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		<title>CMA Awards 2011</title>
		<link>http://jackholly.com/?p=115</link>
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		<pubDate>Wed, 09 Nov 2011 22:33:50 +0000</pubDate>
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<div style="padding:4px;"><embed src="http://media.mtvnservices.com/mgid:uma:video:cmt.com:660824/cp~vid%3D660824%26uri%3Dmgid%3Auma%3Avideo%3Acmt.com%3A660824" width="512" height="288" type="application/x-shockwave-flash" allowFullScreen="true" allowScriptAccess="always" base="." flashVars=""></embed></div>
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		<title>Ozark Holiday</title>
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		<pubDate>Thu, 18 Aug 2011 02:14:42 +0000</pubDate>
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		<description><![CDATA[Ozark Holiday from Dolly H on Vimeo.]]></description>
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<p><a href="http://vimeo.com/27307403">Ozark Holiday</a> from <a href="http://vimeo.com/user8005673">Dolly H</a> on <a href="http://vimeo.com">Vimeo</a>.</p>
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		<title>Reorganize</title>
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		<pubDate>Tue, 09 Aug 2011 15:36:52 +0000</pubDate>
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		<description><![CDATA[We trained hard, but it seemed that every time we were beginning to form up into teams we would be reorganized. Presumably the plans for our employment were being changed. I was to learn later in life that, perhaps because we are so good at organizing, we tend as a nation to meet any new [...]]]></description>
			<content:encoded><![CDATA[<p>We trained hard, but it seemed that every time we were beginning to form up into teams we would be reorganized. Presumably the plans for our employment were being changed. I was to learn later in life that, perhaps because we are so good at organizing, we tend as a nation to meet any new situation by reorganizing; and a wonderful method it can be for creating the illusion of progress while producing confusion, inefficiency, and demoralization.</p>
<p>Charlton Ogburn</p>
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		<title>Newt</title>
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		<pubDate>Mon, 01 Aug 2011 14:06:32 +0000</pubDate>
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		<title>Music licensing for the uninitiated</title>
		<link>http://jackholly.com/?p=61</link>
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		<pubDate>Wed, 27 Jul 2011 14:13:23 +0000</pubDate>
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		<description><![CDATA[If you are a bookstore (shop) owner who has been in business for some time, you may have received the phone call: A customer service representative (CSR) is on the line and inquiring as to whether you, the owner, play music in your store. Assuming the answer is &#8220;Yes,&#8221; the CSR explains that you need [...]]]></description>
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<class="title">If you are a bookstore (shop) owner who has been in business for some time, you may have received the phone call: A customer service representative (CSR) is on the line and inquiring as to whether you, the owner, play music in your store. Assuming the answer is &#8220;Yes,&#8221; the CSR explains that you need to pay his/her company money on an annual basis. While you remain silent &#8212; wondering how this person got your name and number &#8212; the CSR explains that you are in violation of the copyright law if you are &#8220;publicly performing&#8221; music in your store without the permission of the copyright owner(s).</h1>
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<p><span id="more-61"></span></p>
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<p>What exactly is this person talking about?<!--more--></p>
<p>The representative is referring to music licenses. The CSR who called works for one of the three major performing rights organizations, ASCAP, BMI, or SESAC, which license performance rights for most of the music copyright holders in the U.S. (and represent foreign copyright holders as well).</p>
<p>These organizations, which represent composers, lyricists, and publishers, grant licensees (meaning, you, the bookstore owner) the right to perform publicly the works of all their members or affiliates. In turn, these organizations collect fees and distribute royalties to their members or affiliates.</p>
<p>The bottom line is, if you play music in your store, you need to understand what your legal responsibilities &#8212; and rights &#8212; are. Here, <em>BTW</em> provides an up-to-date look at the three licensing organizations, their rules, and fees.</p>
<h3>The Organizations and the Law</h3>
<p>Here are some brief facts about each performing rights organization, sourced from <em>Music in the Marketplace</em>, a Better Business Bureau (BBB) Publication:</p>
<p><strong>American Society of Composers, Authors, and Publishers (ASCAP).</strong> This is the oldest of the three organizations and was founded in 1914 as a membership association by composers, lyricists, and music publishers. Its members use ASCAP as a clearinghouse for collecting royalties on over eight million copyrighted musical works, which include pop, rock, Broadway, movies, jazz, country, folk, rhythm and blues, and symphonic music. ASCAP also has agreements with most foreign organizations that license the right to perform copyrighted works in their countries. For more information, go to <a href="http://www.ascap.com/">www.ascap.com</a>, or call the General Licensing Department at (800) 505-4052.</p>
<p><strong>Broadcast Music, Inc. (BMI).</strong> Formed in 1939, this is a nonprofit organization. Its roster includes over 300,000 songwriters, composers, and publishers. BMI&#8217;s repertory includes more than 4.5 million copyrighted musical works, which run the gamut of musical types from pop, rock, country, and folk to gospel, Broadway, jazz, rhythm and blues, and popular ballads. BMI acts as a clearinghouse for its affiliates&#8217; music performances, and has agreements with licensing organizations around the world. For more information, go to <a href="http://www.bmi.com/">www.bmi.com</a>, or call (800) 925-8451.</p>
<p><strong>SESAC, Inc.</strong> A for-profit corporation founded in 1930, it tracks music usage in several different ways; most recently by utilizing the state-of-the-art monitoring technology of Broadcast Data Systems. SESAC has international agreements with foreign performing rights organizations, and, in recent years, SESAC&#8217;s repertory has grown substantially. Like BMI and ASCAP, SESAC serves as a clearinghouse for the royalties collected on their writers&#8217; and publishers&#8217; copyrighted works. For more information, go to <a href="http://www.sesac.com/">www.sesac.com</a>.</p>
<h3>What They Do</h3>
<p>In essence, the main job of performing rights organizations is to serve as clearinghouses for copyright licensing on behalf of their members. The Copyright Law of the United States, simply put, gives the copyright owner of a musical work the exclusive rights to control the public performance of his or her work. Performance is defined as either playing the music via a record/CD or tape player, the radio, television, or through live performance of copyrighted material. Therefore, as a general rule, any business establishment that publicly performs copyrighted music must obtain permission from the copyright owner to do so.</p>
<p>The Copyright Law provides for limited exemptions to this general rule. However, most business establishments will need to obtain permission to play pre-recorded music either by paying one or all of those organizations an annual license fee to play all the music in their respective catalogues, or by obtaining a license for each particular piece of music negotiated with each copyright holder.</p>
<p>For a bookstore that plays music throughout the day, the latter option would be ridiculously expensive, so it shouldn&#8217;t even be considered an option. Since almost every professional composer belongs to one of the three performing rights organizations listed above, it would be more practical to pay the annual license fee. In all instances, the owner of the establishment is liable for any copyright violation, and the fines for copyright infringement are steep.</p>
<p>The Copyright Law provides for sanctions against an infringer that can include an injunction and civil penalties that generally range to $30,000 for each copyrighted song performed without a license. In certain circumstances, additional civil penalties may be assessed in the amount of two times the license fee that the owner of an establishment should have paid during the preceding three-year period.</p>
<p>Furthermore, it&#8217;s important to understand that the copyright law also gives the music or composition copyright owners the exclusive right to perform publicly or authorize performance of their compositions. Usually either the composer of the music or the publisher, or both, owns the copyright. However, there are many exceptions. A well-publicized example is the music of Lennon/McCartney. Michael Jackson &#8212; not Paul McCartney or Yoko Ono &#8212; owns most of this music.</p>
<h3>Factors That Dictate License Fees</h3>
<p>If you ask anyone at these organizations whether or not you need a license for playing pre-recorded music, their answer will usually be &#8220;Yes, you do.&#8221; But even then, each organization has different rules for their licenses. Needless to say, it can be very confusing for the uninitiated.</p>
<p>To start off, there are a number of factors that will play into whether you need to pay a fee and, if so, how much you need to pay, including:</p>
<ol>
<li>Size of the store in square feet;</li>
<li>Whether you play pre-recorded music;</li>
<li>Whether you play only radio and television;</li>
<li>How many speakers you are using to broadcast the music;</li>
<li>Whether or not you have live music and, if you do, how many performers at each single performance (e.g., a singer/songwriter or a band);</li>
<li>Whether the band is playing original music or &#8220;cover&#8221; tunes (music that is owned by somebody other than the person who is playing the music. In other words, say the performer plays David Gray and Ryan Adams songs); and/or</li>
<li>Whether you have a cafe.</li>
</ol>
<p>Of the three performing rights organizations, BMI&#8217;s fee schedule is the most complicated. While SESAC and ASCAP treat all bookstores as retail outlets, BMI may license those bookstores with cafes as retail or eating and drinking establishments. BMI&#8217;s retail license can accommodate retail establishments that contain a cafe, or BMI offers bookstores the option of licensing only the cafe if there is no other licensable music used in the store. In the latter situation, BMI uses both square footage and intensity of music use to determine fees.</p>
<h3>The Rules for Radio and TV</h3>
<p>Under copyright law, certain retail establishments that only play radio or television are exempt from licensing fees. The Fairness in Music Licensing Act of 1998 (&#8220;FMLA&#8221;) amended Section 110(5) of the Copyright Act and established bright-line rules concerning square footage and equipment, essentially enabling many small businesses to play the radio or TV (i.e., over the air or cable TV) without having to pay a license fee. According to the FMLA, if a non-food service or beverage establishment, such as a retail store, is under 2,000 gross square feet, and is using only radio or television(s), then no license is required. Eating and drinking establishments(<a href="http://news.bookweb.org/news/are-you-experienced-music-licensing-uninitiated-rewound#footnotes">1</a>) containing fewer than 3,750 gross square feet are exempt if using only radio or television (s).</p>
<p>Retail outlets larger than 2,000 square feet using radio or television only are also exempt if they use fewer than six speakers (with no more than four in a room) or if they use no more than four televisions with a diagonal screen size of 55 inches or less (with no more than one in any one room) and meet the speaker requirements. The exemption applies to eating and drinking establishments larger than 3,750 gross square feet, provided they meet these same square footage and equipment requirements.</p>
<p>It&#8217;s worth repeating that this exemption does not apply to playing pre-recorded music, music videos, or live performances.</p>
<h3>Playing Pre-Recorded Music in Your Store</h3>
<p>For those bookstores playing pre-recorded music, here is a breakdown of the license fees in the most common situations. In most cases, the license fee is based on square footage or number of speakers. If you have live music in your store, BMI and ASCAP will charge extra for that, while SESAC includes live music in its basic annual license fee. If you own a cafe, remember that BMI&#8217;s fees may be different, but it may not change the fee schedule for either ASCAP or SESAC.</p>
<p>To calculate the total yearly licensing fees you will need to know three things: the gross square footage of your store, the number of speakers being used to play the music, and the number of live performances you plan to hold in your store over the next year (estimated).</p>
<p>Let&#8217;s take the example of a small bookstore, under 2,000 square feet. The store plays CDs through two speakers, and does not have live entertainment, does not sell CDs, nor does it have a cafe. This owner will pay an annual sum of $524.64 in licensing fees: $190 per year to ASCAP (which bases its basic annual fee on the number of speakers); $152 per year to SESAC (which bases its basic annual fee on square feet); and $182.64 per year to BMI (which bases its fees on square feet).</p>
<p>However, it&#8217;s important to stress that, if the copyright owner(s) has given the bookstore owner permission to play the music, then no license fees are necessary. The same goes for live performance, as long as permission to perform the songs in public is granted by the copyright owner(s). In almost all cases, this scenario refers to the local singer/songwriter or band that plays <em>only</em> its own music or is promoting its homegrown CD (again, containing only its own music) by asking local stores to play it during the day. (This is certainly one good argument to make for the independent bookstore supporting the independent musician!)</p>
<p>Additionally, if you sell pre-recorded music in the store, you may be exempt from licensing fees in certain circumstances. Section 110(7) of the Law states that a vending establishment is exempt from paying a license fee &#8220;where the sole purpose of the performance is to promote the retail sale of copies or phonorecords of the work, or of the audiovisual or other devices utilized in such performance, and the performance is not transmitted beyond the place where the establishment is located and is within the immediate area where the sale is occurring.&#8221; 17 USC 110(7).</p>
<p>It goes without saying that this section of the law is vague, since &#8220;immediate area&#8221; is not a defined term in the Act. Representatives of each performing rights organization contend that this means that the playing of pre-recorded music is only exempt if it is played right where the music is being sold and is for demonstration purposes only (e.g., Virgin Megastore&#8217;s listening posts) &#8212; not piped in throughout the whole store as background music. On the other hand, it could easily be interpreted as meaning that the playing of pre-recorded music is exempt as long as it is audible in the same room or area where the music is being sold and as long as the music is from a CD or record that the store actually sells and has in stock.</p>
<p>Finally, it&#8217;s fair to assume that ASCAP and BMI represent the copyrights of over 90 percent of the music you hear on the radio or play in your store. However, SESAC&#8217;s repertory is growing. But if you are thorough and meticulous about your song selection, it is possible to get away with signing license agreements with only BMI and ASCAP and still have a huge repertory from which to choose. Of course, you could also sign an agreement with only one organization, but that would severely limit your song choices.</p>
<h3>Fee Schedules for BMI, ASCAP, and SESAC</h3>
<p>We hope that you now have a better idea as to whether or not you need to pay a music license fee. If you do, here&#8217;s how the fee schedules break down:</p>
<p><strong>ASCAP &#8212; Using Pre-Recorded Music (does not include audio-visual performances)</strong></p>
<table border="1" cellspacing="0" cellpadding="0" width="100%">
<tbody>
<tr>
<td>
<h3>No. of Speakers</h3>
</td>
<td>
<h3>Annual License Fee</h3>
</td>
</tr>
<tr>
<td valign="top">3 or less</td>
<td valign="top">$190</td>
</tr>
<tr>
<td valign="top">Each additional speaker</td>
<td valign="top">$39</td>
</tr>
<tr>
<td valign="top">Maximum license fee</td>
<td valign="top">$1,591.50</td>
</tr>
</tbody>
</table>
<p>If you have live music, it is $34.50 for each live performance at each location. The maximum annual live fee would be $2,833 per location per year.</p>
<h3>BMI &#8212; Using Pre-Recorded Music</h3>
<table border="1" cellspacing="0" cellpadding="0" width="100%">
<tbody>
<tr>
<td valign="top"><strong>Square Footage of Each Bookstore</strong></td>
<td valign="top"><strong>Annual License Fee</strong></td>
</tr>
<tr>
<td valign="top">2,000 or less</td>
<td valign="top">$182.64</td>
</tr>
<tr>
<td valign="top">2,001 to 2,500</td>
<td valign="top">$247.10</td>
</tr>
<tr>
<td valign="top">2,501 to 5,000</td>
<td valign="top">$354.53</td>
</tr>
<tr>
<td valign="top">5,001 to 7,500</td>
<td valign="top">$569.39</td>
</tr>
<tr>
<td valign="top">7,501 to 10,000</td>
<td valign="top">$784.25</td>
</tr>
<tr>
<td valign="top">10,001 to 12,500</td>
<td valign="top">$999.13</td>
</tr>
<tr>
<td valign="top">12,5001 to 15,000</td>
<td valign="top">$1,213.99</td>
</tr>
<tr>
<td valign="top">15,001 to 17,500</td>
<td valign="top">$1,428.85</td>
</tr>
<tr>
<td valign="top">Over 17,500</td>
<td valign="top">$1,557.78</td>
</tr>
</tbody>
</table>
<p>If you have live music, and it&#8217;s a single singer/instrumentalist, it also based on square footage.</p>
<table border="1" cellspacing="0" cellpadding="0" width="100%">
<tbody>
<tr>
<td valign="top"><strong>Square Footage of Each Bookstore</strong></td>
<td valign="top"><strong>Annual License Fee</strong></td>
</tr>
<tr>
<td valign="top">2,000 or less</td>
<td valign="top">$161.15</td>
</tr>
<tr>
<td valign="top">2,001 to 2,500</td>
<td valign="top">$214.86</td>
</tr>
<tr>
<td valign="top">2,501 to 5,000</td>
<td valign="top">$359.90</td>
</tr>
<tr>
<td valign="top">5,001 to 6,500</td>
<td valign="top">$467.33</td>
</tr>
<tr>
<td valign="top">6,501 to 7,500</td>
<td valign="top">$537.17</td>
</tr>
<tr>
<td valign="top">7,501 to 8,500</td>
<td valign="top">$617.74</td>
</tr>
<tr>
<td valign="top">8,501 to 9,500</td>
<td valign="top">$698.32</td>
</tr>
<tr>
<td valign="top">9,501 to 10,000</td>
<td valign="top">$752.03</td>
</tr>
<tr>
<td valign="top">Over 10,000</td>
<td valign="top">$805.75</td>
</tr>
</tbody>
</table>
<p>If you have live music with two or more singers or instrumentalists, it is $34.38 per live performance at each retail premise, with a maximum fee for each premise of $2,771.76. This fee is paid in addition to all other fees. Therefore, for a three-piece jazz trio in a 2,000 square foot store, you will pay $161.15 per year, plus $34.38 for each of their performances &#8212; just for live music.</p>
<p><strong>SESAC &#8212; For pre-recorded and live music</strong></p>
<table border="1" cellspacing="0" cellpadding="0" width="100%">
<tbody>
<tr>
<td><strong>Square Footage</strong></td>
<td><strong>2005 Annual Fee</strong></td>
</tr>
<tr>
<td>Under 10,000</td>
<td>$152</td>
</tr>
<tr>
<td>10,001 to 50,000</td>
<td>$235</td>
</tr>
<tr>
<td>50,001 to 99,999</td>
<td>$356</td>
</tr>
<tr>
<td>100,000 and over</td>
<td>$475</td>
</tr>
</tbody>
</table>
<p>The SESAC agreement authorizes both recorded and live music. Additionally, SESAC offers a license agreement with a discounted fee schedule to stores that have six or more locations.</p>
<h3>Bookstores With Cafes</h3>
<p>If your store has a cafe, you may have a choice in the type of music license agreement you sign with BMI. Rather than being charged as a retail or non-food establishment, your bookstore could be licensed on the fee structure BMI uses for eating and drinking establishments if you play no music other than in the cafe. In this scenario, you are charged a rate per year per occupant for the way music is used in your business.</p>
<p><strong>Here are the fees:</strong></p>
<table border="1" cellspacing="0" cellpadding="0" width="100%">
<tbody>
<tr>
<td valign="top">Music Type</td>
<td valign="top">Frequency per week</td>
<td valign="top">Rate per year per occupant</td>
</tr>
<tr>
<td valign="top">Live music/ multiple singers/ instrumentalists</td>
<td valign="top">5 &#8211; 7 nights</td>
<td valign="top">$4.65</td>
</tr>
<tr>
<td valign="top"> </td>
<td valign="top">2 &#8211; 4 nights</td>
<td valign="top">$3.90</td>
</tr>
<tr>
<td valign="top"> </td>
<td valign="top">1 night or less (or no more than 5 times in any one month)</td>
<td valign="top">$3.45</td>
</tr>
<tr>
<td valign="top">Single Singer Instrumentalist</td>
<td valign="top">5 &#8211; 7 nights</td>
<td valign="top">$3.35</td>
</tr>
<tr>
<td valign="top"> </td>
<td valign="top">2 &#8211; 4 nights</td>
<td valign="top">$2.80</td>
</tr>
<tr>
<td valign="top"> </td>
<td valign="top">1 night or less (1 night = no more than 5 times in any one month)</td>
<td valign="top">$2.55</td>
</tr>
<tr>
<td valign="top">Recorded Music (CDs, Tapes, Records, Free-play Jukebox, DJ&#8217;s,VJ&#8217;s)</td>
<td valign="top">N/A</td>
<td valign="top">$2.25</td>
</tr>
</tbody>
</table>
<p>The minimum yearly fee for an eating and drinking establishment is $283 per year. Occupancy number is the maximum allowable occupancy for the total premises of your store under local fire codes or similar regulations. If there are no regulations in effect, then maximum occupancy means one person for every twenty square feet of the total premises.</p>
<p>Finally, one other factor: There are services that supply retail outlets with CDs and music videos. Many of these commercial music services pay licensing fees in advance, meaning the bookstore is exempt from the licensing fees when playing the service&#8217;s music. If you have signed, or are considering signing a contract with a commercial music services company, make sure the company&#8217;s covered the licensing end of it. &#8211;<a href="mailto:dave@bookweb.org"><em>David Grogan</em></a></p>
<p><a name="footnotes"></a></p>
<hr />
<p><strong>Footnote:</strong><br />
<span style="font-size: x-small;">1. The Copyright Act defines a &#8220;food service or drinking establishment&#8221; as a restaurant, inn, bar, tavern, or any other similar place of business where the primary purpose is to serve food or drink to customers and &#8220;in which the majority of the gross square feet of space. . . is used for that purpose.&#8221; 17 USC 101. Thus, the square footage requirements relating to a food service or drinking establishment set forth above likely will not apply to a bookstore that includes a cafe, unless the cafe makes up the majority of the space in the bookstore itself.</span></p>
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		<title>Media Quotes</title>
		<link>http://jackholly.com/?p=74</link>
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		<pubDate>Tue, 19 Jul 2011 04:09:41 +0000</pubDate>
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		<description><![CDATA[Put it before them briefly so they will read it, clearly so they will appreciate it, picturesquely so they will remember it and, above all, accurately so they will be guided by its light. ~ Joseph Pulitzer, Hungarian-American publisher The smarter the journalists are, the better off society is. [For] to a degree, people read [...]]]></description>
			<content:encoded><![CDATA[<p>Put it before them briefly so they will read it, clearly so they will appreciate it, picturesquely so they will remember it and, above all, accurately so they will be guided by its light.</p>
<p>~ Joseph Pulitzer, Hungarian-American publisher</p>
<p><span id="more-74"></span></p>
<p>The smarter the journalists are, the better off society is. [For] to a degree, people read the press to inform themselves-and the better the teacher, the better the student body.</p>
<p>~ Warren Buffett, American businessman</p>
<p>Even in a new era, journalism has one responsibility other forms of communication and entertainment do not: To provide citizens with the information they need to navigate the society. That does not preclude being entertaining or profitable — or publishing something merely because it’s interesting. But it does imply a commitment to comprehensiveness, to offering certain information about democratic institutions, and to ordering information in some relationship to its significance so that people can use it as a map to travel through the culture.</p>
<p>~ The Project for Excellence in Journalism</p>
<p>A news sense is really a sense of what is important, what is vital, what has color and life — what people are interested in. That’s journalism.</p>
<p>~ Burton Rascoe, American journalist</p>
<p>But I have become increasingly unnerved by the depth of corruption that exists at many different levels. I’m less upset with politicians than the media. I feel like politicians — the way I explain it, is when you go to a zoo and a monkey throws feces, it’s a monkey. But when the zookeeper is standing right there and he doesn’t say, “Bad monkey” — somebody’s gotta be the zookeeper. I feel much more strongly about the abdication of responsibility by the media than by political advocates. </p>
<p>~ Jon Stewart, comedian and host of “The Daily Show”</p>
<p>I think the news people no longer have any idea of what covering the news is. </p>
<p>~ Bill Maher, commentator, comedian and TV host</p>
<p>I think smart aggregation is a service to readers. And we do it, too … . Whether it’s a politics page and you want Dan Balz to tell you what is he reading, what does he think are the smartest articles today on the elections or the primaries. So, I think aggregation is great … . So I’m all for aggregation. And the more eyeballs we can get to our content, the better. We do want readers to be educated and to understand the difference between, what is a source that you can trust as opposed to just rumors out there. And the difference between just repurposing content and not crediting it. </p>
<p>~ Katharine Weymouth, Washington Post publisher</p>
<p>You can never get all the facts from just one newspaper, and unless you have all the facts, you cannot make proper judgments about what is going on.</p>
<p>~ Harry S. Truman, former U.S. president</p>
<p>The less you know, the more you believe.</p>
<p>~ Bono, musician</p>
<p>What I’m advocating is that the media come work for us again. Remove themselves from the symbiotic relationship that they have developed with the power structure of corporations and of the politicians. I think there’s a responsibility within the media to help. But you could create a paradigm of a media organization that is geared towards “No bullshit.”</p>
<p>~ Jon Stewart, comedian and host of “The Daily Show”</p>
<p>Increasingly, the profession seems overwhelmed by the sheer size of the media, by hidebound habits, by infotainment, by the quest for sensation and gossip, by the imperatives of the stock market or by a pursuit of ever-fragmenting audiences that lead us ever-farther from home.</p>
<p>~ The Project for Excellence in Journalism</p>
<p>This is a terrible time. It is a bleak and fallow time. I’ve been going to ASNE [the American Society of Newspaper Editors] annual meetings for 52 years of my life. I have never seen a time of more dispirit, more discomfort, more frustration, more fear, more resignation, more cynicism. That is not a set of adjectives we wish to apply to our business, to our calling. There is a whole set of other words that you want, and they were said by Steve, and they were said by so many of you today: passion, commitment, belief, community, context, continuity. We are, finally, the custodians of something much better than our jobs.</p>
<p>~ Hodding Carter III, award-winning journalist and regular guest on CBS, PBS, CNN and ABC</p>
<p>New Rule: News organizations have to stop using the phrase: “We go beyond the headlines.” That’s your job, dummy. You don’t see American Airlines saying, “We land our jets on the runway”!</p>
<p>~ Bill Maher, commentator, comedian and TV host</p>
<p>The fact is, however, that there is a very great deal that the press is not telling you, and you ought to be deeply worried about that. That is what I am here to persuade you of. For all sorts of reasons timidity, self-satisfaction, greed, inappropriate desire to belong, incompetence, prudishness; for all these reasons and more, there is an awful lot that the press keeps from you. And since you are part of a democracy, that is, a government that purports to be by the people and of the people and for the people, you ought to consider ignorance a great threat. Yet, you as a public not only don’t criticize the press for not printing something, you are one of the main reasons that the press continues to keep you in the dark.</p>
<p>~ Geneva Overholser, former editor of the Des Moines Register, ombudsman at the Washington Post and chair of the Pulitzer Prize Board</p>
<p>Why can’t you hire people that care about the truth? You know them, I know them, they’re good. You got people on blogs that are fact-checking as things happen. Some of those people are conspiracy theorists, some of them are really smart — have somebody at the center of it, who can be an arbiter of what’s real and what’s not. And make that reactive to the devastating game of strategy that’s being played in Washington. I think it would make a shit-load of money, and not only that, you’d be able to sleep at night.</p>
<p>~ Jon Stewart, comedian and host of “The Daily Show”</p>
<p>Were it a person, journalism would be diagnosed as depressed.</p>
<p>~ Richard Reeves, author and columnist</p>
<p>These days there’s all too much coverage of pseudo-events about extraordinarily inauthentic people doing inauthentic things. </p>
<p>~ David Halberstam, Pulitzer Prize-winning author of 12 bestsellers</p>
<p>News is what someone wants suppressed. Everything else is advertising. The power is to set the agenda. What we print and what we don’t print matter a lot.</p>
<p>~ Katharine Graham, Washington Post publisher</p>
<p>Democracy, taken in its narrower, purely political sense, suffers from the fact that those in economic and political power possess the means for molding public opinion to serve their own class interests. </p>
<p>~ Albert Einstein, physicist</p>
<p>If we expect this country to work, it depends on an informed, intelligent electorate. You know, Thomas Jefferson said very early on in our republic that the nation that expects to be ignorant and free expects it never can and never will be.</p>
<p>We’re an ignorant nation right now. We’re not really capable, I do not think, the majority of our people, of making the decisions that have to be made at election time and particularly in the selection of their legislatures and their Congress and the presidency, of course. I don’t think we’re bright enough to do the job that would preserve our democracy, our republic. I think we’re in serious danger.</p>
<p>~ Walter Cronkite on “Larry King Live”, 2005</p>
<p>There is a terrific disadvantage in not having the abrasive quality of the press applied to you daily. Even though we never like it, and even though we wish they didn’t write it, and even though we disapprove, there isn’t any doubt that we could not do the job at all in a free society without a very, very active press.</p>
<p>~ John F. Kennedy, former U.S. president</p>
<p>A good newspaper is a nation talking to itself.</p>
<p>~ Arthur Miller, American dramatist</p>
<p>I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon.</p>
<p>~ Tom Stoppard, Czech playwright</p>
<p>Journalism is a noble calling. The working journalist is to report, write, and explain in accordance with the highest standards of the profession.</p>
<p>~ World Journalism Institute</p>
<p>The country is in some trouble, because the media, which is supposed to provide a check and balance on government, has decided to stop doing that as a collective entity. </p>
<p>~ Craig Newmark, founder of Craigslist</p>
<p>My understanding from talking to a lot of people in the business has been that it used to be that a newspaper was considered a community service. Now they’re being run as profit centers, and they’re trying to get pretty high profit margins. As a result, investigative reporting has been seen as a problem.</p>
<p>~ Craig Newmark, founder of Craigslist</p>
<p>A profound transformation is happening here. The framers of our nation never envisioned these huge media giants; never imagined what could happen if big government, big publishing and big broadcasters ever saw eye-to-eye in putting the public’s need for news second to their own interests. I approach the end of my own long run believing more strongly than ever that the quality of journalism and the quality of democracy are inextricably joined … .</p>
<p>~ Bill Moyers, journalist and host of “Now”</p>
<p>It concerns me that so many readers and viewers are now saying, “I’m going to tune you out because you’re biased, you’re unfair.” Because if that were to continue and grow, our society isn’t built to function with people saying, “We don’t believe journalists.”</p>
<p>~ Jerry Ceppos, former vice president for News at Knight Rider, the nation’s second largest newspaper chain</p>
<p>While the spoken word can travel faster, you can’t take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.</p>
<p>~ Kingman Brewster, American educator and diplomat</p>
<p>There is room in this great and growing city for a journal that is not only cheap but bright, not only bright but large, not only large but truly democratic — dedicated to the cause of the people rather than that of the purse potentates — devoted more to the news of the New than the Old World — that will expose all fraud and sham, fight all public evils and abuses — that will sever and battle for the people with earnest sincerity.</p>
<p>~ Joseph Pulitzer, Hungarian-American publisher</p>
<p>The new electronic interdependence recreates the world in the image of a global village.</p>
<p>~ Marshall McLuhan, Canadian theorist, educator and writer</p>
<p>There can be no higher law in journalism than to tell the truth and to shame the devil remain detached from the great.</p>
<p>~ Walter Lippmann, American journalist</p>
<p>Journalism can never be silent; that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph and the signs of horror are still in the air.</p>
<p>~ Henry Anatole Grunwald, Austrian-born journalist and diplomat</p>
<p>Journalism is in fact history on the run.</p>
<p>~ Thomas Griffith, former editor of TIME and LIFE Magazine</p>
<p>Oh press — must you spread hate? Can’t you just stick to being wrong?</p>
<p>~ Jon Stewart, comedian and host of “The Daily Show”</p>
<p>Honesty and tenacity (and for that matter, the working class) seem to have taken backseats to the sort of “snappy news”, sensationalism, scandal-for-the-sake of scandal crap that sells. This is not a uniquely Tribune or even newspaper industry problem: this is true from the Atlanta mixing rooms of CNN to Sulzberger’s offices in Times Square. Profits: that’s what it’s all about now. But you just can’t realize annual profit returns of more than 30 percent by methodically laying out the truth in a dignified, accessible manner. And it’s damned tough to find that truth every day with a mere skeleton crew of reporters and editors.</p>
<p>All across America news organizations have been devoured by massive corporations, and allegiance to stockholders, the drive for higher share prices, and push for larger dividend returns trumps everything that the grunts in the newsrooms consider their missions.</p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter </p>
<p>A lot of publishers have close relationships with people in power. So the press, which used to speak truth to power, doesn’t. The big result of that has been the erosion of trust.</p>
<p>~ Craig Newmark, founder of Craigslist</p>
<p>On behalf of the newspaper industry (new, cost-cutting motto: “All the News That”), I wish to announce some changes we’re making to serve you better. When I say “serve you better,” I mean “increase our profits.” We newspapers are very big on profits these days. We’re a business, just like any other business, except that we employ English majors.</p>
<p>~ Dave Barry, author and columnist</p>
<p>Whoever controls the media — the images — controls the culture.</p>
<p>~ Allen Ginsberg, American Beat poet </p>
<p>Apparently the only time the press gets it right is when the White House illegally leaks it to them.</p>
<p>~ Jon Stewart, comedian and host of “The Daily Show”</p>
<p>When Dick Cheney says, “I never said that,” and then we play the tape, why did we do it? Why wasn’t it done broadly? Because he wasn’t speaking about something inconsequential. It wasn’t like we were playing gotcha journalism over some quibble. It was over weapons of mass destruction. That’s not advocacy journalism. That’s objectivity in its most raw form.</p>
<p>~ Stephen Colbert, comedian and host of “The Colbert Report”</p>
<p>I became a journalist to come as close as possible to the heart of the world.</p>
<p>~ Henry R. Luce, American publisher</p>
<p>This is terrible for democracy. I have been in 47 states of the USA since 9/11, and I can attest to the horrible impact the deterioration of journalism has had on the national psyche. I have found America a place of great and confused fearfulness, in which cynically placed bits of misinformation (e.g. Cheney’s, “If John Kerry had been President during the Cold War we would have had thermonuclear war.”) fall on ears that absorb all, without filtration or fact-checking. Leading journalists have tried to defend their mission, pointing to the paucity of accurate, edited coverage found in blogs, internet sites, Fox-TV and talk radio. They argue that good old-fashioned newspaper editing is the key to providing America with credible information, forming the basis for wise voting and enlightened governance. But their claims have been undermined by Jayson Blair’s blatant fabrications, Judy Miller’s bogus weapons of mass destruction coverage, the media’s inaccurate and inappropriate convictions of Wen Ho Lee, Richard Jewell and Steven Hatfill, CBS’ failure to smell a con job regarding Bush’s Texas Air Guard career and, sadly, so on.</p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter</p>
<p>The number of times plagiarism has come up makes me say that we don’t know what’s going on out there. I hate to say this, but I guarantee you that in every newsroom in America there’s some plagiarism.</p>
<p>~ Jerry Ceppos, former vice president for News at Knight Rider, the nation’s second largest newspaper chain</p>
<p>Most Americans don’t know about environmental problems, because we have in our country a negligent and indolent press. The biggest lie that the right wing holds in our country is that there is such a thing as a liberal media. Americans are getting their news from the right-wing media.</p>
<p>~ Robert F. Kennedy, Jr., the son of the former U.S. Attorney General, an environmentalist</p>
<p>Let’s start with some of the reasons that the press holds its tongue and some of the things that you don’t know because of this. We’ll begin with squeamishness, prudishness, timidity and an overdeveloped fear of offending someone… So much for squeamishness and prudishness. There are many other reasons that we editors fail you in this pact you and we have. Let me name a few more: Orthodoxy, conventional thinking, a misplaced pleasure at being on the inside, incompetence and laziness. </p>
<p>~ Geneva Overholser, former editor of the Des Moines Register, ombudsman at the Washington Post and chair of the Pulitzer Prize Board</p>
<p>And all of you, all your lives, should be telling those of us in the media leadership positions to tell the whole truth and calling us to complain when we don’t. Break this know-nothing pact now and you will have taken as mighty a step as you can as an individual to help see to it that we as a nation move together toward a lively, hopeful, confident, and all-embracing future.</p>
<p>~ Geneva Overholser, former editor of the Des Moines Register, ombudsman at the Washington Post and chair of the Pulitzer Prize Board</p>
<p>Virtually all the trends that matter are making a mockery of the industry’s ritual incantations about the values and virtues of a free press in a free society.</p>
<p>~ Hodding Carter III, award-winning journalist and regular guest on CBS, PBS, CNN and ABC</p>
<p>In journalistic debuts of this kind many talk of principle — political principle, party principle — as a sort of steel trap to catch the public. We disdain all principle, as it is called, all party, all politics. Our only guide shall be good, sound, practical common sense, applicable to the business and bosoms of men engaged in every-day life.</p>
<p>~ James Gordon Bennett, publisher of the New York Herald</p>
<p>Today we are beginning to notice that the new media are not just mechanical gimmicks for creating worlds of illusion, but new languages with new and unique powers of expression.</p>
<p>~ Marshall McLuhan, Canadian theorist, educator and writer</p>
<p>Sure enough, as merger has followed merger, journalism has been driven further down the hierarchy of values in the huge conglomerates that dominate what we see, read and hear. And to feed the profit margins journalism has been directed to other priorities than “the news we need to know to keep our freedoms.”</p>
<p>~ Bill Moyers, journalist and host of “Now”</p>
<p>We are so cleverly manipulated and influenced by the media and establishments on both the right and left, that the truth has become hopelessly lost in semantics.</p>
<p>~ Jules Carlysle, Canadian author and humorist</p>
<p>There are only two forces that can carry light to all the corners of the globe … the sun in the heavens and the Associated Press down here.</p>
<p>~ Mark Twain, American writer and humorist</p>
<p>The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in a democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.</p>
<p>~ Edward Bernays, one of the founding fathers of PR</p>
<p>You should spend more time with your families; write that novel you’ve always wanted to write. You know, the one about the fearless reporter who stands up to the administration. You know — fiction.</p>
<p>~ Stephen Colbert, comedian and host of “The Colbert Report”, sarcastically addressing reporters in his keynote address at the White House Correspondents Dinner</p>
<p>All of us who professionally use the mass media are the shapers of society. We can vulgarize that society. We can brutalize it. Or we can help lift it onto a higher level.</p>
<p>~ William Bernbach, American advertising executive</p>
<p>All too many journalists seem to mistake scandal mongering for tenacious investigation, and far too many aspire to make themselves the story. </p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter </p>
<p>It would be easy to descend into despair, not only about the state of journalism, but the future of American democracy. But giving up is not an option. There is too much at stake. </p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter</p>
<p>For a politician to complain about the press is like a ship’s captain complaining about the sea.</p>
<p>~ Enoch Powell, British politician</p>
<p>Let me just say something categorical. That we, to believe for one moment that a Wall Street which consecrated an Enron, which believed in Arthur Andersen, and which touted the dot-com bubble, is able to tell people in journalism what it is that the system of capitalism demands is a perversion of capitalism, it’s a perversion of journalism, and it’s a perversion of the notion of journalistic integrity. The truth of the matter is, as in most of the enterprises which Wall Street chooses to be an expert on, they neither understand nor care. They c.are about one thing, and those are levels of profit margin.</p>
<p>~ Hodding Carter III, award-winning journalist and regular guest on CBS, PBS, CNN and ABC</p>
<p>Let me just list one more set of tools in our know-nothing pact before the powerful, old white men in the audience get back at me. These we can call greed or we can call them commerce. Either way, they contribute mightily to your ignorance. The effects are various. There is the fact, for example, that too many papers by far do not wish to offend major advertisers. There is the fact that newspaper corporations typically retain truly remarkable profit margins: 30 percent is not unusual and the metro average has been somewhere around 17 percent. That’s 17 cents on every dollar made as profit for the company, yet the average beginning salary for a newspaper reporter last year was $17,000. I happen to believe that we continue against all the odds to attract some of the brightest and best people in the country to my trade. But we should not be surprised given what we pay if we increasingly end up with reporters who are incompetent, lazy, lack fire in the belly, and are satisfied with doing less.</p>
<p>~ Geneva Overholser, former editor of the Des Moines Register, ombudsman at the Washington Post and chair of the Pulitzer Prize Board</p>
<p>In journalism, there has always been a tension between getting it first and getting it right.</p>
<p>~ Ellen Goodman, American journalist</p>
<p>Because systems of mass communication can communicate only officially acceptable levels of reality, no one can know the extent of the secret unconscious life. No one in America can know what will happen. No one is in real control.</p>
<p>~ Allen Ginsberg, American Beat poet</p>
<p>The truth is not that the problem is the newsroom does not understand capitalism. The problem is that the front office does not understand journalism. The problem is not that the average reporter does not understand what it is that’s necessary to make the payroll, to make the good edifice, to make the thing that he wants. It is that in fact those who control too many of the edifices have actually come to believe that Wall Street has wisdom, and that that wisdom should instruct our business.</p>
<p>~ Hodding Carter III, award-winning journalist and regular guest on CBS, PBS, CNN and ABC</p>
<p>Ever since the Chandler Family plucked Mark Willes from General Foods, placing him at the helm of Times Mirror with a mandate to destroy the institutions in ways that would boost dividends, journalism has suffered at Newsday. The pain of the last year actually began a decade ago; the sad arc of greed has finally hit bottom. The leaders of Times Mirror and Tribune have proven to be mirrors of a general trend in the media world: They serve their stockholders first, Wall St. second and somewhere far down the list comes service to newspaper readerships. In 1996 I personally confronted Willes on that point, and he publicly confirmed that the new regime was one in which even the number of newspapers sold was irrelevant, so long as stock returns continued to rise. </p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter </p>
<p>In America journalism is apt to be regarded as an extension of history; in Britain, as an extension of conversation.</p>
<p>~ Anthony Sampson, British writer</p>
<p>The passionate controversies of one era are viewed as sterile preoccupations by another, for knowledge alters what we seek as well as what we find.</p>
<p>~ Freda Adler, U.S. author, educator and theorist</p>
<p>I have a theory that the truth is never told during the nine-to-five hours.</p>
<p>~ Hunter S. Thompson, American journalist and author</p>
<p>Words give you a medium, if you will, and make your message part of the human thought process. Words are as portable as the human being who hears them.</p>
<p>~ James J. Jordan, Jr., American publicist</p>
<p>A reporter is always concerned with tomorrow. There’s nothing tangible of yesterday. All I can say I’ve done is agitate the air ten or fifteen minutes and then boom — it’s gone.</p>
<p>~ Edward R. Murrow, American journalist</p>
<p>In America the President reigns for four years, and Journalism governs for ever and ever.</p>
<p>~ Oscar Wilde, Irish playwright</p>
<p>We journalists make it a point to know very little about an extremely wide variety of topics; this is how we stay objective.</p>
<p>~ Dave Barry, author and columnist</p>
<p>The most common thing that real reporters say to me is, “I wish I could say what you say.” What I don’t understand is, why can’t they say what I say, even in their own way? Does that mean they want to be able to name certain bald contradictions or hypocrisies that politicians have?</p>
<p>~ Stephen Colbert, comedian and host of “The Colbert Report”, The Washington Post, Oct. 10, 2005</p>
<p>Keep in mind, the news media are not independent; they are a sort of bulletin board and public relations firm for the ruling class — the people who run things. Those who decide what news you will or will not hear are paid by, and tolerated purely at the whim of, those who hold economic power. If the parent corporation doesn’t want you to know something, it won’t be on the news. Period. Or, at the very least, it will be slanted to suit them, and then rarely followed up. Enjoy the snooze.</p>
<p>~ George Carlin, comedian</p>
<p>By now, the corporations that dominate our media, like alcoholic fat cats, treat this situation as theirs by right. Their concept of a diversity of views is the full range of politics and social values from center to far right. The American audience, having been exposed to a narrowing range of ideas over the decades, often assumes that what they see and hear in the major media is all there is. It is no way to maintain a lively marketplace of ideas, which is to say it is no way to maintain a democracy.</p>
<p>~ Ben Bagdikian, educator and journalist</p>
<p>But what we know, we who are either observers of a business we once were in and loved, or are people within it now, our business as a whole, when it is not obsessed with the business of business, is eaten up with a form of cultural conservatism which is truly amazing. Indeed, more often than not it is eaten up with pure reactionary-ism.</p>
<p>~ Hodding Carter III, award-winning journalist and regular guest on CBS, PBS, CNN and ABC</p>
<p>We suffer from a terrible poverty of civic discourse in this country. Surely, it is outside of America’s best traditions to send the signal that patriotism is mindless emotion, that leadership is avoiding saying tough things, that citizenship is toeing the line. But such is the result of a lack of openness, our nervousness with debate. </p>
<p>~ Geneva Overholser, former editor of the Des Moines Register, ombudsman at the Washington Post and chair of the Pulitzer Prize Board</p>
<p>The press, that goiter of the world, swells up with the desire for conquest and bursts with the achievements which every day brings. A week has room for the boldest climax of the human drive for expansion.</p>
<p>~ Karl Kraus, Austrian satirist </p>
<p>What does it mean when even journalists consider comedian Jon — “This is a fake news show, People!” — Stewart one of the most reliable sources of “news”?</p>
<p>~ Laurie Garrett, widely regarded former Newsday reporter </p>
<p>There’s an assumption that if someone writes in the first person it’s self-indulgent and self-regarding. I just look at it as a tool to understand the world and my experience in it. It’s not a tool to understand myself.</p>
<p>~ Michael Pollan, author and journalist</p>
<p>Without free speech, no search for truth is possible … no discovery of truth is useful … . Better a thousand-fold abuse of free speech than denial of free speech. The abuse dies in a day, but the denial slays the life of the people, and entombs the hope of the race.</p>
<p>~ Charles Bradlaugh, English political activist</p>
<p>I think that we have created a new kind of person in a way. We have created a child who will be so exposed to the media that he will be lost to his parents by the time he is 12.</p>
<p>~ David Bowie, musician</p>
<p>I’m not sure I want popular opinion on my side — I’ve noticed those with the most opinions often have the fewest facts.”</p>
<p>~ Bethania McKenstry, American activist</p>
<p>Every journalist has a novel in him, which is an excellent place for it.</p>
<p>~ Russel Lynes, American art historian and author</p>
<p>People demand freedom of speech as a compensation for the freedom of thought which they seldom use.</p>
<p>~ Soren Kierkegaard, Danish philosopher and theologian</p>
<p>The public have an insatiable curiosity to know everything. Except what is worth knowing. Journalism, conscious of this, and having tradesman-like habits, supplies their demands.</p>
<p>~ Oscar Wilde, Irish playwright</p>
<p>Beginning, perhaps, from the reasonable perspective that absolute objectivity is unattainable, Fox News and MSNBC no longer even attempt it. They show us the world not as it is, but as partisans (and loyal viewers) at either end of the political spectrum would like it to be. This is to journalism what Bernie Madoff was to investment: He told his customers what they wanted to hear, and by the time they learned the truth, their money was gone. </p>
<p>~ Ted Koppel, broadcast journalist</p>
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		<title>Can Dogs Have Spiritual Experiences?</title>
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		<pubDate>Tue, 28 Jun 2011 15:49:39 +0000</pubDate>
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		<description><![CDATA[By Jennifer Viegas Research suggests spiritual experiences originate deep within primitive areas of the human brain &#8212; areas shared by other animals with brain structures like our own. Many scientists, therefore, believe it’s possible that dogs have moments that we may interpret as being spiritual. One such scientist is Kevin Nelson, a professor of neurology [...]]]></description>
			<content:encoded><![CDATA[<p>By Jennifer Viegas</p>
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<div>Research suggests spiritual experiences originate deep within primitive areas of the human brain &#8212; areas shared by other animals with brain structures like our own. Many scientists, therefore, believe it’s possible that dogs have moments that we may interpret as being spiritual.<span id="more-62"></span></div>
<p>One such scientist is Kevin Nelson, a professor of neurology at the University of Kentucky. He thinks it is possible that dogs may go through near-death experiences, have mystical experiences, and feel the bliss that some people have associated with religious happenings. Says Nelson, author of the book <em>The Spiritual Doorway in the Brain</em>: “In general, what serves to distinguish humans from animals is less the type of experience and the brain from which it springs, and more the spiritual interpretation the experience is given by humans.”</p>
<p><strong>Dogs and Near-death Experiences</strong><br />
People who come very close to death often report similar sensations, such as feeling detached from their bodies, moving through a tunnel and seeing a bright light. Nelson believes dogs and other animals are capable of experiencing these things as well.</p>
<ul>
<li><strong>Out-of-body sensation</strong> “In humans, we know that if we disrupt the region where our vision, sense of motion, orientation of the earth’s gravitational field and knowing the position of our body all come together, then out-of-body experiences can be caused literally by the flip of a switch,” says Nelson. Scientists can now even cause individuals to feel this sense of detachment in experiments, without the actual close-to-death moment. “There is absolutely no reason to believe it is any different for a dog, cat or primate’s brain,” says Nelson.</li>
<li><strong>Moving through a tunnel</strong> “The tunnel sensation is caused by the eye’s susceptibility to the low blood flow that occurs with fainting or cardiac arrest,” explains Nelson. “As blood flow diminishes, vision fails peripherally first. There is no reason to believe that other animals are any different from us. What they make of the tunnel is another matter.”</li>
<li><strong>Going towards a bright light </strong>“All mammals experience REM (rapid eye movement) consciousness, and certainly in the higher mammal (including dogs and cats), the visual system defines REM consciousness,” says Nelson. “So too, the light would seem to follow.”</li>
</ul>
<p><strong>Dogs and Mystical Experiences</strong><br />
Mystical experiences are moments that inspire a sense of mystery and wonderment. They arise within the limbic system, says Nelson. Prior research conducted by other scientists has found that when specific parts of this system are removed from animal brains, mind-altering drugs have no effect.</p>
<p>Since dogs again possess similar brain structures, it is possible they experience mystical moments and may even enjoy what we could interpret as spiritual oneness, according to Nelson. It is possible that certain sensations are even more pronounced in dogs, given their heightened sensitivity to sounds, smells and more. As Jean Houston, co-director of the Foundation for Mind Research, says, dogs and other animals “are closer to nature and thus seem to be on a continuum with the natural flow of things.” She believes “they serve as wonderful (spiritual) guides because of their simplicity and the naturalness of their being.”</p>
<p><strong>Dogs and Bliss</strong><br />
Few of us would argue that dogs experience moments of true contentment. One look at a dog enjoying rolling in the sunshine or enjoying its owner’s loving attentions proves that point. Meditation, prayer, yoga and other practices can offer humans a similar feeling of bliss.</p>
<p>Marc Bekoff, a professor emeritus of ecology and evolutionary biology at the University of Colorado, Boulder, also believes non-human animals have spiritual experiences, which he defines as experiences that are nonmaterial, intangible, introspective and comparable to what humans have. Bekoff, Nelson and others hope future research will better illuminate the phenomena. “For now,” says Bekoff, “let’s keep the door open to the idea that animals can be spiritual beings, and let’s consider the evidence for such a claim.”</p>
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<p><strong>Jennifer Viegas</strong><em> is the managing editor of </em>The Dog Daily<em>. She is a journalist for Discovery News, the news service for the Discovery Channel, and has written more than 20 books on animals, health and other science-related topics.</em></p>
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		<title>Some Tips For Recording With A Lapel Mic</title>
		<link>http://jackholly.com/?p=58</link>
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		<pubDate>Fri, 17 Jun 2011 03:31:24 +0000</pubDate>
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		<description><![CDATA[By Howard Fine Do you want to get great results when miking someone for broadcast or film? Who wouldn&#8217;t?Here is some sure fire advice for getting the best results when recording your subject with lapel mics. Discussed are some of the problems associated with lapel mics and some ways to solve them. Ready? Wardrobe: To [...]]]></description>
			<content:encoded><![CDATA[<p><em>By </em>Howard Fine</p>
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<div>Do you want to get great results when miking someone for broadcast or film? Who wouldn&#8217;t?Here is some sure fire advice for getting the best results when recording your subject with lapel mics. Discussed are some of the problems associated with lapel mics and some ways to solve them.<br />
<!--#include virtual="cgi-bin/entropybanner.cgi"--> Ready?<span id="more-58"></span></div>
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<p>Wardrobe:</p>
<p>To make it easier for placement the talent will do better wearing a buttoned shirt. With a button-down shirt you&#8217;ll do best by placing the lapel mic between the top two buttons. Despite its name it&#8217;s best not to place it on your collar or lapel. The mic should be about 8&#8243; from the mouth. If your subject is wearing a t-shirt wrap the mic cable behind their neck and bring it under the t-shirt. Fasten the mic underneath so the mic still points upward. When wearing a t-shirt the mic tends to want to point downward, so check and make sure that it&#8217;s fastened in such a way as to ensure that it&#8217;s upright.</p>
<p>Diplomacy:</p>
<p>Discretion and diplomacy are, needless to say, very important. The subject is probably used to being somewhat harshly handled in placing the mic. Let your talent put on their own microphone. Request them to thread the cable comfortably and stabilize it as they wish. After the the person has positioned it, casually ask him/her if it&#8217;s OK to adjust it yourself to make final<br />
tweaks.</p>
<p>Wind Noise:</p>
<p>When it is windy outside you will want to make sure that the mic has a wind sock or foam filter. Even if there&#8217;s no wind it&#8217;s prudent to have it just in case the wind kicks up. Even a light breeze can ruin a perfectly done broadcast. It will also protect somewhat from the ambient noise that these mics are prone to picking up. Even if you don&#8217;t have one or want to go to the expense of buying a filter, one can always fashion one &#8211; utilizing a bit of foam and affixing it with a rubber band in order to secure it.</p>
<p>Also concerning the wind screen, if you have somebody that can stand by and hold a large<br />
piece of foam core blocking the direction of the wind source, the assistant can act as a screen to prevent the wind from registering.</p>
<p>Headphones:</p>
<p>Always listen with a pair of headphones. With a mixer this will be very easily a done by wiring it to the headphone input. When it comes to hearing what the mic is really capturing headphones are essential,whether it&#8217;s distortion or wind noises.</p>
<p>Although these tips are not comprehensive for the lapel mic user, they provide some extra information for becoming a better and more successful shooter.</p>
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<p>Howard Fine has achieved a preferred place in the world of broadcasting and video. Through his knowledge, these tips can lead one to better standards of recording with <a href="http://www.micsandmoreonline.com/" target="_new">lavalier</a> mics, from the novice to the professional</p>
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		<title>The Post-PC Era Is Already Here</title>
		<link>http://jackholly.com/?p=44</link>
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		<pubDate>Fri, 10 Jun 2011 16:22:34 +0000</pubDate>
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		<description><![CDATA[By Harry McCracken In late 1974, tiny New Mexico calculator manufacturer MITS announced a $439 build-it-yourself gizmo called the Altair 8800 — the first true &#8220;personal computer.&#8221; A couple of young protogeeks named Bill Gates and Paul Allen got so excited that they founded a startup called Micro-soft (yes, with a hyphen) to write software [...]]]></description>
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<div>By <a id="emailWriter" href="http://www.time.com/time/letters/email_letter.html">Harry McCracken</a></div>
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<div>In late 1974, tiny New Mexico calculator manufacturer MITS announced a $439 build-it-yourself gizmo called the Altair 8800 — the first true &#8220;personal computer.&#8221; A couple of young protogeeks named Bill Gates and Paul Allen got so excited that they founded a startup called Micro-soft (yes, with a hyphen) to write software for it. They did rather well. So well, in fact, that most of us are still using PCs running Microsoft software thirty-six years later.<span id="more-44"></span></div>
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<p>Along the way, multiple visions of a technological universe that didn&#8217;t revolve around Microsoft-powered PCs have failed to pan out. The US Department of Justice sued Microsoft on antitrust grounds, eventually reaching a settlement intended to loosen Windows&#8217; iron grip on the operating-system market. It didn&#8217;t. The makers of devices such as the New Internet Computer, i-Opener, and Audrey thought they could wean consumers away from PCs. They couldn&#8217;t. Hyper-optimistic fans of the open-source operating system Linux kept expecting that the teeming masses would learn to love it. We haven&#8217;t. <a href="http://www.time.com/time/business/article/0,8599,2035577,00.html" target="_blank">(Read &#8220;PC vs. Mac: Which Is Right for You?&#8221;)</a></p>
<p>Lately, though, the future has come into focus. The PC isn&#8217;t going to be replaced by anything. Instead, it&#8217;s already being replaced by&#8230;<em>everything</em>. Rather than relying on one general-purpose machine, we&#8217;re turning to an array of devices tailored to different scenarios and environments. And the Internet-connected screens in our lives just keep multiplying, from smart phones to tablets to e-readers to Web-savvy TVs and <a href="http://www.time.com/time/business/article/0,8599,2049671,00.html" target="_blank">car dashboards</a>.</p>
<p>Did I say the new devices are replacing the PC? My bad — they&#8217;re complementing it rather than rendering it obsolete. Earlier this month, market research firm Gartner predicted that the iPad and its rivals will cut sharply into PC sales <a href="http://money.cnn.com/2011/03/03/technology/tablet_pc/index.htm" target="_blank">over the next few years </a>. But it&#8217;s not saying that the sales of traditional computers will shrink — just that they won&#8217;t grow as robustly as it had thought.</p>
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<p>Read more: <a href="http://www.time.com/time/business/article/0,8599,2058101,00.html#ixzz1GDKp3T9X">http://www.time.com/time/business/article/0,8599,2058101,00.html#ixzz1GDKp3T9X</a></p>
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