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post #72511 of 87370
Quote:
Originally Posted by NetworkTV View Post

...Not all of us watch football or give a damn about it to remember it can't actually end on time. Some of us wonder what the point of having a clock at all is if they keep stopping it. We're also the ones who would love to see every bit of sports go to a paid tier so it doesn't mess with regularly scheduled shows...

"Tis, Tis, and Tis."
post #72512 of 87370
Tech/TV Notes
Microsoft adding new television content to Xbox game console
By Dawn C. Chmielewski, Los Angeles Times' 'Company Town' Blog - October 5th, 2011

Microsoft Corp. is adding significantly more video content to its Xbox 360 game console, though it's not yet ready to replace the cable box.

The technology giant has reached deals with nearly 40 television distributors and content providers that will offer more TV shows via the Xbox Live online service by this holiday season.

However, with only certain channels and programs available, the agreements fall short of aspirations Microsoft discussed at the E3 industry conference in June of making its console an all-in-one entertainment device that could replace traditional set-top boxes from cable and satellite television services.

Moreover, users will still have to subscribe to traditional cable services in order to access much of their content on the Xbox.

The nation's largest cable TV distributor, Comcast Corp., said it would put its Xfinity service on the game console, allowing its subscribers to watch a wide variety of TV shows on demand. Telecommunications giant Verizon also will offer some live channels from its FiOS TV service.

And, premium cable channels HBO and Epix will allow subscribers to watch their movies and original programs on demand through the Xbox, as will NBC Universal-owned networks Bravo and Syfy. Internationally, the BBC will be available in the U.K.

Marc Whitten, vice president of the Xbox Live service, said the agreements expand the console's entertainment offerings. Some 35 million people use the Xbox Live service, which extends the gaming experience online and provides access to movies, TV shows and music.

Over the last few years Microsoft has made a wide variety of TV shows available to watch or rent and also added popular on-demand offerings from Netflix and ESPN.

Roughly 40% of the time people spend on Xbox Live is devoted to activities other than gaming, with video consumption up 300% from a year ago, said Whitten.

A new version of Xbox Live will be released in time for the holidays to allow people to use voice and gestures (instead of remote controls) to search for movies and TV shows with Microsoft's Kinect controller.

"What we're trying to do is change the way the content is experienced in the living room," Whitten said.

http://latimesblogs.latimes.com/ente...-hbo-epix.html
post #72513 of 87370
Quote:
Originally Posted by dad1153 View Post

But only 40% of Americans (at most) have access to DVR's. The rest have to tune in and see their shows real-time, which means a lot of them either tune out or sit around waiting for their show/segment to come around. Sucks, but viewers of CBS shows on Sundays are used to this by now.

Yea but i was just replying to the post about missing the end of the show.

Like you said someone without a dvr wouldve still seen it if they stuck around to watch & if they didnt care enough to stick around then they really werent that interested i guess.
post #72514 of 87370
Notice the new debut schedule for "Rules of Engagement" in the last paragraph; sounds like CBS is having second thoughts about letting this utility player go to waste on Saturday nights.

TV Notes
CBS orders full season of '2 Broke Girls'
By Jon Weisman, Variety - October 5th, 2011

For the second straight season, CBS has successfully launched a new Monday sitcom, picking up "2 Broke Girls" for a full season.

Starring Kat Dennings and Beth Behrs, "Girls" has averaged a 4.6 rating among viewers 18-49 and more than 11 million viewers overall over the past two weeks, sandwiched between the Eye's "How I Met Your Mother" and "Two and a Half Men."

Michael Patrick King exec produces "Girls," the highest-rated new show of the fall season, thanks in part to the huge sampling it received (19.4 million viewers) for its debut, airing immediately after the season premiere of "Men" with Charlie Sheen replacement Ashton Kutcher.

Whitney Cummings, who co-wrote the pilot for "Girls" and serves as an exec consultant for the Warner Bros. TV series, has now had both of her shows picked up for a full season -- her NBC sitcom "Whitney" received the greenlight Tuesday.

Matthew Moy, Jonathan Kite and Garrett Morris co-star in "Girls."

The pickup cements CBS' Monday night lineup, which wraps with "Mike & Molly" at 9:30 p.m. and "Hawaii Five-0" at 10. CBS' other new comedy for the fall, Thursday's "How To Be a Gentleman," is less secure after dropping roughly 40% of the audience from its "The Big Bang Theory" lead-in when it premiered Sept. 29.

CBS has pushed back the start date of veteran "Rules of Engagement," which has been slated for Saturdays, to Oct. 15. The comedy is a potential replacement for "Gentleman" on Thursdays if the latter continues to shed viewers.

http://www.variety.com/article/VR111...CNews%7CTVNews
post #72515 of 87370
Quote:
Originally Posted by NetworkTV View Post

Since it's been years since the last time I watched anything on CBS Sundays, no I didn't think about it. I recorded it just to see what they did with his last regular segment, since I used to watch the show years ago.

I wasn't alone since some the comments on the CBS site mentioned other people had the same issue. A lot of people who aren't regular viewers, but were curious about it, recorded it to watch later.

Not all of us watch football or give a damn about it to remember it can't actually end on time. Some of us wonder what the point of having a clock at all is if they keep stopping it. We're also the ones who would love to see every bit of sports go to a paid tier so it doesn't mess with regularly scheduled shows.

Hardly the NFL's fault. Fox doesn't have this problem. CBS just refuses to pad the schedule.
post #72516 of 87370
Quote:
Originally Posted by Jon J View Post

I record the 8 and 9 PM Central CBS shows and have solved the game length problem by simply extending the 9 PM recording by an hour. So far this has been enough padding.

In a world where the majority of DVRs never have enough drive space or tuners, extending a one hour show by at least another hour is a poor solution.

As I mentioned in the Good Wife thread, this problem could be solved if broadcasters and providers started to implement an equivalent to Accurate Recording or PDC. Europe has had this in place for almost twenty years now and it worked with VCRs. It's a simple system that involves a device waiting for a signal transmitted with the broadcast to indicate the show is starting. That way a recording never starts too late or finishes too early.
post #72517 of 87370
Tech/TV Notes
'Tower Heist' to hit video-on-demand three weeks after theatrical debut
By Ben Fritz, Los Angeles Times' 'Company Town' Blog - October 5th, 2011

In an audacious move that could shake up the way Hollywood has done business for decades, Universal Pictures plans to make its upcoming Eddie Murphy action comedy film "Tower Heist" available through video-on-demand just three weeks after it debuts in theaters Nov. 4.

But that convenience will come with a hefty asking price -- $59.99 -- that many cash-strapped consumers will balk at in the current economic slump.

The proposed test, which will be offered in Atlanta and Portland, Ore., to approximately 500,000 digital cable subscribers of Universal’s corporate parent, Comcast Corp., marks the first time a major studio movie will be available to watch in-home while still playing in thousands of theaters.

A person with knowledge of the "Tower Heist" release strategy who was not authorized to discuss it publicly confirmed the details for The Times. Spokeswomen for Universal and Comcast declined to comment.

If enough people take advantage of Universal's offer without a significant drop in box-office receipts, other studios could adopt similar strategies in the future. Such a development would end the industry's long tradition of imposing a delay of several months between when a movie is shown in theaters and when it is accessible on television screens.

Studios are looking to such experiments as a way to shift their age-old business models and generate additional revenue that can help compensate for plunging DVD sales that have been undermining movie economics over the last several years.

Universal's move is likely to infuriate theater owners, some of whom were informed of the plan this week after more than a year of discussions on the topic. The cinema industry has reacted angrily to any attempt by studios to shrink the traditional "window" of 90 days between the time a movie debuts in theaters and when it's available for home view.

Executives at the nation’s three largest theater chains -- AMC Entertainment, Regal Entertainment and Cinemark -- were outraged in the spring when four studios including Universal worked with satellite television distributor DirecTV on a test that made certain movies available for video-on-demand 60 days after they premiered in theaters for $29.99.

Spokespeople for the three companies did not return calls or declined to comment.

Many studio executives considered that test a bust because minimal promotion and relatively unpopular films such as "Sucker Punch" and "Paul" created a tepid consumer response and little data to evaluate.

That probably won't be the case with "Tower Heist," which also stars Ben Stiller and Matthew Broderick and is one of the highest profile releases of the fall. With the picture still in theaters it will benefit from word-of-mouth if it's a hit, along with a theatrical marketing campaign still fresh in the public's mind that will be supplemented with advertising in the test cities to promote the VOD test.

While the test probably won't be broadly popular, Universal is betting it will appeal to certain families and groups of friends who are eager to see "Tower Heist" but don't want to drive to a theater and pay for multiple tickets along with popcorn and drinks.

That's precisely what theater operators fear, at a time when attendance is already down. They have argued that so-called "premium video-on-demand" will shift consumer behavior, encouraging people to wait to watch a movie at home rather than seeing it in theaters a few weeks earlier.

Universal is assuring exhibitors that they will be compensated if "Tower Heist" ticket sales are lower than expected during the premium VOD test. Whether studio and exhibition executives can agree on what box office grosses would have been, however, remains to be seen.

If cinema owners are angry enough about the strategy they could threaten to not play "Tower Heist" in the two test markets when they debut on VOD or, potentially, at all. Such a response, if shared by most exhibitors, could even force Universal to alter or cancel its plan.

The studios seem committed to establishing a premium VOD business, however, and will probably launch similar offerings down the line with or without theaters' cooperation.

Universal and Comcast selected Atlanta and Portland for the test because they were seeking midsize markets that have a certain number of digital cable subscribers and moviegoing patterns similar to other cities where premium VOD won't be available. The companies believe that will make it easier to compare the results.

The "Tower Heist" plan would mark the most significant collaboration to date between Universal and its corporate parent since Comcast acquired media conglomerate NBCUniversal early this year. It represents a bold but risky step by Universal Pictures Chairman Adam Fogelson, NBCUniversal Chief Executive Steve Burke and Comcast Chief Executive Brian Roberts as they position their company on the leading edge of one of the most controversial issues in the entertainment business.

To fend off potential complaints that it is favoring its owner, Universal will offer other cable and Internet companies the chance to release "Tower Heist" via video-on-demand at the same time and on the same terms as Comcast.

http://latimesblogs.latimes.com/ente...cal-debut.html
post #72518 of 87370
Quote:
Originally Posted by dad1153 View Post

Tech/TV Notes
'Tower Heist' to hit video-on-demand three weeks after theatrical debut
By Ben Fritz, Los Angeles Times' 'Company Town' Blog - October 5th, 2011

In an audacious move that could shake up the way Hollywood has done business for decades, Universal Pictures plans to make its upcoming Eddie Murphy action comedy film "Tower Heist" available through video-on-demand just three weeks after it debuts in theaters Nov. 4.

But that convenience will come with a hefty asking price -- $59.99 -- that many cash-strapped consumers will balk at in the current economic slump.

So not only is it $60, but it's also three weeks after release and more importantly "Tower Heist."

If this was a major summer blockbuster with massive hype then that would be something that might justify the insanity of paying that much money to begin with.

If theaters think this is worth protesting then they are completely out of touch with reality. The person willing to spend $60 is never going to go to the theater anyway.
post #72519 of 87370
Steve Jobs just died?

Cancer sucks. :thumbdown:
post #72520 of 87370
Quote:
Originally Posted by Young C View Post

Steve Jobs just died?

Cancer sucks. :thumbdown:

http://www.apple.com/stevejobs/

http://online.wsj.com/article/SB1000...210811910.html
post #72521 of 87370
Quote:
Originally Posted by keenan View Post

http://www.apple.com/stevejobs/

Very cool page. Simple and neat.

Thank you for the posting.
post #72522 of 87370
Here's another.

http://www.apple.com/
post #72523 of 87370
Obituary
Steve Jobs, Apple's Visionary, Dies at 56
By John Markoff, The New York Times - October 6th, 2011

Steven P. Jobs, the visionary co-founder of Apple who helped usher in the era of personal computers and then led a cultural transformation in the way music, movies and mobile communications were experienced in the digital age, died Wednesday. He was 56.

The death was announced by Apple, the company Mr. Jobs and his high school friend Stephen Wozniak started in 1976 in a suburban California garage.

Mr. Jobs had waged a long and public struggle with cancer, remaining the face of the company even as he underwent treatment. He continued to introduce new products for a global market in his trademark blue jeans even as he grew gaunt and frail.

He underwent surgery for pancreatic cancer in 2004, received a liver transplant in 2009 and took three medical leaves of absence as Apple’s chief executive before stepping down in August and turning over the helm to Timothy D. Cook, the chief operating officer. When he left, he was still engaged in the company’s affairs, negotiating with another Silicon Valley executive only weeks earlier.

“I have always said that if there ever came a day when I could no longer meet my duties and expectations as Apple’s C.E.O., I would be the first to let you know,” Mr. Jobs said in a letter released by the company. “Unfortunately, that day has come.”

By then, having mastered digital technology and capitalized on his intuitive marketing sense, Mr. Jobs had largely come to define the personal computer industry and an array of digital consumer and entertainment businesses centered on the Internet. He had also become a very rich man, worth an estimated $8.3 billion.

Eight years after founding Apple, Mr. Jobs led the team that designed the Macintosh computer, a breakthrough in making personal computers easier to use. After a 12-year separation from the company, prompted by a bitter falling-out with his chief executive, John Sculley, he returned in 1997 to oversee the creation of one innovative digital device after another — the iPod, the iPhone and the iPad. These transformed not only product categories like music players and cellphones but also entire industries, like music and mobile communications.

During his years outside Apple, he bought a tiny computer graphics spinoff from the director George Lucas and built a team of computer scientists, artists and animators that became Pixar Animation Studios.

Starting with “Toy Story” in 1995, Pixar produced a string of hit movies, won several Academy Awards for artistic and technological excellence, and made the full-length computer-animated film a mainstream art form enjoyed by children and adults worldwide.

Mr. Jobs was neither a hardware engineer nor a software programmer, nor did he think of himself as a manager. He considered himself a technology leader, choosing the best people possible, encouraging and prodding them, and making the final call on product design.

It was an executive style that had evolved. In his early years at Apple, his meddling in tiny details maddened colleagues, and his criticism could be caustic and even humiliating. But he grew to elicit extraordinary loyalty.

“He was the most passionate leader one could hope for, a motivating force without parallel,” wrote Steven Levy, author of the 1994 book “Insanely Great,” which chronicles the creation of the Mac. “Tom Sawyer could have picked up tricks from Steve Jobs.”

“Toy Story,” for example, took four years to make while Pixar struggled, yet Mr. Jobs never let up on his colleagues. “‘You need a lot more than vision — you need a stubbornness, tenacity, belief and patience to stay the course,” said Edwin Catmull, a computer scientist and a co-founder of Pixar. “In Steve’s case, he pushes right to the edge, to try to make the next big step forward.”

Mr. Jobs was the ultimate arbiter of Apple products, and his standards were exacting. Over the course of a year he tossed out two iPhone prototypes, for example, before approving the third, and began shipping it in June 2007.

To his understanding of technology he brought an immersion in popular culture. In his 20s, he dated Joan Baez; Ella Fitzgerald sang at his 30th birthday party. His worldview was shaped by the ’60s counterculture in the San Francisco Bay Area, where he had grown up, the adopted son of a Silicon Valley machinist. When he graduated from high school in Los Altos in 1972, he said, ”the very strong scent of the 1960s was still there.”

After dropping out of Reed College, a stronghold of liberal thought in Portland, Ore., in 1972, Mr. Jobs led a countercultural lifestyle himself. He told a reporter that taking LSD was one of the two or three most important things he had done in his life. He said there were things about him that people who had not tried psychedelics — even people who knew him well, including his wife — could never understand.

Decades later he flew around the world in his own corporate jet, but he maintained emotional ties to the period in which he grew up. He often felt like an outsider in the corporate world, he said. When discussing the Silicon Valley’s lasting contributions to humanity, he mentioned in the same breath the invention of the microchip and “The Whole Earth Catalog,” a 1960s counterculture publication.

Apple’s very name reflected his unconventionality. In an era when engineers and hobbyists tended to describe their machines with model numbers, he chose the name of a fruit, supposedly because of his dietary habits at the time.

Coming on the scene just as computing began to move beyond the walls of research laboratories and corporations in the 1970s, Mr. Jobs saw that computing was becoming personal — that it could do more than crunch numbers and solve scientific and business problems — and that it could even be a force for social and economic change. And at a time when hobbyist computers were boxy wooden affairs with metal chassis, he designed the Apple II as a sleek, low-slung plastic package intended for the den or the kitchen. He was offering not just products but a digital lifestyle.

He put much stock in the notion of “taste,” a word he used frequently. It was a sensibility that shone in products that looked like works of art and delighted users. Great products, he said, were a triumph of taste, of “trying to expose yourself to the best things humans have done and then trying to bring those things into what you are doing.”

Regis McKenna, a longtime Silicon Valley marketing executive to whom Mr. Jobs turned in the late 1970s to help shape the Apple brand, said Mr. Jobs’s genius lay in his ability to simplify complex, highly engineered products, “to strip away the excess layers of business, design and innovation until only the simple, elegant reality remained.”

Mr. Jobs’s own research and intuition, not focus groups, were his guide. When asked what market research went into the iPad, Mr. Jobs replied: “None. It’s not the consumers’ job to know what they want.”

Early Interests

Steven Paul Jobs was born in San Francisco on Feb. 24, 1955, and put up for adoption by his biological parents, Joanne Carole Schieble and Abdulfattah Jandali, a graduate student from Syria who became a political science professor. He was adopted by Paul and Clara Jobs.

The elder Mr. Jobs, who worked in finance and real estate before returning to his original trade as a machinist, moved his family down the San Francisco Peninsula to Mountain View and then to Los Altos in the 1960s.

Mr. Jobs developed an early interest in electronics. He was mentored by a neighbor, an electronics hobbyist, who built Heathkit do-it-yourself electronics projects. He was brash from an early age. As an eighth grader, after discovering that a crucial part was missing from a frequency counter he was assembling, he telephoned William Hewlett, the co-founder of Hewlett-Packard. Mr. Hewlett spoke with the boy for 20 minutes, prepared a bag of parts for him to pick up and offered him a job as a summer intern.

Mr. Jobs met Mr. Wozniak while attending Homestead High School in neighboring Cupertino. The two took an introductory electronics class there.

The spark that ignited their partnership was provided by Mr. Wozniak’s mother. Mr. Wozniak had graduated from high school and enrolled at the University of California, Berkeley, when she sent him an article from the October 1971 issue of Esquire magazine. The article, “Secrets of the Little Blue Box,” by Ron Rosenbaum, detailed an underground hobbyist culture of young men known as phone phreaks who were illicitly exploring the nation’s phone system.

Mr. Wozniak shared the article with Mr. Jobs, and the two set out to track down an elusive figure identified in the article as Captain Crunch. The man had taken the name from his discovery that a whistle that came in boxes of Cap’n Crunch cereal was tuned to a frequency that made it possible to make free long-distance calls simply by blowing the whistle next to a phone handset.

Captain Crunch was John Draper, a former Air Force electronic technician, and finding him took several weeks. Learning that the two young hobbyists were searching for him, Mr. Draper appeared one day in Mr. Wozniak’s Berkeley dormitory room. Mr. Jobs, who was still in high school, had traveled to Berkeley for the meeting. When Mr. Draper arrived, he entered the room saying simply, “It is I!”

Based on information they gleaned from Mr. Draper, Mr. Wozniak and Mr. Jobs later collaborated on building and selling blue boxes, devices that were widely used for making free — and illegal — phone calls. They raised a total of $6,000 from the effort.

After enrolling at Reed College in 1972, Mr. Jobs left after one semester, but remained in Portland for another 18 months auditing classes. In a commencement address given at Stanford in 2005, he said he had decided to leave college because it was consuming all of his parents’ savings.

Leaving school, however, also freed his curiosity to follow his interests. “I didn’t have a dorm room,” he said in his Stanford speech, “so I slept on the floor in friends’ rooms, I returned Coke bottles for the 5-cent deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on.”

He returned to Silicon Valley in 1974 and took a job there as a technician at Atari, the video game manufacturer. Still searching for his calling, he left after several months and traveled to India with a college friend, Daniel Kottke, who would later become an early Apple employee. Mr. Jobs returned to Atari that fall. In 1975, he and Mr. Wozniak, then working as an engineer at H.P., began attending meetings of the Homebrew Computer Club, a hobbyist group that met at the Stanford Linear Accelerator Center in Menlo Park, Calif. Personal computing had been pioneered at research laboratories adjacent to Stanford, and it was spreading to the outside world.

“What I remember is how intense he looked,” said Lee Felsenstein, a computer designer who was a Homebrew member. “He was everywhere, and he seemed to be trying to hear everything people had to say.”

Mr. Wozniak designed the original Apple I computer simply to show it off to his friends at the Homebrew. It was Mr. Jobs who had the inspiration that it could be a commercial product.

In early 1976, he and Mr. Wozniak, using their own money, began Apple with an initial investment of $1,300; they later gained the backing of a former Intel executive, A. C. Markkula, who lent them $250,000. Mr. Wozniak would be the technical half and Mr. Jobs the marketing half of the original Apple I Computer. Starting out in the Jobs family garage in Los Altos, they moved the company to a small office in Cupertino shortly thereafter.

In April 1977, Mr. Jobs and Mr. Wozniak introduced Apple II at the West Coast Computer Faire in San Francisco. It created a sensation. Faced with a gaggle of small and large competitors in the emerging computer market, Apple, with its Apple II, had figured out a way to straddle the business and consumer markets by building a computer that could be customized for specific applications.

Sales skyrocketed, from $2 million in 1977 to $600 million in 1981, the year the company went public. By 1983 Apple was in the Fortune 500. No company had ever joined the list so quickly.

The Apple III, introduced in May 1980, was intended to dominate the desktop computer market. I.B.M. would not introduce its original personal computer until 1981. But the Apple III had a host of technical problems, and Mr. Jobs shifted his focus to a new and ultimately short-lived project, an office workstation computer code-named Lisa.

An Apocalyptic Moment

By then Mr. Jobs had made his much-chronicled 1979 visit to Xerox’s research center in Palo Alto, where he saw the Alto, an experimental personal computer system that foreshadowed modern desktop computing. The Alto, controlled by a mouse pointing device, was one of the first computers to employ a graphical video display, which presented the user with a view of documents and programs, adopting the metaphor of an office desktop.

“It was one of those sort of apocalyptic moments,” Mr. Jobs said of his visit in a 1995 oral history interview for the Smithsonian Institution. “I remember within 10 minutes of seeing the graphical user interface stuff, just knowing that every computer would work this way someday. It was so obvious once you saw it. It didn’t require tremendous intellect. It was so clear.”

In 1981 he joined a small group of Apple engineers pursuing a separate project, a lower-cost system code-named Macintosh. The machine was introduced in January 1984 and trumpeted during the Super Bowl telecast by a 60-second commercial, directed by Ridley Scott, that linked I.B.M., by then the dominant PC maker, with Orwell’s Big Brother.

A year earlier Mr. Jobs had lured Mr. Sculley to Apple to be its chief executive. A former Pepsi-Cola chief executive, Mr. Sculley was impressed by Mr. Jobs’s pitch: “Do you want to spend the rest of your life selling sugared water, or do you want a chance to change the world?”

He went on to help Mr. Jobs introduce a number of new computer models, including an advanced version of the Apple II and later the Lisa and Macintosh desktop computers. Through them Mr. Jobs popularized the graphical user interface, which, based on a mouse pointing device, would become the standard way to control computers.

But when the Lisa failed commercially and early Macintosh sales proved disappointing, the two men became estranged and a power struggle ensued, and Mr. Jobs lost control of the Lisa project. The board ultimately stripped him of his operational role, taking control of the Lisa project away from, and 1,200 Apple employees were laid off. He left Apple in 1985.

“I don’t wear the right kind of pants to run this company,” he told a small gathering of Apple employees before he left, according to a member of the original Macintosh development team. He was barefoot as he spoke, and wearing blue jeans.

That September he announced a new venture, NeXT Inc. The aim was to build a workstation computer for the higher-education market. The next year, the Texas industrialist H. Ross Perot invested $20 million in the effort. But it did not achieve Mr. Jobs’s goals.

Mr. Jobs also established a personal philanthropic foundation after leaving Apple but soon had a change of heart, deciding instead to spend much of his fortune — $10 million — on acquiring Pixar, a struggling graphics supercomputing company owned by the filmmaker George Lucas.

The purchase was a significant gamble; there was little market at the time for computer-animated movies. But that changed in 1995, when the company, with Walt Disney Pictures, released “Toy Story.” That film’s box-office receipts ultimately reached $362 million, and when Pixar went public in a record-breaking offering, Mr. Jobs emerged a billionaire. In 2006, the Walt Disney Company agreed to purchase Pixar for $7.4 billion. The sale made Mr. Jobs Disney’s largest single shareholder, with about 7 percent of the company’s stock.

His personal life also became more public. He had a number of well-publicized romantic relationships, including one with the folk singer Joan Baez, before marrying Laurene Powell. In 1996, a sister, the novelist Mona Simpson, threw a spotlight on her relationship with Mr. Jobs in the novel “A Regular Guy.” The two did not meet until they were adults. The novel centered on a Silicon Valley entrepreneur who bore a close resemblance to Mr. Jobs. It was not an entirely flattering portrait. Mr. Jobs said about a quarter of it was accurate.

“We’re family,” he said of Ms. Simpson in an interview with The New York Times Magazine. “She’s one of my best friends in the world. I call her and talk to her every couple of days.”

His wife and Ms. Simpson survive him, as do his three children with Ms. Powell, his daughters Eve Jobs and Erin Sienna Jobs and a son, Reed; another daughter, Lisa Brennan-Jobs, from a relationship with Chrisann Brennan; and another sister, Patti Jobs.

Return to Apple

Beginning in 1986, Mr. Jobs refocused NeXT from the education to the business market and dropped the hardware part of the company, deciding to sell just an operating system. Although NeXT never became a significant computer industry player, it had a huge impact: a young programmer, Tim Berners-Lee, used a NeXT machine to develop the first version of the World Wide Web at the Swiss physics research center CERN in 1990.

In 1996, after unsuccessful efforts to develop next-generation operating systems, Apple, with Gilbert Amelio now in command, acquired NeXT for $430 million. The next year, Mr. Jobs returned to Apple as an adviser. He became chief executive again in 2000.

Shortly after returning, Mr. Jobs publicly ended Apple’s long feud with its archival Microsoft, which agreed to continue developing its Office software for the Macintosh and invested $150 million in Apple.

Once in control of Apple again, Mr. Jobs set out to reshape the consumer electronics industry. He pushed the company into the digital music business, introducing first iTunes and then the iPod MP3 player. The music arm grew rapidly, reaching almost 50 percent of the company’s revenue by June 2008.

In 2005, Mr. Jobs announced that he would end Apple’s business relationship with I.B.M. and Motorola and build Macintosh computers based on Intel microprocessors.

By then his fight with cancer was publicly known. Apple had announced in 2004 that Mr. Jobs had a rare but curable form of pancreatic cancer and that he had undergone successful surgery. Four years later, questions about his health returned when he appeared at a company event looking gaunt. Afterward, he said he had suffered from a “common bug.” Privately, he said his cancer surgery had created digestive problems but insisted they were not life-threatening.

Apple began selling the iPhone in June 2007. Mr. Jobs’s goal was to sell 10 million of the handsets in 2008, equivalent to 1 percent of the global cellphone market. The company sold 11.6 million.

Although smartphones were already commonplace, the iPhone dispensed with a stylus and pioneered a touch-screen interface that quickly set the standard for the mobile computing market. Rolled out with much anticipation and fanfare, iPhone rocketed to popularity; by end of 2010 the company had sold almost 90 million units.

Although Mr. Jobs took just a nominal $1 salary when he returned to Apple, his compensation became the source of a Silicon Valley scandal in 2006 over the backdating of millions of shares of stock options. But after a company investigation and one by the Securities and Exchange Commission, he was found not to have benefited financially from the backdating and no charges were brought.

The episode did little to taint Mr. Jobs’s standing in the business and technology world. As the gravity of his illness became known, and particularly after he announced he was stepping down, he was increasingly hailed for his genius and true achievement: his ability to blend product design and business market innovation by integrating consumer-oriented software, microelectronic components, industrial design and new business strategies in a way that has not been matched.

If he had a motto, it may have come from “The Whole Earth Catalog,” which he said had deeply influenced him as a young man. The book, he said in his commencement address at Stanford in 2005, ends with the admonition “Stay Hungry. Stay Foolish.”

“I have always wished that for myself,” he said.

Steve Lohr contributed reporting.

http://www.nytimes.com/2011/10/06/bu...6.html?_r=1&hp
post #72524 of 87370
How long until Apple sues someone to commemorate his death?
post #72525 of 87370
Quote:
Originally Posted by RedOctober205 View Post

How long until Apple sues someone to commemorate his death?

Classy.

Always nice to have new members.
post #72526 of 87370
Quote:
Originally Posted by VisionOn View Post

Classy.

Always nice to have new members.

The phrase "in poor taste" doesn't even come close.
post #72527 of 87370
Quote:
Originally Posted by VisionOn View Post


Classy.

Always nice to have new members.

New? February...

If I felt Steve was classy, I would be classy in response to his death.
post #72528 of 87370
Quote:
Originally Posted by RedOctober205 View Post

New? February...

If I felt Steve was classy, I would be classy in response to his death.

February is nothing in comparison and you are clearly someone who is new to this thread which exists in it's own space on AVS.

If I felt your contributions were going to be anything worth reading now or in the future I wouldn't be putting you on ignore with all the rest of the members who can't form an idea that is only worth something on Twitter.

But that's the way it goes.
post #72529 of 87370
Quote:
Originally Posted by Young C View Post

Steve Jobs just died?

Cancer sucks. :thumbdown:


It's not one of the original models from 1984, but my SE from 1987 years later is currently humming away with the Flying Toasters flapping across the screen. Steve was out by that point, but it's still based on his original.

It gave me the "Happy Mac" logo when it booted up....I don't think it's heard the news yet...

post #72530 of 87370
Quote:
Originally Posted by NetworkTV View Post

It gave me the "Happy Mac" logo when it booted up....I don't think it's heard the news yet...

That's classy. Nice.
post #72531 of 87370

Source: http://jmak.tumblr.com/post/9377189056

From the Apple IPhone4S unveiling (day before Jobs passed away):
post #72532 of 87370
TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are EDT. Network late night shows are preceded by late local news)

ABC:
8PM - Charlie's Angels
9PM - Grey's Anatomy
10:01PM - Private Practice
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Antonio Banderas; educator "Science Bob" Pflugfelder; Jane's Addiction performs)

CBS:
8PM - The Big Bang Theory
8:31PM - How to Be a Gentleman
9PM - Person of Interest
10PM - The Mentalist
* * * *
11:35PM - Late Show with David Letterman (Caroline Kennedy; dock-diving dogs; The Joy Formidable performs)
12:37AM - Late Late Show with Craig Ferguson (Jason Schwartzman; Eliza Coupe)

NBC:
8PM - Community
8:30PM - Parks and Recreation
9PM - The Office
9:30PM - Whitney
10PM - Prime Suspect
* * * *
11:35PM - The Tonight Show with Jay Leno (Jack Black; Steve Martin; Owen Wilson; Aubrey Plaza; Blondie performs)
12:37AM - Late Night with Jimmy Fallon (Hugh Jackman; Rachel Bilson; Jeff the Brotherhood performs)
1:36AM - Last Call with Carson Daly (Michelle Monaghan; musician J. Cole; Frightened Rabbit performs) SD

FOX:
8PM - The X-Factor (120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Raleigh, NC (R)
9PM - The 'This Old House' Hour (Season Premiere)
10PM - Lords of the Gourd: The Pursuit of Excellence
(R)

UNIVISION:
8PM - Una Familia con Suerte
9PM - La Fuerza del Destino
10PM - Mujeres Asesinas

THE CW:
8PM - The Vampire Diaries
9PM - The Secret Circle

TELEMUNDO:
8PM - Mi Corazón Insiste
9PM - Flor Salvaje
10PM - La Casa de al Lado

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Jason Sudeikis)
11:31PM - The Colbert Report (Green Beret Jason Amerine)

TBS:
After the MLB Playoffs - Conan (Ryan Reynolds; Simon Pegg; Kyle Kinane performs)
(R)

E!:
11PM - Chelsea Lately (Jane Lynch; comic Jen Kirkman; comic Josh Wolf; comic Bill Bellamy)
post #72533 of 87370
TV Notes
Thursday's Highlights: 'Prime Suspect' on NBC
By Los Angeles Times' 'Show Tracker' Blog - October 5th, 2011

[ALL TIMES LISTED ARE PACIFIC TIME]

HUNTING A KILLER: Tim Griffin and Maria Bello are homicide detectives in the crime drama Prime Suspect. A new episode arrives at 10 p.m. on NBC.

SERIES

Community:
While patrolling the campus, Chang (Ken Jeong) imagines himself in a noirish detective story. Michael K. Williams, Joel McHale, Chevy Chase and Gillian Jacobs also star in this new episode (8 p.m. NBC).

The Mentalist: Patrick (Simon Baker) and his colleagues are asked to help locate the kidnapped son of a former client (Kelli Williams) from his psychic days (10 p.m. CBS).

Austin City Limits: This new episode features performances by contemporary folk rockers Mumford & Sons and Flogging Molly (10 p.m. KVCR).

The League: The fantasy sports series returns for a new season with an episode titled The Lockout (10:30 p.m. FX).

After the Runway: This new companion series for Project Runway takes viewers behind the scenes and offers interviews with eliminated contestants (10:30 p.m. Lifetime).

SPECIALS

History of the World in Two Hours:
This new special is a fast-paced trip back in time tracing the Earth's history from its formation through the emergence of life, the rise of humanity and the growth of civilization, connecting it all to the current state of the world (9 p.m. History).

MOVIES

George Harrison: Living in the Material World: (2011)
Filmmaker Martin Scorsese's examination of the life of the legendary guitarist for the Beatles guitarist concludes (6:15 and 9 p.m. HBO).

SPORTS

Baseball: MLB Playoffs:
The Detroit Tigers visit the New York Yankees (5:30 p.m. TBS)
Hockey: The Philadelphia Flyers visit the Boston Bruins (4 p.m. VS); the Pittsburgh Penguins visit the Vancouver Canucks (7 p.m. VS).

College football: California visits Oregon (6 p.m. ESPN).

High school football: Oaks Christian visits Westlake Village (7:30 p.m. FSN).


http://latimesblogs.latimes.com/show...ct-on-nbc.html
post #72534 of 87370
Wow, Jobs and Shuttlesworth both in one day. "Jobbers" was no worse than any other ego-centric billionaire; RIP...
post #72535 of 87370
Quote:
Originally Posted by URFloorMatt View Post

Hardly the NFL's fault. Fox doesn't have this problem. CBS just refuses to pad the schedule.

Exactly. CBS has been dealing with this for almost 10 years when they got back into covering the NFL and the late game start times were pushed back 15 minutes. It's not like this is a new problem.
post #72536 of 87370
Quote:
Originally Posted by dad1153 View Post

................

But only 40% of Americans (at most) have access to DVR's. The rest have to tune in and see their shows real-time, which means a lot of them either tune out or sit around waiting for their show/segment to come around. Sucks, but viewers of CBS shows on Sundays are used to this by now.

People still use VCRs and stand alone DVD burners for recording. I started time shifting my TV watching back in 1984 with a VCR. Even today with a VCR or DVD burner you can skip over commercials. You don't need a DVR for that. Back in the 90's I used several VCRs for recording and playback. The last thing I wanted to do was watch something live with commericals. Since every hour of TV programming has around 20 minutes of commericals that is a big savings of time by not having to watch the commercials.

In 2001 when I went HD that was a big priority for me. I was not going to go HD unless I could timeshift my TV watching. So I was able to get a couple of HiPix cards to timeshift my OTA HD watching. Although I wasn't able to timeshift my satellite HD watching until the HDTiVo came out in 2004.
post #72537 of 87370
The weekly BCS poll starts this weekend so ESPN will start their weekly unveiling show this & every sunday @ 8:15pm.

Wonder why ABC has #3 oklahoma/#11 texas at noon meanwhile unranked ohio state/#14 nebraska (who just got thumped last week) is at 8:00pm.
That game will not do a great #....why dont they just flip the times of those 2 games ?

Is it a red river rivalry thing that they think fans will get too drunk/rowdy for an 8:00 start ? Just seems like wierd scheduling.
post #72538 of 87370
TV Notes
A Sitcom Grows Up and Finds Its Identity
By Bill Carter, The New York Times - October 6th, 2011

It seems to be in the DNA of many of NBC’s most memorable comedies: they’re late bloomers.

Nobody thought much of “Cheers” or “Seinfeld” or “The Office” when they first hit the air. But once they found their voices, they found an audiences.

“Parks and Recreation,” seen at 8:30 p.m. on Thursdays, is halfway there. Judging by increasingly favorable critical comment, along with the endorsements on Internet sites and enthusiastic word of mouth, the four-year-old comedy has found its comic voice. The audience part still lags, though with NBC struggling to shore up much of its schedule, the still-modest ratings for “Parks and Rec” are the least of the network’s worries.

“That’s not the worst way to be described, the least of someone’s worries,” Amy Poehler said, with her high-pitched cackle of a laugh. She stars in the show as the unflinchingly earnest Leslie Knope, dedicated public servant in the fictional Pawnee, Ind. “I think there is a nice dovetailing of quality of show and people liking it and network supporting it,” Ms. Poehler said this week in a telephone interview. “It’s all coming together rather nicely.”

But there were some early rocky moments. The show came close to disappearing a few times. Twice its seasons were curtailed by network scheduling, and once it had to sit on the sidelines in the fall while another comedy tried to usurp its place in NBC’s lineup — and maybe its heart.

But now the signs are certainly promising: Ms. Poehler was nominated for an Emmy this year. Many critics couldn’t believe that a co-star, Nick Offerman, who plays the meat-loving libertarian Ron Swanson, wasn’t. The rest of the deep cast — Chris Pratt, Aziz Ansari, Aubrey Plaza, Adam Scott, Rob Lowe and Rashida Jones — is almost as celebrated, with many already breaking through in films, like Mr. Pratt’s turn as a central player in “Moneyball.”

For Michael Schur, who created the series with Greg Daniels, it all comes down to a simple formula: “It just takes a while.”

The creation of “Parks and Recreation” itself was something of a feint. Ben Silverman, who brought “The Office” to NBC as a producer before taking over the network’s entertainment division (and later leaving in 2009), asked Mr. Daniels to develop a spinoff of that comedy.

He and Mr. Schur set to work, not sure if they wanted to go the spinoff route at all, though Mr. Daniels said they came up with a few ideas. One would have taken the character on “The Office” played by Ed Helms and made him the head of a quirky family living in a cul-de-sac. Mr. Daniels wanted that to be, like “The Office,” another mockumentary, this one called “American Family,” which might have made life more complicated for a later mockumentary hit, ABC’S “Modern Family.”

What mainly changed the effort was Ms. Poehler. She and Mr. Schur were close from their days on “Saturday Night Live.” The chance to work with him again led Ms. Poehler to consider starring in a sitcom, a move that had not been in her plans. The only problem was, NBC wanted “Parks and Recreation” up and running fast and even dangled the opportunity to run the first episode after the 2009 Super Bowl (paired with “The Office”). But Ms. Poehler was pregnant.

“We gave up the post-Super Bowl spot in exchange for Amy,” Mr. Schur said. That, and more. The network had wanted 13 episodes that first season. Waiting for Ms. Poehler meant only six. “I call it the seasonette,” Ms. Poehler said. “It was a tiny amuse-bouche to the eventual meal that is ‘Parks and Recreation.’ ”

In retrospect, Mr. Schur said, “we dodged a bullet.” Going out in front of 20 million or more viewers with a quirky little comedy, one that wasn’t sure itself what it was yet, might have been disastrous for the show.

As it was, there was a lot of confusion. “People still thought we were a spinoff of ‘The Office,’ ” Ms. Poehler said. “We had to prove things we weren’t. We had to prove we weren’t a spinoff. We had to prove Leslie wasn’t trying to be Michael Scott. And that this wasn’t ‘Saturday Night Live.’ We had to prove all that.”

Mr. Schur said the comparison with Michael Scott, Steve Carell’s character on “The Office,” was probably inescapable. “I always said if we did a show about Masai warriors, the lead would be compared to Michael Scott.”

Certainly the mockumentary style encouraged that comparison. But Mr. Schur conceded the early Leslie Knope was not clearly delineated. “She came off as ditsy,” Mr. Schur said. “We intended her to be smart, just overly earnest.”

Then there was the issue of the hole. The original concept revolved around Leslie’s efforts to fill in a pit next to the home of her friend Ann (Ms. Jones). Mr. Schur said it was a misconception that the show was once supposed to be forever about the hole. But Mr. Daniels said, “Yes, that was the concept in the beginning.” In fact, he said, they toyed with the idea of naming the show “The Pit.”

The limitations of the idea quickly became apparent, Mr. Schur said, and the pit idea was dropped — filled in, really — early in Season 2. That was also the year the show came together, Mr. Schur said, citing specifically the season’s second episode, when Ron gets a hernia. Mr. Offerman’s comedic timing had the show’s fans buzzing.

Still, the show was hardly out of the woods. At the end of Season 2 Ms. Poehler was pregnant again. “I would like to make it clear that this pregnancy did not interfere with our schedule at all,” she said, and production continued at the end of the second season to get a jump on the third. The only problem was, NBC decided to keep “Parks and Recreation” off the fall schedule.

The official rationale was that the network needed to introduce new comedy. In truth, said a senior NBC executive at the time who did not want to be quoted criticizing one of the shows, it was felt that “Parks and Rec” would never be successful enough to sell in syndication, making it a less attractive investment for the network, which also owns the series. The decision unsettled the cast and creators. Ms. Poehler called it “a treacherous time.” “The thought of them not getting on the air was so horrible we decided just not to think about that,” she said. “We just kind of, in the Midwestern way, went back to work.”

Again adversity wound up providing opportunity. Cutting the season back to 16 episodes from the traditional 22 allowed Mr. Schur and the writers time to come up with an outside project they had been mulling: a mock guidebook to Pawnee. The project, with Leslie Knope credited as author, was published by Hyperion Books last week.

And when the comedy NBC embraced that fall, “Outsourced,” had its own issues with not blooming fast enough, NBC pulled it at midseason from the slot after “The Office” and gave “Parks and Rec” a shot there.

“The show had been designed from the first to run there,” Mr. Daniels said. And that’s where “Parks and Rec” has drawn its best ratings to date. (This season it was moved back to 8:30.) More important, it started winning converts. “We hear about how many people are DVR-ing it and saying, I’m going to catch up to it,” Ms. Poehler said.

Mr. Schur said of the show’s climb, “I think it’s a great thing. Nothing in my experience is worse than high expectations.”

PARKS AND RECREATION
NBC, Thursdays at 8:30 p.m. ET/PT (7:30 p.m. Central)


http://www.nytimes.com/2011/10/06/ar...ref=television
post #72539 of 87370
TV Sports
Baseball still takes back seat to NFL
By Christine Brennan, USA Today - October 6th, 2011

Baseball Commissioner Bud Selig went to the Milwaukee Brewers playoff game Sunday, which should come as no surprise since he once owned the team. While there, he also found himself doing what most other sports fans were doing over the weekend: keeping an eye on an NFL game.

"We were head to head," Selig said in a phone interview Wednesday. "I was watching our game at Miller Park, and the Packers game was on all over, so I knew what was going on. I was also watching the Yankee-Detroit game. But, sure, I was keeping up with the game in Green Bay. I'm a director of the Packers. I love the game. I'm a pro football fan."

Aren't we all?

It is at this time of year that America's identity as a football nation comes most clearly into focus. Nothing proves the point more succinctly than this bit of news reported by USA TODAY's Michael Hiestand: Fox's NFL pregame show Sunday received a bigger overnight rating than any of TBS' baseball playoff games through the weekend.

It's true. A football pregame show was watched by more people than either of the first two Yankees-Tigers postseason games. Or any of the other series, which included the big-market Phillies and Rangers.

It appears that we're not just a nation of football fans, but also a nation that has decided to make a day of it with the NFL. Or merely a bunch of fantasy players and bettors needing lots of final information before kickoff. How else do we explain more people choosing to watch a show setting up the day in pro football than choosing to watch any of the real games meaningful, interesting, important postseason baseball games?

"Can I explain that to you? No," Selig said. "I'm not sure why that is. We've had four games a day, so we're asking a lot of the fans. Remember, we're on cable for this round. But I'll say this: If I take all the evidence today our attendance, what we're doing on the Internet, our gross revenue I'm very satisfied. Baseball is more popular than ever."

As Selig noted, the Brewers, who drew more than 3 million fans this year while winning the National League Central, were playing at the same time as the Packers. Green Bay's game against Denver turned into a 49-23 Packers rout. The Brewers also ended up winning big, 9-4, against Arizona. If I had had to guess, I would have said the TV ratings in Milwaukee for the two games would have been about equal, considering the Packers were early in their season, while the Brewers were in a crucial, best-of-five postseason series.

It wasn't even close. The Packers attracted 44.1% of the households in Milwaukee, the Brewers just 20.3%.

Americans are big-event fans now more than ever, and the NFL has intelligently marketed itself as the ultimate big deal. Either that or we just can't seem to find TBS and TNT with the remote. There's a hide-and-seek aspect to finding these early MLB playoff games that simply doesn't exist when turning on the NFL.

Perhaps it's also just too many games at too many unusual times for a normal fan to digest.

"If you're on the West Coast, you're turning on the ballgames only to find out they started several hours ago," said David M. Carter, executive director of the University of Southern California Sports Business Institute and author of Money Games. "Some of these games can be pretty difficult to catch. Think about the NFL playoffs. They tend to mimic the regular-season schedule time-frame-wise with afternoon and evening games. The postseason baseball schedule, however, isn't always what we are accustomed to."

The old complaints that baseball is too methodical for our impatient, video-game society still apply, of course. But one would think people who love sports would put that aside for the postseason, especially this year after last Wednesday's compelling wild-card drama on the final day of the regular season.

"People say baseball is slow," Selig said. "I don't think it's slow at all. It builds. Only baseball could produce Wednesday night. Only baseball could write that script. Going back and forth between games, it couldn't have been more fun."

All you football fans will have to take his word for it.

http://www.usatoday.com/sports/colum...ans/50671798/1
post #72540 of 87370
Business Notes
BBC Slashes Budget By $1B a Year, Cuts 2,000 Jobs, Scales Back U.S. Imports
By Tim Adler, Deadline.com - October 6th, 2011

The BBC has slashed its budget for foreign TV imports such as AMC's Mad Men and Danish thriller The Killing, which was a hit for the broadcaster. Budget cuts announced this morning mean that talent may also quit for rival channels because the BBC cannot afford them. Mark Thompson, BBC director general, said in London that the BBC will cut its budget by around $1 billion a year by 2016/17. Around 2,000 of the broadcaster's 17,000-strong workforce will lose their jobs - 9% of employees. It is thought half of the redundancies will come from BBC News. The Beeb also plans to move out of its west London headquarters, possibly knocking down its huge offices and maybe sell the land to Chelsea soccer club, which has been looking for a new home.

The Corporation, which, in economic terms matches the size of the British film industry, is cutting its budget by 20% to $5.4 billion a year for six years. Last October the Beeb rushed into what many saw as a hastily-agreed deal with the UK government, agreeing to have its state grant cut by 16%. Plus the BBC is looking to divert 4% of the money it currently spends into programming and technology rather than on back-office operations. In 2010's UK government spending review, the BBC licence fee - the compulsory tax which everybody must pay was frozen at $225 per head until 2016-17.

Much of what Thompson announced this morning seems like good sense. Rival TV broadcasters complain that the BBC has far too much freedom to map what they do already. Anything the private sector does, the BBC can ape using billions of public money, they complain. Thompson has stopped short of scrapping any individual channels or services. Rather, he has trimmed round the edges: BBC2, the BBC's second channel for more offbeat shows, will scrap most of its afternoon programming; there will be more TV drama repeats; and some local radio stations will share shows outside breakfast and drive-time hours. Big outside broadcast events from pop festivals such as Glastonbury will be scaled back. The BBC has been criticised for the amount of money it squanders staging these outside broadcasts for its pop radio channels.

http://www.deadline.com/2011/10/bbc-...k-u-s-imports/
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