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"rupert bear," ironically, was and is a comic in the non-murdoch owned london express.
The sometimes fiercely divided left and progressive factions in the U.S. are today united on one overriding desire.
They’d all like to see the phone-hacking and bribery scandal at Rupert Murdoch’s British newspapers result in the collapse of Murdoch’s American media empire.
Especially of the (deservedly) fiercely-despised Fox News Channel.
Could it happen?
Lefty pundits are pondering possible scenarios that could potentially lead to the sell-off and /or dismemberment of Murdoch’s stateside properties.
Such a move, these pundits guess, could be triggered by shareholders deathly afraid of the Murdochs’ sullied reputations ruining News Corp.’s American brands. Even if no direct link surfaces between the U.S. properties and the Murdoch U.K. papers’ scandals.
I’m not so sure.
If forced to do so, the Murdoch family could sell off its stock in, and retire from leadership of, the Fox broadcast network and its 27 network-owned stations. That move could avert any challenges to those local stations’ FCC licenses.
(Most Fox broadcast affiliates are owned by other companies. Here, KCPQ is owned by the Tribune Co.)
Such a spinoff could leave the Murdochs still in charge of the 20th Century-Fox film studio, along with its TV-production and home-video divisions. Rupert and his offspring could still own The Simpsons, even if they no longer owned the network on which it airs.
The family could also sell what’s left of the once mighty Wall Street Journal and Barron’s;Â perhaps to Bloomberg.
The assorted Fox cable channels are another potential matter altogether.
For one thing, the FCC doesn’t oversee the ownership of or content on cable channels.
And when Viacom spun off its former subsidiary CBS into a separate company again, some of Viacom’s cable properties (MTV, CMT) stayed with Viacom, while others (Showtime, The Movie Channel) became part of the new CBS Corp.
The Murdochs could sell off FX, Fox Movie Channel, Fox Soccer Channel, Speed, Fuel TV, Fox’s distribution/marketing contract with the National Geographic Channel, and its partnerships in the remaining regional FSN sports channels.
And they could keep Fox News Channel and Fox Business Channel.
Just to spite us liberals.
And with the money they get from selling their shares of all those other properties, the family could even keep subsidizing the New York Post for a few more years.
illo from macgazette.net
Be restful this evening, fellow Mac users.
The newest version of Mac OS X, version 10.7 (code named Lion) isn’t out yet, despite rumor sites that claimed it would be out by now. You don’t need to clog Apple’s servers to download it yet.
And don’t wait in line outside an Apple Store. This OS update will be sold exclusively as a download.
Why are you supposed to want it? For the “250+ New Features,” of course. Documents that auto-save themselves. Instant full-screen mode. Updated apps for mail, web browsing, address-book, networking, chatting, video calling/conferencing, security, backups and more. A “Launchpad” interface that looks like the iOS (iPhone/iPod/iPad) menu screen. A Mac App Store, just as convenient (and as censored) as the iOS app store.
But take this waiting time to prepare yourself.
Back up everything, just in case.
And check your applications folder. Thoroughly.
You see, Lion not only runs only on Macs with Intel chips, but it only runs applications written to be run on Macs with Intel chips.
It won’t run apps written for the previous, PowerPC-based Macs.
If you’re still using any Mac software that you haven’t updated since 2005-2006, you’ve got something to fret about.
Christina Warren from Mashable has a handy guide for checking if you’ve got soon-to-be orphaned apps on your Mac. It involves the System Profile utility, found at the “About This Mac” menu item.
If you don’t replace those apps with fresher versions (or substitutes) before you dump the current Mac OS from your ‘puter, you’ll still have your documents. But if those documents are written in the proprietary formats of orphaned apps, you won’t be able to read or revise them.
Unless, of course you set aside a bootable external hard drive, or a partition on your Mac’s internal hard drive, with the current OS X on it.
(Answer to yesterday’s riddle: The $25,000 Pyramid.)
pittsburgh post-gazette illo by anita dufalla, 2009
It’s a shame so many modern-day folk only know Roald Dahl as a “children’s writer.” He was more of a gruesome fabulist, some of whose stories were marketed as children’s fare.
Even the most famous screen version of his darker side, the once ubiquitously-rerun UK TV series Tales of the Unexpected, isn’t widely associated with Dahl. He hosted the show’s first two seasons, which mostly were adapted from his prose. After he quit the show, it continued another seven seasons without him. The show became noticeably lighter in tone as it evolved further away from Dahl’s conceptions.
But for straight-no-chaser Dahl misanthropy, though, there’s no better visual source than ‘Way Out. (Yes, it was spelled that way.)
It was one of the last prime time anthology shows made in New York. It was produced by David Susskind. Dahl introduced the episodes and wrote only the first, an adaptation of his own story William and Mary. But they all display a devilish cruelty.
Of the 14 episodes produced in 1961, five have made it onto the collectors’ circuit, and from there to YouTube. Those can all be found at this link.
Most of them have no sympathetic or even likable characters. There are no Rod Serling moral lessons, and no Alfred Hitchcock ironic twists. It’s all morbid and deadly.
Which, of course, made it a commercial flop.
And so much fun.
You can tell you’re not in Serling-land right at the opening logo sequence. It’s a series of human hands, reaching up in futility from the ground (buried alive?).
street food vendor, 1930s, singapore; from the-inncrowd.com
vintage 1940 trolley bus from seattletransitblog.com
all my children newspaper ad 1986
Just when we had programmed the ol’ DVR to record the final two months of All My Children, came word that it (and sister show One Life to Live) might just come back from the dead like Lazarus Tad.
ABC announced it had licensed both long-running daytime soaps to something called Prospect Park, a production company run by ex-execs of Disney (ABC’s parent company). The venture would continue production of new episodes, to be shown online only (not on broadcast or cable TV).
Given that online advertising draws far fewer bucks per viewer/reader than broadcast or print advertising, and given that no five-day-a-week scripted TV drama has succeeded anywhere but on the traditional big three networks (except the noble experiment that was Norman Lear’s Mary Hartman, Mary Hartman), many commentators on soap-themed online message boards have doubted the viability of such a venture.
Now comes word that there might be a government subsidy involved.
Really.
The unconfirmed rumor is that Prospect Park was waiting for, and received, money from some grant program intended to help jump start “new media ventures.”
That’s just one of the many still unanswered questions about this supposed reprieve for two of entertainment’s most venerable brands, for stories that have unfolded for more than four decades.
When will they be revealed?
Apparently very slowly.
Seattlest has just lauded this here MISC project’s recent 25 year anniversary (counting its assorted print and online incarnations):
…Humphrey’s voice (avuncular, humorously and gently caustic, with occasional touches of Harvey Pekar’s cynicism and observation, while remaining entirely his own) is rooted in that time and place. It generally reflects the thoughts of those who were embroiled in the DIY fervor of those early days before the dot-com boom took Seattle by storm and altered its DNA for good or ill.
There is no purpose in “reading” The Great Gatsby unless you actually read it. Fitzgerald’s novel is not about a story. It is about how the story is told. Its poetry, its message, its evocation of Gatsby’s lost American dream, is expressed in Fitzgerald’s style–in the precise words he chose to write what some consider the great American novel. Unless you have read them, you have not read the book at all. You have been imprisoned in an educational system that cheats and insults you by inflicting a barbaric dumbing-down process.
As mentioned previously here, Rupert Murdoch’s UK Sunday-only tabloid News of the World has printed its final edition. This final wraparound cover says it all. It calls itself “the world’s greatest newspaper” (a title also self-imposed in the past by the Chicago Tribune), while a background montage depicts dozens of screaming scandal headlines that have, and had, nothing to do with news.
And guess what? The last issue just happens to include a (stereotype-heavy) Seattle travel story.
There sure were a lot of people at the West Seattle Street Fair on an early Friday evening.
The ol’ Junction particularly teemed with kids. At times you couldn’t make your way down California Ave. without scrambling between traffic jams of double-wide plastic strollers.
Chris Ballew’s “Casper Babypants” act had a perfect captive audience.
On the main stage, Leslie Beattie, Kurt Bloch, and Mike Musburger (with the unseen-here Jim Sangster) in Thee Sgt. Major III warmed up an already warm audience with a rousing set. But the highlight of the night was yet to come.
Yes. For the first time in more than a decade, Bloch, Kim Warnick, Lulu Gargiulo, and Musburger were to perform a full set of their intense, brutally joyous (or is it joyously brutal?) power pop.
The street and the adjoining fenced-off beer garden were crammed with geezers like me who remembered the Fastbacks’ 1979-2001 reign. The street also had dozens who had not been yet born during that time. All were treated to one of the most electrifying, frenetic, and all-out rockin’ hours seen anywhere, at any time, by anyone.
If you ever saw the Fastbacks before, you know what I’m talking about. Even if you only heard them on record, you can imagine how great they were this night. All the great Bloch riffs. All the tomboyish Warnick/Gargiulo vocals, singing with gleeful passion about stuff you might not imagine could be portrayed that way (loneliness, depression, frustration).
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces. And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces.
And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.