homogenous programming. report said that Clear Channel Communications Inc., the nation's "The big gap in the logic is that the Now a coalition of musicians and biggest radio conglomerate, has 143 authors don't believe radio stations independent record label executives stations with similar music formats in care about what consumers do," said say they have statistical proof that the same market. Jodie Renk, general manager of Core the relaxation of ownership rules has Callout Research, a firm that tests stifled recording artists and The study contradicts the conclusions new songs with radio listeners. "damaged radio as a public of a September report by the Federal resource." The study was done by the Communications Commission. -
As General Managers of Public Radio Stations That Serve Millions of Americans in Communities Large and Small, Urban and Rural And;
As General Managers of Public Radio stations that serve millions of Americans in communities large and small, urban and rural and; As Producers of local, regional and national content aired by stations throughout the nation committed to telling the evolving story of America, its proud history, and its committed citizens; We are writing to express our grave concern regarding the House legislation that would prohibit stations from using any Federal funds to pay for national programming and would eliminate CPB’s Program Fund. By prohibiting the use of Federal funds in any national programming, and in particular, by eliminating the CPB Program Fund, millions of Americans will be deprived of critical national and international news, information and cultural programming that cannot be found elsewhere. Local public radio stations will no longer reliably provide the community information and context so necessary to cities and towns challenged by change and faltering economies. Institutions and projects at risk include: - Radio Bilingüe’s national program service, public radio’s principal source of Latino programming - Koahnik Public Media’ Native Voice 1, public radio’s principal source of Native American programming - Youth Media, the California-based media network of young audio and video producers and a key source of a youth voice in the mass media - The Public Insight Network, American Public media’s expanding project to bring citizen experts into public radio journalism - Independent producers who depend upon the Program Fund for money to support production of series such as StoryCorps and This I Believe - Independent organizations dedicated to innovation, training, and excellence in journalism such as the Public Radio Exchange and the Association of Independents in Radio. -
Las Vegas Channel Lineup
Las Vegas Channel Lineup PrismTM TV 222 Bloomberg Interactive Channels 5145 Tropicales 225 The Weather Channel 90 Interactive Dashboard 5146 Mexicana 2 City of Las Vegas Television 230 C-SPAN 92 Interactive Games 5147 Romances 3 NBC 231 C-SPAN2 4 Clark County Television 251 TLC Digital Music Channels PrismTM Complete 5 FOX 255 Travel Channel 5101 Hit List TM 6 FOX 5 Weather 24/7 265 National Geographic Channel 5102 Hip Hop & R&B Includes Prism TV Package channels, plus 7 Universal Sports 271 History 5103 Mix Tape 132 American Life 8 CBS 303 Disney Channel 5104 Dance/Electronica 149 G4 9 LATV 314 Nickelodeon 5105 Rap (uncensored) 153 Chiller 10 PBS 326 Cartoon Network 5106 Hip Hop Classics 157 TV One 11 V-Me 327 Boomerang 5107 Throwback Jamz 161 Sleuth 12 PBS Create 337 Sprout 5108 R&B Classics 173 GSN 13 ABC 361 Lifetime Television 5109 R&B Soul 188 BBC America 14 Mexicanal 362 Lifetime Movie Network 5110 Gospel 189 Current TV 15 Univision 364 Lifetime Real Women 5111 Reggae 195 ION 17 Telefutura 368 Oxygen 5112 Classic Rock 253 Animal Planet 18 QVC 420 QVC 5113 Retro Rock 257 Oprah Winfrey Network 19 Home Shopping Network 422 Home Shopping Network 5114 Rock 258 Science Channel 21 My Network TV 424 ShopNBC 5115 Metal (uncensored) 259 Military Channel 25 Vegas TV 428 Jewelry Television 5116 Alternative (uncensored) 260 ID 27 ESPN 451 HGTV 5117 Classic Alternative 272 Biography 28 ESPN2 453 Food Network 5118 Adult Alternative (uncensored) 274 History International 33 CW 503 MTV 5120 Soft Rock 305 Disney XD 39 Telemundo 519 VH1 5121 Pop Hits 315 Nick Too 109 TNT 526 CMT 5122 90s 316 Nicktoons 113 TBS 560 Trinity Broadcasting Network 5123 80s 320 Nick Jr. -
US V. Entercom Communications Corp. and CBS Corporation
Case 1:17-cv-02268 Document 1 Filed 11/01/17 Page 1 of 10 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA UNITED STATES OF AMERICA United States Department of Justice Antitrust Division 450 Fifth Street, N.W., Suite 4000 Washington, DC 20530, Plaintiff, v. ENTERCOM COMMUNICATIONS CORP. 401 E. City Avenue Suite 809 Bala Cynwyd, PA 19004, and CBS CORPORATION 51 W. 52nd Street New York, NY 10019, Defendants. COMPLAINT The United States of America brings this civil action to enjoin the proposed acquisition of CBS Radio, Inc. by Entercom Communications Corporation, and to obtain other equitable relief. The acquisition likely would substantially lessen competition for the sale of radio advertising to advertisers targeting English-language listeners in the Boston, Sacramento, and San Francisco Designated Market Areas (“DMAs”), in violation of Section 7 of the Clayton Act, 15 U.S.C. § 18. The United States alleges as follows: Case 1:17-cv-02268 Document 1 Filed 11/01/17 Page 2 of 10 I. NATURE OF THE ACTION 1. Pursuant to an Agreement and Plan of Merger dated February 2, 2017, between Entercom, CBS Radio, Inc. and CBS Corporation, Entercom agreed to acquire CBS Radio in a Reverse Morris Trust transaction valued at over $1.6 billion. CBS Radio is a subsidiary of CBS Corporation. 2. Entercom and CBS Radio own and operate broadcast radio stations in various locations throughout the United States, including multiple stations in Boston, Massachusetts, Sacramento, California, and San Francisco, California. Entercom and CBS Radio compete head- to-head for the business of local and national companies that seek to advertise on English- language broadcast radio stations in these three DMAs. -
Channel Line-Up and Pricing Guide
Package Pricing Equipment, Installation & Service Basic Service . .$ 18.59 Equipment and Options (prices per month) The minimum level of service available and is required before you Digital / Analog Converter . $ 3.20 can subscribe to additional services. Analog Converter for Basic Service Only . $ 1.10 Digital / Analog Remote Control . $ 0.26 Starter Cable . $ 57.99 Additional Outlet Charge . $ 7.45 Includes Starter Cable channels plus DCT & Remote. Installation and Service* Digital Preferred . $ 16.95 Home Installation (Wired) . $ 31.49 This package can be added to Starter Cable and includes the Home Installation (Unwired) . $ 44.99 channels in Digital Classic. Additional Connection at Time of Initial Install . $ 16.99 Additional Connection Requiring Separate Trip . $ 27.99 Digital Preferred Plus Package . $ 109.99 Move Outlet . $ 19.99 Includes the channels in Starter Cable, Digital Classic, and HBO Upgrade of Services . $ 15.99 and STARZ!. Downgrade of Services . $ 10.95 Change of Service or Equipment Activation . $ 1.99 Digital Premier Package . $ 129.99 Connect VCR at Time of Initial Install . $ 9.49 Includes the channels in Starter Cable, Digital Classic, Sports Connect VCR Requiring Separate Trip . $ 15.99 Channel Line-up and Entertainment Tier, HBO, Showtime, Cinemax and Starz!. Hourly Service Charge . $ 31.99 Service Call Trip Charge . $ 29.99 Pricing Guide Digital Premium Services . $ 19.99 Administrative Fee for Delinquent Accounts at 30 Days . $ 8.00 Premium services can be added to any Digital package. Select Administrative Fee for Delinquent Accounts at 60 Days . $ 8.00 from HBO, Showtime, Cinemax, The Movie Channel, STARZ! Additional Late Fee Every 30 Days After . $ 8.00 or Encore. -
Who Pays Soundexchange: Q1 - Q3 2017
Payments received through 09/30/2017 Who Pays SoundExchange: Q1 - Q3 2017 Entity Name License Type ACTIVAIRE.COM BES AMBIANCERADIO.COM BES AURA MULTIMEDIA CORPORATION BES CLOUDCOVERMUSIC.COM BES COROHEALTH.COM BES CUSTOMCHANNELS.NET (BES) BES DMX MUSIC BES ELEVATEDMUSICSERVICES.COM BES GRAYV.COM BES INSTOREAUDIONETWORK.COM BES IT'S NEVER 2 LATE BES JUKEBOXY BES MANAGEDMEDIA.COM BES MEDIATRENDS.BIZ BES MIXHITS.COM BES MTI Digital Inc - MTIDIGITAL.BIZ BES MUSIC CHOICE BES MUSIC MAESTRO BES MUZAK.COM BES PRIVATE LABEL RADIO BES RFC MEDIA - BES BES RISE RADIO BES ROCKBOT, INC. BES SIRIUS XM RADIO, INC BES SOUND-MACHINE.COM BES STARTLE INTERNATIONAL INC. BES Stingray Business BES Stingray Music USA BES STORESTREAMS.COM BES STUDIOSTREAM.COM BES TARGET MEDIA CENTRAL INC BES Thales InFlyt Experience BES UMIXMEDIA.COM BES SIRIUS XM RADIO, INC CABSAT Stingray Music USA CABSAT MUSIC CHOICE PES MUZAK.COM PES SIRIUS XM RADIO, INC SDARS 181.FM Webcasting 3ABNRADIO (Christian Music) Webcasting 3ABNRADIO (Religious) Webcasting 8TRACKS.COM Webcasting 903 NETWORK RADIO Webcasting A-1 COMMUNICATIONS Webcasting ABERCROMBIE.COM Webcasting ABUNDANT RADIO Webcasting ACAVILLE.COM Webcasting *SoundExchange accepts and distributes payments without confirming eligibility or compliance under Sections 112 or 114 of the Copyright Act, and it does not waive the rights of artists or copyright owners that receive such payments. Payments received through 09/30/2017 ACCURADIO.COM Webcasting ACRN.COM Webcasting AD ASTRA RADIO Webcasting ADAMS RADIO GROUP Webcasting ADDICTEDTORADIO.COM Webcasting ADORATION Webcasting AGM BAKERSFIELD Webcasting AGM CALIFORNIA - SAN LUIS OBISPO Webcasting AGM NEVADA, LLC Webcasting AGM SANTA MARIA, L.P. -
American Forces Network Radio Programming Decisions (D-2006-117)
September 27, 2006 Information Technology Management American Forces Network Radio Programming Decisions (D-2006-117) Department of Defense Office of Inspector General Quality Integrity Accountability Additional Copies To obtain additional copies of this report, visit the Web site of the Department of Defense Inspector General at http://www.dodig.mil/audit/reports or contact the Secondary Reports Distribution Unit at (703) 604-8937 (DSN 664-8937) or fax (703) 604-8932. Suggestions for Future Audits To suggest ideas for or to request future audits, contact the Office of the Deputy Inspector General for Auditing at (703) 604-8940 (DSN 664-8940) or fax (703) 604-8932. Ideas and requests can also be mailed to: ODIG-AUD (ATTN: Audit Suggestions) Department of Defense Inspector General 400 Army Navy Drive (Room 801) Arlington, VA 22202-4704 Acronyms AFIS American Forces Information Service AFN American Forces Network AFRTS American Forces Radio and Television Service AFN-BC American Forces Network - Broadcast Center ASD(PA) Assistant Secretary of Defense (Public Affairs) OIG Office of Inspector General Department of Defense Office of Inspector General Report No. D-2006-117 September 27, 2006 (Project No. D2006-D000FI-0103.000) American Forces Network Radio Programming Decisions Executive Summary Who Should Read This Report and Why? This report will be of interest to DoD personnel responsible for the selection and distribution of talk-radio programming to overseas U.S. Forces and their family members and military personnel serving onboard ships. The report discusses the controls and processes needed for establishing a diverse inventory of talk-radio programming on American Forces Network Radio. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
BIO Kate Delaney Is an Emmy-Award Winning Journalist and Speaker Who
BIO Kate Delaney is an Emmy-award winning journalist and speaker who has interviewed more than 15,000 people, including U.S. presidents, top CEOs and Hall of Fame athletes. As a woman hosting a successful, highly rated radio talk show, she became a pioneer in broadcasting. In addition to her popular speaking engagements across the country. Kate has hosted shows on the NBC Sports Radio Network, WFAN in New York City and KRLD in Dallas, Texas. Currently she hosts the Kate Delaney show that includes Forbes Books Radio a weekly feature showcasing movers and shakers in the business world. It reaches three million people. She’s the author of three popular books, Level the Playing Field (2011) and Invade the Man Cave (2016). Her latest business book published by Forbes, Deal Your Own Destiny, Increase Your Odds, Win Big and Become Extraordinary is receiving rave reviews As a successful business owner, she’s most proud of working with the Texas Rangers baseball club on closing a $25 million radio rights deal for CBS radio when she worked as Executive Sports Director. Kate has served as a Keynote speaker and consultant for companies such as: Deloitte, Stanley Oil and Gas, Forbes, UPS, Fox, AT&T, Cisco, and Exxon/Mobil, Kraft and many more. She also gave a TED style talk at the Forbes Insider’s Summit. Kate is the Past President of the National Speakers Association in North Texas and serves on the advisory board of the Dallas Network Bar. DNB is millionaire Phil Romano’s high-tech members only Professional network hub. -
THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15