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Fox tries to break the overnight ratings habit as TV viewing changes

Fox tries to break the overnight ratings habit as TV viewing changes

On Jan. 24, 2016, Fox will present the first new episode of sci-fi cult hit “The X-Files” in 13 years. Premiering after the always high-rated NFC Championship Game, it’s likely to be one of the most watched TV episodes of the season.
But don’t expect Fox to celebrate on Jan. 25. Fox Television Group Co-chairmen Dana Walden and Gary Newman have decided they will no longer circulate “fast national” or “overnight” ratings, the data from Nielsen that estimate the size of the audience that watched or played back a prime-time show the night before.
There will be no more ratings press releases from Fox about the previous night’s programs, unless the network airs a live event where delayed viewing is less of a factor. Fox show producers and stars looking for the numbers will have to call someone else.
Fox is the first broadcast network to hold back on reporting the numbers. Walden and Newman wrote in a letter released by Fox that it’s time to “change the conversation” about ratings since so much viewing occurs from DVR playback, video on demand and online streaming platforms – “none of which are included in Nielsen’s fast nationals.”
In the 2015-16 TV season, the rating in the advertiser-coveted audience of 18- to 49-year-olds for Fox’s regularly scheduled programming goes up 44% when three days of DVR playback is added in, the highest percentage of the major broadcast networks.
“Fox is a company that has always prided itself on being forward-thinking,” Walden and Newman wrote, “…and nothing could be more antiquated than a decades-old measurement that reflects only a portion of our audience.”
Fox’s pronouncement generated a few snickers among competitors, some of whom privately suggested they would likely not have made such a move if it had better overnight ratings to tout for its series outside of the still-potent “Empire.”
One rival executive said, “Feel free to come to call me if you need Fox’s numbers,” which will still be available to other Nielsen customers.
But one executive at another network, who was not authorized to discuss the matter publicly, said it was conceivable that his outlet could take the same stance as Fox at some point.
All of the competitors acknowledged they have discussed ways to wean the industry and the press off the habit of using overnight ratings to declare shows instant winners or losers before the additional audience can be included.
“It’s a good conversation to push forward,” said Chris Ender, spokesman for CBS Corp. “The content monetization universe is changing and we all need to evolve the discussion and metrics to a place that accurately reflects the full value of a show’s audience.”
For good reason. The networks can charge advertisers for the additional audience that watches on a delayed basis. While they don’t get paid for the viewers who fast-forward through the commercials of shows on their DVRs, the overall total of people who watch adds value to a series when it's sold to international broadcasters or streaming services such as Amazon or Netflix. CBS’ biggest new hit of the season, “Limitless,” sees its audience grow by 78% when seven days of viewing are added to its initial airing on the network.
“You can't look at the TV ratings like you looked at it even a few short years ago,” CBS Corp. Chairman and CEO Leslie Moonves recently told Wall Street analysts.”Overnight ratings mean nothing. You don't get real results for three weeks.”
Moonves’ network has been the most aggressive about getting advertisers to make deals based on viewers’ exposure to their commercials over seven days of DVR and video-on-demand playback. Fox also says that half of its ad deals are now based on the seven-day numbers.
Still, it will require patience to change one of the most ingrained habits in the TV industry. Network executives on the West Coast are known to wake up in the morning and reach for their mobile devices to check the previous night’s ratings before they shower or have their coffee.
Advertising buyers also believe the live plus same day ratings are still useful to their business.
“It still serves as a guide as to how a show is ranked on a given night or how it performed versus last season,” said Billie Gold, vice president and director of programming research for Amplifi US.
Journalists who cover the TV industry are also used to having data to dissect the day after a show premieres. Television ratings website TVByTheNumbers.com responded to Fox’s edict by stating it will continue to report the network’s fast national numbers every day. The Hollywood trade press continues to report on Fox’s data as well.
There is precedent for altering the ratings discussion in the press. During the early 1990s, ABC and NBC pushed reporters to cover how their shows performed among 18- to 49-year-olds. At the time, a show’s popularity was measured by how many households were tuned in. But ABC and NBC noted that the rating for the demographic group represented the audience Madison Avenue paid for and largely decided a show’s chances for survival.  CBS initially resisted the shift as it had the high household ratings, thanks to the strength of older-skewing hits such as “60 Minutes” and “Murder, She Wrote.” But eventually, CBS touted its competitive position among younger viewers too.
The current TV business is dependent on other sources of revenue besides advertising. But for now, Fox will be out alone among the broadcast networks that won’t quickly disseminate the ratings (cable networks FX and USA have stopped issuing them, waiting until they have figures that include three days of delayed viewing of its shows).
Will Fox be able to hold back if the data contain good news about “The X-Files” return? The truth is out there.
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Q&A Erykah Badu talks 'But You Cain't Use My Phone' from inside a party bus

Q&A 

Erykah Badu talks 'But You Cain't Use My Phone' from inside a party bus

It’s well past dusk on a recent evening and Erykah Badu is stretched out on plush leather seats inside a sleek party bus equipped with blacked-out windows and a ceiling with green, white and yellow lights mimicking a constellation of stars.
Badu is glowing, literally, as she is lit up by a bevy of blue incandescent bulbs and the laptop that contains the sole copy of the much-anticipated, phone-themed mix tape, “But You Cain’t Use My Phone.”
“The label doesn’t even have it. I sent it straight to iTunes,” she said of the new record, released early Friday.
The two of us are cruising down La Cienega Boulevard amid post-rush hour traffic on a route that the chauffeur is most certainly making up as he goes.
This is how she wants me to experience the mix tape she recently crafted over a 12-day stretch -- an unconventional setting for an interview, yes, but Badu is anything but conventional.
Named for the famous refrain from her now iconic kiss-off, “Tyrone,” the mix tape, released Friday, is Badu at her most experimental.
Written, recorded and mixed in the living room of her Dallas home, “But You Cain’t Use My Phone” fuses together the hard, cerebral beats currently dominating rap radio with the smooth R&B, jazz and psychedelic art-rock that’s been her signature approach to soul music since her genre shifting debut more than 18 years ago.
The origins of the record, her first new material since 2010’s acclaimed “New Amerykah Part Two (Return of the Ankh),” begin with Drake’s zeitgeisty, meme-spawning smash “Hotline Bling.” A few weeks ago the singer uploaded her cover of the ear worm -- recorded as a birthday gift to her close friend and road manager Big Mike -- to her Soundcloud where it became a viral hit, logging 1 million streams in just two days.
“What it also did was introduced me to that frequency of music because I hadn’t done it,” Badu, 44, said of the cover (the two were texting back and forth, she said, as we were riding around town).
Alongside producer Zach Witnessin, Badu explored our reliance on staying inter-connected and our dependency on smartphones over a taut, 11-track mix of rattling beats and her ethereal voice putting new flips on indelible, phone-inspired hits from New Edition, the Time, Usher and the Isley Brothers that are woven in and out of one another.
A few days before its release, Badu and I whizzed through West Hollywood side streets as she played the album. The van rattled from the thump of Witnessin's productions and her own vocals, which were occasionally interrupted by her own voice as she offered notes about particular records.  
Parked in front of her hotel after our road trip/party, we spoke about crafting the mix tape, TRap&B and finding new inspirations.
What was it about “Hotline Bling” that struck a chord with you enough to want to cover it and build a project around it?
It’s beautiful in its simplicity. It’s a beautiful song, very simple. I love simple songwriting like that.
Why the smartphone theme?
It just kind of came, stream of consciousness. One thing led to another. Doing “Hotline Bling,” I called it the “But you cain’t use my phone mix,” and from there, it just started flowing. The next song I did was “Phone Down” and I kept going. “Mr. Telephone Man,” then “Hello” from the Isley Brothers, which is the last song. [Andre] 3000 got on there and it all worked together. By the end of those two weeks I had a piece that was really nice.
That lyric, “But you cain’t use my phone" has become so famous.
The punchline?
Yes, the punchline. I’m sure people shout at you all the time. It’s one of those things that just sticks. Do you get a kick out of that all these years later?
You know, I don’t really think about it much. I don’t think about those types of things or consider one thing bigger than the other.
What’s interesting is you’re taking a style of music that’s very prevalent right now on urban radio and you’ve taken it further than just minimal beats. But “Trap & b” certainly has a connotation, one that people might look at you say, “She’d never do that.”
I’ll explain it like this. People that see it that way really aren't seeing. They are assuming. I love Fred Flintstone, Tom and Jerry, Bugs Bunny and the Roadrunner -- but my children watch it and it doesn't quite keep their attention. One of the reasons why it doesn't keep their attention is not because it isn't brilliantly crafted or phenomenally written or an exquisite body of animation. It doesn't keep their attention because of the frequency. It's not vibrating as quickly right now.
On “Live,” the album “Tyrone” was on, I said, “the atoms in the body rotate at the same rate on the same axis that the Earth rotates, giving us a direct connection with the place we call Earth.” Well since then the Earth has sped up -- the rotation and the vibration. And so are the children who come through. Their ears are calibrated for a certain frequency, digitally and sonically. And as an analog girl who is very mutable and can adapt to the digital world, I also have evolved with that too. I still am me, but it’s like me talking to you on a rotary phone as opposed to Facetime. It’s still me.
This does feels wildly experimental, but wholly you. There’s not a moment that doesn’t feel like it’s not trying too hard. I can imagine navigating a new space without changing can be difficult to navigate?
I guess. I don’t really give it that much thought. It’s just what I really feel, what I like.
How did you link with the producer, Zach Witnessin?
We went to the same high school, 15 years apart. He did a remix of one of my songs and one of my DJ friends sent it to me and said, “Listen to this kid and see what he did.” I was impressed. He came to an art show in Dallas. The next week was Big Mike’s birthday and I decided to do [“Hotline Bling”] for him, so I called up Zach to see what he was working with. We connected and we made magic.
You recorded this in your living room?
We did one song a day. All of those vocals are actually one take. It was fun, easy. I used tuning forks and singing bowls in the music in post production, just trying to create some frequencies that felt really good that I always use in all of my works. I wanted to make sure I implanted those things here too.
There’s a lot of surprises on here. That Usher flip. That unexpected verse from Andre 3000.
My son Seven [the oldest of her three children, his father is Andre 3000] wrote a lot of jewels on here. He’s the A&R for my label, Control Freaq. He’s instrumental in connecting me with things that he likes. That really bridges the gap between he and I in our communication.
And that’s not Drake on the record?
It’s not Drake. It’s one of my artists named ItsRoutine. He’s on my label and he can do anything. He sounds like him sometimes. His name is Aubrey as well.
Are you pulling my leg now?
No, I’m not. Throughout the campaign, I’m thanking Aubrey for things and [people] think I’m talking to Drake. Which I am on “Hotline Bling.”
For more music news follow me on Twitter: @gerrickkennedy
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Lennon-McCartney Monterey Pop poster sells for $175,000 at L.A. record shop

Lennon-McCartney Monterey Pop poster sells for $175,000 at L.A. record shop

John Lennon and Paul McCartney collaborated on dozens of beloved songs during their time together in the Beatles. But their joint ventures into the world of visual art were exceedingly rare, which prompted an anonymous collector to pony up $175,000 recently for a poster Lennon and McCartney created to help promote the 1967 Monterey Pop Festival.
The “Peace to Monterey” poster was sold by Rockaway Records, the used-record shop in Silver Lake that specializes in Beatles recordings, memorabilia and other collectibles.
McCartney was a member of the governing board for Monterey Pop, which helped kick off the era of large-scale rock festivals. It is known for career-establishing performances by relative newcomers Jimi Hendrix — an artist McCartney knew about and urged festival organizers to book —  and Janis Joplin along with the Mamas and the Papas, Jefferson Airplane and numerous other acts.
Beatles publicist Derek Taylor was assisting in the promotion of Monterey Pop and helped facilitate the contribution from the Beatles, who had been invited to perform at the show. But the group had stopped touring just six months before being asked in February 1967 to come up with something to help generate excitement for the new festival.
Lennon and McCartney’s artwork was reprinted in the official program for Monterey Pop — on page 16.
The original 7 3/4-inch by 12 3/4-inch psychedelic-inspired color poster remained with art director Tom Wilkes, who created Monterey Pop's official concert program. Wilkes died in 2009 and his daughter arranged for Rockaway to conduct the sale.
Because the quartet was working on the “Sgt. Peppers Lonely Hearts Club Band” album, which would be released in June 1967, they wrote that title on the poster and sketched  the words “Beatles [heart symbol with an arrow through it] you.”
They also whimsically signed it “Sincerely, John, Paul, George and Harold.”
"It's our biggest sale ever, so we're pretty excited," said Rockaway Records co-founder Wayne Johnson. "Our previous record was $80,000 for a pristine, sealed Beatles stereo 'Butcher cover' that belonged to Alan Livingston, president of Capitol Records."
That refers to the planned cover for the 1966 U.S. "'Yesterday' ... And Today" album, which was hastily removed from circulation and replaced with a more benign photo of the Beatles after American record merchants complained that the original image was too grisly to stock.
Follow @RandyLewis2 on Twitter. For more on Classic Rock, join us on Facebook.
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Copyright © 2015, Los Angeles Times

Antibiotic resistance: World on cusp of 'post-antibiotic era'

Antibiotic resistance: World on cusp of 'post-antibiotic era'

  • 19 November 2015
  •  
  • From the sectionHealth
Media captionWhat is a superbug?
The world is on the cusp of a "post-antibiotic era", scientists have warned after finding bacteria resistant to drugs used when all other treatments have failed.
They identified bacteria able to shrug off the drug of last resort - colistin - in patients and livestock in China.
They said that resistance would spread around the world and raised the spectre of untreatable infections.
It is likely resistance emerged after colistin was overused in farm animals.
Bacteria becoming completely resistant to treatment - also known as the antibiotic apocalypse - could plunge medicine back into the dark ages.
Media captionAntibiotic resistance: ‘People will die’
Common infections would kill once again, while surgery and cancer therapies, which are reliant on antibiotics, would be under threat.

Key players

Chinese scientists identified a new mutation, dubbed the MCR-1 gene, that prevented colistin from killing bacteria.
The report in the Lancet Infectious Diseases showed resistance in a fifth of animals tested, 15% of raw meat samples and in 16 patients.
PigImage copyrightGetty Images
Image captionThe resistance was discovered in pigs, which are routinely given the drugs in China.
And the resistance had spread between a range of bacterial strains and species, including E. coli, Klebsiella pneumoniae and Pseudomonas aeruginosa.
There is also evidence that it has spread to Laos and Malaysia.
Prof Timothy Walsh, who collaborated on the study, from the University of Cardiff, told the BBC News website: "All the key players are now in place to make the post-antibiotic world a reality.
"If MCR-1 becomes global, which is a case of when not if, and the gene aligns itself with other antibiotic resistance genes, which is inevitable, then we will have very likely reached the start of the post-antibiotic era.
"At that point if a patient is seriously ill, say with E. coli, then there is virtually nothing you can do."
BacteriaImage copyrightThinkstock
Resistance to colistin has emerged before.
However, the crucial difference this time is the mutation has arisen in a way that is very easily shared between bacteria.
"The transfer rate of this resistance gene is ridiculously high, that doesn't look good," said Prof Mark Wilcox, from Leeds Teaching Hospitals NHS Trust.
His hospital is now dealing with multiple cases "where we're struggling to find an antibiotic" every month - an event he describes as being as "rare as hens' teeth" five years ago.
He said there was no single event that would mark the start of the antibiotic apocalypse, but it was clear "we're losing the battle".
How resistance spreads
The concern is that the new resistance gene will hook up with others plaguing hospitals, leading to bacteria resistant to all treatment - what is known as pan-resistance.
Prof Wilcox told the BBC News website: "Do I fear we'll get to an untreatable organism situation? Ultimately yes.
"Whether that happens this year, or next year, or the year after, it's very hard to say."
Early indications suggest the Chinese government is moving swiftly to address the problem.
Prof Walsh is meeting both the agricultural and health ministries this weekend to discuss whether colistin should be banned for agricultural use.
Global map of deaths
Image captionProjections of deaths from drug-resistant infections by 2050
Prof Laura Piddock, from the campaign group Antibiotic Action, said the same antibiotics "should not be used in veterinary and human medicine".
She told the BBC News website: "Hopefully the post-antibiotic era is not upon us yet. However, this is a wake-up call to the world."
She argued the dawning of the post-antibiotic era "really depends on the infection, the patient and whether there are alternative treatment options available" as combinations of antibiotics may still be effective.
New drugs are in development, such as teixobactin, which might delay the apocalypse, but are not yet ready for medical use.
A commentary in the Lancet concluded the "implications [of this study] are enormous" and unless something significant changes, doctors would "face increasing numbers of patients for whom we will need to say, 'Sorry, there is nothing I can do to cure your infection.'"
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