October 28th, 2004
Wanted to add this real player stream – Jon Stewart is very articulate about the news, the media, and current american culture.
” In New York City, NY, Host and Executive Producer of Comedy Central’s “The Daily Show,” Jon Stewart, talks about presidential politics and the media.
10/25/2004: NEW YORK CITY, NY: 1 hr.
Note: Most events will remain in the archive for 15 days or less.”
Jon Stewart Interview [ Real Player ]
October 27th, 2004
An audio conversation with the master comedian . . . I got interested in this because a) Conan O’Brian is funny as hell and b) It’s rare & fascinating to hear him assess his sense of humor and career -
On March 9, 2003, as part of the TimesTalks series, Bill Carter, a media reporter for The New York Times, interviewed Conan O’Brien, the host of NBC’s “Late Night With Conan O’Brien.”
Clip 1 (Real Player) : “I wanted this show to be a kind of ‘Pee-Wee’s Playhouse’….We’re not news junkies…Our topical humor usually devolves into absurdity and silliness.”
Clip 2 (Real Player) : Conan O’Brien talks about a low point for the show, when he heard it was going to be canceled. He fought to keep it on the air.
Clip 3 (Real Player) : Conan O’Brien explains how he did not know about the Lampoon when he applied to Harvard, and how it became a big part of his identity as a student.
Clip 4 (Real Player) : “Whoever replaces Letterman is going to be hated and is going to have to go through this spanking machine that’s a thousand miles long. I want nothing to do with that.”
Clip 5 (Real Player) :Conan O’Brien discusses the publicity machine and how he deals with guests who come to his show “on message.”
October 27th, 2004
“I’m distributing Fahrenheit 9-11 on my web site. I spent $2000 to buy 100mb line for 2 weeks before the election. If you haven’t seen it – take a look and pass the link around.” – Marc Perkel
Looks like he balked at delivering the full-on avi (no joke bandwidth use), but he’s got some Windows Media player versions to snag.
October 27th, 2004
“This is easily the most surreal thing I’ve seen this morning so far. It’s an old Super Mario Brothers…on Ice special from apparently ABC from I’d guess about 1988. Hosted by Jason Bateman and Alyssa Milano. You have to watch this…” [via boing boing]
October 24th, 2004
“The Dartmouth College Recorder is a simulation of the traditional language lab cassette recorder. The software allows you to load files in WAVE, MP3, Ogg Vorbis, AIFF, Windows Media and ASF formats, and play them back using your computer’s speakers or headphones. During playback, you can at any time speak into a microphone, and your voice will be mixed together with the playback in real-time. The resulting track can then be played back or saved to disk.”
October 24th, 2004
Eminem’s new anti-Bush song “Mosh” is a tribute to the rapper’s favorite president, not widely released yet, but available for streaming here @ radio free pacific:
October 21st, 2004
Yahoo image search now claims to have 1 billion searchable images.
I had no idea the Yahoo search bar now looked almost identical to google, either.
October 20th, 2004
“The American Society of Composers, Authors and Publishers announced Monday that it has reached a $1.7 billion deal with the Radio Music License Committee to let stations legally stream their on-air content over the Internet.
With the deal, the radio group said, its 12,000 member stations gain the right to program ASCAP-regulated music online simultaneously with their on-air signals. The two industry groups labeled the agreement as the largest licensing deal in the history of American radio.
The groups said the agreement includes retroactive licensing fees for the years 2001 to 2003 and establishes a new guideline to be followed from 2004 until 2009. The deal replaces an existing system of revenue-based licensing fees with a royalties schedule for stations that will stream significant amounts of ASCAP-controlled content.
The deal was approved Friday by U.S. District Court Judge William C. Conner.
Executives at the RMLC said they were pleased to win the ability for their members to separate online royalties from the fees they already pay ASCAP for on-air content. Representatives of the composers and publishers group said the deal should serve as a boon to its own coffers.
“Over $1.7 billion dollars, fixed through 2009, indicates the true economic value of our members’ music to the radio industry,” Vincent Candilora, ASCAP’s director of licensing, said in a statement. “We were pleased to have reached an agreement that establishes significant income increases for our members that they can count on well into the future.”
ASCAP indicated that the agreement also would prevent potentially expensive litigation for both groups. The organization’s musical repertory covers over 7.5 million copyrighted titles.
The pact is only the latest in a stream of music and radio industry efforts meant to help establish a payment system for online radio broadcasts. In April 2003, two industry groups, the Digital Media Association (DMA) and the Recording Industry Association of America (RIAA), agreed to a proposal for royalty fees that Internet radio services must pay record companies for Webcasting their songs.
Based on that agreement, Internet companies such as America Online, Microsoft, RealNetworks and Yahoo pay 0.0762 cent for each song that they Webcast from their radio services. However, the terms of that deal only run until the end of 2004.
The ASCAP-RMLC deal affects radio stations’ rights to program music publicly, either via traditional broadcast or online. Other efforts in the segment, such as the DMA-RIAA guideline strategy, are aimed at transactions involving music titles, such as the downloading of MP3 files.
Beyond programming royalties, a number of parties, including consumer groups, electronics companies and record labels, are squaring off in an effort to establish antipiracy standards for digital radio networks. In that debate, the RIAA has asked the Federal Communications Commission for legislation that would prevent listeners from archiving songs downloaded via the Web without paying for them–and from trading recorded songs online. “