Fox News chief Roger Ailes renews contract | Nicosia Business ...

Roger Ailes, the creator of the Fox News Channel, has renewed his contract with Rupert Murdoch?s News Corp for another four years, extending his reign over one of the most influential media outlets in US politics through the 2016 presidential campaign.

Mr Ailes, one of News Corp?s biggest revenue generators, will continue as chairman and chief executive of Fox News and chairman of its Fox television stations group. Mr Ailes also will work as a senior adviser to Mr Murdoch on television and news issues.

With a total pay of $21m, Mr Ailes was the fourth highest paid executive at News Corp in the fiscal year ended in June. Under the terms of his previous contract, signed in November 2008, Mr Ailes was entitled to a base salary of $5m. The agreement also granted Mr Ailes use of a car and driver, the company jet or a charter jet for business travel and security services for him and his family.

The previous contract wasn?t up for renewal until June 2013. Terms of his new contract were not disclosed.

Mr Ailes?s contract renewal comes amid a broader reshuffling in News Corp?s executive suite ahead of its split into two companies. Mr Murdoch will chair both companies and be chief executive of the entertainment company, of which Fox will be a part.

The Fox group ranks as one of News Corp?s most important business centres. Cable network programming accounted for revenues of $9.1bn and operating income of $3.3bn in the fiscal year ended June.

Fox News launched as a challenger to mainstream news organisations during Bill Clinton?s second term as US president in 1996. Loved by conservatives and loathed by liberals, the network quickly leapfrogged its rivals.

Fox News has continued its ratings lead over rivals MSNBC and CNN despite suffering its second straight year of audience declines in 2011, with a 3 per cent drop in primetime viewers, according to Nielsen. The network also dominated its competitors in total profits and news investment, estimated at more than $700m in 2011, according to the Pew Research Center?s State of the News Media report.

The election is fuelling a surge in ratings at Fox this quarter, with total average day ratings up about 38.9 per cent, according to Barclays Capital. In the third quarter, ratings were down about 5.7 per cent.

Fox holds a significant following among conservative viewers. Only two news outlets ? Fox News and local television news ? registered positive believability ratings from at least two-thirds of Republicans, according to a recent Pew Research report. Just 37 per cent of Democrats rated the network as believable.

Earlier this week, CBS said it had extended until June 2017 its contract with Les Moonves, its president and chief executive. Under the agreement, Mr Moonves received a signing bonus worth $22m in addition to a base salary of $3.5m and a target bonus of $12m a year. His total pay package was valued at $68.4m in 2011.

Time Warner?s CNN, meanwhile, is on the hunt for a new chief executive amid uncertainty over the future of the once pioneering cable news network. CNN remains profitable, but its domestic ratings have floundered as people turn to the web for breaking news and the polarising coverage of rivals Fox News and MSNBC.

Source: http://nicosiamoneynews.com/2012/10/20/fox-news-chief-roger-ailes-renews-contract/?utm_source=rss&utm_medium=rss&utm_campaign=fox-news-chief-roger-ailes-renews-contract

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Mourning Newsweek: 'So long, big get cover interview'

If you've played so much as a second-string villager in a fifth-grade play, you know that things can get very, very weepy on closing night. Robert Barton's great handbook for actors, "Acting Onstage and Off," sends up that sentimentality in a dead-on little monologue.

"Goodbye, little line. Goodbye, little prop. I'll never use you again. Goodbye, little upstage turn."

Sniff.

I think of this monologue every time the curtain falls on another artifact of print culture. This time it's Newsweek, which goes dark on December 31, 2012. Goodbye, Newsweek, I'll never kind of skim you again. So long, "big get" cover interview. So long, curling address sticker and little centerfold staples; I'll never snag skin on you again.

Yesterday, Tina Brown, Newsweek's editor, announced that the U.S. version of the weekly newsmagazine, which first appeared as News-Week with a swastika-heavy cover in 1933, would cease publication in print by year's end. There will be layoffs, Brown announced. The hope is to slow Newsweek's losses, which stand at $40 million annually.

Long considered the Pepsi to Time Magazine's Coke, Newsweek nonetheless has an illustrious history. Yesterday, Howard Fineman, now the editorial director of the Huffington Post, feelingly remembered the Newsweek he once worked for. "In its prime, which lasted an astonishingly long time?from the early 1960s to the mid-2000s?Newsweek was as innovative, eminent and influential as any news organization in America or the world. Not every week, every issue or every story, but overall."

Fineman also recounts how, in 1996, he scored a cover story interview with Bob Dole. Every element of his tale is just shy of obsolete to today's app-happy readers, peering into their palms for headlines and weather reports. In Fineman's reminiscence, there's a paid-for-through-the-nose cover story. There's swashbuckling shoe-leather reporting. And of course there's subject of the story, benighted also-ran Bob Dole.

So it's worth relaying one little detail from the Fineman farrago to show how dramatically times have changed. In the winter of '96, Fineman, it seems, had to get from Des Moines, Iowa, to Pierre, South Dakota, in a blizzard. Ask yourself if there's a hotshot alive?at HuffPo or Politico?who would do this:

"I got to Pierre the only way I could: alone in the passenger compartment of an eight-seater I chartered with no notice at a private airport in St. Cloud, Minn."

And this was for a Newsweek interview with Bob Dole. Fineman says the cover story "came to define the race. Or so we told ourselves."

To me, this kind of expensive derring-do resembles nothing so much as the Cold War antics of the CIA. Or maybe something they still do at Skull & Bones, at Yale. It's a stunt of people with gigantic expense accounts, grandiose temperaments and high moral purpose who believe they change the world with their pranks and larks.

It was exhilarating to be part of magazines in those days. Even at fact-checker's desks and in editorial meetings, the conviction stood that everything?the outcome of an election, the conviction of O.J. Simpson, the box office performance of a blockbuster movie?turned on what we published and which photos we ran. Stern lawyers circled around, worried about libel. Editors cited the First Amendment regularly. People clucked over the merest appearance of a breach in the editorial-business divide. And everyone seemed determined to publish what was best, bravest and truest, the wishes of readers be damned.

You could no sooner bring up demographics or "minutes spent on each page" of the magazine?even if these things could have bern ascertained?than you could bring up just letting this one story go to a competitor. No writer counted comments or Facebook recommendations.

The world of periodicals has not just shifted form, words in ink becoming words in pixels. The way content now richocets across the Internet, its velocity, its mode of distribution and display, and above all its revenue model?all of these factors have made journalism a whole new entity. The medium is more profoundly the message than it ever was. A whole new kind of person becomes a journalist, and she uses a whole new part of her brain and heart and personality to do her job.

Tina Brown?who has worked on highbrow and lowbrow publications, on politics and culture, on TV and online?may be uniquely unsentimental, as journalists go. But even she choked up a little bit when announcing the print Newsweek's closing to her staff. That seems justified. Print journalism was, for a time, the show that would never close. It was "Cats." "The Phantom of the Opera." "Guiding Light." And it had, as they say, a great run.

Source: http://news.yahoo.com/closing-night-at-newsweek-the-magazine-used-to-be-exhilirating-and-important-19182328.html

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LM Preston: I'm Speaking At the Maryland Writer's Conference!

Yes, it's winding down and I'm getting pumped for the conference in Maryland this weekend. (click here?to find out more: http://www.marylandwritersconference.org/)

Maryland Writers Conference - 2012


Writing in Times of Change ? Not only am I speaking at the conference but I'm co-chair of it with an amazing woman, Kay Chilcote, who's jumped in at the last minute to get the event in order. ? If you're in the Maryland Area, you can just walk in an pay to attend the event. ? SESSIONS & TOPICS: From Books-To Script-To Movie, Speed Writing Workshop, Fiction's Forgotten Discipline, Writing In Response To Current Events, Edit it Write, Writing Sell Worthy Query Letters, Writing for Personal Growth and Publication, Build Your Author Platform, Seducing Agents With Your Synopsis, Writing Romance That Sizzles, Write & Market Memoirs, Fifty Shades of Marketing Poetry, What is a Publisher And Should I Become One, Marketing Short Stories, The Space Between Non-Fiction and Fiction, Children's Writing Past-Present and Future and MUCH MORE!

ALSO, one very special feature that I added to the conference when I started to volunteer 3 years ago, the Editors and Literary Agents pre-viewed the query letters and First 5 pages of the manuscripts for the authors who gave their verbal pitch. ? If you can't be at the conference please plan to attend one next year. They are great events that get you networking.

Source: http://lmpreston.blogspot.com/2012/10/im-speaking-at-maryland-writers.html

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Holy Motors

Holy Motors

Pierre Gris Productions.

On our way out of Holy Motors, my editor and I bumped into someone he knows. After introducing me to his buddy, my editor mentioned the title of the movie we?d just seen and briefly explained that it was the latest from the enigmatic, sui generis French auteur Leos Carax (whose three-decade, five-feature career Elbert Ventura explores on Slate this week). The two perfectly reasonable questions the friend proceeded to ask??What was it about?? and ?Was it any good???made my editor and me look at each other and laugh out loud. We?d just been enthusiastically concurring that, though we were thrilled to have seen Holy Motors, neither of us had the slightest idea what it was about or whether we could say we enjoyed it.

Holy Motors is one of those evaluation-transcending, plot-summary-rejecting ?experience movies.? I?d need a personalized flow chart of each reader?s cinematic tastes to know whether to recommend it. Do you accompany David Lynch into his twistiest, least narrative, most second-season-of-Twin Peaks places? Do you regard each new David Cronenberg film as an event, whether the subject is the Freud/Jung rivalry or a head-exploding virus? Have you willingly seen at least one Matthew Barney movie? If so, you?ll probably enjoy a bracing plunge into Holy Motors? vortex of narrative fakeouts, shifting identities, and gleefully juvenile sight gags. If nothing else, you?ll come out of it feeling perceptually refreshed, as if you?d just had a ride on an aesthetic and philosophical log flume.

In its structure and basic setup, Holy Motors bears some uncanny (and surely accidental) similarities to a Cronenberg movie released earlier this year, Cosmopolis. In both films, a mysterious man in the back of a tricked-out white stretch limo?in Cosmopolis the role was played by Robert Pattinson; here it?s Carax?s longtime muse Denis Lavant?cruises through a vaguely futuristic city at night, moving through a series of bizarre, often violent encounters with seemingly unrelated characters. But where Cosmopolis was coldly cerebral, Holy Motors is emotionally labile to the point of hysteria, with a tone that careens from sentimentality to bitterness to cheekiness to despair.

As if to prepare us for those whiplash shifts, Carax quite explicitly sets up the movie as his and our collective dream. In the very first scene, we see a film audience sitting in the dark, every member fast asleep. Just after, a man in pajamas?played by Carax himself in a brief cameo?gets out of bed and goes to a wall covered in tree-patterned wallpaper. One of his fingers suddenly sports a keylike extension, which he uses to unlock a hidden door in the wall, stepping through the two-dimensional trees as if into a forest. This image, which eerily captures that ?oh, of course? logic familiar from dreams, is at once disorienting and enticing. Carax is inviting us into his dream, or at the very least, into a hidden world that only he has?or rather, is?the key to. However wary we may be of what?s on the other side, how could we not step through with him?

Once Carax breaks through that tree-patterned wallpaper, all hell breaks loose, in the form of the astounding French actor Denis Lavant. Slight in stature but powerfully built, with the face of a pockmarked clown, Lavant plays, according to the credits, 11 separate ?characters.? But are they separate people, or just successive disguises being taken on by the man in the limousine? Does the little bald man in the limo?or for that matter, any of the people he impersonates and/or encounters?even possess a single stable identity? At least Lavant?s limo driver, C?line (Edith Scob, exquisite in the way only a septuagenarian French actress can be), seems to have some handle on who the man behind the ever-changing wigs and latex prostheses really is. As they glide through the streets of a luridly lit Paris, she addresses him as ?Monsieur Oscar,? alluding to an obscure organization that provides them both with briefing dossiers for his daily ?appointments??existential paid errands that require, to put it mildly, a unique skill set.

Over the course of a very long workday, Oscar (if that is his name) will ably impersonate an old beggar woman, a wall-eyed, gibberish-spouting troll who kidnaps a supermodel (Eva Mendes) from a photo shoot in a cemetery, and a dying old man saying a poignant goodbye to his niece. He will don a motion capture suit for a bout of impossibly acrobatic sex with a woman also wearing a mo-cap suit, as their images are transformed on a computer screen into rutting futuristic monsters (one of many moments in which Holy Motors? experiential labyrinth resembles a video game, avatars and all.) At one point, he?ll be sent on a mission to kill a man who seems, in turn, to be Denis Lavant in another disguise. Later, he?ll leap out of the limo to join the Australian pop singer Kylie Minogue in the abandoned hulk of Paris? legendary Samaritaine department store, where they sing an aching duet of lost love that?s like something straight out Jacques D?my?s The Umbrellas of Cherbourg.

I don?t want to reveal too much more about what happens in Holy Motors, a movie that teaches you how to watch it as you go along?like the hand of the man played by Leos Carax in that opening, it contains its own key, several of them in fact. In another early scene, the film even conjures a wickedly funny negative portrait of its own worst viewer, the one it doesn?t want you to be. It?s that scene in which the troll seizes Eva Mendes in the graveyard?the longest, most elaborate, and most deliberately grotesque of Monsieur Oscar?s identity-morphing ?appointments.? An American photographer in shorts, snapping photo after photo of the magazine-perfect Mendes, exclaims over and over again in English, ?Beauty! Beauty! Beauty!? As the abject, snaggle-toothed hunchback played (or embodied?) by Oscar limps into the shot, the photographer changes to a different, equally unilluminating term of aesthetic judgment: ?Weird! Weird! Weird!? It?s not until you?ve dissolved the distinction between those categories (or maybe discarded them altogether) that you can start to experience the unholy magic of Holy Motors, a movie that?s beyond weird, and beyond beautiful.

Source: http://feeds.slate.com/click.phdo?i=721d110fb09c91caaeb73b3dacac98b8

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Play Store carrier billing coming to Verizon

Well, it's about damn time. The Play Store on its official Google+ page announced that Verizon will be offering carrier billing of apps, books, subscriptions and other content. The page indicates that the feature will be rolling out in the next few weeks. This couldn't come any sooner and we really wonder what has taken so long to implement. The other carriers in the U.S. have offered carrier billing even back to when the Play Store was still called the Android Market.

What really matters is the more ways people have to pay for content and apps in the Play Store, the better.

Source: +Google Play

Source: http://feedproxy.google.com/~r/androidcentral/~3/oHB6u6RuXyE/story01.htm

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Private Space Taxi Builders On Track to Launch Astronauts Soon

LAS CRUCES, N.M. ? Representatives from the three different companies chosen by NASA to develop private space taxis to carry astronauts to orbit say their vehicles are making substantial progress toward launching people into orbit within the next few years.

The companies ? Space Exploration Technologies Corp. (SpaceX), The Boeing Company, and Sierra Nevada Corp. ? are competing to fill the gap left by NASA's retired space shuttles for the launching of cargo and crews to the International Space Station. Each private space taxi firm has received funding from NASA under the Commercial Crew integrated Capability program (CCiCap) to complete a series of development milestones with the goal of taking over transportation to low-Earth orbit from the Russians.

"We're going great guns, we're working very hard, and we hope to have people flying very soon inside the Dragon," SpaceX's commercial crew project manager Garrett Reisman said Wednesday (Oct. 17) here at the International Symposium for Personal and Commercial Spaceflight.

21st century space capsules

SpaceX's Dragon space capsule has already made two unmanned flights to the International Space Station this year under NASA's cargo delivery program. Work now is focused on outfitting the capsule to carry up to seven people by adding a launch abort capability and life support system, as well as designing spacesuits and the crew cabin layout.

The vehicle, which launches on SpaceX's Falcon 9 rocket, could make its first crewed test flights in mid-2015, Reisman said.

Meanwhile, aerospace veteran Boeing is working on its CST-100 vehicle, a capsule intended to fly atop United Launch Alliance's Atlas 5 rocket, which has a proven track record launching unmanned satellites. The CST-100 is designed to carry up to seven people, and return to touch down on land via parachutes and airbags. [CST-100: Boeing's Private Space Capsule (Photos)]

"The real focus here is getting the final design and implementing a system that is safe, reliable and affordable," John Mulholland, vice president of commercial programs in Boeing's Space Exploration department, said today (Oct. 18).

The company just recently completed a preliminary design milestone called integrated systems review, and plans to set the vehicle's final design plans with a critical design review in April 2014. That should pave the way for the first people to fly on CST-100 in 2016, Mulholland said.

Have space plane, will travel

Sierra Nevada's entry into this new space race is called the Dream Chaser, and differs form the Dragon and CST-100 cone-shaped capsules in its winged space plane design.

Dream Chaser, too, will carry a crew of seven and launch on the Atlas 5, and is targeting a first manned launch in 2016 or 2017. Its goals for the near future are furthering the vehicle's design and performing preliminary test flights.

"When I first started looking at building a vehicle for this marketplace, people basically laughed," said Mark Sirangelo, corporate vice president of Sierra Nevada's Space Systems. "People kept constantly saying, 'It can't be done, it can't be done.' We believe it not only can be done, it is being done. We really are on the verge of moving this whole industry form theory to practice."

While all three companies are initially developing their spacecraft to serve NASA, they intend eventually to carry a wide range of passengers, including space tourists, scientists and astronauts from countries without their own launch vehicles.

"Once we have this thing up and running for NASA we are free to use it for other purposes," Reisman said. "It does bring up a bunch of interesting possibilities. But this is all after we accomplish our primary job, which is getting Americans back into space on American vehicles."

You can follow SPACE.com assistant managing editor Clara Moskowitz on Twitter @ClaraMoskowitz.?Follow SPACE.com on Twitter?@Spacedotcom. We're also on Facebook?&?Google+.

Copyright 2012 SPACE.com, a TechMediaNetwork company. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Source: http://news.yahoo.com/private-space-taxi-builders-track-launch-astronauts-soon-160219245.html

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Source: http://cannabismrsacure.letstalkaboutpot.com/some-home-based-business-patrick-willis-jersey-secrets-through-the-experts/

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