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3324
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dbpedia
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2
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https://www.rottentomatoes.com/browse/movies_at_home/affiliates:hbo_max~sort:popular
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en
|
Best Movies on undefined (2024)
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Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/browse/movies_at_home/affiliates:hbo_max~sort:popular
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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||||
3324
|
dbpedia
|
3
| 25 |
https://ew.com/best-movies-on-paramount-plus-8424386
|
en
|
The 22 best movies on Paramount+
|
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[] |
[] |
[
""
] | null |
[
"Declan Gallagher",
"Kevin Jacobsen",
"www.facebook.com"
] |
2024-01-11T17:04:40.682000-05:00
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From classic comedies like 'Mean Girls' to horror favorites like 'A Quiet Place,' here are the 22 best movies on Paramount+ right now.
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EW.com
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https://ew.com/best-movies-on-paramount-plus-8424386
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01 of 22
Clueless (1995)
Alicia Silverstone stars as Cher, the girl with, like, totally the coolest closet of all time, in Amy Heckerling's update of Jane Austen's Emma. It's a perfectly calibrated romp that both embraces and subverts some tried and true tropes of the teen comedy. "More than a decade and a half after we first met Silverstone's divine Ms. Horowitz," EW's critic wrote of the film in 2012, "she still has an important message for those of us watching at home: Namely, 'tis a far, far better thing doing stuff for other people.'" —Declan Gallagher
Where to watch Clueless: Paramount+
EW grade: C+ (read the review)
Director: Amy Heckerling
Cast: Alicia Silverstone, Paul Rudd, Brittany Murphy, Stacey Dash, Donald Faison
02 of 22
Erin Brockovich (2000)
What could have been your standard Julia Roberts vehicle is, in the hands of director Steven Soderbergh, one of the most compelling legal dramas of the modern era. Roberts stars as real-life activist Erin Brockovich, chronicling her journey from unemployed single mother to paralegal presenting evidence for a major class action lawsuit against the Pacific Gas and Electric Company. Brockovich's force of personality makes her the perfect hero for those ordinary citizens affected by the gas company’s contamination coverup, and Roberts makes a meal of her character's take-no-prisoners attitude. The actress deservedly won an Oscar for her work; as EW's critic writes, "Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes." —Kevin Jacobsen
Where to watch Erin Brockovich: Paramount+
EW grade: N/A (read the review)
Director: Steven Soderbergh
Cast: Julia Roberts, Albert Finney, Aaron Eckhart
03 of 22
Fatal Attraction (1987)
Hell hath no fury like a woman scorned. As the unstable Alex Forrest, Glenn Close became one of the all-time great movie antagonists with this iconic erotic thriller. When Alex meets Dan (Michael Douglas) at a business function, there is a charge between them that blossoms into a passionate affair. The problem is, Dan is married and has a kid, and after he coldly tries to end the affair, Alex retaliates with a series of increasingly dangerous actions. What sets Fatal Attraction above the many erotic thrillers released in the '80s and '90s is in how Close brings humanity to Alex, with an undercurrent of loneliness that prevents her from becoming a two-dimensional villain. —K.J.
Where to watch Fatal Attraction: Paramount+
Director: Adrian Lyne
Cast: Michael Douglas, Glenn Close, Anne Archer
04 of 22
Ferris Bueller's Day Off (1986)
Matthew Broderick inspired an entire generation of kids to be bad in John Hughes’ classic about hipster high schooler Ferris Bueller (Broderick) and his wacky, wild day playing hooky with his morose friend Cameron (Alan Ruck) and girlfriend Sloane (Mia Sara). It's a silly romp and perhaps not much more than that, but the movie holds up (and manages to feel a bit modern) all these years later. As EW's critic recalls, "It's the rare film that charms both Kurt Cobain and Dan Quayle, but like Ferris Bueller himself — who was popular with sportos, motorheads, geeks, sluts, bloods, wasteoids, dweebies, and d---heads alike...Ferris Bueller’s Day Off appealed to just about everyone." —D.G.
Where to watch Ferris Bueller’s Day Off: Paramount+
EW grade: N/A (read the review)
Director: John Hughes
Cast: Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones, Jennifer Grey
05 of 22
Galaxy Quest (1999)
The cast of a cult classic sci-fi show becomes unwittingly involved in an actual alien battle in this clever Star Trek-inspired satire. The actors are stunned to realize that the alien race, known as Thermians, have based their way of life on the show's themes ("Never give up. Never surrender.") and hope they can help them defeat an enemy.
The sci-fi comedy was a solid hit with average moviegoers in 1999, while also meeting the approval of diehard Trekkies, who easily could've been the butt of the joke in lesser filmmakers' hands. Plus, while TV show fandom had been around for decades even by 1999, few could've predicted just how prescient of a film Galaxy Quest would be, considering the rise of fan conventions and general fan investment in the mainstream in the 21st century. —K.J.
Where to watch Galaxy Quest: Paramount+
EW grade: A– (read the review)
Director: Dean Parisot
Cast: Tim Allen, Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, Daryl Mitchell
06 of 22
Gladiator (2000)
Ridley Scott's brutal, visceral epic stars Russell Crowe as fallen general Maximus, who becomes a gladiator and undertakes a campaign of revenge against those who wronged him. Gladiator, which was compared favorably to the ”sword-and-sandal movies” of the 1950s and '60s, earned rave reviews and multiple Oscars including Best Picture. And we will soon see Scott return to direct Paul Mescal and Denzel Washington in a follow-up installment, 24 years later. —D.G.
Where to watch Gladiator: Paramount+
EW grade: A– (read the review)
Director: Ridley Scott
Cast: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Richard Harris
07 of 22
Grease (1978)
We've got chills, and they're multiplyin' every time we watch this campy homage to '50s Americana. After greaser Danny Zuko (John Travolta) regales his fellow high schoolers with stories of his summer spent romancing an Australian girl named Sandy (Olivia Newton-John), he's thrilled to find out she's transferred to his school. Though they each remember their summer lovin' differently, the couple explores their relationship further — while occasionally breaking into song when they can't express themselves in words. —K.J.
Where to watch Grease: Paramount+
Director: Randal Kleiser
Cast: John Travolta, Olivia Newton-John, Stockard Channing, Eve Arden, Frankie Avalon, Joan Blondell, Edd Byrnes, Sid Caesar, Alice Ghostley, Dody Goodman, Sha Na Na
08 of 22
Last Holiday (2006)
Queen Latifah and LL Cool J share an enviable chemistry in Wayne Wang's sensitive remake of the 1950 British film of the same name. Last Holiday is about 20 percent broad comedy and 80 percent genuine pathos, which turns out to be more successful than you'd think. Latifah plays an unrealized woman who, when diagnosed with a fatal disease and given weeks to live, decides to live it up at a chalet in Europe. It's nothing groundbreaking, but Wang's film has a pleasingly old-school, unhurried essence, and Latifah is always a welcome dramatic presence. —D.G.
Where to watch Last Holiday: Paramount+
EW grade: N/A (read the review)
Director: Wayne Wang
Cast: Queen Latifah, LL Cool J, Giancarlo Esposito, Alicia Witt, Jascha Washington
09 of 22
Love & Basketball (2000)
Childhood friends grow up with a passion for basketball — and each other — in this winning romantic drama from writer-director Gina Prince-Bythewood. Both Monica (Sanaa Lathan) and Quincy (Omar Epps) prove their prowess on the court and finally give in to their feelings for one another before attending the same college. Struggling to balance their professional goals with their relationship, the duo goes through the highs and lows of trying to have it all. What could have been a cliché sports drama is instead an engrossing character study with electric chemistry between Epps and Lathan. —K.J.
Where to watch Love & Basketball: Paramount+
EW grade: A– (read the review)
Director: Gina Prince-Bythewood
Cast: Omar Epps, Sanaa Lathan, Alfre Woodard, Dennis Haysbert
10 of 22
Mean Girls (2004)
A musical update of Mark Waters' seminal high school comedy — following new girl Cady getting inducted into a group of queen bees headed by the ruthless Regina George — is now streaming on Paramount+. But, there's no better time to revisit the original, which has only gotten funnier with age. It's both laugh-out-loud entertaining and a thoughtful exploration of teenage behavior. As EW's critic wrote in 2004 of the Tina Fey-penned comedy, "The movie — a vinegary fable with a Splenda aftertaste — is a harbinger of hope not only for future feminist comedies of any grit but also for SNL-staffed feature films that don't disproportionately suck." —D.G.
Where to watch Mean Girls: Paramount+
EW grade: N/A (read the review)
Director: Mark Waters
Cast: Lindsay Lohan, Rachel McAdams, Amanda Seyfried, Tina Fey, Tim Meadows
11 of 22
Mission: Impossible — Fallout (2018)
Every Mission: Impossible movie is available to stream on Paramount+, but this sixth entry in the film franchise is arguably the best one yet. Fallout centers on IMF agent Ethan Hunt (Tom Cruise) in his quest to stop an expected nuclear attack from a terrorist group. He and his team are joined by CIA assassin August Walker (Henry Cavill) to recover plutonium cores on a mission that proves decidedly more difficult than Hunt could ever imagine. Packed with dazzling set pieces and genuinely shocking twists, EW's critic praises the film as "the kind of pure, straight-no-chaser pop fun that not only keeps taking your breath away over and over again, it restores your occasionally shaky faith in summer blockbusters." —K.J.
Where to watch Mission: Impossible — Fallout: Paramount+
EW grade: A (read the review)
Director: Christopher McQuarrie
Cast: Tom Cruise, Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Angela Bassett, Vanessa Kirby, Michelle Monaghan, Alec Baldwin
12 of 22
A Quiet Place (2018)
Not advised for those easily startled, A Quiet Place became an instant horror favorite upon its 2018 release. Predatory alien creatures with hypersensitive hearing have overrun Earth, and any sound can be a death sentence for humans. John Krasinski does triple duty as director, co-writer, and star, playing a man living in this postapocalyptic world with his family, who are trying to survive and find a way to fight back. The gripping tension inherent in its premise would be enough to cause anxiety in viewers, but Krasinski proves adept at deploying maximum terror when you're least expecting it. As EW's critic writes, "When A Quiet Place has one finger on the panic button and the other on mute, it’s a nervy, terrifying thrill." —K.J.
Where to watch A Quiet Place: Paramount+
EW grade: B+ (read the review)
Director: John Krasinski
Cast: Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe
13 of 22
Red Eye (2005)
Wes Craven's stone-cold brilliant B-movie is so good it almost seems like a disservice to call it a B-movie. A case study in films not needing to be long or intricate to be utterly thrilling and highly cinematic, this sub-80-minute genre-hopper finds Rachel McAdams trapped on a plane with a murderous Cillian Murphy. Red Eye moves like a bullet, jumping from disaster movie to psychological two-hander to blazing action and eventually a pretty gnarly stalker-in-the-house sequence. It's ruthlessly structured and quite different from anything else Craven did. —D.G.
Where to watch Red Eye: Paramount+
EW grade: N/A (read the review)
Director: Wes Craven
Cast: Rachel McAdams, Cillian Murphy, Brian Cox, Jayma Mays, Theresa Press-Marx
14 of 22
Rocketman (2019)
Biopics about famous singers are rarely hailed for their originality, but this inventive musical drama based on the life of Elton John is an exception. Taron Egerton, in a Golden Globe-winning performance, portrays the legendary musician through his career peaks and valleys, nailing the flamboyant stage persona and the darker private moments fueled by his addictions to drugs and alcohol. Featuring brilliantly staged musical numbers and an eye-catching color palette befitting of its subject, Rocketman is, as EW's critic writes, "a musical extravaganza anchored less in the real world than in a sort of glittery jukebox Narnia." —K.J.
Where to watch Rocketman: Paramount+
EW grade: B+ (read the review)
Director: Dexter Fletcher
Cast: Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard
15 of 22
She's All That (1999)
Another particularly broad '90s high school comedy (can you tell we love the subgenre?), this one has an admittedly problematic plot at its core. Cool guy Zack (Freddie Prinze Jr.) is dared to date super-not-cool (but, like, artsy and thoughtful and interesting) Lainey (Rachael Leigh Cook). We've all seen the scene where she walks down the stairs newly beautified, and it's easy to roll your eyes at the concept. The chemistry between Prinze and Cook, though, as well as a smart script (polished by none other than M. Night Shyamalan), set this one well apart from the pack. —D.G.
Where to watch She’s All That: Paramount+
EW grade: B– (read the review)
Director: Robert Iscove
Cast: Freddie Prinze Jr., Rachael Leigh Cook, Matthew Lillard, Paul Walker, Anna Paquin
16 of 22
Super 8 (2011)
Inspired by the wonder-filled '80s-era films by Steven Spielberg, Super 8 is a visually striking homage that works even for those who don't have nostalgia for that time period. Set in 1979, the film centers on 14-year-old Joe (Joel Courtney) and his peers as they film a zombie movie with a Super 8 camera. Their filming is interrupted when they witness a truck crash into a train, which soon leads to mysterious events occurring around town. EW's critic praises the film for its "original storytelling grounded in a sophisticated respect for storytellers who have come before." —K.J.
Where to watch Super 8: Paramount+
EW grade: A (read the review)
Director: J.J. Abrams
Cast: Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso, Noah Emmerich, Ron Eldard, Riley Griffiths, Ryan Lee, Zach Mills
17 of 22
There Will Be Blood (2007)
Paul Thomas Anderson weaves an epic tale of greed and corruption in this riveting Western drama. The film charts Daniel Plainview's (Daniel Day-Lewis) rise to power during the oil boom at the turn of the 20th century, stepping on all who helped him get there. Day-Lewis delivers one of his most towering performances as the ruthless baron whose fractured relationship with his son comes back to haunt him in his later days. "It can hardly be called an 'act,'" EW's critic writes, "so fully does the fictional Daniel come alive, with all the fury, hatred, restlessness, and distrust that courses through him." —K.J.
Where to watch There Will Be Blood: Paramount+
EW grade: A (read the review)
Director: Paul Thomas Anderson
Cast: Daniel Day-Lewis, Paul Dano, Kevin J. O'Connor, Ciarán Hinds, Dillon Freasier
18 of 22
Top Gun: Maverick (2022)
Joseph Kosinski's follow-up to Tony Scott's 1986 original is perfect blockbuster entertainment if you can avoid some of the dubious messaging. Tom Cruise returns, this time teaching a pack of new recruits the aerial ropes to fight a war against an unspecified enemy. It's another perfectly structured genre movie that gets by on pure adrenaline but works because you actually believe in the stakes. Knowledge of the first film helps but isn't entirely necessary; as EW's critic observes, the film "toggles deftly between winking callbacks and standard big-beat action stuff meant to stand on its own." —D.G.
Where to watch Top Gun: Maverick: Paramount+
EW grade: B+ (read the review)
Director: Joseph Kosinski
Cast: Tom Cruise, Miles Teller, Jennifer Connelly, Glen Powell, Val Kilmer
19 of 22
The Truman Show (1998)
Released six years after the premiere of MTV's The Real World, the voyeuristic nature of The Truman Show has only made it more relevant in the decades since. Jim Carrey stars as Truman Burbank, a man living a seemingly ordinary existence, unaware he's the subject of a 24/7 reality TV show watched around the world. Also unbeknownst to him is that every person he interacts with is a paid actor, including his closest friends and family. But, after things go slightly off-script from what the producers have planned, Truman starts to realize the nature of his existence. EW's critic calls The Truman Show "a beautifully sinister and transfixing entertainment-age daydream." —K.J.
Where to watch The Truman Show: Paramount+
EW grade: A (read the review)
Director: Peter Weir
Cast: Jim Carrey, Laura Linney, Noah Emmerich, Natascha McElhone, Holland Taylor, Ed Harris
20 of 22
World War Z (2013)
Initially dismissed for its inflated budget and reported reshoots, World War Z ended up as a neat, efficient thriller. Brad Pitt, as United Nations investigator Gerry Lane, goes on a quest to save the world from a zombie apocalypse. (As his homebound wife, Mireille Enos is given pitifully little to do.) The best part of the movie is ironically the reshot portion, a stripped-down stalking sequence in a laboratory that closes the film. "World War Z turns the prospect of the end of our world into something tumultuous and horrifying and, at the same time, exciting," EW's critic writes. "It's scary good fun." —D.G.
Where to watch World War Z: Paramount+
EW grade: A– (read the review)
Director: Mark Forster
Cast: Brad Pitt, Mireille Enos, Daniella Kertesz, Matthew Fox, Elyes Gabel
21 of 22
Young Adult (2011)
This angry and weird little movie was made by Jason Reitman after his Oscars hot streak, seeing him reunite with Juno screenwriter Diablo Cody. It's one of Reitman's best films and definitely Cody's most mature, a spiky and risky examination of a former cool girl (Charlize Theron) who returns to her hometown to show everyone how much better than them she is. As EW's critic notes, "The queasy brilliance of Young Adult lies in the movie's refusal to make Mavis so monstrously crazy that she poses no threat because she’s obviously a cartoon." —D.G.
Where to watch Young Adult: Paramount+
EW grade: A (read the review)
Director: Jason Reitman
Cast: Charlize Theron, Patton Oswalt, Patrick Wilson, Elizabeth Reaser, Collette Wolf
22 of 22
Zodiac (2007)
This police-and-journalists procedural charting the still-unsolved crime spree of the Zodiac Killer is director David Fincher's masterpiece. It's certainly the best "true crime" movie and, depending on your tolerance for All the President's Men, might be the best journalism movie. Though more factual than many films, Zodiac moves at a rocketing clip and contains at least six sequences of full-blooded terror — Ione Skye on the highway and Jake Gyllenhaal in the basement, to name but two. This is a movie that was well and truly ahead of its time. —D.G.
Where to watch Zodiac: Paramount+
EW grade: N/A (read the review)
Director: David Fincher
Cast: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, Brian Cox, Elias Koteas, Donal Logue, John Carroll Lynch, Dermot Mulroney
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List of Paramount Pictures films (1950–1959)
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https://en.wikipedia.org/wiki/List_of_Paramount_Pictures_films_(1950%E2%80%931959)
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https://www.imdb.com/list/ls540510096/
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Charles Chinnough, aka Captain China, washed ashore off his ship during a storm, is later rescued, but is relieved of duty after his former first mate, Brendensen (who thought he was dead), and two aides testify falsely against him in a hearing concerning the loss of his ship. Seeking to clear his name, he books passage on a ship commanded by Brendensen.He and Brendensen both fall for a passenger, Kim Mitchell. Later, a raging storm at sea has the cowardly Brendensen turning the command of the ship over to Chinnough. This serves to help Chinnough clear his name.
This 58 (fifty-eight) minute feature was produced by the Paramount Newsreel department ("The Eyes and Ears of the World") and vaguely suggests that the Italian campaign of World War II that in the way the "Forgotten Campaign of WWII" was vital to the whole defeat of Hitler and Nazi Germany, the Korean campaign may be vital to stopping communism. Primarily the central action of the film covers the aerial bombardment of the famed monastery "Montecassino," which the Nazis had fortified and used to slow down the Allied march through Italy to France and Germany. Part of the film is told around the exploits of U. S. Army Sergeant James W. Logan, and U. S. Army Captain David Ludlum, a weather-forecasting officer. The long months of the war after the liberation of Rome are passed over, but a lot of footage dealing with the landings at Salerno, and the dreary battles and muddy conditions there---documented elsewhere by famed war-correspondent Ernie Pyle and "Stars and Stripes" cartoonist Bill Mauldin, with his "Wille and Joe" strips.
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https://abc7.com/every-oscar-best-picture-winner-list-every-movie/14457885/
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Best picture winners list: Every single movie to win top Oscar
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2024-03-11T06:36:00+00:00
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In its nearly 100-year history, the Academy has nominated 601 films for its top award. Here's a list of all of the Oscar best picture winners.
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en
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https://cdn.abcotvs.net/abcotv/assets/news/kabc/images/logos/favicon.ico
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ABC7 Los Angeles
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https://abc7.com/every-oscar-best-picture-winner-list-every-movie/14457885/
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LOS ANGELES -- In the Oscars' nearly 100-year history, the Academy has nominated 601 films for the best picture award.
Some winners, like the comedy-drama "Forrest Gump" (1994), are considered classics. While others, like the psychological horror "Silence of the Lambs" (1991), are trailblazers in their genres.
RELATED: See full list of the 2024 Oscar nominations
"Titanic" (1997) and "All About Eve" (1950) top the list as the most-nominated movies to win best picture, with 14 nominations each. "La La Land" (2016) also boasts 14 nods but did not win best picture, even if Warren Beatty's famous faux pas had millions of ceremony viewers briefly believing it had.
"Titanic" is also one of three movies to win a record 11 awards, joined by "Ben-Hur" (1959) and "Lord of the Rings: Return of the King" (2003). Yet the latter takes the cake for being the most-nominated movie to win in every single nominated category.
"Gone with the Wind" (1939) was the pioneer for color films, while "Midnight Cowboy" (1969) is the only X-rated film to ever win best picture.
Few sequels are nominated for best picture, and only two have won: "The Godfather Part II" (1974) and "Lord of the Rings: Return of the King" (2003).
RELATED: Looking back at some of the most iconic, unexpected moments in Oscars history
When "Parasite" won best picture in 2020, it became the first non-English language film to take home the Academy's highest honor. At the time, it was only the second time a non-English language film has made the nominees list. "Grand Illusion" (1938), in French, was the first, "Drive My Car" (2021), in Japanese, made 2021's list, and this year, Germany's "All Quiet on the Western Front" made the cut.
Only three best picture winners were directed by women: Kathryn Bigelow's "The Hurt Locker" (2009), Chloé Zhao's "Nomadland" (2020) and Sian Heder's "CODA" (2021). Woman-directed movies have only made that nominee list 16 times, including "Women Talking," directed by Sarah Polley.
As movie buffs know, winning several awards in other categories does not guarantee best picture success. "Cabaret" (1972) won in eight categories but lost to "The Godfather" for the top prize.
Here are the 96 best picture winners listed in reverse-chronological order.
Please note that the accompanying year indicates when the film was released, not when it won its Oscar:
2020s: Best picture winners
"Oppenheimer" (2023)
"Everything Everywhere All At Once" (2022)
"CODA" (2021)
"Nomadland" (2020)
2010s: Best picture winners
"Parasite" (2019)
"Green Book" (2018)
"The Shape of Water" (2017)
"Moonlight"(2016)
"Spotlight" (2015)
"Birdman" (2014)
"12 Years a Slave" (2013)
"Argo" (2012)
"The Artist" (2011)
"The King's Speech" (2010)
2000s: Best picture winners
"The Hurt Locker" (2009)
"Slumdog Millionaire" (2008)
"No Country for Old Men" (2007)
"The Departed" (2006)
"Crash" (2005)
"Million Dollar Baby" (2004)
"The Lord of the Rings: The Return of the King" (2003)
"Chicago" (2002)
"A Beautiful Mind" (2001)
"Gladiator" (2000)
1990s: Best picture winners
"American Beauty" (1999)
"Shakespeare in Love" (1998)
"Titanic" (1997)
"The English Patient" (1996)
"Braveheart" (1995)
"Forrest Gump" (1994)
"Schindler's List" (1993)
"Unforgiven" (1992)
"The Silence of the Lambs" (1991)
"Dances with Wolves" (1990)
1980s: Best picture winners
"Driving Miss Daisy" (1989)
"Rain Man" (1988)
"The Last Emperor" (1987)
"Platoon" (1986)
"Out of Africa" (1985)
"Amadeus" (1984)
"Terms of Endearment" (1983)
"Gandhi" (1982)
"Chariots of Fire" (1981)
"Ordinary People" (1980)
1970s: Best picture winners
"Kramer vs. Kramer" (1979)
"The Deer Hunter" (1978)
"Annie Hall" (1977)
"Rocky" (1976)
"One Flew Over the Cuckoo's Nest" (1975)
"The Godfather Part II" (1974)
"The Sting" (1973)
"The Godfather" (1972)
"The French Connection" (1971)
"Patton" (1970)
1960s: Best picture winners
"Midnight Cowboy" (1969)
"Oliver!" (1968)
"In the Heat of the Night" (1967)
"A Man for All Seasons" (1966)
"The Sound of Music" (1965)
"My Fair Lady" (1964)
"Tom Jones" (1963)
"Lawrence of Arabia" (1962)
"West Side Story" (1961)
"The Apartment" (1960)
1950s: Best picture winners
"Ben-Hur" (1959)
"Gigi" (1958)
"The Bridge on the River Kwai" (1957)
"Around the World in 80 Days" (1956)
"Marty" (1955)
"On the Waterfront" (1954)
"From Here to Eternity" (1953)
"The Greatest Show on Earth" (1952)
"An American in Paris" (1951)
"All About Eve" (1950)
1940s: Best picture winners
"All the King's Men" (1949)
"Hamlet" (1948)
"Gentleman's Agreement" (1947)
"The Best Years of Our Lives" (1946)
"The Lost Weekend" (1945)
"Going My Way" (1944)
"Casablanca" (1943)
"Mrs. Miniver" (1942)
"How Green Was My Valley" (1941)
"Rebecca" (1940)
1930s: Best picture winners
"Gone with the Wind" (1939)
"You Can't Take It with You" (1938)
"The Life of Emile Zola" (1937)
"The Great Ziegfeld" (1936)
"Mutiny on the Bounty" (1935)
"It Happened One Night" (1934)
"Cavalcade" (1933)
"Grand Hotel" (1932)
"Cimarron" (1931)
"All Quiet on the Western Front" (1930)
1920s: Best picture winners
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https://brightside.me/articles/15-acting-duos-who-often-film-movies-together-and-were-always-happy-to-see-them-634760/
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en
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15 Acting Duos Who Often Film Movies Together, and We’re Always Happy to See Them
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2018-10-24T16:30:00+00:00
|
You’ve probably noticed that some famous actors quite often appear together in different movies. Very often their mutual work becomes a real breakthrough in the careers of both actors. For example, this is exactly what happened to Ryan Gosling and Emma Stone. Moreover, such a partnership on-screen might become the beginning of a long-term friendship and an impressive artistic union.
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en
|
/favicon.ico
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Bright Side — Inspiration. Creativity. Wonder.
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https://brightside.me/articles/15-acting-duos-who-often-film-movies-together-and-were-always-happy-to-see-them-634760/
|
You’ve probably noticed that some famous actors quite often appear together in different movies. Very often their mutual work becomes a real breakthrough in the careers of both actors. For example, this is exactly what happened to Ryan Gosling and Emma Stone. Moreover, such a partnership on-screen might become the beginning of a long-term friendship and an impressive artistic union.
Bright Side gathered the most famous on-screen “couples” that often appear in movies together. And it looks like they made each movie they starred in even better and more interesting!
1. Adam Sandler and Rob Schneider
Adam Sandler became a successful comedian in school. Later, he established his own movie company, Happy Madison Productions, and invited Rob Schneider to participate in a mutual project. Off set, they’re good friends, and that’s why when they shoot a movie, they improvise a lot and add many unscripted jokes and new lines. Adam and Rob have starred in 18 movies together overall.
2. Bradley Cooper and Jennifer Lawrence
Before the beginning of the shooting of Silver Linings Playbook, Bradley Cooper and Jennifer Lawrence had to attend 5-hour-long dance lessons for 2 weeks. The actor characterized his relationship with Jennifer as: “I love Jennifer. I’d play with her in any movie.” Later, the actress insisted on casting Cooper as her partner in her new movie Serena.
3. Ryan Gosling and Emma Stone
This acting duo started in 2011, during the shooting of Crazy, Stupid, Love. Ryan Gosling and Emma Stone have acted as a couple in love 3 times already. Their best result was the Award Winning movie La La Land. Curious to note that the leading parts of Mia and Sebastian should’ve been played by Miles Teller and Emma Watson.
4. Marion Cotillard and Guillaume Canet
Marion Cotillard and Guillaume Canet met on the set of the drama, Love Me If You Dare. They’d already filmed 4 movies together and voiced the cartoon, The Little Prince. Interestingly, Guillaume invited Marion to take part in his projects — the drama, The Last Flight, and the comedy, Rock’n Roll.
5. Ben Stiller and Owen Wilson
It’s probably one of the brightest and easily recognizable acting duos of the modern cinema world. The actors first met during the shooting of The Cable Guy which was directed by Ben Stiller. At that time, Ben Stiller was much more popular than his colleague; he often invited Wilson to different projects and has a lot to do with Wilson’s successful career development. They starred in 11 movies together.
6. Johnny Depp and Helena Bonham Carter
An extravagant movie couple can’t be imagined without director Tim Burton who is also Carter’s ex-husband and Depp’s close friend. The actors took part in 7 mutual projects and only one of them, The Lone Ranger, was directed by another producer.
7. Kristen Stewart and Jesse Eisenberg
Kristen Stewart and Jesse Eisenberg met on the set of melodrama Adventureland. Jesse once said that he was a quiet kid and a very shy boy who didn’t have many friends; that’s why he’s very thankful to Woody Allen for the possibility to be part of an unrealistic relationship on-screen. He was talking about melodrama Café Society, where he and Kristen played a couple in love.
8. Shailene Woodley and Ansel Elgort
For a while, Shailene and Ansel were considered one the most romantic Hollywood couples. After The Fault in Our Stars aired, people thought the 2 were having an affair, just like they did on-screen. The actors even had to make an official announcement that they weren’t dating; you could only see them during social events and official gatherings.
9. Matt Damon and Ben Affleck
Matt and Ben became friends when they were both just 10 years old. While being young amateur actors, Matt, Ben, and Ben’s younger brother Casey spent a lot of time on actors’ auditions. The success came after the movie Good Will Hunting; they wrote the script for it and played the main characters. Matt and Ben took part in 9 mutual projects.
10. Chris Evans and Scarlett Johansson
Chris Evans and Scarlett Johansson met long before they became famous heroes of the Marvel Universe. Today, they’re good friends. It all started on the set of the melodrama, The Nanny Diaries. Plus, the press never considered these 2 a romantic couple because they set strict boundaries from the very start and behaved like brother and sister in public. The actors have starred in 7 movies together.
11. Vince Vaughn and Jon Favreau
A famous comic duo of Vince Vaughn and Jon Favreau is long-established. The actors met on the filming of the sports drama Rudy. The fame hit them after the drama Swingers came out. Later Favreau invited Vaughn to star in his director’s movie debut — Made, and Vaughn invited Favreau to his own TV show. They starred in 7 movies together.
12. Drew Barrymore and Adam Sandler
Drew Barrymore and Adam Sandler played loving partners many times. The Wedding Singer was their first mutual project. The movie with a quite simple plot about how friendship can turn into love was appreciated by movie enthusiasts all over the world. The actors became really good friends; Adam even sang a song at Drew’s wedding reception.
13. Al Pacino and Robert De Niro
The first movie where Al Pacino and Robert De Niro starred together was The Godfather. Interestingly, they were never in one scene. De Niro played the part of young Don Corleone while Al Pacino was his older son Michael Corleone. The next time they shared the set was during the filming of the police thriller Heat. Their mutual scene lasted only 7 minutes but it received many great reviews. In 2019, Martin Scorsese’s The Irishman is coming out where the actors play the leading roles.
14. Seth Rogen and James Franco
The friendship between Seth Rogen and James Franco began when they were young — during the filming of the TV show called Freaks and Geeks. After that Franco starred in several Rogen’s projects, sometimes even in tiny comic episodes. Their first comic breakthrough was Pineapple Express where the friends played the main characters. As of today, their last mutual project was The Disaster Artist that was based on real events; the movie tells a story about the filming of the controversial movie The Room. In total, they have 9 common projects.
15. Matthew McConaughey and Woody Harrelson
The friendship of famous actors began on the set of Edtv. Being true friends in real life, 10 years later, they again met during the filming of Surfer, Dude. However, the fans of both actors could really appreciate their acting skills and the power of the union when McConaughey and Harrelson starred in the first season of the crime drama True Detective that came out in 2014.
We hope that your favorite actors will continue to amaze you with mutual projects. It’s not a secret that the key factor that attracts people to the movies is the cast of leading actors. If the favored duo takes part in another movie, it will definitely be a success. We’re sure such movies will be long-awaited and bright events.
What TV couples and duos do you like the most? Share your opinion with us in the comments.
Please note: This article was updated in April 2022 to correct source material and factual inaccuracies.
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https://www.studiobinder.com/blog/the-complete-guide-to-mastering-script-breakdown-elements/
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The Complete Guide to Mastering Script Breakdown Elements
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[
"Arnon Shorr"
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2022-12-18T15:55:53+00:00
|
Breaking down a script? Get to know your script breakdown sheet with our step-by-step explanation of script breakdown elements.
|
en
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https://s.studiobinder.com/wp-content/uploads/favicon.ico
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StudioBinder
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https://www.studiobinder.com/blog/the-complete-guide-to-mastering-script-breakdown-elements/
|
Overview: script breakdown sheet
What is a script breakdown sheet?
A script breakdown sheet is one page (or one group of pages) from your scene breakdown. Each breakdown sheet corresponds to just one scene in your film.
The script breakdown sheet usually has a bunch of boxes, each one containing a list of elements in a category. StudioBinder's script breakdown software auto-generates your script breakdown sheet, which looks like this:
StudioBinder's Breakdown sheet summary
And here's a sample film breakdown you can open and explore. Click around, browse through the different categories and script breakdown elements. This will give you a better understanding of what we cover in the rest of the post.
Breaking Down a Script
What is a script breakdown element?
An element is an object, person, or process that you need in order to produce a specific scene.
Props, picture vehicles, actors, and stunts are all elements. Pieces of production equipment are not elements, unless they are specific to certain scenes (so, your A-Camera isn’t an element, but the GoPro you’re using for the action scene is).
This can get a little confusing, so we’ll go through the entire script breakdown sheet, category-by-category, to help figure out what goes where.
Here is how simple StudioBinder makes marking up your script:
What is a Production Element? • Subscribe on YouTube
Breakdown Categories
What is a script breakdown category?
Before we can move onto your script breakdown template or open up your film production software, we must first have a thorough understanding of the most common script breakdown sheet breakdown categories.
This is the default list of script breakdown sheet categories that film production scheduling software such as Final Draft Tagger provides. A category is a grouping of elements by type.
StudioBinder allows you to customize your categories by changing category names or by adding and deleting categories.
Here's what it looks like:
StudioBinder's Category page
Now that we’re oriented, let’s go through these, one-by-one!
Speaking Roles
1. Cast Members
When you make your scene breakdown sheet one of the first element categories you list is Cast Members. These are the characters in your script that speak at some point during the movie.
Sometimes characters who don’t speak are cast members as well. They often appear in many scenes and play an important role in the plot. A perfect example of this is Maggie Simpson. While never uttering a line, the family baby is most certainly a cast member.
StudioBinder's Script Breakdown breaking down cast member elements
BG Talent & Atmos
2. Extras
Characters who don’t speak in the entire film are usually Extras. They are the people in the back of a shot, citizens of your cast members’ world.
Extras can be divided into subcategories, such as Atmosphere, which refers to people who simply fill a space (like a crowd in a subway station). There are also Featured Extras, characters who interact within a scene, but who don’t have any real importance to the story (like the cashier in a grocery scene).
Featured extras are usually identified not by name, but by the function or role that they play (“Police Officer” or “Panhandler”).
When breaking down a script, feel free to differentiate between these types of extras if it’s easier for your production staff. In most film production software, you can create a specific label for these items.
Action Sequences
3. Stunts
While a Stunt is neither an object or a person, it still gets listed on your script breakdown sheet. Stunts require extra equipment and personnel, and as a result, are called process elements.
There are two approaches to breaking down stunts:
Mark each stunt (“hero gets thrown through a window!) as one element. Leave it up to your stunt coordinator to make sure all the required things to make that happen arrive.
Break down each subelement of the stunt (stuntman, breakaway window, crash pad, etc.).
I recommend the first option, as long as your stunt coordinator is organized and stays on top of the stunts unique logistics. This is recommended for all process elements, to keep your breakdown sheets from getting too cluttered.
What's a Picture Vehicle?
4. Vehicles
As a general rule, the Vehicles category only includes picture vehicles, not production ones.
Picture vehicles can include cars, trucks, motorcycles, boats, or any large object that could transport characters or objects within a scene. Roller skates, skateboards and other such small transportation devices are not vehicles.
There’s a ‘gray area’ when it comes to slightly larger objects such as electric scooters or bicycles. Exercise discretion when determining whether such elements are vehicles or props.
When it comes to very large vehicles, such as ocean liners or planes, you should treat them as a filming locations.
The exception, of course, is if it’s being operated.
A SCRIPT BREAKDOWN EXAMPLE: THE PIRATE SHIP
I am breaking down a script for a pirate film that takes place entirely on a pirate ship. How do I categorize the ship?
In this case, we’re bringing production to the ship, and we’re simply shooting onboard while the ship remains docked. We’re not operating the ship, nor are we causing it to move anywhere. We’re treating it as a location, so in my script breakdown example, I do not list the pirate ship as a vehicle element.
If, however, the film included a naval battle that featured the ship in open water, we’d have to cause the ship to move. And it would move under orders from our production — in that case, it would be a vehicle element, and should be listed.
Property
5. Props
The Props category can easily get cluttered. Every scene has oodles of small objects that somehow fall into the props category if you’re not paying attention.
The truth is, this is a big category, but not every small object in a scene is a prop. A general rule is that if a character interacts with an object, that object is a prop, otherwise it’s something else.
But this rule can get confusing. If a character interacts with part of the set that might otherwise be considered set dressing — does that change the category of that object?
Here’s what you'll need to ask yourself.
Is the object part of the set? If not, it’s a prop. If it is part of the set, then is the object being handled in the usual manner? If not, it’s a prop. If it is being handled in the usual manner, then it’s not a prop.
A SCRIPT BREAKDOWN EXAMPLE: THE PIRATE CURTAINS
In this hypothetical scene from my pirate film, the pirate captain hears a noise outside his cabin and pulls aside the curtains to look out the window.
The curtains are part of the set, so we must ask if they’re being handled in the usual manner. There’s nothing unusual about pulling aside the curtains, so, in this scene, the curtains are not a prop. (They’re set dressing, which is a category we’ll discuss soon!)
But what if the pirate captain tears the curtain off the wall in his zeal? At that point, the curtains are no longer being handled in a usual manner — and therefore, they are props.
But there’s a kicker: unless the curtains that are ripped off the window are different than the curtains that will appear on that window at other times in the film, those curtains are ALWAYS props. Even in the breakdown sheets for scenes where they simply hang there looking pretty.
This script breakdown example is a good time to review a basic rule of breakdown sheets:
Every element can appear in only one category.
We’ve encountered this rule before: if a character has a line in one scene, but no lines in another scene, that character isn’t categorized as “cast” in one breakdown sheet and “extra” in another. That character is “cast” in every scene where she appears, even those where she’s just another face in the crowd.
SPFX
6. Special Effects
Much like stunts, Special Effects are process elements. Instead of listing all of the different components that go into a special effect shot, you can simply list the effect as an element, and trust your special effects supervisor to know what the effect requires.
Here is Special Effects Supervisor Chris Corbould on how he approached some of the biggest effects he's ever done.
How Special Effects Are Done • Subscribe on YouTube
Special effects are effects that are achieved on-set, rather than during post-production. Weather effects such as rain, wind, or snow fall under the “special effects” category, as do certain pyrotechnics and explosions. Squib hits are special effects, too.
Wardrobe Department
7. Costumes
For each story day in your script, your characters are (presumably!) wearing Costumes. In big productions that span many script days, this can become very challenging to track and organize.
You should develop a system for labeling each of your wardrobe elements to keep track of them all.
Each wardrobe element should be labeled with (at least):
Character Name
Script Day
Outfit Number
So, instead of listing:
Fedora
Denim shirt
Cargo Shorts
Button-down Shirt
You would list:
Alan Grant - Day 2 - Outfit 1
Ellie Sattler - Day 2 - Outfit 1
You can trust your costumer to keep track of which individual pieces of clothing correspond to each outfit combination.
But as always, there are two exceptions to this:
If a specific piece of clothing is unusual or hard to find, it may be useful to list it separately in the breakdown, as it may be important information for budgeting or even scheduling.
If a piece of clothing is supposed to get ruined (maybe someone spills coffee during the scene?) it may be beneficial to list multiples of that piece of clothing as separate items in the breakdown.
PRO TIP
Using an element-naming system such as StudioBinder scheduling software can be incredibly powerful because most film production software can sort your element list alphabetically. You can get a list of each actor’s individual costume changes at the click of a button.
Prosthetics, Wounds, & Blood
8. Makeup
The Makeup category is really just for unusual makeup (prosthetics, wounds, blood, things that come up only for some scenes and not for others).
If you’re working on a film with a heavy makeup load, consider naming makeup elements purposefully to keep the list organized.
Big Animals
9. Livestock
In this category, you list big animals — the sorts of animals that might require their own vehicle to transport to and from set.
Horses, cows, sheep and goats fall into this category.
As a result, a script breakdown template and some film production software might list animals in the same category as vehicles.
Seabiscuit (2003)
For Small Animals...
10. Animal Handlers
Dogs, cats, other small creatures that could be brought to set in a crate get listed in the Animal Handlers category because, typically, they are brought to set by their handlers.
Having live animals on set will impact both your insurance and budget, as the position requires an Animal Trainer, which often costs around $600-$1000/day, not including the cost of the animal.
Music Within the Story
11. Music
Don't confuse this with a soundtrack! I’ve seen this category in film production scheduling for years, but it took a while before I learned what it was for.
If you have a scene in your film where characters either perform or listen to Music, you'd need to call it out in the breakdown.
It’s often helpful to have that music available on-set for the actors to hear. This becomes even more important in movie musicals or music videos, where actors need to perform with playback of the song they’re performing.
Be sure to note in your film production software and on your breakdown script, where on-set music is needed!
La La Land (2016)
Unusual Sounds
12. Sound
In this category, you can list any unusual Sound recording or playback equipment that the production might need for the scene that you’re currently breaking down. Again, this is not the same as sound design.
The Physical World
13. Set Dressing
All the stuff that makes the set look normal. When your script describes a room, that room is full of Set Dressing, from the decorations to the furniture to the light fixtures.
As we discussed, if your characters interact with the set dressing in a room, it’s still considered Set Dressing, unless the interaction is unusual.
Special Set Dressing
14. Greenery
Greenery is the category for all of the potted plants, shrubs, small trees and jungle vines that might grace your set.
In a way, these are a type of set dressing. They get their own category, however, because sometimes these are actual plants and require a different level of care and maintenance. Once again, if a character interacts with a plant in an unusual way, that plant becomes a prop.
Some film production software groups Greenery under Set Dressing. On our script breakdown sheet template, we’ve separated them for your convenience.
Key Production Equipment
15. Special Equipment
At last, we’ve come to the place where you can note the camera crane, or the doorway dolly that your director really wants to use!
List any of the unusual equipment required to achieve the director’s vision that hasn’t already been included in the Special Equipment section of your breakdown sheet.
Camera vehicles such as dollies or camera-toting ATVs get listed here, too.
Security on Set
16. Security
You may find that you need Security on set if you’re using certain expensive props (huge stacks of real money, for example). In such cases, the need for security comes indirectly from the script (the script calls for an expensive element which triggers the security need). That gets listed here.
You may need security if you’re shooting at a location where you need non-production people off your set. Here, the need for security is not being triggered by a script element, so it should not be listed in the breakdown sheet.
And there are times when you may work with high profile talent that demand additional security.
While there’s no rules on how to break down a script, reading between the lines for details like security is paramount.
Miscellaneous Personnel
17. Additional Labor
The Additional Labor category gives you an opportunity to list any unusual personnel that you might need on set. Perhaps you’ll need a medic during a dangerous stunt, or a medical advisor when you shoot the surgery scene.
This section is for miscellaneous personnel who don’t fit anywhere else.
AKA "VIsual Effects"
18. Optical Effects
These aren't Special Effects. Although most film production scheduling software calls this category Optical Effects, it’s really the same thing as Visual Effects.
This is where you list any VFX requirements for the scene. Green screens are probably the most common element in this category these days.
If you have a good VFX coordinator, you can treat this category as a process category, and list process elements rather than individual pieces of equipment.
Here there be dragons!
19. Mechanical Effects
The Mechanical Effects category is where your animatronics go.
Shooting a scene with a giant, practical T-Rex puppet?
A great white shark (that rarely works)?
This is where to list it!
Jurassic World (2015)
If you’re shooting a scene in an elevator set, and the set is built on a rocker so the elevator looks like it’s moving back and forth, that rocker is a mechanical effect, too.
Last Call for Production Elements
20. Miscellaneous
If you get to the end of your script breakdown, and there are a few stray elements left that you’re not sure how to categorize, you can stick ‘em here, in the Miscellaneous category.
Everyone Has an Opinion
21. Scene Notes
Ah, the Notes category. This isn’t really a breakdown category so much as an opportunity for production to leave little reminders for itself about production details or ideas. Everyone has an opinion.
You can use this section however you’d like!
Up Next
You're ready to break down a script
We’ve gone through lots of breakdown categories in this article, but they’re just the default categories in most script breakdown software. StudioBinder's script breakdown software lets you customize your script breakdown templates, which means there could be dozens more possible categories into which you can sort your elements. It's time to break down your own script. Follow the link and get started.
Up Next: Start Breaking Down a Script! →
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https://www.space.com/best-sci-fi-movies-and-tv-shows-paramount-plus
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en
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The best sci-fi movies and TV shows on Paramount Plus in August
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[
"Alexander Cox"
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2023-03-28T14:06:32+00:00
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Discover the best sci-fi movies and TV shows to stream on Paramount Plus.
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en
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When it comes to the best sci-fi movies and TV shows on Paramount Plus, there's an abundance to choose from. The streaming platform is home not only to iconic titles from the genre, but its own original content. Each month, the options only expand. It's worth noting that while Paramount Plus used to be the home of everything Star Trek, some of the franchise can no longer be found there.
Do not fear though, there are still a lot of new (and old) Star Trek favorites available on Paramount Plus. We're talking anywhere from the animated reimagining of the Star Trek Universe, "Star Trek: Lower Decks" to highly-rated cult icon, "Star Trek: Deep Space Nine".
It's not all about Star Trek on Paramount Plus though, for sci-fi TV shows and movies, there are cult classics, modern adaptations, and, of course, the famous Halo and Transformers franchises.
If your watchlist still isn't full after you've journeyed through our list below, be sure to check out our guide to the best sci-fi TV shows of all time and the best sci-fi movies. If you're keen to anticipate what's to come, there are also the upcoming sci-fi TV shows and sci-fi movies for 2024 for all the latest sci-fi content entering our celestial space.
Star Trek
1) 'Star Trek' Original Movies
Cast: William Shatner, Leonard Nimoy, Nichelle Nichols, George Takei, (more)
Directors: Robert Wise, Nicholas Meyer, Leonard Nimoy, William Shatner
Release: 1979-1991
A huge reason for getting Paramount Plus is that it's the home of all things Star Trek and that's the case with the movies. All six original movies from The Motion Picture to The Undiscovered Country are available to stream, although only in the UK and Australia.
With these movies, you'll see the original crew of the USS Enterprise in all their glory as they set off to save Earth, travel further afield and face new challenges and foes. The six movies are based on the original TV series, feature the same cast and span 12 years, from 1979 to 1991.
2) 'Star Trek' The Next Generation Movies
Cast: Patrick Stewart, Jonathan Frakes, Michael Dorn, Brent Spiner, (more)
Directors: David Carson, Jonathan Frakes, Stuart Baird
Release: 1994-2002
In 'The Next Generation' Patrick Stewart plays the role of Jean-Luc Picard and becomes an instant fan-favorite. The four installments in this era of Star Trek movies see the English actor play the iconic role as the next generation of Star Trek heroes attempt to save Earth, bring peace in different parts of the universe and encounter new and troublesome foes.
These four movies were generally well received, despite criticism for 'Nemesis'. If you're a fan of Star Trek, they’re well worth the watch. The Next Generation era featured four movies based on the television series spanning from 1994-2002. All four of The Next Generation movies are only available on Paramount Plus in the UK and Australia.
3) 'Star Trek' Kelvin Timeline Movies
Cast: Zachary Quinto, Chris Pine, Simon Pegg, John Cho, (more)
Directors: J.J. Abrams, Justin Lin
Release: 2009
This new era of Star Trek movies is referred to as the Kelvin timeline by many, named after the USS Kelvin, a spaceship named after J.J Abrams' grandfather. This series of movies is still ongoing as the fourth installment was set for a December 2023 release, however, has faced continuous delays.
These films are a revival of the originals and cast much younger actors in the titular roles with updated looks to costumes and the interior of the Enterprise getting its very own revamp. Critically, these movies were well received with the first instalment being arguably the best Star Trek movie to be made.
4) 'Star Trek' The Original Series
Cast: William Shatner, Leonard Nimoy, Nichelle Nichols, George Takei, (more)
Seasons: Three
First Release: 1966
This is where the (unquestionably) most iconic sci-fi franchise in television history began as the USS Enterprise takes the crew and the science fiction genre boldly where no man has gone before.
Join Captain Kirk, Spock, Scotty, Sulu, Uhura, Chekov and others as they seek out new life and civilizations. 79 episodes of action, adventure, good humor, and compelling storytelling are all available to stream on Paramount Plus right now.
5) 'Star Trek' The Next Generation
Cast: Patrick Stewart, Jonathan Frakes, Michael Dorn, Brent Spiner, (more)
Seasons: Seven
First Release: 1987
Some will argue that The Next Generation is as iconic as the original series - it certainly helped the franchise stand the test of time. Here we have instantly recognizable characters including Jean-Luc Picard, Worf, Geordi La Forge, Data/Lore and more.
The new crew set off on new adventures around a hundred years after the events of the original series. More compelling storytelling, good humor, action and adventure mean you get to sit back and enjoy USS Enterprise action for more than 170 episodes.
6) 'Star Trek' Deep Space Nine
Cast: Avery Brooks, Rene Auberjonois, Cirroc Lofton, Colm Meaney, (more)
Seasons: Seven
First Release: 1993
One of the more, if not the most, underappreciated and underrated entries into the Star Trek universe, Deep Space Nine is set in the 24th century. Unlike its predecessors, it is set on a space station rather than a traveling ship. It's also the first Star Trek series to have an African American actor as the central character.
Like The Next Generation, there's seven series for you to enjoy here and it's likely that you will as it was nominated for Emmy Awards in every year of its run. Throughout the series you'll see stories of adventure, war, and conflict all tied in with the usual humor and good storytelling.
7) 'Star Trek' Voyager
Cast: Kate Mulgrew, Robert Beltran, Roxann Dawson, Ethan Phillips, (more)
Seasons: Seven
First Release: 1995
Released to run at the same time as Deep Space Nine, Star Trek Voyager also got seven seasons and took the franchise into the new millennium. The series was generally well-received and was notable (along with its overall quality) for having a more gender-balanced cast.
The adventures start as USS Voyager departs Deep Space Nine in search of a missing ship in the Badlands. From there, the ship is overrun by a powerful energy and the surviving crew are trapped tens of thousands of lightyears from Earth.
8) 'Star Trek' Enterprise
Cast: Scott Bakula, John Billingsley, Jolene Blalock, Dominic Keating, (more)
Seasons: Four
First Release: 2001
Enterprise, as it was initially known, is set about 100 years before the events of the original series. It's a prequel that follows the adventures of Earth's first starship that can travel at warp five and its crew.
The show received mixed reaction across its four seasons with a slump in season two before picking back up. The first two seasons showcase standalone episodes while more plot-driven adventures are had in three and four. It can definitely be argued that the show fought for survival by introducing plot improvements and raising the rate of enjoyment before it was canceled.
9) 'Star Trek' Discovery
Cast: Sonequa Martin-Green, Doug James, Anthony Rapp, Emily Coutts, (more)
Series: Five
First Release: 2017
And so, onto the new era of Star Trek television series, which has to be said, is pretty good. Star Trek Discovery is set on board the starship Discovery and takes place ten years before the events of the original series. Without giving too much away, the Discovery does travel to the 32nd century, which is the setting for the proceeding series.
Star Trek Discovery is notable for its widely diverse cast and genuinely good quality storytelling. It's been nominated for - and won - numerous Primetime Emmy Awards as well as receiving other accolades.
10) 'Star Trek' Picard
Cast: Patrick Stewart, Alisson Pill, Michelle Hurd, Santiago Cabrera, (more)
Seasons: Three
First Release: 2020
Patrick Stewart reprises his role as Jean-Luc Picard for a television series beginning 20 years after the events in Star Trek: Nemesis. Each season explores different aspects of the character in his old age as he is deeply affected by the death of 'Data' and the destruction of 'Romulus.'
It's another well-received entry into the Star Trek universe, one we like a lot too, and the good news is that there are three seasons to enjoy on Paramount Plus.
11) 'Star Trek' Lower Decks
Cast: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, (more)
Seasons: Four (ongoing)
First Release: 2020
This animated entry into the Star Trek universe is a bit different but refreshing. While most of the Star Trek series center around senior officers or captains onboard a starship, 'Lower Decks' focuses on those who work below deck, carrying out cog-churning jobs.
This series is set in the 24th century and focuses on the low-ranking officials on board one of Starfleet's least important starships, the USS Cerritos. There are four seasons out now on Paramount Plus, with a fifth and final season premiering on October 24.
12) 'Star Trek' Strange New Worlds
Cast: Melissa Navia, Anson Mount, Ethan Peck, Jess Bush, (more)
Seasons: Two (ongoing)
First Release: 2022
Star Trek: Strange New Worlds is a prequel to the original series, set in the decade leading up to the adventures of Captain Kirk, Scotty, Sulu et al. As well as being a prequel, this series is also a spin-off from Star Trek: Discovery which sees some of the same characters explore new worlds onboard the USS Enterprise.
Halo
1) 'Halo'
Cast: Pablo Schreiber, Shabana Azmi, Natasha Culzac, Olive Gray, (more)
Seasons: Two
First Release: 2022
Okay, so this section is a little short but worthy of its own section nevertheless. Paramount Plus is where you can stream both seasons of Halo, based on the iconic video game of the same name.
This sci-fi action series follows the adventures of Master Chief as he leads his team of Spartans from a powerful alien threat that is hellbent on destroying humanity. Unfortunately, Variety reports the live-action series has been canceled, meaning there's no hope of a third season.
Transformers
1) 'Transformers'
Cast: Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2007
The first Transformers and the first of five with Michael Bay directing, this movie well and truly propelled the franchise into motion. Transforming (uh-hum) the original 1986 animated movie into something much, much bigger, teen Sam Witwicky (Shia LaBeouf) stumbles upon Autobot Bumblebee while looking for his first car. Unbeknownst to him, he's about to embark on a journey of war as the battle between the Decepticons and Autobots crashes onto Earth.
While it's not the top-rated Transformers entry by critics, it shaped everything to come, as you’re about to discover with the five other movies on our list. Be sure to check out how to watch the Transformers movies in chronological order or by release.
2) 'Transformers' Revenge of the Fallen
Cast: Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2009
The sequel to the first movie in the Transformers series, Revenge of the Fallen, is finally coming to Paramount Plus in the US in August. In this entry, we follow Sam Witwicky once again, whose hopes for a normal life are quickly thwarted. Cryptic symbols begin to fill his head which drag him right back into the Transformers' war.
Sam finds himself personally targeted by the Decepticons for what he knows and what it could mean for the future of the bots. It’s a revenge arc at the end of the day and the once-defeated robots are returning in a bid to destroy the Sun and end human life on Earth, the planet that wronged them.
3) 'Transformers' Dark of the Moon
Cast: Shia LaBeouf, Rosie Huntington-Whiteley, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2011
Following on from Revenge of the Fallen, Dark of the Moon continues the story of this saga as the Autobots learn of a mysterious spacecraft hidden on the moon and race against the Decepticons to reach it and learn its secrets. Just like the other films in the saga, you'll get plenty of sci-fi action in this story.
4) 'Transformers' Age of Extinction
Cast: Mark Wahlberg, Nicola Peltz Beckham, Jack Reynor, Stanley Tucci, (more)
Director: Michael Bay
Release: 2014
This installment sees Mark Wahlberg play the lead role for the first time in the franchise as Age of Extinction offers up more action, more sci-fi cinematography and more transformers.
Humanity turns to a bounty hunter to help with their pursuit of Optimus Prime, but when the Autobots learn of this, they turn to a mechanic and his family for help.
5) 'Transformers' The Last Knight
Cast: Mark Wahlberg, Anthony Hopkins, Josh Duhamel, Laura Haddock (more)
Director: Michael Bay
Release: 2017
The last of the Michael Bay-era Transformers movies, The Last Knight did not impress critics or the audience. A 16% critic score and 43% audience score on Rotten Tomatoes is a very telling sign. Nonetheless, there's a history to unfold on Earth that tells fans of the franchise a lot more about the Decepticons and Autobots.
It's a trip you may not be expecting with lots of King Arthur, Merlin, an English Lord, and an Oxford professor leading the story this time round. A step away from the usual action, but with Optimus Prime on their own separate mission of discovery, it shapes another adventure into defending Earth and remaining victorious in war.
6) 'Bumblebee'
Cast: Hailee Steinfeld, Jorge Lendeborg Jr., John Cena, (more)
Director: Travis Knight
Release: 2018
Bumblebee, although the sixth entry in the franchise, actually sets itself in the prequel timeline of the movies and, as such, is set only a year after the original animated series. For this thread, director Travis Knight picks the origin story of Bumblebee as its story.
Charlene "Charlie" Wilson (Hailee Steinfeld) stumbles upon Autobot scout B-127 in a junkyard, hiding out after fleeing the war on Cybertron. Charlie befriends him and calls him "Bumblebee". Unfortunately, despite the fuzzy nickname, trouble has followed him to Earth and battle commences.
7) 'Transformers' Rise of the Beasts
Cast: Anthony Ramos, Dominique Fishback, Luna Lauren Velez, (more)
Director: Steven Caple Jr.
Release: 2023
Rise of the Beasts was a return to the Transformers franchise, five years after Bumblebee, and it came with a big change. No more Michael Bay and no more previous timeline. Following on from Bumblebee, it's a new continuity altogether and although meant to be prequels, don't relate to the history from the previous movies.
It's the 90s and Noah (Anthony Ramos) and Elena (Dominique Fishback) are caught up in the Autobot-Decepticon war. It doesn't matter the timeline, they're always going to be fighting. This time though, there's a new Transformers faction in the shape of the Maximals, joining as allies on Earth.
Best sci-fi movies on Paramount Plus
1) 'A.I. Artificial Intelligence'
Cast: Hayley Joel Osment, Jude Law, Frances O'Conner, Sam Robards, (more)
Director: Steven Spielberg
Release: 2001
Heartfelt sci-fi drama, A.I. Artificial Intelligence, was nominated for two Oscars for its story which follows a highly advanced robotic boy who wants to become human in order to regain the love of his mother.
This film is set in the 22nd century where climate change has raised sea levels, melted the polar ice caps, and reduced the human population. Humanoid robots have been created and David, a prototype child capable of love, is given to Henry and Monica after their son contracted a rare disease.
2) 'War of the Worlds'
Cast: Tom Cruise, Dakota Fanning, Tim Robbins, Maranda Otto, (more)
Director: Steven Spielberg
Release: 2005
Another entry into our guide from director Steven Spielberg, this time nominated for three Oscars. War of the Worlds is a cinematic adaptation of the classic novel from H.G Wells telling the story of an alien invasion on Earth and the desperate fight for survival through the eyes of an American family. Alien war machines go around destroying neighborhoods and disintegrating humans following multiple flashes of lightning which cause an EMP, completely frying most electronic devices. War of the Worlds is only available on Paramount Plus in the US.
3) 'The War Of The Worlds'
Cast: Gene Barry, Ann Robinson, Les Tremayne, (more)
Director: Byron Haskin
Release: 1953
Speaking of War of the Worlds, it's a book that has inspired many sci-fi movies, the first of which was in 1953 which in turn inspired Speilberg's 2005 version above. And it's now found its home on Paramount Plus. It's a lot different than what you'd expect in the books though; it's set in Victorian London following a writer who, during a Martian invasion, finds himself separated from his wife.
This original movie adaptation is about a scientist who falls for a former college student during the Martian invasion, all set in the movie's own timeline of 1953. It won the Academy Award for Best Visual Effects and has inspired not only more War of the Worlds adaptations, but the sci-fi movie genre as a whole.
4) 'When Worlds Collide'
Cast: Richard Derr, Barbara Rush, Peter Hansen, (more)
Director: Rudolph Maté
Release: 1951
Another one of the best sci-fi movies of the 50s is the iconic When Worlds Collide. In true sci-fi fashion, there’s the fate of the world in the hands of just a select few. A new star and planet are hurtling towards Earth, threatening its very existence and it's down to a group of survivalists to come up with a plan to save humanity by sending them from Earth in a rocket to find a new place to call home.
A world under threat, a core romantic relationship featuring a hero, and the promise that it's through the knowledge of science at its core that will save us all has influenced a multitude of sci-fi titles since its 1951 release and was groundbreaking cinema for its time, which still holds steady today.
5) 'Event Horizon'
Cast: Laurence Fishburne, Sam Neill, Jason Isaacs, Kathleen Quinlan, (more)
Director: Paul W.S. Anderson
Release: 1997
This sci-fi thriller features a well-known cast and tells the story of a crew onboard a spaceship that disappears down a black hole, but when it returns it has someone or something new onboard too.
Set in 2047, a distress signal is received from the spaceship, Event Horizon, and upon its re-emergence around Neptune, a rescue vessel is sent to investigate it. However, the crew onboard the rescue vessel are greeted by the aftermath of a massacre when they reach the ship. Event Horizon is available in the US and UK, but not Australia.
6) 'Deep Impact'
Cast: Robert Duvall, Téa Leoni, Elijah Wood, Morgan Freeman, (more)
Director: Mimi Leder
Release: 1998
Nothing quite says apocalyptic sci-fi than a comet on a collision course for Earth. The tension builds in Deep Impact as President Beck (Morgan Freeman) prepares for the worst, by coming up with a plan to build underground shelters. Unfortunately, not for everyone.
This iconic disaster movie is only available to stream on Paramount Plus in the US and Australia. But, for anyone looking for some end-of-the-world panic laced with science and impressive special effects, here's your pick.
7) 'A Quiet Place'
Cast: Emily Blunt, John Krasinski, Millicent Simmonds, (more
Director: John Krasinski
Release: 2018
Real-life couple turned on-screen, Evelyn (Emily Blunt) and Lee (John Krasinski) alongside their two children must quickly learn how to navigate life, in silence. As noise-sensitive, blind otherworldly creatures target citizens, it's up to the couple to keep their family alive by communicating through sign language… And not making a sound.
John Krasinski, of The Office fame, not only starred in A Quiet Place, but he co-wrote and directed it too. There's A Quiet Place Part II to watch when you're finished, although unlike the first, this one's only available in the US. And then there's also A Quiet Place: Day One which had its theatrical release in June, so should arrive on the streaming platform later this year.
8) 'Significant Other'
Cast: Maika Monroe, Jake Lacy, Matthew Yang Kim, (more)
Director: Dan Berk, Robert Olsen
Release: 2022
If you're planning a backpacking trip anytime soon, we'd recommend giving Significant Other a swerve until you've returned home safely. Young couple, Ruth (Maika Monroe) and Harry (Jake Lacy) on their own remote backpacking adventure through the Pacific Northwest. They quickly find out though that everything is not as it seems.
As the couple navigates the isolated location, which doesn't feel so isolated anymore, they begin to question whether they can even trust each other. A Paramount Plus Original movie that impressed both critics and audience alike.
Best sci-fi TV shows on Paramount Plus
1) 'The Twilight Zone'
Cast: Rod Serling, Robert McCord, Jay Overholts, (more)
Seasons: Five
First Release: 1959
Paramount Plus is home to one of sci-fi’s most notable TV shows, The Twilight Zone. Spanning five seasons between 1959 and 1964, each episode has its very own story to tell. That’s 156 different experiences to enjoy spanning a multitude of genres all embodying sci-fi's famous tropes from dystopian nightmares to thrilling supernatural goings-on.
It's a show that's sparked spin-offs, like Jordan Peele's 2019 collection, to theme park rides, to radio shows, to movies. It stands the test of time and sci-fi fans of any age can find enjoyment in its storytelling.
2) 'The Astronauts'
Cast: Miya Cech, Bryce Gheisar, Keith L. Williams, Kayden Grace Swan, (more)
Seasons: One
First Release: 2020
The Astronauts follows five teenagers who are accidentally sent into outer space aboard a spacecraft that was supposed to intercept an asteroid. They must work together without any training or a fully functioning onboard AI, to achieve the unlikely goal of returning home safely. There are no plans for a new season of this show, so unfortunately this series is a one-off. On Paramount Plus, this one’s only available to stream in the UK and Australia.
3) 'I am Frankie'
Cast: Alex Hook, Kyson Facer, Sophia Forest, Nicole Alyse Nelson, (more)
Seasons: Two
First Release: 2017
In this comedy-drama, Frankie Gaines is a typical teenager, only... She isn't. She is an advanced experimental android trying to hide her identity to remain hidden from the evil tech company, EGG Labs. EGG Labs, more precisely Mr. Kingston who is the head of the company, is trying to use Frankie for a weaponized android research project. This only has two seasons so if this is your thing, you'll be able to binge it in relatively quick time.
4) 'Under the Dome'
Cast: Mike Vogel, Rachelle Lefevre, Alexander Koch, (more)
Seasons: Three
First Release: 2013
Based on Stephen King's 2009 novel of the same name, Under the Dome tells the story of a fictional small town called Chester's Mill. It may sound quaint, but that certainly doesn't remain the case when a mysterious see-through, indestructible dome trapping everyone and everything Chester's Mill inside.
Demonstrating the lengths people will go to to survive, the town descends into a survivalist world of tension and choices as they're cut away from normal society, and its resources. There are three seasons to devour before it meets its timely finish.
5) 'The Adventures of Jimmy Neutron: Boy Genius'
Cast: Debi Derryberry, Jeffery Garcia, Rob Paulsen, Carolyn Lawrence, (more)
Seasons: Four
First Release: 2002
A young boy, who happens to be a genius, gets into all sorts of shenanigans and goes on adventures with his best friends, Sheen and Carl as well as the family he has in the small town he lives in. Often inventing all kinds of contraptions, Jimmy Neutron is the title character in a fun animated series that's ideal for younger viewers and throws older viewers back to classic Nickelodeon days.
6) 'Planet Sheen'
Cast: Fred Tatasciore, Bob Joles, Rob Paulsen, Thomas Lennon, (more)
Seasons: Two
First Release: 2010
This is a short spin-off from The Adventures of Jimmy Neutron: Boy Genius that sees Jimmy's close friend, Sheen Estevez, get himself sent to a planet trillions of light-years away from Earth. After accidentally blasting off in a rocket invented by Jimmy, Sheen lands on a mysterious planet and meets the emperor who believes he's a supernatural being that will bring joy.
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The best Paramount Plus movies: 25 great films to stream in August 2024
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"Richard Edwards"
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2022-06-21T06:59:38+00:00
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These are the best Paramount Plus movies to stream today, wherever you are in the world.
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Looking for the best Paramount Plus movies? You’re in the right place. There’s an overwhelming amount of films on one of the best streaming services, which is why we’ve narrowed down the finest choices to just 25 of the best. Our selection spans multiple genres, too, from action to comedy, and sci-fi to fantasy, plus so much more, to watch wherever you are in the world.
So, if you’ve found yourself looking for something old or new, there’s sure to be a movie pick for everyone on our list. No wonder the streamer has coined itself as a "Mountain of Entertainment". We can’t deny that, and neither will you, when you peruse our selection of the best Paramount Plus movies.
Dungeons & Dragons: Honor Among Thieves
Release date: 2023
Main cast: Chris Pine, Michelle Rodriguez, Regé-Jean Page, Sophia Lillis, and Hugh Grant
Directors: John Francis Daley and Jonathan Goldstein
Rotten Tomatoes (RT) score: 91% (critics); 93% (audience)
It might not have looked that promising on paper – especially to anyone who endured the 2000 Dungeons & Dragons movie – but Hollywood’s latest take on the perennially popular role-playing board game is well worth a roll of the dice.
The wonderfully self-aware Honor Among Thieves skilfully walks a fine line between comedy and spectacular epic fantasy, and delivers on both counts. As bard and nominal lead Edgin, Chris Pine revels in his most fun role since playing Captain Kirk in JJ Abrams’ first Star Trek. Meanwhile, other D&D character types are memorably represented by Fast & Furious regular Michelle Rodriguez (barbarian Holga Kilgore), IT’s Sophia Lillis (tiefling druid Doric) and Bridgerton’s Regé-Jean Page (paladin Xenk Yendar).
Teenage Mutant Ninja Turtles: Mutant Mayhem
Release date: 2023
Main cast: Micah Abbey, Shamon Brown Jr., Nicolas Cantu, Brady Noon, Ayo Edebiri, Maya Rudolph, John Cena, and Seth Rogen
Directors: Jeff Rowe and Kyler Spears
RT score: 95% (critics); 90% (audience)
Few iconic comic-book characters have survived as many reboots as the Teenage Mutant Ninja Turtles, but this latest animated incarnation (produced by Preacher and Sausage Party overseers Seth Rogen and Evan Goldman) is up there with the heroes in a half-shell’s finest – as well as being one of the best Paramount Plus movies.
Using an eye-catching, painterly visual style heavily inspired by Spider-Man: Into the Spider-Verse, the latest take on Leonardo, Donatello, Raphael and Michelangelo is a (pizza) feast for the eyes. It’s also action-packed and funny, while leaning much more into the adolescent part of the TMNT equation than many of its predecessors.
Top Gun
Release date: 1986
Main cast: Tom Cruise, Tim Robbins, Kelly McGillis, and Val Kilmer
Director: Tony Scott
RT score: 57% (critics); 83% (audience)
In 1986, Tom Cruise went stratospheric thanks to his role as Pete "Maverick", an ambitious young fighter pilot competing to be the best of the best at the US Navy’s Fighter Weapons School. But Maverick soon learns some tough lessons when he realizes there's more to life than beating fellow student Tom "Iceman" Kazansky (Val Kilmer) to the Top Gun prize, as his recklessness makes him a danger to himself – and others.
With long-awaited follow-up Top Gun: Maverick also out on Paramount Plus (see below), it's a great time to revisit the original. You don't need to be familiar with this first movie to enjoy the (arguably superior) sequel, but if you are, it's even more likely to take your breath away.
Top Gun: Maverick
Release date: 2022
Main cast: Tom Cruise, Jennifer Connelly, Miles Teller, Val Kilmer, and Jon Hamm
Director: Joseph Kosinski
RT score: 96% (critics); 99% (audience)
Tom Cruise's 2022 box office smash, Top Gun: Maverick, is a must-watch, delivering all the fun and supersonic action of the original without simply going over old territory. Cruise reprises his role as Maverick, now a test pilot whose constant rule-breaking and boundary-pushing has kept his career firmly grounded.
But when he's given the job of training a new group of Top Gun graduates for a crucial new mission, he has to face up to his past and some of his very worst fears. This is the best kind of blockbuster, an absolute treat from start to nail-biting finish.
NB: UK and Australian viewers will have to jet over to Netflix to watch it.
Star Trek
Release date: 2009
Main cast: Chris Pine, Zachary Quinto, Simon Pegg, and Eric Bana
Director: J. J. Abrams
RT score: 94% (critics); 91% (audience)
Paramount Plus isn't currently home to all the Star Trek movies in the US (the films featuring the Original Series and Next Generation casts are, instead, berthed on Max) but you can enjoy most of the Trek TV shows, as well as the three (existing) movies of J.J. Abrams' successful 21st century reboot.
Before he traveled to a galaxy far, far away for The Force Awakens, Abrams – then best known for Lost, Alias and Mission: Impossible III – injected Trek with a Star Wars-like spirit of adventure, as Kirk, Spock and the rest of the crew took on a vengeful Romulan from the future. The casting (particularly Chris Pine as Kirk) is inspired, and – by setting the story in a parallel timeline – the film functions as both an Enterprise origin story, and an opportunity to go where the franchise had never gone before.
Sadly, follow-ups Into Darkness and Beyond couldn't live up to this movie's early promise, but this first adventure is one of the long-running saga's best.
The Mission: Impossible movie collection
Release date: 1996-2023
Main cast: Tom Cruise, Ving Rhames, Simon Pegg, and Rebecca Ferguson
Director: Brian De Palma (Mission: Impossible), J.J. Abrams (Mission: Impossible III), Brad Bird (Mission: Impossible – Ghost Protocol), Christopher McQuarrie (Mission: Impossible – Rogue Nation), (Mission: Impossible – Fallout), (Mission: Impossible – Dead Reckoning, Part One)
RT score: 66% to 97% (critics); 71% to 94% (audience)
Good evening, Mr Cruise. Your mission, should you choose to accept it, is to turn a ’60s TV show into a successful series capable of ranking among the best Paramount Plus movies. Okay, so we're cheating with this entry, but you can't deny that this film series is tons of fun (yep, even the less positively received ones), so we had to include them all in a single entry.
As both producer and star (he's played super-spy Ethan Hunt since the first 1996 adventure), Tom Cruise has made Mission: Impossible a genuine rival to James Bond. Indeed, while most franchises have run out of steam long before they reach their seventh instalment, the quality of the M:I series has arguably improved, particularly since Cruise brought Christopher McQuarrie on board to write and direct the brilliantly inventive and exciting Rogue Nation, Fallout and Dead Reckoning.
But the most memorable thing about Mission: Impossible is Cruise's headline-making, death-defying stunts – even in his 60s, this is one leading man who refuses to do anything by halves. For our ranking, we haven't included Mission: Impossible II as both critics and audience RT scores fall below our 70% threshold.
Past Lives
Release date: 2023
Main cast: Greta Lee, Teo Yoo, John Magaro, and Moon Seung-ah
Director: Celine Song
RT score: 95% (critics); 84% (audience)
Writer/director Celine Song’s brilliant, Oscar-nominated debut is based around a question many people will have asked themselves: what if you reconnected with your first childhood sweetheart as a grown-up? In Past Lives, Nora (The Morning Show’s Greta Lee) makes contact with Hae Sung (Teo Yoo) more than a decade after her family emigrated from South Korea to Canada. The result is a subtle, perfectly pitched exploration of roads that could have been – but weren’t – traveled in another life.
It’s something of a slow burn, carried by the performances of two leads who share undeniable screen chemistry. Special credit should also go to John Magaro, who ensures that Nora’s husband Arthur never feels like a third wheel.
NB: Past Lives is available on Netflix in the UK and Prime Video in Australia.
Smile
Release date: 2022
Main cast: Sosie Bacon, Jessie T. Usher, Kyle Gallner, Robin Weigert, and Kal Penn
Director: Parker Finn
RT score: 79% (critics); 77% (audience)
Despite the title, this is not a film designed to make you happy. Instead, it’s a disturbing horror movie in which a therapist (Sosie Bacon) investigates a series of apparent suicides, linked by the unsettling smiles on the victims’ faces before they died – and subsequently finds herself targeted by a malevolent evil spirit.
Smile was originally planned as a direct-to-Paramount Plus release, but successful test screenings prompted the studio to give it a theatrical release – an extremely sensible move, seeing as it became the biggest horror movie at the box office in 2022. Expect scares and plenty of psychological terror as writer/director Parker Finn (who based the movie on his own short, “Laura Hasn’t Slept”) marks himself out as one to watch.
NB: To watch Smile in Australia, you'll need to head over to Netflix.
The Godfather trilogy
Release date: 1972-1990
Main cast: Marlon Brando, Al Pacino, James Caan, Diane Keaton, Robert De Niro, Robert Duvall, Andy Garcia, and Talia Shire
Director: Francis Ford Coppola
RT score: 86% to 97% (critics); 85% to 98% (audience)
In 1972, director Francis Ford Coppola turned Mario Puzo's mafia novel The Godfather into a critical and box office smash hit. The gripping story of a good man's descent into evil, it made a star of Al Pacino, and won itself an impressive haul of Academy Awards.
Follow-up The Godfather: Part II is arguably even better, using two distinct timelines to show how mob boss Vito Corleone (Robert De Niro, in a role originated by Marlon Brando) came to power, and his equally ruthless son, Michael (Pacino), went on to become one of the most powerful men in America. Along with The Lord of the Rings: The Return of the King, it remains the only sequel to win an Oscar for Best Picture.
The Godfather: Part III proved rather less popular when it was released in 1990. The original theatrical cut isn't available on Paramount Plus but you can watch The Godfather Coda: The Death of Michael Corleone, Coppola's recut version of the movie. You can also check out The Offer, a TV drama about the making of the original film.
Gladiator
Release date: 2000
Main cast: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, and Richard Harris
Director: Ridley Scott
RT score: 80% (critics); 87% (audience)
Russell Crowe delivers a performance that echoes in eternity in Ridley Scott's brilliant Roman epic. Crowe plays Maximus Decimus Meridius, father to a murdered son, husband to a murdered wife, and he absolutely will have his vengeance on the corrupt emperor (Joaquin Phoenix) responsible for their deaths – whether it's in this life or the next.
Along with The Martian, Gladiator is Scott's best movie of the 21st century, a propulsive blend of spectacular Colosseum action, shameless political scheming, and a powerful, revenge-focussed narrative. The veteran director was so enamored with the historical world he created that he's currently deep into post-production on Gladiator 2, which stars Normal People's Paul Mescal and due in theaters later this year. Want to see how Gladiator compares to Alien and Blade Runner? Check out our guide to Ridley Scott movies ranked.
NB: If you're in the UK, you'll have to head to Netflix to watch the film.
Interstellar
Release date: 2014
Main cast: Matthew McConaughey, Anne Hathaway, Jessica Chastain, and Timothée Chalamet
Director: Christopher Nolan
RT score: 73% (critics); 86% (audience)
Interstellar imagines a dystopian future where Earth is no longer habitable, and humanity's only hope for survival is finding a new home in outer space. Matthew McConaughey and Anne Hathaway play astronauts on a one-way reconnaissance mission, and encounter time-dilating black holes and four-dimensional beings along the way.
Although Steven Spielberg was once attached to direct Interstellar, it's almost impossible to imagine anyone but Christopher Nolan making this cerebral sci-fi movie (see where it ranks in our best Christopher Nolan movies guide). Utilising his trademark mix of spectacular visuals and intelligent storytelling, it's a feast for both the eyes and the mind, and – thanks to the input of scientific advisor Professor Kip Thorne – deals with some sophisticated physics, too.
NB: Interstellar is available on Now Cinema and Sky Go in the UK.
Scream
Release date: 2022
Main cast: Neve Campbell, Courteney Cox, David Arquette, and Jack Quaid
Directors: Matt Bettinelli-Olpin and Tyler Gillett
RT score: 76% (critics); 82% (audience)
Not to be confused with the classic 1996 original, this 2022 sequel/reboot is technically Scream 5. A decade on from 2011’s Scream IV, an all-new Ghostface arrives in Woodsboro to make murderous nuisance calls to the town’s long-suffering residents. Before long, original stars/victims Neve Campbell, Courteney Cox and David Arquette are back on the case, as a new batch of potential victims – headed by Wednesday’s Jenna Ortega – find themselves on the wrong end of a knife.
It's the first Scream movie not to be directed by the late Wes Craven, but new helmers Matt Bettinelli-Olpin and Tyler Gillett have a decent stab at the jump scares and intricate, unbearably tense kill scenes. They also have lots of self-referential fun at the expense of Hollywood’s love of reboots, and bringing franchises back from the dead. (NB: Scream VI is also available on Paramount Plus in the US.)
Anchorman: The Legend of Ron Burgundy
Release date: 2004
Main cast: Will Ferrell, Christina Applegate, Steve Carell, Paul Rudd, and David Koechner
Director: Adam McKay
RT score: 66% (critics); 86% (audience)
Anchorman is the film that confirmed Saturday Night Live graduate Will Ferrell as a unique comedy talent. In cahoots with his regular collaborator, writer/director Adam McKay, Ferrell perfected the surreal, audience-pleasing humor that's turned him into a Hollywood star.
It's the story of news anchor Ron Burgundy, riding high in the San Diego ratings with his trusted Channel 4 team: reporter Brian Fantana (Paul Rudd), sportscaster Champ Kind (David Koechner) and weatherman Brick Tamland (Steve Carell). When up-and-coming anchor Veronica Corningstone (Christina Applegate) arrives at the network, however, this quartet of alpha males have no idea how to respond...
Two decades on, Anchorman remains extremely quotable, with iconic characters, some memorable set-pieces (news fight!), and arguably the greatest jazz flute performance in movie history. Sadly, 2013 sequel Anchorman 2: The Legend Continues (also available on Paramount Plus in the US) didn't stay quite so classy.
A Quiet Place
Release date: 2018
Main cast: Emily Blunt, John Krasinski, Millicent Simmonds, and Noah Jupe
Director: John Krasinski
RT score: 96% (critics); 83% (audience)
A Quiet Place sees The Office veteran John Krasinksi trading his desk at Dunder Mifflin for high-concept sci-fi horror. Hunting by sound, alien invaders have decimated the population of a small town in upstate New York, where staying alive depends on staying as quiet as possible.
As director, Jack Ryan star Krasinksi gives you an extremely tense 90 minutes, turning every noise into a clear and present danger. This is one movie where you might want to forego the crunchy snacks. But the film's real triumph is making you care about the family at the story's heart (brilliantly played by Krasinski, real-life wife Emily Blunt, Millicent Simmonds and Noah Jupe), as their survival depends on both their ingenuity and their fluency in American Sign Language. (NB: A Quiet Place Part II is also available on Paramount Plus in the US.)
Ferris Bueller’s Day Off
Release date: 1986
Main cast: Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones, and Jennifer Grey
Director: John Hughes
RT score: 82% (critics); 92% (audience)
Writer/director John Hughes was the king of ’80s teen movies (see also The Breakfast Club and Sixteen Candles), but this feel-good classic might just be the best of the bunch. It's certainly the most fun, as high school student Ferris Bueller (Matthew Broderick) pulls a sickie, and drags girlfriend Sloane (Mia Sara) and best friend Cameron (Succession's Alan Ruck) along for a ride in Cameron's dad's vintage Ferrari.
It's the ultimate story of teenage wish fulfillment, as the three kids live the high-life while staying one step ahead of suspicious school principal Ed Rooney (Jeffrey Jones). And while their day off loses its way slightly in the final act when Ferris's motives become uncharacteristically altruistic, it remains one of the greatest high school movies of all time.
Mean Girls
Release date: 2004
Main cast: Lindsay Lohan, Jonathan Bennett, Rachel McAdams, Tina Fey, and Amy Poehler
Director: Mark Waters
RT score: 84% (critics); 66% (audience)
Before she became the writer and star of classic sitcom 30 Rock, Tina Fey scripted this totally fetch teen movie. It's the story of Cady Heron (a career-best Lindsay Lohan), a kid who's been homeschooled in Africa, who quickly realizes she has a lot to learn about high school. Adopted by a pair of outsiders, she's drafted to spy on the "Plastics" who rule the corridors of North Shore High, but soon finds herself seduced by Regina George (Rachel McAdams) and her gang.
Smart, satirical and super funny, Mean Girls is a perfectly pitched journey into the dog-eat-dog politics of high school. And even 20 years after its original release, it's still popular enough to spawn a new movie musical based on the stage musical based on the movie. (NB: 2024's Mean Girls remake is also available on Paramount Plus in the US.)
Clueless
Release date: 1995
Main cast: Alicia Silverstone, Stacey Dash, Brittany Murphy, Paul Rudd, and Donald Faison
Director: Amy Heckerling
RT score: 81% (critics); 76% (audience)
Thought smart, female-led high school movies began with Mean Girls? As if! Amy Heckerling’s mid-90s classic relocates Jane Austen’s Emma from Georgian England to modern-day Beverly Hills, and the transition is seamless. Alicia Silverstone delivers a career-defining performance as Cher, the spoiled but kind teen who fixes everyone else’s love lives but forgets about her own.
From the “complaint rock” soundtrack to some outdated sexual politics, it’s undeniably a film of its era. But it’s also funny, heart-warming and extremely quotable – as well as featuring an early performance from Paul Rudd.
The Curious Case of Benjamin Button
Release date: 2008
Main cast: Brad Pitt, Cate Blanchett, and Tilda Swinton
Director: David Fincher
RT score: 72% (critics); 80% (audience)
Director David Fincher made his name with hard-edged movies such as Seven, Fight Club and Zodiac, but The Curious Case of Benjamin Button finds him exploring much gentler territory. Based on a short story by The Great Gatsby author F. Scott Fitzgerald, it follows a man who literally ages in reverse, being born as an old man and getting younger as the movie progresses.
Fincher regular Brad Pitt plays the eponymous Benjamin Button throughout his life, and Fincher uses an impressive range of make-up, camera trickery and state-of-the-art visual effects to age his star up and down. With a running time just shy of three hours, the storytelling sometimes lags, but the film's spectacular technical achievements are enough to earn it a place among the best Paramount Plus movies.
The Curious Case of Benjamin Button is not available to stream in the UK, but you can rent or buy on Amazon, Apple TV, Google Play or most of the usual services. See how it fares in our best David Fincher movies feature.
Arrival
Release date: 2016
Main cast: Amy Adams, Jeremy Renner, and Forest Whitaker
Director: Denis Villeneuve
RT score: 94% (critics); 82% (audience)
Before he became Hollywood’s premier purveyor of big-budget sci-fi spectacle with Blade Runner: 2049 and two Dune adaptations, Denis Villeneuve announced his, well, arrival in the genre with this lower key tale of extra-terrestrial visitation.
Adapted from Ted Chiang’s short story “The Story of Your Life”, it tells the tale of a bereaved mother and linguist (Amy Adams) assigned to make first contact with the bizarre seven-legged aliens who’ve come to Earth to say hello. It's the very definition of smart science fiction, as a twisty timeline and the protagonist’s grief coalesce to create a surprising and emotionally satisfying finale.
NB: UK viewers can stream it on Netflix.
Chinatown
Release date: 1974
Main cast: Jack Nicholson, Faye Dunaway, John Huston, and Perry Lopez
Director: Roman Polanski
RT score: 98% (critics); 93% (audience)
This 1974 crime classic is one of the all-time great films noirs, as Jack Nicholson’s hard-bitten PI Jake Gittes uncovers a murky world of mystery, intrigue and secrets better left buried in 1930s Los Angeles. Massively influential on the similarly brilliant LA Confidential, screenwriter Robert Towne’s script reveals new layers with each viewing, as what starts out as a standard detective flick evolves into something considerably darker and more disturbing.
Much more restrained than in many of his signature roles, Nicholson delivers one of his best ever performances, alongside a similarly impressive Faye Dunaway and John Huston.
The Wolf of Wall Street
Release date: 2013
Main cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, and Matthew McConaughey
Director: Martin Scorsese
RT score: 80% (critics); 83% (audience)
Yes, it’s essentially the plot of GoodFellas and Casino relocated to the cutthroat world of high finance, but there’s no need to get hung up about that when you’re watching one of the very best Martin Scorsese movies. In arguably the greatest of the legendary director’s six feature collaborations with Leonardo DiCaprio – and definitely the most all-out entertaining – the star plays Jordan Belfort, a real-life Wall Street banker whose fast-and-loose attitude to the rules brought him major highs (both financial and chemical) and even bigger lows.
Scorsese’s kinetic direction revels in the seedy glamor of its protagonist’s lavish lifestyle, as he tries to stay one step ahead of FBI agent, Patrick Denham (Kyle Chandler). Of course, Belfort’s mad world comes crashing down in the final act, but it’s a hell of a ride getting there.
NB: UK audiences should head to Netflix to catch The Wolf of Wall Street.
Rosemary's Baby
Release date: 1968
Main cast: Mia Farrow, John Cassavetes, and Ruth Gordon
Director: Roman Polanski
RT score: 96% (critics); 87% (audience)
It's another horror story among the best Paramount Plus movies, but unlike Scream, Rosemary's Baby's scares are all in your head. Adapted from Ira Levin's novel of the same name, this psychological thriller sees the devil take Manhattan, as Mia Farrow's Rosemary Woodhouse is unwittingly chosen to bear the child of Satan.
It's a masterclass in slow-building tension, as Rosemary gradually realizes that her elderly neighbors' interest in her pregnancy isn't entirely altruistic. It's also one of the most iconic and stylish movies of the late-1960s, helping pave the way for one of the most creatively fertile eras in Hollywood history.
NB: UK audiences can only rent or buy it via Amazon, Apple TV, Google Play, or another digital store.
Saving Private Ryan
Release date: 1998
Main cast: Tom Hanks, Matt Damon, Tom Sizemore, and Edward Burns
Director: Steven Spielberg
RT score: 94% (critics); 95% (audience)
Captain John Miller (Tom Hanks) leads a band of American World War II soldiers behind enemy lines to find the titular missing private after Ryan's brothers are killed in action. Director Steven Spielberg ensures you stand to attention as soon as the action flashes back to D-Day, with a brutally visceral recreation of the Omaha beach landings. Then, as Miller's unit makes their way through Nazi-occupied France, each soldier embarks on their own personal journey of discovery – though not all of them will make it home alive.
Saving Private Ryan is the first of many World War II collaborations between Hanks and Spielberg, who've gone on to executive produce Band of Brothers, The Pacific and Masters of the Air, one of the best Apple TV Plus shows. You can also see how it fits into the director's glittering filmography in our guide to Steven Spielberg movies ranked.
NB: Saving Private Ryan is available on Channel 4 in the UK.
Once Upon a Time in the West
Release date: 1968
Main cast: Henry Fonda, Charles Bronson, and Claudia Cardinale
Director: Sergio Leone
RT score: 96% (critics); 94% (audience)
Sergio Leone reinvented this movie Western in the 1960s, and this follow-up to his legendary Dollars trilogy is one of the director's best. Leone regular Clint Eastwood passed on the chance to play another anti-hero, leaving Charles Bronson's "Harmonica" to protect Claudia Cardinale's widow from an outlaw played by legendary Hollywood good guy Henry Fonda.
As you'd expect from Leone, it's stylish and spectacular, and features a typically iconic score from Ennio Morricone, the director's traditional composer of choice. Running at close to three hours, Once Upon a Time in the West is something of an endurance test, but this is one epic that's worth the effort.
NB: UK audiences can only rent or buy it via Amazon, Apple TV, Google Play, or another digital store.
To Catch a Thief
Release date: 1955
Main cast: Cary Grant, Grace Kelly, Jessie Royce Landis, and John Williams
Director: Alfred Hitchcock
RT score: 92% (critics); 84% (audience)
A dream team of Alfred Hitchcock, Cary Grant and Grace Kelly charm their way into our list of the best Paramount Plus movies with this classy 1955 mystery romance. Grant plays John Robie, a retired cat burglar trying to live a quiet life on the French riviera. When another thief copies his signature style, however, he has to prove his innocence. Kelly plays a wealthy tourist targeted by the copycat in this twisty and entertaining whodunnit.
NB: UK audiences can only rent or buy it via Amazon, Apple TV, Google Play, or another digital store.
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Though snubbed by the academy, women of color see notable gains in top-grossing films
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The actors at the center of The Woman King may have been left out of this year’s Academy Award® nominations, but they do have one important distinction. These leading actors were part of an important shift for women of color in top movies. According to a new report from the Annenberg Inclusion Initiative, there was a significant increase in the number of top-grossing films
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https://annenberg.usc.edu/news/spotlight/though-snubbed-academy-women-color-see-notable-gains-top-grossing-films
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The actors at the center of The Woman King may have been left out of this year’s Academy Award® nominations, but they do have one important distinction. These leading actors were part of an important shift for women of color in top movies. According to a new report from the Annenberg Inclusion Initiative, there was a significant increase in the number of top-grossing films with girls and women of color in leading and co-leading roles in 2022.
The research brief, Inequality Across 1,600 Popular Films: Examining Gender, Race/Ethnicity & Age of Leads/Co-Leads From 2007 to 2022, is the latest from Associate Professor of Communication Stacy L. Smith and the Annenberg Inclusion Initiative. The report examined the gender, race/ethnicity, and age of lead/co-lead actors across 100 top-grossing movies each year from 2007 to 2022.
The figures for women of color were the primary bright spot in the report. In 2022, 16% of the 100 top-grossing films featured a girl or woman from an underrepresented racial/ethnic group in a leading or co-leading role. This was an increase from 11% in 2021 and from the one movie in 2007 with a woman of color in the lead. In fact, 2022 had the highest number of underrepresented women and non-binary leads/co-leads across the 16 years examined.
“The progress for women of color in leading roles is encouraging,” Smith said. “It’s past time for the film industry to recognize that stories about women of color have a place in theaters. Girls and women of color are 20% of the U.S. population, but the film industry has not ensured that this is what audiences see on screen. With effort and accountability, this threshold is one that not only can be achieved but easily surpassed.”
The findings for women overall were less positive. In 2022, 44% of films had a female-identified lead/co-lead, which reflects no change from the 41% of films with a female-identified lead/co-lead in 2021. There has been an improvement in the percentage of female-driven films since 2007 when the figure was 20%. Ultimately, however, top films fail to meet the U.S. Census threshold — roughly 50% of the population identifies as female.
The story was the same for leads/co-leads from underrepresented racial/ethnic groups. Across 2022’s 100 top-grossing films, 29% of leads/co-leads were underrepresented, a decrease from 32% in 2021. Last year’s number does reflect a substantial increase from 2007’s 13% but was off the mark compared to the Census, which shows that 40.7% of the U.S. population is from an underrepresented racial/ethnic group.
“The lack of progress for women and people of color in leading roles for yet another year is disappointing,” said Katherine L. Neff, the study’s lead author. “The film industry must recognize that even though the stories it creates feature fantastic locations, audiences in this world still want to be reflected on screen.”
The report also examined the age of leading/co-leading actors and assessed whether there were differences by gender for actors age 45 and older. A total of 35 films in 2022 featured a man aged 45 or older in a lead/co-lead role compared to just 10 with women 45 and above. These 10 films were similar to the team’s findings in 2021 (7 movies) but represented a significant increase from the one film in 2007 with a woman 45 years of age or older in a lead/co-lead role. Notably, five of the movies with a woman age 45-plus in 2022 featured a woman of color in the lead, compared to zero in 2021.
The report also examines how many films from major and mini-major distributors in 2022 had female-identified and underrepresented leads/co-leads. In 2022, 75% of Lionsgate’s releases in the top 100 had a female-identified lead/co-lead, while 55.6% of Paramount’s movies and 38.5% of Universal’s films had a female-identified protagonist. Paramount Pictures, Sony Pictures Entertainment, Walt Disney Studios, and Warner Bros. Pictures all featured underrepresented leads/co-leads in a third of their movies.
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Paramount Pictures Corp. v. Axanar Productions, Inc.
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District court rules that fair use defense does not apply to unauthorized “Star Trek” works “Star Trek: Prelude to Axanar” and “Star Trek: Axanar,” and that those works are substantially similar to plaintiffs’ Star Trek works under Ninth Circuit’s extrinsic similarity test, and reserves subjective substantial similarity for jury to decide.
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https://www.loeb.com/en/insights/publications/2017/01/paramount-pictures-corp-v-axanar-productions-inc
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District court rules that fair use defense does not apply to unauthorized “Star Trek” works “Star Trek: Prelude to Axanar” and “Star Trek: Axanar,” and that those works are substantially similar to plaintiffs’ Star Trek works under Ninth Circuit’s extrinsic similarity test, and reserves subjective substantial similarity for jury to decide.
Paramount Pictures and CBS Studios own the copyrights in the “Star Trek” franchise, which includes six television series and 13 motion pictures created over a 50-year period. Plaintiffs sued Axanar Productions and its principal, Alec Peters, alleging copyright infringement, contributory copyright infringement and vicarious copyright infringement in connection with defendants’ creation of two “Star Trek” “fan fiction” films — “Star Trek: Prelude to Axanar” and “Star Trek: Axanar.”
“Prelude to Axanar” is a short film that tells the story of “Star Trek” character Garth of Izar during the Four Years War between the Federation and the Klingon Empire. Defendants funded “Prelude” through the crowdsourcing websites Kickstarter and Indiegogo, and distributed the short film on YouTube to generate interest in, and help raise additional funds for, the production of a feature-length motion picture project called “Star Trek: Axanar.” The planned feature-length film was to take place 21 years before the first episode of the original “Star Trek” television series and would have featured Starfleet Captain Garth of Izar (Captain James T. Kirk’s hero), and his starship crew.
All told, defendants raised almost $1.5 million for these projects, which they used to hire a professional crew and actors, many of whom previously worked on the “Star Trek” franchise itself. Defendants completed a script for “Axanar,” and filmed and released at least one scene.
Following discovery after the district court’s denial of defendants’ motion to dismiss the complaint (read our summary of the court’s decision on the motion to dismiss here), the parties filed cross-motions for summary judgment. The district court denied defendants’ motion, and granted plaintiffs’ motion, in part.
The district court granted plaintiffs’ motion to dismiss the defendants’ defense of fair use. The district court rejected defendants’ argument that their “fan fiction” works constituted fair use, concluding that all four factors of the Copyright Act’s fair use test weighed in favor of plaintiffs. Considering the first of the four traditional fair use factors — the purpose and character of the use — the district court concluded that the works were not transformative. Instead, it noted, defendants sought to “stay true” to the “Star Trek” canon by using elements similar to those in the copyrighted works — including the use of a supplement to the Paramount-licensed game “The Four Years War” “as a bible” in developing the script for “Prelude” — without altering their expression. The district court held that, despite the fact that defendants planned to distribute the films for free, the use was commercial in nature because defendants, among other things, leveraged “Prelude” to conduct a successful crowdsourcing fundraising campaign for “Axanar,” profited from not having to pay a license fee and hoped to derive other nonmonetary benefits such as additional job opportunities. The district court also rejected defendants’ argument that the works were transformative “mockumentaries” because the works did not parody or criticize “Star Trek” but rather sought to stay faithful to the franchise canon. In addition, the “Axanar” script was not written in mockumentary form.
The remaining three fair use factors — the nature of copyrighted work, amount and substantiality of the portion used, and effect of the use upon the potential market — likewise weighed in favor of the studios. The copyrighted works, the district court held, were the types of creative works typically given broad protection, and the portion of those works used, while difficult to quantify, was substantial and pervaded “Prelude” and “Axanar.” Moreover, according to the district court, there was “little doubt” that unrestricted and widespread conduct of the sort engaged in by defendants would result in a substantially adverse impact upon the potential market for “Star Trek.” Defendants’ works are the kind of potential derivatives that the studios would develop or license to others — as demonstrated by previous films and role-playing games that, like the two “Axanar” works, expanded upon the original “Star Trek” series. The district court also pointed to defendants’ successful fundraising effort as evidence of a market for the studios to exploit and observed that fans could have redirected that money to cable channels on which the copyrighted works are shown. That the “Axanar” works may increase the sale and visibility of the copyright works did not, in the district court’s view, make the copying “fair.”
Next, the district court analyzed whether the works at issue were “substantially similar” and thus supported a finding of infringement. It concluded that the Ninth Circuit’s objective extrinsic test — whether the works share a substantial similarity of ideas and expression as measured by external, objective criteria — was satisfied.
As an initial matter, the district court pointed out that the “Axanar” works used various expressive elements of the “Star Trek” works that were protectable either individually or in combination, including distinctive characters (e.g., Garth of Izar, the Klingons and Vulcan species); costumes (whose artistic aspects, the district court held, exist separately from their utilitarian purpose); settings (e.g., specific planets, recognizable spaceships, other distinctive space travel elements); key plot points; and the “Star Trek” “science fiction action adventure” mood and theme. Defendants intended to create works that stayed true to the “Star Trek” canon “down to excruciating details,” the district court pointed out, which supported a finding that these elements, as used in both sets of works, were substantially similar under the extrinsic test. It rejected the notion that defendants merely created a new story about an “obscure” character or that their works were “inspired by many sources,” from which they would need to obtain permission for use in any event.
However, the district court held that under Ninth Circuit precedent a jury must consider whether the subjective intrinsic test — whether the ordinary, reasonable person would find the total concept and feel of the works substantially similar — is satisfied. Although it recognized “some uncertainty” regarding whether this question must be left to a jury in the case of nonliterary works, the district court said it was unable to find any Ninth Circuit precedent in which courts found summary judgment for plaintiffs after applying the intrinsic test.
The district court also left for the jury the issue of willful infringement. It noted there are issues of fact regarding Peters’ state of mind, in light of his purported belief that CBS would tolerate “fan fiction” films and his prior reports to CBS that other parties were, in his belief, using “Star Trek” intellectual property without authorization. Because the claims for contributory and vicarious infringement against Peters depended upon the jury’s finding on subjective substantial similarity, the court declined to award summary judgment on those claims. It did hold, however, that in the event the jury found infringement, Peters had materially contributed to the infringing conduct of Axanar Productions by writing scripts for the offending works and otherwise being substantially involved in their production, and also had vicariously infringed through Axanar because he supervised and controlled the company as its president and was responsible for many of its artistic decisions.
Finally, the district court rejected defendants’ argument, rehashed from their motion to dismiss, that the studios’ claims were premature with respect to “Axanar” because the feature-length film had not been completed. Citing its previous ruling, the district court maintained the final shooting script was sufficient to compare the works at issue and demonstrated that the infringement claims were not based upon “abstract disagreements.” The district court additionally determined that the studios’ request for declaratory and injunctive relief was premature, as it depended upon the jury’s ultimate findings.
Summary prepared by David Grossman and Frank D’Angelo
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https://www.bartleby.com/essay/The-Main-Changes-That-the-Paramount-Decree-F3HE3JKEK6YZS
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The Main Changes That the Paramount Decree Effected on the...
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Free Essay: Outline the main changes the paramount decree effected on the structure of the American film industry and discuss the measures the ex-studios...
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https://www.bartleby.com/essay/The-Main-Changes-That-the-Paramount-Decree-F3HE3JKEK6YZS
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Basically, the studio system controls everything from production to showing included the actors. Actors who worked with a studio were under contract with that studio and could only act in that studio's production. These contracts were seven years long and forbids the actors from doing any other projects, like radio or television along with regulating the actor’s lives. The studio actors that were under contract were mostly white; minorities did not get much contracted work. The actors were required to act in whatever film they were cast, do publicity for their films, promote product tie-ins and occasionally even be loaned out to other studios for a film or two. The actors were working six days a week and often for about 14 hours a day. It may have been a hectic schedule but they were putting out 10 to 20 films a year. Studios had everyone under contract from the actors to the directors, from the writers to the technical staff. I think there was an up and down side to the studio system. On the good side, all the employees were under contract and everyone was available when they were needed. Films were getting produced at much faster rate than they are today. I would think there would be less conflict between actors and directors because everyone would have to
The Hollywood studio system was based on the industrial models developed by Henry Ford of the Ford Motor company. This process streamlined the production of the movies, similar to a production line in a factory. As I mentioned in my week 2 DB post, “The motion picture industry was just that, an industry in need of harnessing its work force for profitability”. The process relayed on every member of the production team and became the standardized system of the five major studios during that time period. The studio system allowed the top five studios to almost specialize in their particular genre of film production. It was cost effective to continuously make the same style of movie, from writing similar style scripts, production of similar stage
In the Paramount decision of 1948 this was the outcome of the United States vs. Paramount Pictures. This was a monumental case in the right of production companies to own theatres and holding exclusive rights on which theatres could show there movies.it would also change the way Hollywood movies were made, distributed, and exhibited in theatres and other places. The court held that this distributing technique was in violation of the antitrust law that was put in place years before. This case is used in vertical integration cases and is later known as the first nail in the coffin of the old Hollywood studio system.
In addition, the banning of block booking (the mass selling of films to theaters, sometimes before their production had even begun), which in the 30’s and 40’s had propagated a mass of poorly and quickly made films, forced producers to take more care and create better features. In consequence of both of these factors--reduced budgets and reduced quantity--the standard of quality of films rose. No one could afford to make terrible pictures and expect a profit; therefore, the cost of filmmaking dropped and the quality rose, at least relative to the majority of the forgettable features of the studio system. These factors also allowed smaller studios and independent producers to make their own forays into cinema without competing directly with larger
The Studio System Key point about the studio system could be: Despite being one of the biggest industries in the United States, indeed the World, the internal workings of the 'dream factory' that is Hollywood is little understood outside the business. The Hollywood Studio System: A History is the first book to describe and analyse the complete development, classic operation, and reinvention of the global corporate entities which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place
Looking at the film industry as we now know it, it’s hard to imagine that America wasn’t always the film producing machine we see it as now. Yet, when we begin looking at all the technological advances that took place in film over time and the events which occurred during these periods, it was a complex journey. In the following essay we are going to discuss why I believe that the wars faced both foreign and domestic played the biggest factor in the American Film industry’s rise to dominance by the 1950s.
The company is a film division for a large entertainment conglomerate. The main office is located in California. The company had many diversification that branches on to theme parks, home videos, interactive games etc. The company is a film division for a large entertainment conglomerate. The main office is located in California. The company had many diversification that branches on to theme parks, home videos, interactive games etc. Be nominated for and win an academy award for Best Picture of the year. Create at least one new animated character each year that cab star in a cartoon or TV series.Generate additional merchandise revenue (action figures, dolls, interactive games, music CDs). Raise Public consciousness
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https://shark1053.com/maine-murder-she-wrote-movie/
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Latest on the Maine-Based ‘Murder She Wrote’ Movie That’s Been in the Works
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2024-08-07T18:20:23+00:00
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It's a theatrical film version with big behind-the-scenes names attached.
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102.1 & 105.3 The Shark
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https://shark1053.com/maine-murder-she-wrote-movie/
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I am obsessed with the comfy, cozy, iconic murder mystery television series Murder, She Wrote, starring Dame Angela Lansbury (may she rest in peace).
I fell in love with it while watching it with my mom growing up, and as an adult, I have seen the full series several times over. It's that perfect rainy-day binge.
As you know, the character Jessica Fletcher (played by Lansbury) is a teacher-turned-mystery novelist and sleuth who solves some 60 murders in her (fictional) hometown of Cabot Cove, Maine, according to the CBR website.
Here's the latest surrounding the charming Maine fishing village as the set of a new theatrical film version with big behind-the-scenes names attached.
According to Town and Country magazine, the classic show is in the works at Universal. Writers Lauren Schuker Blum and Rebecca Angelo, known for Orange is the New Black and Dumb Money, confirmed they've even finished the script.
So when can we expect it?
READ ON: Watch the 'Friends Reunited' Trailer Called 'The One With Chandler's Funeral'
According to , Lauren and Rebecca excitedly signed on for the movie before that writers strike last year, so the project is now behind schedule by nearly a year.
Meanwhile, who will play Jessica Fletcher, since Angela Lansbury passed away in October of 2022 at aged 96? Or will there be a new character? Maybe a relative of Jessica's will solve a murder or two.
According to the Screen Rant website, the producer is Academy Award-winning Amy Pascal. Pascal Pictures is known for the 2016 Ghostbusters reboot, Spider-Man: Homecoming, Molly's Game, The Post, and Little Women.
Other than that, we haven't heard any new updates about this film adaptation.
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https://www.yardbarker.com/entertainment/articles/the_most_notable_directoractor_collaborations/s1__31359218
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The most notable director/actor collaborations
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2024-05-30T16:30:25-04:00
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A strong working relationship can get the best out of an actor and a director. Here are some of the directors and actors most synonymous with each other in the history of Hollywood.
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en
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/apple-touch-icon.png?v=2
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Yardbarker
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https://www.yardbarker.com/entertainment/articles/the_most_notable_directoractor_collaborations/s1__31359218
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If you watched the trailer for Wes Anderson’s upcoming film, “The French Dispatch,” you saw a lot of his trademarks. That includes cast members. Anderson, like a lot of directors, has his favorites whom he uses over and over, often with great results. A strong working relationship can get the best out of an actor and a director. Here are some of the directors and actors most synonymous with each other in the history of Hollywood. While some directors, Anderson included, could be tied to a half-dozen actors, we’re limiting each to two actors maximum.
Since Anderson’s film was the spark for this (and it's COVID postponement lets that continue to be the case, unfortunately), let’s start with one of his most beloved collaborators. Murray, a comedy legend since the ‘80s, got in early with Anderson, making a memorable supporting turn in “Rushmore.” Since then Murray has appeared in every Anderson film, though sometimes in a cameo role. Anderson lets Murray use a little of his dramatic chops more than, say, “Stripes” did back in the day.
Wilson, along with his brothers, Luke and Andrew, go way back with Anderson. They’ve known each other since their college days in Austin, Texas. Wilson doesn’t just act in Anderson’s films. The two also co-wrote Anderson’s first three movies, including his breakout film, “Rushmore.”
Ford worked in a day when directors churned out work, especially Westerns, his chosen genre. Wayne, another staple of the Western, had his breakout role in Ford’s 1939 film, “Stagecoach.” That was his first of a whopping 14 films that Wayne made with Ford.
Burton and Bonham Carter are both known for their eccentric styles, so it makes sense they ended up not just as frequent collaborators but also as romantic partners for over a decade. Their personal and professional partnerships began in 2001, and Bonham Carter proceeded to appear, or provide her voice, to eight straight Burton projects, ending with “Dark Shadows.”
That being said, when you think of Burton, the actor first in mind is probably Depp. When Depp was doing great acting in movies like “Ed Wood” and “Edward Scissorhands,” Burton was there. When Depp’s acting seemed to become mostly about weird hair and wacky costumes, well, Burton was there too. Interestingly, Depp’s last Burton film, as of now, was also “Dark Shadows.”
Ephron directed only eight films in her career, but Ryan starred in three of them. That includes two iconic romantic comedies “Sleepless in Seattle” and “You’ve Got Mail.” On top of that, she wrote “When Harry Met Sally…,” which also starred Ryan.
Scorsese and De Niro had the same breakout moment in Scorsese’s film “Mean Streets.” That was the beginning of a collaboration that led to films like “Raging Bull” and “Goodfellas.” Eventually Marty and Bobby would start working together less, but they reunited in 2019 for the epic film “The Irishman.”
When Scorsese finally won his Oscar for Best Director (and Best Picture), it wasn’t for a film starring De Niro. Instead, it was for “The Departed,” which starred DiCaprio. It’s one of several films they’ve made together after Leo basically replaced De Niro as Scorsese’s greatest muse. That includes “Gangs of New York” and “The Wolf of Wall Street.”
Hitchcock made a ton of films, including some early, cheap British ones. Once he finally started making movies in America, and grew in stature, he picked up several notable collaborators. That includes one of the best actors to never win an acting Oscar in Grant. He starred in four of Hitch’s films, with “North by Northwest” probably being the best remembered. After all, that’s the movie with the iconic scene of a plane trying to gun him down.
Hitchcock loved his blonde actresses, though he did not always treat them well. Kelly was the blonde of choice for three of Hitch’s films. This is notable because she made only 11 movies in her career. She then married into the royal family of Monaco and retired from acting. Kelly was actually planning to return to the big screen to star in Hitchcock’s “Marnie,” but sadly she died in a car accident before she could.
After starting his career as a screenwriter in Germany, Wilder moved to America and became one of the foremost directors of his generation. One of his key collaborators during that time was Lemmon, who was often paired with Walter Matthau as well. However, there is no Matthau in arguably the two greatest films produced by the pairing of Wilder and Lemmon: “Some Like It Hot” and “The Apartment.”
When you think of Stewart, you may think of Frank Capra, and with good reason! A couple of Capra’s biggest films featured Stewart, such as “It’s a Wonderful Life.” That being said, Mann and Stewart’s careers basically went hand-in-hand during the ‘50s. In the span of five years these two made eight films together starring Stewart, most of them Westerns.
McKay has moved on to making Oscar-nominated political films, but before that he and Ferrell combined to make some of the dumbest comedies in history, and we mean that as a compliment. They joined forces for their company, Gary Sanchez Productions, and on Funny or Die, but most importantly the first five films that McKay directed all starred Ferrell, including the legendary “Anchorman.”
Hepburn is a true Hollywood legend, and the four-time Oscar winner for Best Actress worked with all sorts of famous directors. Nobody did more work with her than Cukor, a legend in his own right, who directed her in a whopping eight films, including “A Bill of Divorcement,” her first-ever film.
Joel and Ethan Coen are great collaborators, but one assumes that Ethan isn’t Joel’s favorite person to collaborate with. That would probably be McDormand, given that she and Joel have been married since 1984, the year she starred in the Coen Brothers’ debut, “Blood Simple.” That was the first of nine films they have made together.
The Coens love a loud, big man, and Goodman does that role better than anybody else. Just think of him as Walter Sobchak in “The Big Lebowski.” That’s one of only six roles he’s performed for the Coens. Walter may be his most famous, but his turn in “Barton Fink” may be the best work he’s done in his career.
Yes, this one is early to call. Gerwig has only directed two movies. However, they both were nominated for Best Picture, and they both starred Ronan, and the two have quickly become synonymous. “Little Women” definitely isn’t the last time the two are going to work together.
Sadly, these two won’t get to work together again. Hoffman, arguably the best actor of his generation, acted in five of Anderson’s films. He was truly stellar every single time, especially in “The Master,” for which he should have won an Oscar. Hoffman’s tragic death from a drug overdose ended a truly magical partnership between director and actor.
These are two old-school men from a bygone era of Hollywood, but they both were among the best at their given crafts. Bogart gave one of his most indelible performances as Sam Spade in Huston’s directorial debut, “The Maltese Falcon.” That was the first of six films they made together, including “African Queen,” the film that won Bogart his acting Oscar.
Dunst was one of the stars of Coppola’s debut, “The Virgin Suicides.” Admittedly, it was Scarlett Johansson who starred in her biggest hit and most famous film, “Lost in Translation,” but Dunst has starred in three of Coppola’s six films. She also has a cameo in “The Bling Ring” as herself, for good measure. If we were letting actors double up, we could have also given Murray and Coppola a shout out, especially after "On the Rocks," which doesn't feature Dunst.
Tarantino has worked with a few folks regularly. Christoph Waltz and Tarantino are certainly tied together, given that Waltz has won Oscars for both of his roles in Quentin’s films. That’s only two films though. Jackson has appeared in six of Tarantino’s movies, including “Pulp Fiction,” arguably his quintessential role.
We tried to avoid film series, and admittedly three of Caine’s appearances in Nolan films are from the Batman trilogy. However, there’s more to the story here. In addition to three appearances as Alfred, Caine has acted in four other Nolan movies. On top of that, he provided a voice in “Dunkirk."
They’ve been together for only three films, but these two really packed a punch. Fincher directed Pitt in “Se7en,” “Fight Club” and “The Curious Case of Benjamin Button.” Though he just won an Oscar for a Tarantino film, Pitt’s still arguably best remembered for “Fight Club,” and these two will forever be remembered as collaborators.
We didn’t want to include Harrison Ford just because of the Indiana Jones films. That’s more about an actor and a director who are synonymous with the same character. The Spielberg and Hanks connection is something different altogether. Hanks, the most beloved actor of his era, has been in six of Spielberg’s films, two populists who have found themselves on the same wavelength.
Comedians can collaborate too. McCarthy had her breakout performance and got a rare Oscar nomination for a pure comedy role, in Feig’s movie “Bridesmaids.” That was just the beginning. McCarthy went on to star in Feig’s next three films, “The Heat, “Spy” and “Ghostbusters.” It’s been a few years, but a reunion between these two comedy powerhouses could arrive someday.
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https://blogs.libraries.indiana.edu/mediabeat/2022/02/18/cowboys-and-cacciatore-the-origin-of-the-term-spaghetti-western/
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en
|
Cowboys and Cacciatore: The Origin of the term “Spaghetti Western”
|
https://assets.iu.edu/favicon.ico
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https://assets.iu.edu/favicon.ico
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2022-02-18T00:00:00
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Though now collectively little more than a drop in the bucket of modern filmmaking, Westerns were once a much more popular movie genre. The 1950s through mid-1970s were widely considered to be the height of the genre, a “golden age” of Westerns with figures like John Wayne, Clint Eastwood, and Gary Cooper drawing crowds. The […]
|
en
|
https://assets.iu.edu/favicon.ico
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https://blogs.libraries.indiana.edu/mediabeat/2022/02/18/cowboys-and-cacciatore-the-origin-of-the-term-spaghetti-western/
|
Though now collectively little more than a drop in the bucket of modern filmmaking, Westerns were once a much more popular movie genre. The 1950s through mid-1970s were widely considered to be the height of the genre, a “golden age” of Westerns with figures like John Wayne, Clint Eastwood, and Gary Cooper drawing crowds. The films were so popular, in fact, that their influence can be found in other films made around the time – in the original Willy Wonka and the Chocolate Factory from 1971, Mike Teevee is seen wearing a cowboy outfit, referencing the popularity of the genre at the time.
But what is a “Spaghetti” Western? What distinguishes a “Spaghetti” Western from a regular Western?
“Spaghetti” Westerns are a subgenre of Westerns whose name references the circumstances and location of their filming. Generally, a Spaghetti Western is a low-budget film produced by Italian directors (hence the “spaghetti” connection) and filmed in Europe, primarily in Almería and the Tabernas Desert. Unconstrained by Hollywood’s film regulations (and, in particular, the Hays code which restricted film content at the time), Spaghetti Westerns are far more cynical and violent compared to their contemporary Hollywood cousins. Where a Hollywood Western typically idealizes the Old West, its pioneers, and rugged American individualism, the Spaghetti Western tears off this ideological veil, bringing the corruption, violence, and desperation of the time to the fore (though not always on purpose).
Many Spaghetti Westerns actually eclipsed the popularity of the genre that inspired them, and to this day they serve as inspirations for contemporary film. A number of tropes that continue to influence filmmaking today originated with the “Spaghetti”: western antiheroes; tense, dramatic close-up shots; and a particular style of colorful opening credits among them. These films (and Ennio Morricone in particular) would reinvent the “western sound” into something instantly recognizable and iconic (Masterclass, 2021).
Below are three giants of the Spaghetti Western genre:
The Good, the Bad, and the Ugly (1966)
Set during the Civil War, The Good, the Bad, and the Ugly stars Clint Eastwood as “The Man with No Name”(or, in the movie, “Blondie”) in this story about a trio of bounty hunters in pursuit of $200,000 worth of buried stolen gold, a fortune that would be worth over 7 million today. A story filled with revenge, confrontation, backstabbing, full of Sergio Leone’s signature lingering close-up shots, this film is widely considered to be the definitive Spaghetti Western. It is the last, and considered the best, in Leone’s trilogy of Spaghetti Westerns collectively referred to as “the Dollars trilogy”, including A Fistful of Dollars and For a Few Dollars More.
Once Upon a Time in the West (1968)
Once Upon a Time in the West centers on a pair of conflicts around the fictional town of Flagstone. Directed by Sergio Leone and with a score by the legendary Ennio Morricone (the undisputed king of Spaghetti Western soundtracks), this film was produced after Sergio retired from Westerns following his success with The Good, the Bad, and the Ugly. Paramount Pictures, however, persuaded him to produce one more by providing both the funding and a contract with Henry Fonda (Clint Eastwood turned down a role for this movie). Filled with political and economic corruption, betrayals, and gunfights over a valuable parcel of land, Once Upon a Time in the West is a slower and more thoughtful film, less fiery and spirited than its other noodly siblings.
Django (1966)
Directed by Sergio Corbucci, Django follows a Union soldier and his companion who become embroiled in a conflict between revolutionaries and Confederate Red Shirts (linked article requires IU CAS login). The film developed a reputation soon after its release for being incredibly violent (especially for the 1960s) which negatively impacted its reviews at the time. Only later would it develop a more cult-classic following. Despite its myriad murders, back-stabbings, and the brutal violence that permeates the film, Django is one of the few Spaghetti Westerns to have a more positive and upbeat ending, unlike the more cynical, pyrrhic notes on which many other films in this subgenre ended. The more modern Django Unchained (2012) from director Quentin Tarantino takes inspiration from this film, and Franco Nero (the original Django) actually makes a cameo appearance!
It is always illuminating when directors from one country or region take on the history and myth of another. Spaghetti Westerns offer an outsider take that continues to influence filmmakers’ and audiences’ perceptions of the American West, good, bad, and ugly. JS
**Summary credit to each film’s Wikipedia “plot” section: The Good, The Bad, and The Ugly; Once Upon a Time in the West; Django.
Sources used for additional information:
Masterclass Staff. “Spaghetti Western Film Guide: 5 Spaghetti Western Filmmakers.”. Masterclass.com. August 27, 2021. https://www.masterclass.com/articles/spaghetti-western-film-guide#what-is-a-spaghetti-western
Student blogger Joshua Peters holds a BS in Biology and is currently pursuing a Library Science Master’s degree. This is his first semester working in Media Services as well as his first blog post for Media Beat.
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3324
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https://www.hollywoodreporter.com/business/business-news/paramount-pictures-studio-hollywood-movies-1235838109/
|
en
|
The Ruthless Rise and Fall of Paramount Pictures During Hollywood’s Golden Age
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2024-02-29T16:40:13+00:00
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Paramount Pictures early years and history: The studio once defined the industry's zeal for consolidation, pioneering vertical integration.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/business/business-news/paramount-pictures-studio-hollywood-movies-1235838109/
|
“I’ve seen Paris, France, and Paris, Paramount Pictures,” Ernst Lubitsch said, or so they say, “and on the whole I prefer Paris, Paramount Pictures.”
The great director’s preference for the Hollywood city of lights over the French one expresses a common enough affinity for illusion over reality, but the studio in question was not chosen for alliteration alone. If gritty Warner Bros. specialized in mean streets and threadbare apartments and glitzy MGM spent big on grand hotels and emerald cities, Paramount transported moviegoers into realms of dreamy exoticism, allegedly set in Vienna, Budapest or St. Petersburg, but conjured with better-than-the-original costuming, set design, lighting and dialogue. In an age before jumbo jets, who was to quibble over verisimilitude?
A new version of Paramount looks to be a-borning: Controlling stakeholder Shari Redstone may put her company on the auction block. Whatever conglomerate or mogul buys the assets, it’ll have a legacy to live up to, whether it wants to or not.
The Paramount story begins with its legendary and long-lived founding mogul, Adolph Zukor. Born in 1873, a Hungarian Jew, he arrived in New York at age 15 and made his first real money in the fur trade, where he learned about the vagaries of fashion and the primacy of female tastes, not bad training for his next career move, the amusement trade, first penny arcades and then tent show exhibition at the dawn of cinema. In 1903, he joined forces with the theatrical impresario Marcus Loew and got in on the ground floor of a promising new business.
The first iteration of Zukor’s motion picture empire was the Famous Players Film Company, founded in 1912, whose motto was “famous players in famous plays.” Like Carl Laemmle at Universal, he understood early on that people came to the movies to look at faces, so he paid the famed stage actress Sarah Bernhardt the regal sum of $35,000 to import her French-made starring vehicle Queen Elizabeth (1912), a biopic comprised of “three artistically tinted and toned reels.” He paid even more for the first true superstar of the silent screen, Mary Pickford, who made her name at Biograph but her fortune at Famous Players. Hired at $1,000 per week in 1913, America’s moneywise sweetheart was raking in $250,000 per year by 1916.
The other pillar of the Zukor enterprise was architectural. Foreseeing that ramshackle nickelodeons would not long contain a burgeoning mass audience, he gobbled up real estate, retooled theatrical houses and built grand motion picture palaces to showcase the emerging art. In 1914, Famous Players merged with a prestigious sounding outfit founded by distributor W.W. Hodkinson, Paramount Pictures Corporation. Hodkinson had created a memorable trademark for the company: a circle of stars wrapped around a snow-capped Rocky Mountain (Hodkinson was from Utah). Zukor soon ousted Hodkinson, but he kept the name and logo, still in use. By around 1916, the Paramount Pictures we know had come into being with the establishment of a West Coast production plant to match its East Coast plant in Astoria, New York. The latter was overseen by Jesse L. Lasky, Zukor’s longtime collaborator and competitor. Lasky would remain a vital player at Paramount until 1934.
Zukor’s zeal for consolidation and acquisition was relentless. He formatted the economic program that defined classical Hollywood cinema — the vertical integration of production, distribution and exhibition under a single studio shingle. A true oligopoly, it would serve as the model for each of the four other major studios that made up Hollywood’s Big Five (Warner Bros., MGM, Fox and RKO). As the film historian Robert Sklar stated in his landmark 1975 study Movie-Made America: A Cultural History of America Movies: “The studio system was the house that Adolph Zukor built.”
Under the management of B.P. Schulberg, head of production from 1925 to 1932, Paramount thrived with an eclectic and diversified product line. The highlight reel would include jazz age avatar Clara Bow, who embodied the antecedent in It (1926); William Wellman’s aerial spectacle Wings (1927), the first best picture winner; and Rouben Mamoulian’s innovative early sound film Applause (1929). Already, the studio was cultivating a reputation for smarts and sophistication. Overhearing his father and screenwriter Herman J. Mankiewicz breaking down the script for Mamoulian’s film version of Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde (1931), Budd Schulberg knew that “they weren’t ignoramuses butchering the classics; they were men and women who knew their Stevenson and were serious about bringing his work to the screen as authentically as possible.”
By the early 1930s, the Paramount house style had emerged. The code word was “Continental” — meaning that in location and attitude, the films affected a suave European worldliness about human desire that might ordinarily be expected to shock Victorian Americans — a mistress on the side, an adulterous lapse, a session of no-guilt transactional sex, all conducted in elegant-to-baroque surroundings somewhere offshore. Two directors — one florid, one discreet — typified Paramount in peak form: the authentically Viennese but bogus aristocrat Josef von Sternberg and the brilliant comedian of manners, Ernst Lubitsch.
Von Sternberg’s breakthrough was The Blue Angel (1930). Shot for Paramount at UFA studio outside of Berlin, simultaneously in German and English language versions, it brought Weimar decadence stateside in the person of Marlene Dietrich, who left for Paramount the very night the film premiered in Berlin. “She’s an eyeful,” low whistled Variety, eyeballing “those Continental soubrette costumes of much stocking, bare limb, and garters.” Commenting on the von Sternberg-Dietrich collaboration, film historian Ethan Mordden marveled at “a Continental art of such gesticulative eroticism, such impishly grotesque sophistication, that even today it’s hard to believe that Paramount let them make six films together within five years.”
Lubitsch’s eponymous touch was already his auteurist billing when he came from Germany to Hollywood in 1922 — brought over by Pickford, to supervise her persona shift as a Spanish street singer in Rosita (1923) — but he imprinted his “saucy but not salacious brand of screen satire” at Paramount. In Lubitsch’s hands, the potentially censor-enraging Design for Living (1932) — about a ménage á trois — could be utterly disarming with a practical solution for an age-old problem: A girl like Miriam Hopkins shouldn’t really be forced to choose between Gary Cooper and Fredric March, should she? Such was Paramount’s reputation for “smart and sophisticated” screen fare that studio publicity had to pull back for fear of scaring away the rubes. “Don’t misunderstand the word ‘smart,’” the pressbook for Lubitsch’s Trouble in Paradise (1932) assured exhibitors. The film was “not over the heads of the mob — and not a picture for the intelligentsia only.”
The Continental (the word is inescapable when talking about Paramount) spirit onscreen also seems to have infused the studio workplace. Passing under the Bronson Gate on Marathon Street (a signpost almost as famous as the “Paramountain”), cast and crew entered a self-contained community with its own barbershop, gym, clinic and cafeteria (where Cecil B. DeMille could be spotted at his table, presiding like Ramses).
Even allowing for the nostalgic gauze filtering the lens of memory, studio veterans speak of Paramount as kind of backlot Camelot. In Sam Wasson and Jeanine Basinger’s Hollywood: The Oral History, cinematographer Ray Rennahan recalls Paramount as “the most homey and pleasant place to work of all of [the studios]. It was very friendly.” Director George Seaton used a German word to describe the cozy atmosphere: “It was very gemütlich.” In Sunset Blvd. (1950), even the haughty star Norma Desmond knows the name of the guard at the Bronson gate when one Paramount director, Billy Wilder, takes us inside to see another Paramount director, DeMille, at work.
Sometimes Paramount could be too welcoming to flashy foreigners with a signature style. In 1930, Jesse Lasky signed the Soviet director Sergei Eisenstein to a six-month contact. Why not? It worked with the Germans. “Mr. Eisenstein has been loaned by the Soviet government to that old radical group, Paramount, and he had hardly set foot on our Republican soil before he was [feted with] banquets and toured around town in Rolls-Royces by the local proletariat,” noted a bemused account in Motion Picture News. Unlike the German imports, however, Eisenstein refused to get with the capitalist program — he insisted there would be no talk, plot or stars in his films. Paramount and the Bolshevik parted ways before his contract was up.
Soon enough, though, Hollywood was having its own problems with capitalism. No studio was hit harder by the Great Depression than Paramount. Property rich but cash poor (it then owned 900 first-run theaters, all of which required massive investment for retooling for sound), it could barely meet its payroll. Worse yet, the revenue stream at the ticket window had dried up. “The Paramount flop in quality production” was the talk of the town.
By 1933, Paramount was on the verge of going belly up. In March, it filed for bankruptcy, the first major studio to be forced to do so. Scores of employees received pink slips. Zukor was not going to fire himself, so he fired B.P. Schulberg as head of production and began a frantic restructuring of production and finances. “Think of it,” said Billy Wilkerson, editor-publisher of The Hollywood Reporter, when he heard the news, “a company that, from the very start, meant tops in this business, a company the trademark of which was imprinted on the mind of every moving picture fan in the country, Paramount, a bankrupt now.”
What reversed Paramount’s death spiral was the timely arrival, not of a foreign director but a homegrown force of nature, the sass-mouthed, hip-swaying multihyphenate Mae West. Her back-to-back smash hits She Done Him Wrong (1933) and I’m No Angel (1933) single-handedly and double entendre-ly saved Paramount from insolvency. Called “the biggest sensation Paramount has had in more than 10 years,” West was the studio’s life preserver, which was only fitting since that’s what sailors called their chesty flotation devices during World War II. “The wages of sin in all cases is not death,” she wisecracked, proving her own maxim. Thanks to West, Paramount ended the year with a $6 million surplus.
In 1935, Lubitsch — a director — was appointed head of production at Paramount, another indication of how friendly the studio was to the talent. Contrary to expectations (“it is like taking one of the world’s greatest plastic surgeons and making him overseer of a general clinic”), it was not a case of promoting an artist to his level of managerial inefficiency. Lubitsch recruited some A-list colleagues — Frank Borzage, Lewis Milestone and King Vidor — but, thankfully, he returned to his true vocation the next year.
Under president Barney Balaban (1936-64) and vp in charge of studio operations Y. Frank Freeman (1938-59), Paramount enjoyed a long and healthy period of managerial stability. Freeman kept with the institutional ethos, mainly staying off the soundstages and letting the directors do their work. Freeman “quite honestly confessed that he knew nothing about films so he just let the filmmakers make the film,” said George Seaton.
In the later 1930s and during the war years, Paramount, like the rest of Hollywood, found it hard to lose money. Its most popular star was probably Bing Crosby, who in the end earned the studio more money than West with a series of ludicrously popular “road” films, beginning with The Road to Singapore (1940), with radio superstar Bob Hope. Crosby was even more successful as a singing priest in director-producer Leo McCarey’s Going My Way (1944) and The Bells of St. Mary’s (1945), the top box office hits of their respective years. Meanwhile, perhaps only Paramount would have rolled the dice by promoting a couple of mere screenwriters, traditionally Hollywood’s bottom feeders, into the director’s chair: Billy Wilder and Preston Sturges.
After the war, the bill for Zukor’s aggressive acquisition of theaters suddenly came due. The coast-to-coast circuit of Paramount theaters (in 1938, it owned 1,400 theaters in the U.S. and 275 in Canada) made the studio the target of choice when the Department of Justice sued the motion picture industry under the Sherman Antitrust Act for conspiring to create a monopoly in restraint of trade. The argument made by Paramount’s lawyers — that the monopoly existed only in the DOJ’s mind — proved unpersuasive. In 1948, when the Supreme Court issued its historic ruling that the studios must jettison their theater chains, it was Paramount that gave its name to the decision. The house that Adolph Zukor built was slated for demolition and with it the rest of the neighborhood.
As was true for all the major studios in the postwar era, Paramount underwent a gradual erosion of brand identity. The atmosphere behind the Bronson gate also became less gemütlichkeit. In 1953, George Weltner, head of international distribution for Paramount, suggested to Wilder that the Nazi spy who infiltrated the American POW barracks in Stalag 17 (1953) be changed to a Polish spy for release in the German market. A furious Wilder severed his 20-year relationship with the studio that had nurtured him.
However, for another old Paramount hand, the studio bond was still intact. The biggest hit of the decade — for Paramount, for Hollywood — came from the man who had been at the studio on and off since the very beginning, Cecil B. DeMille. Based on best-selling public domain source material, The Ten Commandments (1956) boasted a cast of thousands, state-of-the-art FX and enough pagan fun at the foot of Mt. Sinai to make up for the Mosaic lectures. The spectacle pulled millions of lapsed moviegoers away from their televisions for a motion picture event that was akin to a religious duty (“See The Ten Commandments — Keep the Ten Commandments!” urged ads). A company man, DeMille spread the wealth around. In a deal unprecedented in industry history, he earmarked a percentage of the profits for staff and crew who had been with him at the studio for a decade or more.
After The Ten Commandments, it was mostly downhill for the Paramountain — all the way down, actually. By 1966, the year the studio was bought by Gulf and Western, a mineral and mining company, its box office performance ranked dead last of the nine motion picture companies. The new ownership did not seem to place a high priority on the studio: The company’s first-quarter report referred to its sideline acquisition as its “leisure time division.” Variety snapped back: “also known as Paramount Pictures Corporation in the trade.”
Hollywood’s worst fears seemed confirmed when G&W board chairman Charles Bluhdorn appointed as head of production a pretty boy former actor named Robert Evans, a Type A hustler whose managerial approach was definitely not hands-off. The choice turned out to be inspired. Evans guided Paramount back on top with an astonishing run of crowd-pleasing hits like True Grit (1969) and Love Story (1970) and critical and commercial masterpieces like The Godfather (1972) and Chinatown (1974), one of which is certainly the best film of the decade.
Amazingly, in 1975, the year Evans left Paramount to go into independent production, Zukor, “the old man” (he had been called that since the 1930s), was still in harness as board chairman emeritus at the studio he had founded 60 years before. In Hollywood histories and archival documentaries, Zukor tends to get overshadowed because he was “everything that the fictional film tycoon was not,” as The New York Times noted. So, when Zukor died in 1976, at the age of 103, MPAA president Jack Valenti had no colorful anecdotes or amusing malapropisms to repeat, just a poignant truth: With “his death snaps the last link to the giant founders of the film in America.”
The last human link, that is: The house that Zukor built and the logo he lifted are still around. If you’re in the market, the brand has proven value.
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https://journals.openedition.org/ejas/10165
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DeMille and Danger: Seven Heuristic Taxonomic Categories of His Hollywood (Mis)Adventures
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2014-01-02T00:00:00+01:00
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The legendary producer-director Cecil B. DeMille was an unsung auteur, a master of the American cinema, and a seminal cofounder of both Hollywood and Paramount Pictures who was professionally enamoured with the pursuit of sensationalism, authenticity and realism for his crowd-pleasing productions. Whilst pursuing this filmic quest, many of his crew were subjected to real danger, distress and injury, sometimes mortally. Utilising humanist film criticism as the guiding analytical lens, the critical DeMille, autobiographical and related anecdotal literature was selectively reviewed for illustrative instances of this infamous production penchant. Seven heuristic taxonomic categories were identified and explicated herein, namely: (1) Unexpected Working Accidents: From Annoying to Dangerous to Deadly, (2) Pain as a By-Product of Production: Expected and Unexpected, (3) Personal Discomfort as a Professional Norm: More Real Than Real?, (4) Professionalism as Expected Risk-Taking: Normalising Danger, (5) Miserliness and Rebellion: Managerial Risk-Taking, (6) The Engineering of “Accidents”: Applied Miserliness?, and (7) Bravely Leading from the Front: DeMille as Macho-Man. It was concluded from this montage of reported incidents that DeMille played a very colourful part in creating the factually-based legends of this never-to-be-repeated Golden Age of Hollywood. Further research into DeMille studies, the expansion of the above-constructed categories, and other autobiographical reminiscences about Tinsel Town is warmly recommended; whether as history, art or entertainment.
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en
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http://journals.openedition.org/ejas/10165
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1.0 Introduction
1Cecil B. DeMille1 (1881-1959), affectionately known as CB, was a seminal cofounder of Hollywood and a progenitor of Paramount Pictures (Birchard; Cherchi Usai and Codelli; DeMille and Hayne; Edwards; Essoe and Lee; Eyman; Higashi Guide, Culture; Higham; Koury; Louvish; Noerdlinger; Orrison; Ringgold and Bodeen). In 1913, he changed careers from the theatre to the cinema and moved from New York to California to help make a world-class movie centre out of a Californian orange grove that eventually became a worldwide synonym for cinematic success—Hollywood. This unsung “auteur of auteurs” (Vidal 303) was not only a seminal film pioneer who helped institute “the Age of Hollywood” (Paglia 12). DeMille became internationally famous as the American father of the biblical epic with his indelible classics: The Ten Commandments (1923), The King of Kings 91927), Samson and Delilah (1949), and The Ten Commandments (1956). These religious epics sat alongside many of his other notable landmark productions ranging from his silent crime drama The Cheat (1915) to his Oscar-winning circus story The Greatest Show on Earth (1952).
2During his prodigious filmmaking career that spanned almost five decades (1913-1959) and seventy feature films, the iconic DeMille became the archetypal image of a movie director; especially when wearing puttees, barking orders through a megaphone, and having a chair boy follow him two lock-steps behind his every move. He quickly became an enduring screen legend full of glamour, thrills, and spills, and wherein DeMille himself became the “Golden Age of Hollywood summed up in a single man” (Mitchell 17). His filmmaking passions included the pursuit of sensationalism, authenticity, and realism, which frequently meant that his crew were subjected to real danger, distress and injury, sometimes mortally, due to a lack of special effects and the need for spectacular stunts. This practical eventuality was confessed to by DeMille himself (DeMille and Hayne 93) and attested to within numerous critical reviews, autobiographical tomes, and nostalgic crew reminiscences. An introductory survey and taxonomic categorisation of some of these reported DeMillean dangers is thus intrinsically interesting, historically revealing, and a necessary nascent foundation for further investigations into the man, field, and theme, especially one that is frequently under-investigated and not collated in one convenient spot before.
3Consequently, DeMille’s cinematic oeuvre, critical literature, and associated autobiographical reminiscences from his cast, crew, and commentators were selectively reviewed, categorised, and integrated into the text to enhance narrative coherence (albeit, with a strong reportage flavour), utilising textually-based humanist film criticism as the guiding analytical lens (Bywater and Sobchack 24-47). This grossly under-utilised methodology is applicable to all genres ranging from science fiction (Telotte 35-38) to literary autobiography (Johnson). It assumes that audiences are cultured, accept the cinema as fine art, and have seen the movies under discussion. Its main pedagogic function is to identify noteworthy incidents and foster critical commentary rooted in primary and secondary sources (e.g., memoirs, autobiographies, film journals); and especially the tracking and interpretation of motifs, symbols, themes and other behind-the-scenes construction secrets, tropes and topoi.
4Although autobiographical reminiscences and related anecdotal literature are intrinsically subjective and can suffer seriously from errors and distortions by not doubting its witnesses, this bias is ameliorated by reliance on a diverse range of evidential sources, interlocking continuances, and cross-referencing. Nevertheless, autobiographical accounts in particular are intrinsically valuable because they are good sources of direct and intimate information focused on the events of interest, and usually done in more depth, detail, and emotional impact than generalised accounts. But even when the sources are not totally objective, they still add significantly to our bank of knowledge of the kinds of stories that DeMille’s cast, crew, and commentators wanted to tell about him, which itself is invaluable for folkloric studies of this fascinating person, process, and period of Hollywood history.
2. Seven Heuristic Taxonomic Categories of DeMille’s Hollywood (Mis)Adventures
5The introductory literature review revealed many illustrative exemplars of the DeMillean filmmaking practice-cum-(mis)adventure thematic, which were subsequently sorted into the following seven heuristic taxonomic categories (with some minor degrees of overlap): (1) Unexpected Working Accidents: From Annoying to Dangerous to Deadly; (2) Pain as a By-Product of Production: Expected and Unexpected; (3) Personal Discomfort as a Professional Norm: More Real Than Real?; (4) Professionalism as Expected Risk-Taking: Normalising Danger; (5) Miserliness and Rebellion: Managerial Risk-Taking; (6) The Engineering of “Accidents”: Applied Miserliness?; and (7) Bravely Leading from the Front: DeMille as Macho-Man. The following is a brief explication of each of these categories utilising a copious montage of narrative excerpts and mini stories to illustrate the phenomena.
2.1 Unexpected Working Accidents: From Annoying to Dangerous to Deadly
6Accidents occur on film sets for a variety of reasons ranging for the annoying to the dangerous to the deadly. For example, House Peters was playing the role of Ramerrez in The Girl of the Golden West when a “pistol exploded, and he was badly burned on the face and hands” (Katchmer 785). Whilst filming the bullfight scene in Carmen, DeMille explained how the bull
caught my matador with his feet badly placed, and the next thing we knew the bullfighter was spinning through the air and landing hard squarely in front of the bull. The bull lowered his head to gore the man to death. We were helpless. But nature, which is benign at times, had helped by giving the bull, out of all the thousands of bulls born in his generation, a pair of horns set unusually wide apart, [sic] Instead of cruelly piercing the prone body of the matador, the horns gently cradled him and lifted him into the air in their embrace; and when the bull recovered from his surprise, the bullfighter had time to land again, far enough away for safety. The camera caught it all. (DeMille and Hayne 132)
7During filming of The Sign of the Cross, DeMille was screen testing a pack of elephants when they were suddenly alarmed:
One of our players, Bob Miles, was caught in the very middle of the stampede. But the female elephant carrying him in her trunk put Bob on the ground and stood over his body and stayed there immovable, shielding Bob with her sturdy bulk and her great legs like trees, until the other crazed pachyderms were corralled and quieted. If that one elephant had not had presence of mind or protective instinct or whatever it was that made her a nonconformist among the herd, nothing could have saved Bob Miles from being trampled to death. (DeMille and Hayne 295)
8This benign result is especially miraculous considering that the animal trainer from TV’s Tarzan (1966-1969) “was killed when an elephant, startled by a pack of stray dogs, hoisted him in his trunk and flung the man against a building, killing him” (Rovin 162).
9Whilst filming the Indian uprising story, Unconquered, stunt woman Polly Burson was subjected to other unforseen dangers. As she explained:
There’s a scene where we go over a waterfall in a canoe and grab onto a tree limb. It was one of the most unrealistic stunts I’ve ever done. They sent the canoe over a waterfall near McCall, Idaho, on the Snake River, with dummies in it. Then they came back to the studio in California and they put another dummy in the canoe—me. We had to grab a branch and swing under this artificial waterfall onto a ridge. There was a fellow that manually swung the limb out. But nobody thought about how strong or swift the water was, and it just flung him away. They couldn’t stop the rushing water until the dump tank ran dry. When we hit the waterfall, it just caught us. They had a net underneath, and we landed in that. It was a struggle for me to roll off my back and onto my face before I drowned. (Weiner 29)
10Furthermore, “DeMille used dozens of real fireballs and flaming arrows in the battle scene; eight persons suffered burns and one extra’s hair was burned” (Hanson and Dunkleberger 2648).
11The spectacular train wreck scene with dangerous animals on the loose within DeMille’s circus epic The Greatest Show on Earth worried the pinned down Charlton Heston. As he recalled:
The plan was to have a black panther leap out of the cage and escape through the bent bars. Of course, I was in no position to argue about this because there I was, pinned down to the hilt. So they got the panther, but the animal stayed in the back of the cage, and was disinclined to go anywhere else. “Don’t worry, I’ll just goose him in the ass with an air hose,” said the trainer. “Don’t goose him in the ass with an air hose,” I hissed between my teeth. So they did. The panther, seething with rage, jumped right on top of my chest, adding to my already considerable discomfort. I decided it was best to play dead, but let me tell you, panthers have horribly bad breath. Lydia [Heston] was on the scene throughout the filming, gripping a still camera that DeMille’s stillsman had taught her how to use. “I was watching all of this,” Lydia says, “and I was quite terrified.” “You were terrified?” Chuck laughs. “I was terrified!” “Well,” Lydia says, “finally they brought the elephant who was supposed to lift the cage that was pinning him down.” “Ninya was her name. A very good elephant.” “But there was a nail on the ground and it went right through the elephant’s foot. She trumpeted and pounded her feet and—” “There I was...dead again!” he laughs. (Heston and Isbouts 44-45)
12Heston survived the terrifying ordeal to forge a glorious career for himself and so he could well afford to laugh graciously in retrospect.
13Other worrying accidents occurred during the filming of The Ten Commandments (1956). Frank Westmore, DeMille’s makeup artist, had prevented a near fatal accident involving ten aging, wingless aeroplanes that were used to generate a hellish desert sandstorm for the film. As he explained:
One of the extras, who was carrying a burning torch, tripped in his haste to escape the blast of sand and fell into a little girl marching in front of him. The flaming fuel sloshed out and set her clothing on fire. Luckily I was standing just a few feet from the child. I reached out, jammed my arm inside her costume, and literally tore it off her body. Some of our Egyptian extras were bitten by scorpions blown out of their burrows in the sand, and one man was bitten by an Egyptian cobra. (Westmore and Davidson 159, 162)
14During the making of the war film, The Captive, death stalked the set and claimed an innocent victim. A detachment of soldiers were supposed to storm a heavily locked door, which had to be splintered with live bullets before being broken down with rifle butts. The door was dutifully shot and splintered and then DeMille ordered that blanks be substituted for the remainder of the scene. Consequently,
[t]he soldiers charged the door, battered it with the butts of their guns. Several of the guns discharged their blanks as planned—and then I saw an expression of surprise come over the face of one of the soldiers. He faltered, and then I saw the neat bullet hole in his forehead, and he fell dead at my feet. One of the players had neglected to make the change I had ordered from live ammunition to blank. The muzzle of his gun happened to be pointed squarely at the head of another man. And now that man was dead. It was pure accident of course. No examination of the guns could show which one had killed him, since several of them had discharged their blanks at the same time. No one ever knew, officially, who had carelessly omitted to unload one of the rifles.... (DeMille and Hayne 116-17) [my emphasis]
15In effect, it was accidental death by de facto firing squad.
2.2 Pain as a By-Product of Production: Expected and Unexpected
16Occasionally, crew pain was either an expected or unexpected by-product of DeMille’s production desires. For example, whilst filming the ancient Aztec adventure, The Woman God Forgot (1917), John “Jack” Gilbert took screenwriter John Lee Mahin to Inceville (the old Ince studio) and pointed out its Aztec pyramid prop and fully expected pain by-product: “It had been made of wood and covered with paper, upon which sand had been glued for a rocklike appearance. The result was stone-colored sandpaper. Jack said the extras were thrown down the sides of the pyramid and a man stood at the bottom with a bucket of iodine and patched them up” (Fountain and Maxim 198). However, serious pain was an unexpected by-product of filming his legal drama, Manslaughter (1922). DeMille’s desire for realism required stuntman Leo Noomis to crash his police motorcycle into the side of a car at about forty-five miles an hour. Unfortunately, in the attempt Noomis “broke six ribs and his pelvis” (Wise and Ware 43).
17At other times, crew pain was covertly engineered with a tinge of cruelty for additional dramatic effect. For example, whilst filming his Mexican melodrama, Fool’s Paradise (1921), Conrad Nagel nearly lost his life. This DeMillean thriller
involved a scene where one of the heroines, Mildred Harris, tests the love of her two suitors, a prince (John Davidson) and Arthur Phelps (Conrad Nagel), by throwing her glove into a crocodile pit with four of the hungry-looking reptiles slithering about. The one who retrieved the glove would win her love. Of course, Nagel, as the leading man, was the one to descend and battle the beasts. DeMille had obtained the crocodiles from the Los Angeles zoo. They ranged from seven to ten feet in size. Crocodiles away from their native waters are not particularly savage, but these four had not been fed for several days while at the studio.
At rehearsal Nagel lowered himself into the pit and after a brief pause, the crocodiles started toward Nagel. He retreated slowly, brandishing a short spear, but they kept slithering towards him. With his back to the wall, he lunged his wooden spear at the nearest reptile, who snapped it into two pieces. With a shriek he grabbed one of the property vines lining the wall and tried to pull himself out of the pit. His weight was too much for the fragile vine, and he fell flush on his shoulders several feet towards the center of the pit. He jumped to his feet and ran to the opposite side where a rope had been lowered. No sailor ever scaled the side of a ship with more agility as Nagel scaled that wall of stone and concrete.
When he reached the top, he sprawled on the floor without speaking or moving for ten minutes. When he did raise himself on an elbow there was deMille grinning at him. He told deMille to get a substitute for the shooting as he wouldn’t go down again for all the picture’s receipts. “Fine,” replied deMille. “You see, I had the cameraman shooting all the time. You acted exactly as a man would naturally under such circumstances. It’s going to be a whale of a scene. I’m sorry you had to do it, but it’s good stuff. (Katchmer 717)
18Either DeMille was a cunning filmmaker who had tried to get around potentially vigorous actor protestations, or he actively saved face (and his valuable ogre reputation) by his snappy retort when Nagel refused to repeat the scene.
19Occasionally, crew pain was a by-product of DeMille’s over-zealousness desire for realism that stopped a smidge short of fatal seriousness, as happened to Lina Basquette during the filming of his atheism and reform school drama, The Godless Girl (1929). Basquette and George Duryea were trapped in the corner of a building by fierce flames.
The fire was chemically treated and controlled by a special, experienced crew. Our hair, clothes, and exposed flesh were smeared with an asbestos coating that fireproofed against actual burning, if not against the unbearable heat. The scene was photographed through a telephoto lens, with De Mille, the cameras, and crew well out of range of the intensity of the heat. Bellowing through his bull horn, C.B. ordered more flames. “My God!” George Duryea gasped, “What’s he trying to do? Roast us alive?”...Duryea was justifiably frightened. His terror seemed to calm me and I was able to quip, “Well, Georgie, they say De Mille eats roasted actors for midnight supper.” I giggled, “Hope he gets indigestion!” “How can you joke at a time like this?” “More flames!” De Mille roared. “Get them brighter!” “The man’s CRAZY!” sobbed Duryea. “Say your prayers, Georgie. Now you know how the hinges of hell feel” “I’m getting out of here, Lina!” “No! George! Stay! You’ll spoil the scene!” “To hell with the scene! Are you coming?” “NO!” (Basquette 132)
20Basquette stoically stayed behind because she was trying to curry favour with DeMille. She and Pev Marley, DeMille’s chief cameraman, were secretly engaged and they had kept this secret from DeMille, who supposedly would have been furious if he had found out. She explained:
Here was my big chance! De Mille loved gutsiness! The bald-headed-son-of-a-sea-cow would forgive me anything if I pulled off this scene. I heard De Mille shout, “Stay where you are, Lina!” I kept cowering in the corner, improvising action now that my leading man had left me to a fate worse than De Mille’s wrath. The cameras rolled on and on. “Fine! Fine! Keep it up, girl!” The Chief sounded like a cheer leader rooting the home-town’s quarterback to a touchdown. “Marley! Get another camera on this! Get a close-up lens!” A leaping flame struck out at my face. DAMN! This was getting too close! I screamed! But I stayed glued to my corner. “GOOD GIRL! GREAT! Shoot another gust of fire at her! “YELL, GIRL! Throw you [sic] arms up over your head! TERRIFIC! This is SENSATIONAL, eh, Marley? “Yes, Chief, but--” “MORE FLAMES! That’s what I call a TROUPER! WHAT A GIRL! She has GUTS! “Cooked guts,” I thought, but gave the scene all I could. I was scorched as I’d have been from staying too long under a sunlamp. “Okay! That’s it! Take away the fire. CUT! CUT!!”
I could barely stagger to my feet. After one step I collapsed against a prop man as he threw a wet blanket over my steaming body. Pev rushed to me. “Sweetheart! Are you all right?” My burns hurt like hell...On close examination, it was found that my eyebrows and lashes had been singed, and blisters had popped up on my forearms. Otherwise I was not permanently damaged. De Mille came up and slapped me on the back. He was actually grinning. “I’m proud of you, Girl!” “Thank you, Mr. De Mille,” I said, with all the modesty I could muster through gritted teeth. De Mille then turned to Pev. “She’s much too good for you, Marley. But you both have my blessing.” (Basquette 132-33)
21Interestingly, the DeMillean demand for professional poise that was to be obeyed (almost) automatically nearly caused the serious injury of Dorothy “Dottie” Lamour (playing Phyllis the “iron jaw” circus girl), who hangs from her teeth in The Greatest Show on Earth. Over her natural teeth she wore fake teeth which were attached to a wide leather strip. At the end of the strip was a swivel device that hooked onto the rope and she was hauled into the air to perform her twirling stunts without a net. She was coached by circus professional Antoinette Consello, but one day a publicity photographer nearly caused her grief: “That particular photographer had worked with me many times before, and before tripping the shutter, he always reminded me to smile. Now, from force of habit, he called down, “Dottie, smile!” “No!” screamed Antoinette, in a near faint. Had I smiled, every tooth in my head would have come out with the pressure. Slowly, they pulled me up as I froze in a ballet pose” (Lamour and McInnes 184).
22Sometimes life-long suffered occurred because of unexpected production outcomes, as happened to Ray Milland starring in Reap the Wild Wind (1942). As he revealed: “I had black, wiry hair and always worried every morning before going on location how to damp it down. The role . . . demanded curly hair. They gave me women’s permanents with the electric curlers and all that. After seven weeks of shooting, I found my hair coming out by the handfuls. Ever since . . . I used a hairpiece” (Parish and Stanke 255), whilst Milland’s co-star John Wayne suffered a chronic inner-ear problem for years after as a result of working underwater in the film (Davis 101).
2.3 Personal Discomfort as a Professional Norm: More Real than Real?
23Given DeMille’s penchant for authenticity, realism, drama, his crews’ discomfort became a professional norm with little room for the weak or the cowardly. For example, Victor Varconi and Leatrice Joy starred in the factory drama, Triumph (1924), and were subjected to a number of dangers that Varconi eagerly recounted in his autobiography.
In a climactic scene Victor was to save Miss Joy from a burning building. It wouldn’t have been too bad if it was your average, run-of-the-mill hotel. Say the Ritz in Paris or the Savoy in London. However, this was a “DeMille” hotel. That meant instead of carrying a girl down thirty steps through light smoke, you had to stumble down at least one hundred through a blazing hell. And DeMille was probably somewhere building more steps while you rehearsed. It was also a “DeMille” fire. No wisps of smoke but enough pollution to blanket Pittsburgh. He made the first three steps before slipping. By the sheerest good fortune he managed to grasp the staircase railing with one hand and hang onto Leatrice Joy with the other. If some people on the set didn’t notice the slip, the yelp from the actress indicated she had. Triumph had very nearly turned into “Disaster.” Varconi continued down from the heights and eventually deposited Miss Joy in the arms of a wardrobe woman, his heart pounding mightily. DeMille called him aside, totally unruffled. “That wasn’t bad, Vic. But you almost lost control there at the top of the stairs,” DeMille said. “When we shoot that scene again, you must be careful. You see, Leatrice is expecting.”
The Hungarian had heard too much of DeMille’s tricks to fall for this obvious ploy for concerned emoting. He returned to the smouldering staircase, hefted Leatrice onto a healthy Hussar shoulder and once more threaded down the burning pathway. There he was, juggling Leatrice Joy, cursing the boat that brought him to this smoke-filled insane asylum and praying for a breath of fresh air. If only he could live through the first few scenes things might be all right. DeMille loved the scene and never mentioned Leatrice’s condition again. Of course, what Victor had suspected was that DeMille was making up the pregnancy to inject more realism in the scene. But twenty years after Triumph, he went to a party in New York and Leatrice Joy introduced him to a lovely young woman. “I want you to meet the other woman you saved in your dash down the staircase,” she said, “This is my daughter.” (Varconi and Honeck 25-26)
24Similar actor discomfort occurred during the making of the reincarnation tale, The Road to Yesterday (1925), starring Joseph “Pepi” Schildkraut, who was the human centrepiece of a dramatic train crash scene. It was so dramatic and potentially dangerous that it scared Joseph’s mother into planning premeditated violence against DeMille. Schildkraut reported in his autobiography:
It was a night sequence and the accident was staged in the yards of the Southern Pacific Railway. I sat in a compartment of a car looking out the window at the supposedly passing landscape, while in back of me a steam locomotive was to crash through my car, stopping just one foot behind me. It was not a pleasant feeling to sit there and wait for that crash, hoping the engineer would stop in time. He did stop at the prearranged spot, but we had not thought of the hot steam escaping from the engine. It scorched my face and hands. In spite of my pain I did not move, according to the script presumably dead, until de Mille whistled the all-clear signal and I could climb out of the car. A physician and nurses rushed to my aid. Fortunately, I had not been hurt badly. My parents were among the guests who had been invited to watch this spectacular scene. But not until days later was I told about Mother’s reaction. When the locomotive started to move, Mother suddenly picked up a heavy stick of wood and hid it behind her back. Father looked at her stupefied. “What are you doing?” he asked her. “If something happens to Pepi in this scene,” she said quietly, without raising her voice, “I’ll kill that guy.” And she pointed to de Mille. No, she was never impressed by his domineering pose. (Schildkraut and Lania 184-85)
25Another palpable incident of actor discomfort due to DeMille’s need for realism occurred during the making of the castaway tale, Male and Female (1919). In this cinematic version of James M. Barrie’s famous play The Admirable Crichton, Crichton the butler (played by Thomas Meighan) “kills a leopard with a bow and arrow and brings it back to camp for food. De Mille did not like the look of a stuffed leopard so he used a real one which had been chloroformed. During the scene, there were numerous delays and finally a nervous, cursing Meighan pleaded with De Mille to complete the scene as the leopard was coming back to life” (Bowers 691). Meighan’s discomfort was very understandable because that leopard had been saved from the Selig Zoo and was going to be destroyed “because it had killed a man” (DeMille and Hayne 205). According to DeMille, the limp, drugged body of the leopard that was languidly draped around Meighan’s shoulders “began to talk in his sleep. First cosy sighs and purrings, then low, contented growls, then, as the drama of his dream progressed, more ominous snarls and snorts issued from the head that was muzzling close to Tommy Meighan’s ear. If Male and Female had not been a silent picture, the microphone would have picked up lines that Jeanie Macpherson never wrote” (DeMille and Hayne 206).
26However, Meighan’s discomfort paled in comparison to Gloria Swanson’s dilemma within the same film. During the Babylonian flashback scene entitled “The Lion’s Bride,” DeMille decided to use a real, non-drugged lion positioned on top of prostrate Swanson wearing only a backless pearl dress with peacock headdress. Swanson was “terrified” (Swanson 506). To achieve this dramatic pose: “Canvas was laid on her bare back and the front paws of the lion placed on top. The canvas was gradually eased out from under the animal’s paws until they were directly in contact with her flesh. Finally the lion was induced to roar by having whips cracked in its presence” (Wise and Ware 75). As Agnes de Mille reported: “The cameras ground safely from above, and Cecil’s heart swelled with pride as the brave and beautiful young girl, his “Little Fella,” dared expose her flesh to laceration at his bidding” (Martha 57). This was a particularly brave act considering that the same “lion clawed a man to death two weeks after the scene was shot” (Charyn 99). Eventually, the scene became one “of the most famous in the De Mille filmography” (Bowers 691) and ensured Swanson’s screen immortality in both the public and DeMille’s eyes for he had found another gutsy girl that he could honestly admire.
27His Christian-Roman tale The Sign of the Cross (1932) provided another DeMillean example of animal-related discomfort. As Charles Laughton reported,
Miss [Claudette] Colbert was plainly scared during the climactic scenes of the picture. The entire cast had been terrified. After controlling her nervousness as long as possible, she had given up and burst out with: “Gosh, here’s the corner where we turn to face the cameras. I hope my nose doesn’t itch—or the mascara doesn’t melt into my eye—or that darned leopard behind me doesn’t make a move. Why in heaven’s name does Mr. De Mille have to bring in the zoo on scenes like this? If the leopard moves even a little, I know I’m going to scream.” (Singer 138)
2.4 Professionalism as Expected Risk-Taking: Normalising Danger
28DeMille’s demands for dramatic realism soon evolved into the regular professional need to take extra-ordinary risks on his pictures designed for the paying public’s amusement. For example, in his third version of his western drama, The Squaw Man (1918), the stun woman Audrey Scott substituted Eleanor Boardman in a dangerous horse scene. She worked with fellow stunt man George Sowards who
was lying in a big mud hole. I was told to jump my horse as close to him as I safely could, then to go on past. As there is little that can be done to change a horse’s course once he leaves the ground, this was a dangerous thing to do. Few horses will jump on a person on the ground, but who knows whether this horse was one of those? I rode the horse up the muddy bog a few times, hoping he would see George lying there. As I started the run I planned to control him by holding to a slow gallop. In the instant before I thought he was ready to jump, I pointed his head away from George, lying there in the mud supposedly unconscious. The horse took off under my guidance and landed about two feet from George’s head. George didn’t flinch—he had tremendous control of his emotions—it must have looked to him lying there, in those eternity-like seconds, as if the horse were coming right on top of him. (Scott 47)
29Sometimes DeMille’s realism was so realistic that it was horrifying. For example, he decided to use crocodiles in a gruesome scene within The Sign of the Cross (1932) just as he had done earlier in Fool’s Paradise and so he called upon Joe Bonomo, a giant of a stunt man. As Bonomo recounted in his autobiography,
[w]hile this picture was shooting he [DeMille] sent for me one day. “Joe, I’ve got to do something my regular stuntmen are backing away from. They just say, ‘Get Bonomo. He’ll try anything.’” Flattered, I assured him I would, but I almost weakened when he told me what “anything” was. I was to play a Christian martyr, be thrown into a pit of hungry crocodiles and be devoured before the eyes of the Roman spectators. Now I ask you! Before I could answer yes or no, he said, “Figure it out, Joe, and make it look good.”...gave me a pat on the back and was gone, leaving me standing there, wishing I was back in Coney Island... [Alligators were eventually chosen] ...Alligators were bigger and looked more ferocious, whether they were or not. “But just remember this was your decision Joe, and if an alligator gets you, the studio won’t be responsible.” And with those comforting words he [DeMille] gave me another pat on the back and was gone again.
[T]he cameras were set—we waited until my particular alligator was a little apart from the rest—then two husky Roman soldiers threw me in beside him. As I hit the mud I grabbed him by a front leg—the one away from the side where the cameras were going to shoot the death scene. We wrestled for a moment, and he opened his big lower jaw. I grabbed it with my left hand, held it open and half put my head in his mouth, but from the side away from the cameras. From the camera side it looked as though my head was IN his mouth, then I slammed it shut and held it shut. Had my head actually been in that mouth, I would have been decapitated.
I quickly pulled him down on top of me, kicking my legs in the air so it looked as though the ’gator had me down. I kicked my legs violently just once, then stiffened them out suddenly as though he had gobbled off my head—then I slowly relaxed and fell “lifeless.” As the cameras stopped shooting I slowly got up and walked away. I did WHAT?? I lit out of there as though the Devil himself was on my coat-tail! Actually, the death scene was so realistic that for a moment De Mille, the cameramen, and everyone else thought the world had seen the last of Joe Bonomo. De Mille was torn between delight over having captured a sensational scene—what he should wire my family—and what he would tell the newspapers. What publicity it would make! Then, when I came up alive and smiling, I’m sure he was pleased—that is—I’m reasonably sure. (295, 298)
30Ironically, this alligator scene was so realistic and so frightening that it was cut from the final release version of the film. As Bonomo lamented, “Everyone said it was great footage. As a matter of fact, it was too great. At the preview women fainted at the horrible sight. It was too macabre for public viewing. So one of the greatest alligator-gobbles-man scenes in the history of motion pictures, wound up on the cutting room floor” (300). The world of 1930s America could not handle DeMille’s concentrated realist aesthetics.
31As times changed, moral standards altered and the power of craft unions increased, DeMille had to compromise, especially during the 1950s. However, he did not compromise on dramatic effects, but rather, upon the more ruthlessly enforced safer means of generating his screen tensions. Given his incredible box-office power and personal charisma, many actors were very willing to put themselves in danger for him. For example, Lucille Ball’s agent, Kurt Frings was negotiating for her to play in The Greatest Show on Earth because: “DeMille wanted Lucy for the role of a circus performer whose speciality is sticking her head face-up under the raised hoof of a trained elephant! “I thought she was nuts to even consider the offer. DeMille wouldn’t permit doubles to be used, and she could be killed or seriously injured if anything went wrong,” Kurt Frings said. But Lucy couldn’t be talked out of it” (Harris 154).
32However, Lucille became pregnant and missed out on the film role (which went to Gloria Grahame) and she went on to find TV fame as the screwball star of I Love Lucy. Her replacement Grahame was just as eager to please DeMille and recalled regarding the elephant scene: “I was petrified. You know there was one retake on the scene. The elephant came so close he left a smudge on my nose” (Hannsberry 182). However, according to John Culhane, “[t]he script called for the trainer to threaten to command the elephant to crush her skull. These are the kinds of risks movie companies are not supposed to take with their actors. De Mille had special effects build a mechanical replica of an elephant’s foot, which could be lowered almost to Miss Grahame’s nose with no danger of mashing it” (261). Whether it was a prop decoy or not, or whether it was used or not, or which screen take was put in the release film, is problematic.
2.5 Miserliness and Rebellion: Managerial Risk-Taking
33Not only was professional risk-taking expected, but DeMille sometimes demanded too much from his actors when wiser heads should have prevailed. For example, Claudette Colbert starred in the jungle adventure, Four Frightened People (1934), which was shot in Hawaii (supposedly a steamy Malaysian jungle) near shark-infested beaches and a nearby jungle full of bugs and spiders, which alone was hell on the cast and crew. As she recalled: ““I had just had an emergency appendectomy before starting that picture, and on the first day I arrived on location—with the nurse from the Good Samaritan Hospital—(DeMille) put me in a swamp up to my shoulders. A real swamp. The nurse yelled, and he said, ‘I’ve waited for her 10 days already,” so in I went. “Two days later I was bedridden with a 104-degree temperature, and I really thought I was going to die” (Quirk 62).
34Even DeMille physically suffered on occasion because of his own production demands. During the making of his ancient world epic, Cleopatra (1934), he was arguing with his niece, Agnes de Mille, who reported that he “suddenly yelped, “Ouch!” The leopard which lay beside Cleopatra’s bed, drugged on perfume, came to and playfully closed his jaws on Cecil’s calf. The beast was kept so doped we all grew careless. Only the thick leather puttee saved Ce’s leg. Even so, the teeth grazed the skin. Cecil was amused, but the keeper sternly rebuked his charge and hastened to administer another large dose of Arpege” (Speak 265). It was also another good reason for DeMille to keep on wearing leather puttee’s even though the fashion faded and there was little practical need to be bothered about bushes, snakes and the long grass of his “primitive” Hollywood days.
35Potential problems also arose due to DeMille’s thrifty-cum-miserly management practices on location shoots. For example, during the filming of his western tale, The Plainsman (1936), Iron Eyes Cody reported that it was very boring, tedious work which was not made any better by the obligatory wait between snow storms, the rapidly developing food shortage which could not be alleviated due to closed roads, and the subsequent need for rationing. To make matters worse, the favoured French bread was not rationed equitably, which caused anger and resentment amongst the embittered crew. In the meantime, bored actors and crew enjoyed “rock ‘n rye whiskey” and “tepee creeping” whilst grumbling about the shortages, holding powwows, and talking about forming war parties. Cody reported:
I got wind of some trouble brewing over the bread issue and, as the more cantankerous of the Indians were making alcohol a permanent high percentage of their bloodstream, thought it wise to lift the rationing. I told [Arthur] Rossen [sic] how I felt over dinner one night. “I know they don’t like it,” he snapped. “DeMille likes the fact that were sitting on our asses even less. You don’t know the hell I’m getting from him.” “We should be filming in a day or two, and the roads will be clear to get more food through. What the hell differences does it make to start giving out more bread now?” “No difference at all. You tell that to DeMille.” (Cody and Perry 203)
36The rationing stayed and the discontent rose to the point where a food raid was being planned by some disgruntled Indians. Even Gary Cooper, the film’s star playing Wild Bill Hickok, colluded with Iron Eyes Cody to go on the food raid, suitably disguised as an Indian. With about twenty accomplices, a tree log was used as a battering ram on the food warehouse and armfuls of culinary delights were quickly snatched away to be greedily consumed in an orgiastic feast at a nearby stream. Fortunately, this event was kept from DeMille’s knowledge (Cody and Perry 203-9).
37After the raid, things were momentarily better: “But tension among the Indians and cowboy extras persisted, together with a continued flow of rock ‘n rye. The Indians, a little high from downing a few good slugs before mounting their ponies for shooting the wagon train siege, might have actually bopped a few settlers’ heads with war clubs instead of pretending” (Cody and Perry 209). DeMille would not have necessarily minded this because it added gritty realism to his film, for which he did not have to officially pay extra danger money. Perhaps, even, this was the real reason behind DeMille restricting the rations. In fact, many people suspected that DeMille engineered “accidents” as a deliberate policy for financial reasons on top of his usual authenticity and realism desires.
2.6 The Engineering of “Accidents”: Applied Miserliness?
38Peter Guttmacher reported that former cowboys turned film actors and stuntmen “passed the word that Cecil B. DeMille deliberately staged unexpected accidents to make his movies more racy” (24). A classic case in point was the clashing horse scene in his medieval Christian tale, The Crusades (1935). Although Alfred Hitchcock comfortingly assured that “I have it on very good authority that not a horse was hurt during production of that sequence. The effects were secured by the use of a few horses trained to fall, and skillful editing” (Gottlieb 111), the truth apparently was very different.
39According to Diana Serra Cary (223-24), four stuntmen suffered serious injuries, exacerbated by thrashing horses in the moat, which required X-rays and hospitalisation at Cedars of Lebanon, while all the horses were so badly smashed they had to be destroyed on the spot. To add insult to their injury, extra pay for the stuntmen was requested but denied by DeMille, who thought they had bungled a simple scene which he should not have to pay for. Cary also suspected that DeMille deliberately engineered “accidents” by pushing his stunt people so hard it caused exciting spills. Since they were officially unplanned, DeMille did not have to officially pay for them. As she explained, “[b]ut the worst offender, according to the cowboys, and the man for whom there was no budgetary excuse, was Cecil B. De Mille. The cowboys not only disliked him . . . but they distrusted him as well, for sooner or later on every job where the Gower Gulch men worked with De Mille, he seemed to find a subtle way of squeezing free falls out of them” (Cary 218). This miserly image of DeMille contradicted the stunt woman Polly Burson’s claim regarding Unconquered (1947), namely that “DeMille was awful good with his stunt people” (Wiener 29). But given the decade difference between the two films, DeMille may have moderated his excessive adventurism due to potential guilt, union power or financial liability claims.
40Conversely, there is also a strong suggestion that Hollywood horsemen tried to scam DeMille, or did not always earn DeMille’s respect, or satisfactorily meet his high standards of bravery for as DeMille recalled regarding a chariot scene from The Ten Commandments:
a delegation of the Hollywood cowboys came to me to protest that it was too dangerous for them to drive down a fairly steep hill where I wanted to get a shot of them descending into the Red Sea. While they were protesting, my teen-age daughter Cecilia happened to ride over the brow of the hill in question. I called out to her, “Ciddy!” Come here,” and without a second’s hesitation she galloped down the hill in full sight of the fearful cow-punchers. That shamed them into making the scene I wanted. (DeMille and Hayne 234)
2.7 Bravely Leading from the Front: DeMille as Macho-Man
41DeMille was certainly not above putting himself in dangerous situations to illustrate his point, or demonstrate his leadership, or prove his considerable macho-man bravado (Kozlovic). He was certainly no backseat leader who demanded of his staff more than he was prepared to do himself. Joseph C. Youngerman amusingly reported: “I guess I was the only prop man De Mille ever had who had as much guts as he did. He was about 15 years older than I was, and one time he walked with a gun and a chair into a cage containing 30 lions. I did the same thing, but I didn’t sleep for two nights” (36). During the filming of The Plainsman, DeMille “allowed [Jean] Arthur to practice flicking a pistol from his hand with her twelve-foot (3.6 m) bullwhip. (The actor De Mille was standing in for was a little nervous about it.) Eventually, she got it right . . . and the welts on DeMille’s arm went down” (Guttmacher 58). In fact, his “wrist bore lash marks for days”, but he offered it “as a convenient target” because “I insist upon authenticity” (DeMille and Hayne 320), and so he practised what he preached in his usual macho-man style. Nor did old age weary him in his macho desires. Whilst filming the 1956 version of The Ten Commandments, the mid-seventy-year-old DeMille had to literally lead from the front when he “noticed that Yul Brynner was nervous about driving his chariot in front of the army. “‘Don’t worry—it’s safe, Yul,’ he said. ‘Here, I’ll show you.’ And with that, DeMille got into the chariot, raced the horses in a circle, and parked the chariot right on the spot where it was supposed to be” (Thomas 197).
42DeMille’s personal courage ethic also applied to, and was demonstrated by, his non-acting staff on occasion. For example, in Samson and Delilah, Victor Mature had to wrestle a (stunt) lion in accordance with Judges 14:5-6 KJV, but he baulked at the prospect so DeMille procured an old Hollywood lion called Jackie, a “reputedly harmless toothless, film veteran himself” (Lasky Jr. 231). But Mature still complained to DeMille saying: “Look, you bald-headed sonofabitch, I don’t want to be gummed to death either!” (Broccoli and Zec 120-21). So, DeMille ordered his scriptwriter Jesse Lasky, Jr., to tackle the lion for Mature’s benefit, which he dutifully did. When it proved safe: “Vic threw off his robe, flexing his famous muscles, and stepped ahead of me towards Jackie and the cameras. What actor could let a writer steal the scene?” (Lasky Jr. 231).
3. Conclusion
43It can be concluded from this montage of reported incidents that there will never ever be another Cecil B. DeMille, Steven Spielberg and George Lucas notwithstanding. It is amazing that DeMille managed to survive all the dangers surrounding him, or that he was not sued into oblivion by disgruntled employees, or in some other way come to a sticky end; especially considering Diana S. Cary’s “Kill De Mille!” chapter within The Hollywood Posse concerning aggrieved horsemen who plotted DeMille’s “accidental” demise. The director certainly played a significant and colourful role in creating his own indelible PR image, historical legacy, and other factually-based legends of the never-to-be-repeated Golden Age of Hollywood. No doubt, many more examples of his Hollywood (mis)adventures await to be found and retold to new audiences in this post-Millennial age, including the hopeful resurrection of his “accident film” library that was never to be released (DeMille and Hayne 93). Further research into DeMille studies, the expansion of the above-identified taxonomic categories, behavioural comparisons with other filmmakers (e.g., Otto Preminger, Alfred Hitchcock, Howard Hawks), and further reminiscences about DeMille is warranted, warmly recommended, and already long overdue, as history, art, or entertainment.
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Paramount Pictures’ Logo Started as a Desktop Doodle, and Has Endured for 105 Years
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2019-03-04T18:30:44-05:00
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And no, the stars in the Paramount Pictures logo have nothing to do with the glitterati.
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https://www.adweek.com/brand-marketing/paramount-pictures-logo-started-as-a-desktop-doodle/
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Hollywood isn’t just an incubator of celebrity culture. It’s also home to some of the most durable brand logos in American capitalism. The celluloid trade calls them title screens, and odds are that most every adult consumer can name them by sight: Warner Brothers’ “WB” shield, Cinderella’s Castle of Disney Pictures fame and, of course, MGM’s lion.
This coterie of famous frames also includes the one with more mystique than the others—Paramount Pictures. That star-encircled, snow-capped mountain peak has marked the opening of movies well before movies even had sound.
And while the mountain in question has been modified and stylized to suit the era, it’s remained remarkably constant for the last 105 years—and as well it should, in the view of Paramount archivist Andrea Kalas.
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Paramount Pictures
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2024-03-14T08:28:11+00:00
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The Paramount Pictures Corporation, or simply Paramount Pictures, is the film production and distribution company that currently holds the license to produce the Star Trek feature films, and had formerly controlled the rights in full to not only the Star Trek movie franchise, but that of the...
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Memory Alpha
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https://memory-alpha.fandom.com/wiki/Paramount_Pictures
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Real world article
(written from a production point of view)
The Paramount Pictures Corporation, or simply Paramount Pictures, is the film production and distribution company that currently holds the license to produce the Star Trek feature films, and had formerly controlled the rights in full to not only the Star Trek movie franchise, but that of the television franchise as well until 2006. Paramount is currently owned by the media conglomerate Paramount Global which is, in turn, controlled by National Amusements.
Jim Gianopulos, a veteran of the entertainment industry, is the current CEO and chairman. He succeeded the late Brad Grey, who held the position for twelve years between 2005 and 2017. It had been Grey's stated intention to reestablish Paramount as a leading media company by being willing to take risks and lure creative talent to the company. As part of this initiative, he lured Gail Berman, one of the original producers of Buffy the Vampire Slayer, into the corporate offices to take on the role of President. (citation needed • edit)
Beginning in 1931, Paramount Pictures owned and operated the Paramount Theatre in Oakland, California where it held many premieres for its films. Since 1986, the theater has been owned and operated as a non-profit organization by the city.
Paramount produced and distributed all Star Trek productions from 1967 (Star Trek: The Original Series) through 2005 (Star Trek: Enterprise) where the television shows were concerned, and from 1979 (Star Trek: The Motion Picture) through 2016 (Star Trek Beyond) in regard to the feature movies. Through purchase the studio also owned the Original Series' first season and its two preceding pilot episodes, whereas it had also licensed the production Star Trek: The Animated Series to Filmation in 1973, though retaining ownership.
History with Star Trek[]
Paramount formally acquired the Star Trek franchise on 27 July 1967 when Lucille Ball's Desilu Studios, the company that produced TOS (as it was later dubbed, but then still officially known as simply Star Trek), was purchased for seventeen million dollars by Gulf+Western, Paramount's then owner.
Paramount Pictures had previously operated its own rather insignificant television production department and Desilu was incorporated into it to form Paramount Television, placing the Star Trek television series under its aegis. As a result of Gulf+Western's purchase of Desilu, it also acquired three other Desilu television shows that were in production at the time. Mission: Impossible, Mannix, and The Lucy Show were considered hugely successful at that time and were the prime motivations for the purchase of Desilu. Star Trek and its middling television ratings were essentially thrown into the deal as an afterthought.
The company came under the ownership of the original Viacom conglomerate, when that company took over the remnants of Gulf+Western in 1994.
Acquiring The Original Series[]
Viewed as a commercial disappointment at the time, Gulf+Western initially wanted to exclude Star Trek from its purchase of Desilu. Desilu executive Herb Solow later stated, "Paramount didn't want Star Trek, because it was losing too much money each week and didn't have enough episodes to syndicate successfully. That was a wise business decision at the time." Nonetheless, Lucille Ball insisted on selling her company as an intact entity – excepting her own hugely popular Here's Lucy show – which forced a reluctant Paramount to also accept the legal and financial liabilities for the unwanted property. (NBC: America's Network, p. 218)
One week after the acquisition and alarmed by his financial audits, Gulf+Western founder, co-owner, president, and driving force behind the acquisition, Charles Bluhdorn, called one of Desilu's former negotiators named Ed Holly, utterly aghast. Holly recalled, "Just a week or so after the merger, when Bluhdorn had started seeing the cost figures, he called me in the middle of the night. All I heard was 'What did you sell me? I'm going to the poorhouse!' I said, 'Charlie, you must be looking at Star Trek and Mission: Impossible. Those shows are costing almost to the dollar what our projections showed they would cost. You and your people made the judgment that that was all right." (Desilu: The Story of Lucille Ball and Desi Arnaz, 1994, pp. 297-298)
Although he had been known as a formidable business tycoon, Bluhdorn's exchange with Holly betrayed that he and his financial subordinates did not have a thorough understanding of the motion picture and television business. Bluhdorn had only become a "Hollywood Mogul" less than a year earlier when he had bought Paramount Pictures on 19 October 1966 and was not, in the least, reassured by Holly's assurances. Bluhdorn decided to visit the set of Star Trek in person to witness a day of production for himself and found it to be an underwhelming experience. What he saw on that day made him highly skeptical but, even though it was his prerogative as the temporary chairman of the board of Paramount Pictures, he stopped short of actually ordaining the series' cancellation. [1]
Instead, Bluhdorn had a small army of Paramount and NBC financial executives and accountants descend on Star Trek to go through the finances of the production with a fine tooth comb. Inevitably, this resulted in more severe budget cuts and creative meddling from these businessmen.
This interference eventually turned out to be the impetus for the subsequent departure of the driving forces behind the series which included Solow, Gene Roddenberry, and, eventually, Robert H. Justman. (Inside Star Trek: The Real Story, 1997, pp. 360-et al.) These defections only served to reinforce the decision to cancel Star Trek as soon as possible but fan letter-writing campaigns convinced NBC to renew the series twice.
Despite NBC's and Gulf+Western's financial experts' grave concerns about Star Trek's high production costs, the final decision to cancel the show was not made by television network NBC until the end of the series' third season, reportedly leaving the entire production at US$4.7 million in debt. (Star Trek Creator: The Authorized Biography of Gene Roddenberry, p. 399)
Due to its original contractual obligations, net profits (non-existent at the time) were to be shared between the studio (26⅔%), Roddenberry's production company Norway Corporation (26⅔%), performer William Shatner (20%), and NBC (26⅔%). Due to its losses, Paramount offered Roddenberry the opportunity to obtain the Star Trek property for US$100,000-$150,000 in 1970. However, Roddenberry was unable to raise this sum on his own so the ownership of the property remained with Paramount.
This turned out to be extremely fortuitous for the studio, and as Solow put it, "History would show that Gulf & Western's purchase of Star Trek alone, the low-rated, money-losing second-year series on NBC, would become one of the most spectacular business moves in entertainment history." (NBC: America's Network, p. 220)
Syndicating The Original Series and resurgence[]
Earliest known trade journal Star Trek studio syndication advertisements Broadcasting, 24 March 1969 Broadcasting, 4 August 1969 Broadcasting, 2 February 1970 Broadcasting, 16 February 1970
Yet, very shortly after the studio had made Roddenberry the offer, Paramount found that its hot potato was quickly turning into a hot property due to its huge and unexpected success in syndication in the early 1970s. In effect, the very first time Paramount sold syndication rights was already in 1969 while the third season was still being aired in its original run on NBC. The buyer, Kaiser Broadcasting (which operated a small chain of local television stations along the West and East Coast), immediately started to broadcast Star Trek after NBC had canceled the series on a daily basis and, much to their delight, observed a steep rise in viewership and ratings, the latter identified in Star Trek lore as the reason why the Original Series was canceled by NBC in the first place. (Inside Star Trek: The Real Story, 1997, pp. 417-418) The phenomenon was not lost on other local television stations, and thus the spectacular resurgence of Star Trek in syndication started. It was around that time that Paramount discovered that Roddenberry was selling Star Trek merchandise through Lincoln Enterprises, which was formally an illegal endeavor, as he simply did not own the brand. Yet, both parties struck a deal, which allowed Roddenberry to continue in return of a percentage of the sales, as Paramount also started to realize that their Star Trek property was not a bad one to have after all. Not yet having a well oiled Star Trek marketing machine of their own, Lincoln Enterprises suited the needs of the studio well in raising the awareness of their increasingly profitable Star Trek brand. By early 1987, when a new television series, Star Trek: The Next Generation, went into pre-production, Variety magazine of 2 December 1991 was able to report that the Original Series had by then netted the studio already over US$1 million dollar per episode in domestic syndication fees alone, thus excluding the by then substantial sales revenues abroad, as well as those stemming from home media format, and affiliated merchandise sales. Considering the average production cost of US$190,000 per episode, this turned out to be a more than healthy return on investment, especially since Paramount had not borne the costs of the normally most expensive first season of a production that was essentially thrown into the deal. Any Desilu book losses in regard to the Star Trek production would have been accounted for in the purchase price paid by Paramount. Susan Sackett, Roddenberry's personal assistant, had dryly noted that it was NBC which had borne most (but not all) of the production costs (also explaining why there had been NBC financial experts present in the first place at the due diligence audit back in 1967), not Paramount. (Starlog, issue 43, p. 14)
Now a less pleasant side of doing business in Hollywood came to the fore in full force, as it became concurrently known that the studio had shortchanged at least one of its other stakeholders, Roddenberry, who was still legally entitled a full one third of the net profits (in exchange for surrendering any and all other legal title to the series, save for his "Created By" credit, according to James Van Hise). Roddenberry was by 1981 perpetually led to believe by the studio that the Original Series was still deeply in the red by as much as US$1 million – or US$500,000 by 1982, again according to Van Hise (The Man Who Created Star Trek: Gene Roddenberry, p. 58) – as supposedly "proven" by doctored account statements handed over to him. Roddenberry instructed his attorney, Leonard Maizlish, to start legal proceedings in order to be given access to Paramount's records, seemingly to no avail initially. "The greatest science fiction in show biz is in the accounting", Roddenberry declared chagrined, referring to the infamous "Hollywood accounting" industry phenomenon. (Starlog, issue 43, p. 14) Roddenberry had reasons to be suspicious, as it seemed unlikely that the by 1987 reported net syndication profit of US$78 million dollar was only realized in the intervening six years. While it was at the time unknown what the outcome of the legal proceedings would be, it should be noted that it was around this time that Roddenberry entered into his below-mentioned financially advantageous movie deal with the studio. It was conceivable that Roddenberry and the studio settled their Original Series accounts on that occasion, as Roddenberry became a wealthy man from then on. That this was indeed the case came to light in 1994 when it was revealed that the studio disbursed US$5.3 million in profit distribution to Roddenberry between June 1984 and July 1987. [6]
Launching the Star Trek movie franchise[]
As if to underscore Roddenberry's suspicions, former Original Series writer D.C. Fontana was already able to report in the fanzine Star-Borne of 22 June 1972 that, "Paramount… [is] enormously impressed by the quantity (and quality) of fan mail they continue to receive. The possibility seems to be slowly developing of a Star Trek feature movie for theatrical release, aimed at becoming the new Star Trek television pilot… on the network front, NBC still expresses great interest in doing Star Trek in some form. Both NBC and Paramount continue to receive a great deal of mail and have had to assign secretaries for the sole job of answering it." [7] NBC's complete turnaround not only stemmed from the spectacular resurgence of the Original Series in syndication, but also from its own accounting department. Shortly before Fontana's report, NBC had replaced its old Nielsen rating system, purportedly the results from which having been the primary reason for the cancellation of the series, with a new and updated one. When they ran the original Original Series figures through their new system they found out much to their surprise that it had not only reached full penetration into their most coveted target audience, the male population between 18 and 45, but also that the series had been one of the most successful series the network had ever aired. The sickening realization hit upon the dismayed network executives that they had slaughtered the goose that laid the golden eggs, something that every Star Trek fan at the time could have told them. Hurriedly approaching Roddenberry to see if the series could be revitalized, it turned out to be unfeasible, as Paramount had only a few months earlier cleared out their warehouses from the vast majority of the remaining Star Trek production assets, those either having been scrapped, given away, or simply stolen. Recreating them, calculated at US$750,000, was deemed far too cost prohibitive. It did however, lead to NBC ordering the creation of Star Trek: The Animated Series. (Star Trek - Where No One Has Gone Before, pp. 51-52)
And indeed, the phenomenon was not lost on Bluhdorn himself, as he had by 1974 completely reversed his stance from the one he had back in 1967, and had by now become enamored with Star Trek due to its huge and unexpected success in syndication – and the recent addition of the Animated Series, which, while not produced by the studio, was legally Paramount property nevertheless, adding an additional Star Trek revenue stream – embracing the property as something of a pet project. It was therefore, after he had been presented by a subordinate, Paramount's then chief financial officer Arthur Barron, with the idea of turning Star Trek into a movie, that he gave Barry Diller, freshly appointed in October 1974 as the new studio head, as one of his consignments, to turn the idea into a project. Not particularly interested in doing Star Trek in any format whatsoever, but, by any standard, a formidable executive himself, Diller nevertheless did not want to repeat the mistake his immediate predecessor Frank Yablans made by antagonizing his new boss and his newfound infatuation with Star Trek and set to work. (The Keys to the Kingdom, Chapter 5)
As it turned out, Roddenberry had already approached the studio with a pitch for a Star Trek movie one year previously. Then Paramount President, Frank Yablans, was very interested, but due to Roddenberry's obtuseness at the negotiation table, the proposition fell through. (Inside Star Trek: The Real Story, 1997, pp 420-421) Despite the failure of the negotiations, Yablans' interest in producing high-tech science fiction was piqued nevertheless and to this end he facilitated and arranged the funding for the establishment of two Paramount visual effects subsidiaries, Douglas Trumbull's Future General Corporation (FGC) and Carey Melcher's Magicam, Inc, a very short time thereafter. [8] Unfortunately, his immediate successors, Barry Diller and Michael Eisner, had zero affinity with science fiction and none whatsoever with visual effects in particular, and tried to shut down FGC immediately upon their ascent, which came back to haunt the production later on. [9](X) Yablans however, had failed to inform his boss of Roddenberry's prior overtures, and Bluhdorn perceived this as part of Yablans' overall lack of respect for him, which shortly thereafter led to his downfall. Barron, incidentally, had approached Bluhdorn on his own accord. (The Keys to the Kingdom, Chapter 5)
Still, getting Star Trek off the ground again as a new live action production turned out to be not as straightforward as it originally sounded, and for three years the project stubbornly refused to come into fruition. However, when Diller thought up a fourth television network for the company, Paramount Television Services, officially announced on 10 June 1977, he intended Star Trek to serve as its flagship as a new television series, Star Trek: Phase II (or Star Trek II as its official title was to be). Fully endorsed by Bluhdorn, who sensed an even more profitable repeat performance of the property, [2] actual production of a new live-action production was finally started the same month. His initial enthusiasm notwithstanding, Bluhdorn soon found out that America was not yet ready for a fourth television network, informed as such by then Vice President of Research Mel Harris, as advertiser's interest did not materialize and he already pulled the plug on the network project near the end of July. Still, he allowed the production of Star Trek to continue, which was, aside from his own personal interest, in no small part due to the desire not to lose development costs already sunk in all previous revitalization attempts. Star Trek: Phase II eventually morphed into Star Trek: The Motion Picture, which was officially announced by the studio on 28 March 1978 to the public at Paramount Pictures in the largest press conference held since Cecil B. DeMille's announcement of his 1923 silent movie, The Ten Commandments. (The Making of Star Trek: The Motion Picture, pp. 50-51).
Even set initially at an (in hindsight) unrealistic original budget of US$15 million dollar, Paramount took a huge gamble with The Motion Picture as it was the most complex, ambitious, and expensive movie project the studio had ever embarked upon in its history, Cecil B. DeMille's (inflation adjusted) 1956 remake of his own 1923 silent movie classic The Ten Commandments being the sole exception. Having only just recently reversed the fortunes of the studio, after nearly a two decades long slump, all the studio's biggest box office successes of the mid-1970s, John Travolta's Saturday Night Fever and Grease and Mario Puzo's The Godfather, were in comparison "low-budget" productions, none of them exceeding a production budget of US$6 million dollar (the substantial profits made from these were mainly used as debt relief and repairing the financial position of the studio). Only in the mid-to-late 1980s did production budgets start to habitually balloon exponentially, first in double digits, and subsequently into the triple digits.
Partly due to the studio's hitherto utter lack of experience with a technically complex and visual effects heavy productions of this magnitude, the production of The Motion Picture proved to be exceptionally difficult, troublesome, frustrating, and, for those times, extremely costly, the latter in no small part due to the studio's own mismanagement of the visual effects production. "We didn't know what these things were, Bob Wise [remark: the movie's director] was a lovely man, but he didn't know, either," Diller conceded, though only much later. (The Keys to the Kingdom, 2000, Chapter 6) Running massively over budget as a result, Diller and his executive subordinates (close to nervous exhaustion) were bracing themselves for a financial disaster, which fortunately for them did not materialize. Immensely relieved of having dodged the financial bullet, Diller and his colleagues counted their blessings and were fully prepared to move on, entirely willing to leave Star Trek behind them. Yet, Bluhdorn was of different mind and ordered the development of sequels shortly after the premiere of The Motion Picture in early 1980. Bluhdorn personally selected Harve Bennett who would head, as executive producer, the production of the subsequent four Star Trek films, of which two, Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home, became particularly successful.
For all intents and purposes, it was therefore Bluhdorn, who was responsible for the creation of the Star Trek movie franchise. (The Keys to the Kingdom, Chapters 5-7) For a more detailed treatise on the difficult birth of the movie franchise, please see Star Trek: The Motion Picture: Production.
Gene Roddenberry, however, indeed responsible for some (but not all) production troubles, was increasingly perceived by the studio as very difficult to work with and was essentially removed by them from creative control over the movie halfway through the production. Actually, Diller had already removed him once entirely from one of the previous revitalization attempts, Star Trek: Planet of the Titans. While the studio, as far as they were concerned, had seen the very last of Roddenberry, the realization also sank in that by now, no Star Trek incarnation could ever be produced without the Roddenberry name attached to it while he was still alive due to his by now firmly established stature in the general populace's awareness as the creator of Star Trek, strongly backed up by a small, but highly vocal hardcore of the more puritanical Trekkies. Adhering to the old adagio "keep your friends close, but keep your enemies closer", the studio came up with a crafty solution to the conundrum; Roddenberry was "bumped upstairs", given his own office at the studio with a handsome remuneration, and given the formal title of "Executive Consultant", which meant that directors and creative staff could ask for his opinion on the project, though with the proviso that his advice was not needed to be taken. Required by the agreement to be kept in the loop, but lost in the studio's equivalent of the "Bermuda Triangle", no one ever thereafter heeded Roddenberry's copious, but unsolicited, advice for the subsequent five movies, nor did anyone even bother to consult with him. Though for the studio perhaps a costly solution, it was far cheaper than to be bogged down by incessant lawsuits, which were sure to follow given Roddenberry's character, and dealing with the fallout from the Star Trek fan base, which was equally sure to follow, and the resulting negative publicity. Still, this did not prevent Roddenberry in the slightest from relentlessly harassing studio and production staff alike, on occasion even going as far as threatening with legal actions as Actor/Director William Shatner and Director Nicholas Meyer could attest to. The latter was bluff however, as the stipulations of his studio contract simply did not allow for them, and no legal proceedings ever materialized during this period in time. (William Shatner Presents: Chaos on the Bridge; From Sawdust to Stardust, pp. 240-241; Star Trek Movie Memories, pp. 99, et al.)
While acknowledging this state of affairs as "speculation", an opposing view was proffered by authors Judith and Garfield Reeves-Stevens, who have claimed in their reference book Star Trek: The Next Generation - The Continuing Mission (p. 3) that, "(t)he real reason for Paramount's concern about keeping Roddenberry tied to each Star Trek film was that every executive involved with the productions shared the maddening knowledge that no one had the slightest idea why Star Trek was a success… except Gene Roddenberry. Without his input, there was always the chance that the next movie wouldn't capture whatever it was that made Star Trek so enticing." While staunch Roddenberry supporters Reeves-Stevens' did have a point where the studio executives themselves were concerned, their assertion was certainly contradicted by the directors, producers and screenwriters (most notably Spock Performer/Writer/Director Leonard Nimoy, who most definitely had a thorough understanding of what made Star Trek "tick", arguably even more so than Roddenberry himself did) of the subsequent five movies, all of them, save Shatner's Star Trek V: The Final Frontier, highly successful and produced without any creative input from Roddenberry whatsoever, and each of them actually opposed by him in varying degrees of vehemence. Roddenberry being put out to pasture, it effectively was the Nimoy-Bennett-Meyer triumvirate that became the keeper of the Star Trek films flame in the decade following The Motion Picture. (Cinefantastique, Vol 22 #5, pp. 39-42)
Creating an overall Star Trek franchise []
Until 1979, and reflecting the studio's general attitude towards Star Trek, merchandising and licensing Star Trek remained a rather passive and haphazard affair; interested parties had to approach the Paramount Publicity Department with proposals, which the department's involvement somewhat limited to either agreeing to them or not, and drawing up contracts. Having had personal dealings with the department, author Stephen Edward Poe has commented in later years, "Desilu [and its successor] treated the whole idea of Star Trek licensing and merchandising with immense disdain. It was as if studio executives felt greatly annoyed at having to even discuss the subject at all (…) – some sort of corporate aberration – and licensed merchandise emerged only slowly and with, apparently, great reluctance." (A Vision of the Future - Star Trek: Voyager, pp. 45-46)
Emergence[]
Paramount's first food products tie-in promotion; Coca-Cola beverage containers on the left, and a still from a McDonald's commercial on the right. Star Trek Into Darkness on the cover of License! Global magazine
Yet, for all the troubles The Motion Picture represented for the studio as far as the production itself was concerned, it also represented the birth of the modern moneymaking property the studio was to eventually refer to as "The Franchise". Responsible for this was Vice-President of Marketing and Licensing, Dawn Steel, who was charged with coming up with an additional revenue stream after the February 1979 visual effects crisis, which had left the Motion Picture production in a critical situation, as there was no more money left to complete the movie. She did so by organizing a vigorous merchandising and licensing fund drive, which climaxed in a highly imaginative presentation, held in the largest theater on the Paramount lot. A resounding success, [3] the presentation was met with rambunctious enthusiasm by the attending prospective licensee companies. "It was the most unbelievable party Paramount ever had", attending studio producer, Brian Grazer, remembered, to which then novice studio producer Jerry Bruckheimer has admiringly added, "She went to conventions and got every toy-maker, anyone who made T-shirts and key chains and raised every nickel she could. She shook the trees. There hasn't been that energy vortex in merchandise since she left.". Numerous companies signed up, including for the times unusual ones, such as food industry corporations like Coca-Cola and McDonald's. The presentation marked the first time for Paramount that licensing revenues were generated before a production had premiered. The successful fund drive made Steel's name in the motion picture industry, and a thoroughly impressed Paramount CEO Michael Eisner, who was (in)famous for not being easily impressed, promoted her the next day to vice-president of productions in features, getting her off to a stellar industry career. She had been working in the licensing department for less than six months. (New York Magazine, 29 May 1989, p. 45; 6 September 1993, p. 40; Star Trek: The Complete Unauthorized History, pp. 108-109)
Hollywood studios had, and to this day, have obviously been exceptionally loath to divulge particulars surrounding their revenue streams stemming from licensing and merchandising efforts, Star Trek not excepted. However, Steel, due to the unexpected and exceptional success of her 1979 fund drive, had understandably been somewhat more loose-lipped, unable to resist some bragging at the time. Revealing in January 1980 that General Mills featured Star Trek artwork on 37 million of their cereal boxes, McDonald's had spent US$20 million dollar on TV adds to promote fifty million Star Trek themed Happy Meals, and Bally had by that time already totaled up a sale of US$19.5 million of US$1.795 apiece Star Trek themed pinball machines, alone, she divulged that by that time she expected that at the most conservative estimations, licensed Star Trek related merchandise would at least amount to US$250 million, with the possibility of reaching double that. "Licensed children's merchandise is the last category to suffer in a recession: Dad will give up his suits, but his kids will still get toys and clothes", she clarified, adding, "Our fee ranges from one to eleven percent, depending on the product." This statement indicated that the studio was to receive at the very least US$2.5 million, or at the very most US$55 million in licensing and merchandising revenues, though it was unlikely that the upper estimate was ever met due to the mixed reception of the movie and the somewhat disappointing sales of related merchandise. (Playboy magazine, January 1980, p. 310)
Print material franchise[]
The first, 1979, franchise book publications; the novel on the left and the reference book on the right
Concurrently, parent company Gulf+Western, through Bluhdorn, had commissioned the development of an accompanying, The Motion Picture-themed, book line through subsidiary Pocket Books and its imprints, which it had acquired in 1975 (and therefore a sister company of Paramount Pictures), and from here on end merchandising and licensing became an integral part of a proactive overall marketing strategy (considerably hammered out by Frank Mancuso, Sr., who was appointed as the department's president after Steel had left), in the creation of a sustained Star Trek product line. [10] In doing so, the franchise rescinded the license for Star Trek book titles other publishers held up until that point in time, Ballantine Books having been been the most notable one.
For over two-and-a-half decades Pocket Books was the only publisher of official Star Trek-related book titles, specifically novels, reference works, and calendars, the latter having also been the purview of Ballantine Books before 1979. Other print materials, most notably comics, were licensed out to other publishers.
For obvious, commercial reasons, the franchise requires licensed writers to write their real-world production reference works and articles for licensed magazines in an upbeat, somewhat celebratory and slightly promotional manner, and to shy away from any and all critical notes, on the franchise itself in particular, essentially exercising censorship. It was for this reasons that Pocket Books declined publishing the book Return to Tomorrow - The Filming of Star Trek: The Motion Picture for example (in which the dubious role of Paramount itself was highlighted, especially in regard to VFX company Robert Abel & Associates), its then chief editor deeming the copy too "non-puffery" [4] to the franchise's taste. [11] Nevertheless, aside from actual illegal publications, the franchise was unable to curtail the prolific publications of, often more critical, unlicensed (therefore not rarely deemed "illegal" and/or undesirable from the franchise's point-of-view) but legal reference works – those of Schuster & Schuster and (auto)biographies in particular, and eventually including Return to Tomorrow as well – , or any article written by journalists for otherwise unaffiliated magazines for that matter, as these were published making the fullest use of the "works of journalistic/academic nature" exemption clauses in copyright laws, though this meant these publications could not legally feature any Star Trek copyrighted imagery. As of 2002, the franchise has opted not to publish reference works – both in-universe as well as real-world – themselves anymore, but rather to license them out to mostly non-affiliated publishers.
As far as specialized Star Trek magazines were concerned, the franchise has until recently opted to farm out licenses to outside publishers. The very first such known publisher was Starlog Press, acquiring the license to carry the denomination "official" in the title of their "upbeat" 1980s-1990s spin-off official movie magazine series, from the 1982 Wrath of Khan magazine onward. Starlog was chosen as its magazine source publication (over which the franchise had no editorial control due to the "works of journalistic nature" exemption clause) founding editors were unadulterated "Trekkies", profusely reporting on Star Trek, even though interviews were featured with former Star Trek performers and production staffers – predominantly from the Original Series and The Motion Picture-era – who, on occasion, vented opinions, the franchise had preferred not to see in print, much of which actually turning up as edited copy in the Schuster & Schuster publications. Nevertheless, aside from the movie specials, it netted Starlog Press the right to publish the recurrent, subsequent "official" The Next Generation, Deep Space Nine, and Voyager magazine series from which any and all critical observations were omitted. There was however, a definite upside of having been able to carry the "official" moniker in title of the spin-off publications; in return of surrendering some of its editorial freedoms as well as magazine revenues, Starlog writers and journalists were given uninhibited access to the sound stages, performers, production staffers, and studio archives – therefore becoming notable for the publication's reproduction of production material, rarely seen afterwards – enabling these publications to report on the inside story of any Star Trek production in detail first, at a time when Star Trek frenzy was rapidly reaching a peak.
Pursuant to the 1982 Starlog Press license, the franchise has considerably tightened its (editorial) grip on magazine publications it has licensed to carry the moniker "official" in their (sub-)titles. These included, most notably, Star Trek: Communicator (from 1995 onward and being the original 1979 "official" fanclub magazine), Star Trek Magazine (partially absorbing the function Communicator had upon its default in 2005), and Star Trek: The Magazine, the US off-shoot of the equally "official" Star Trek Fact Files and its international variants. The latter, which ran from 1999 till 2003, was presented as a higher-quality (attempting to come across as less fan club like and less heavy on merchandise peddling), glossy, lifestyle like magazine, though a five percent page count in each issue served as an impromptu franchise message board as well as merchandise product placements, disguised as articles, whereas an additional ten percent still consisted of actual merchandise advertisements. A more recent "official" release in this regard is the British Star Trek: The Official Starships Collection partwork publication and its derivatives, like Starlog and The Magazine before them lacking any and all critical observations.
In 2002, the print franchise took it up a notch when it reconsidered the status of reference works written from an in-universe point of view. Henceforth only the Star Trek Chronology, the Star Trek Encyclopedia, and the 1991 Star Trek: The Next Generation Technical Manual (all of which co-written by Mike Okuda) were considered by the franchise as the sole primary reference sources for all subsequent in-universe reference works; as such these three works were in essence elevated to the status of "quasi-canon". Licensed works of this kind released afterwards by outside publishers after Pocket Books was removed from the franchise mix around 2008 – such as the later GE Fabbri (publisher of Fact Files), Haynes Publishing, and Eaglemoss Collections (publisher of The Official Starships Collection) Star Trek publications – are required to be in concordance with the information contained within these three works, with the Okuda author couple not rarely assigned to these later publications as "technical consultants" to ensure compliance. As a consequence, all previously fully licensed/endorsed/authorized in-universe reference works were no longer considered official references – including such fan favorites as, most notably, Franz Joseph's Star Fleet Technical Manual as well as Shane Johnson's Mr. Scott's Guide to the Enterprise and Worlds of the Federation. Labeled "unofficial", these works were de facto debunked and demoted by the franchise to the apocryphal status of novels, comics, non-production art (such as Star Trek: Ships of the Line calendars), and (computer) games. It is in this respect that "official", when used in a title, has gained an additional meaning, as it presently also signifies a work in compliance with canon, besides being a licensed work. (Star Trek: The Magazine Volume 2, Issue 11, p. 71)
Home video format franchise[]
Two of the six earliest known official home video format Star Trek releases, the VHS version of Volume 1 of The Original Series on the left, and the Betamax version of The Motion Picture on the right.
An important cornerstone for the overall franchise became the home video formats franchise. In 1971 Paramount Pictures partnered up with industry competitor Universal Studios when they, as equal partners, established Cinema International Corporation (CIC) in 1971 (as of 1981: United International Pictures – UIP – ) as a joint venture, and responsible for the distribution of feature films outside the US, which included all of the later Star Trek films. This action was necessitated partly for cost-cutting reasons, partly for antitrust rules, specifically aimed to break the hold individual studios hitherto had on the entirety of the industry, otherwise known as the traditional "Hollywood Studio System" (see also Desilu Studios in this regard).
With the advent of the VHS and Betamax video tape home video formats, a subsidiary division, CIC Video, was established two years later, responsible for the distribution of this home video format – due to the very high retail prices, predominantly through the rental outlet circuit initially – including all the Star Trek productions released in this format. It was again The Motion Picture that turned out to be the primary agent for Star Trek to make its entrance in the home media market as currently understood (meaning visual formats – there had been a few audio only formats previously, such as the 1976 Inside Star Trek LP). While it was a foregone conclusion that the film itself was to be released on the new videotape formats, Paramount Home Video (established in 1976, later known as Paramount Home Entertainment) also made use of the opportunity to release ten selected episodes of The Original Series, in five volumes of two episodes each, as part of their "Television Classics" collection in the United States as appetizers for the later in October released movie tapes, priced at US$79.95 at the time of their release. [12] Released in early 1980, these five titles are as such, together with the later released movie tapes, the earliest known Star Trek home video format releases, where there had been none previously, that is, officially at least. [5] Having the year previously hammered out a deal with photo developer/video rental outlet Fotomat Video, one of the very first such rental companies, it were these tapes that were the first Star Trek titles to turn up in the rental circuit from mid-to-late 1980 onward. [13]
Ironically, it was not CIC Video that became responsible for the distribution of the first known Star Trek home video format title outside the US/Canada, but rather the obscure British distributor Mountain Video, when it, possibly unlicensed, released in the same year the one episode only tape of "Shore Leave" – not included on any of the five original releases in the US – in both tape variants on the UK market, [14] though, again for the high retail price, the majority of them ended up in the rental circuit. From the mid-1980s onward though, CIC Video took over the distribution, not only for the UK alone, but for the entirety of mainland Europe as well.
It was Paramount however, who revolutionized the way these home video formats were marketed. Responsible for this was the aforementioned Mel Harris, by now President of Paramount Home Video, who helped to create the home video sell-through market by convincing Paramount to sell low-priced videos directly to the public to persuade customers to purchase videos rather than simply renting them. At the time, videos for sale were priced at around US$60-$80 or more; Harris accurately predicted that decreasing the price would create a market for videocassette purchases. Actually, the video tapes for The Wrath of Khan were the first ones to be offered in 1982 for a sharply reduced price of US$39.95, unheard of at the time, and sending shock waves through industry and retail stores alike – though amusingly, Paramount again generated shock waves eight years later, when it offered tapes of the movie The Hunt for Red October for sale at US$99.99, incredibly high by that time. (The Encyclopedia of Television, Cable, and Video, 2012, p. 411) His policies helped immensely to make the by him later initiated Star Trek: The Next Generation a resounding success, aside from tapping into yet another revenue source for the Original Series and movies produced up until then.
CIC Video as a joint venture was dissolved in 1999 (corresponding with the demise of the video tape in favor of such later home video formats as the LaserDisc, VCD, DVD, and later still, the Blu-ray Disc) when Paramount reasserted full control over the release of their home video formats through their own division, Paramount Home Entertainment. Yet, after 2006 Paramount had to leave the home video format distribution of the television properties, most specifically the remastered versions of The Next Generation and Enterprise, to CBS Home Entertainment, as it no longer owns the franchise, though they are still entitled to do so for the movie properties – albeit in mandated conjuncture with CBS, the latter thereby asserting its ownership of the franchise. The theatrical distribution arm, UIP, is, as of 2016, still in operation and still equally shared by Paramount and Universal.
Yet, while it became one of the most important cornerstones of the overall franchise, it has also become in recent decades somewhat a bone of contention with fans and customers of home video formats alike, due to the franchise's predilection to release numerous versions of the productions, each somewhat different from the other, leaving "double-dipping" (term used by them for incessantly re-buying alternate versions) fans increasingly feeling alienated from, and "exploited" by the franchise, as evidenced by a myriad of angry customer reviews on Amazon.com or TrekCore. For example, the one episode per Betamax/VHS video tape format, as released from the mid-1980s through the early-2000s and adhered to for all Star Trek television series with the exception of Enterprise, has irked American customers to no end, especially since the format was, excepting a handful of early 1980s British tapes, not utilized in overseas markets, which were served with (at least) two episodes per tape releases. Something similar ensued with the very first Star Trek television series DVD releases, those of the Original Series; starting in August 1999, American customers were first offered the series on "bare-bone" two episodes per disc releases, shortly before season box sets – with, adding insult to injury, four episodes per disc and beefed out with special features – were made available to them. Overseas customers were on this occasion spared the double-dip format, as it were the season box sets that were offered them right from the bat, albeit at a later point in time. Incidentally, Enterprise was not released in the US on VHS but directly on DVD. However, this time around, Europeans were given the double-dip treatment, as they were first offered the series on VHS right before the DVD box set releases.
Though certainly not the only one – as Disney and Universal were among those who had solid reputations in this regard as well – it was Paramount in particular that became notorious for these kind of practices, and which were by all means not limited to Star Trek alone. While one of the very first, the Original Series has concurrently the dubious distinction of becoming one of the very few, if not only one, television series to be released on DVD in this manner, as all other Hollywood studios, conceivably forewarned by the bad example Paramount had set, decided right from the start to release their television properties on a per season basis in the new DVD home video format. 20th Century Fox became the pioneering one with their The X-Files DVD box set releases, which, complete with all the accouterments of such releases, started its release run in May 2000, when Paramount's bare-bone Star Trek editions were still in the midst of their release run; the contrast between the two release formats could not possibly have been any starker and was certainly not lost on customers at the time. In Paramount's defense however, it should be noted that, as an "early adopter", unintended errors in judgment regarding the initial release formats could be expected.
Particularly loathed are the so-called "retailer exclusive" formats. The format entailed that preferred retailers, most notably the chain store Best Buy, would receive versions that contained special features not included on the regular releases. [15] An early notable instance where Paramount had employed the practice was on the occasion of their first movie releases on DVD, starting in 1998 with First Contact. Regular customers could only buy the basic "vanilla" version of the movies, meaning only the movie itself with the theatrical trailer as single "extra", whereas Best Buy customers, for the same price, received an additional disc with the special features which were not available in any manner anywhere else; it infuriated fans, to put it mildly. At the time several scrupulous Best Buy patrons bought these releases in bulk and subsequently offered the special feature discs up at premium prices on eBay, the market site that was at the time rapidly becoming a force to be reckoned with. [16] The perceived injustice was only redressed with the 2001-2005 "Special Edition" releases, though it meant yet another round of double-dipping. While the franchise could traditionally afford to dismiss fan/costumer concerns in these regards as entirely irrelevant – particularly before the advent of the internet age, when customers for the most part remained blissfully (from the franchise's point of view that is) unaware of the varying treatments, euphemistically called "market discrimination" in business economics – criticism of the retailer exclusive format in particular, started to swell considerably during 2012, precisely because of the internet. It became an issue of note with the releases of the Next Generation and Enterprise Blu-ray home video formats. But the situation truly came to a head during the "Star Trek Into Darkness Blu-ray VAM controversy", which, officially at least, marked the first time that the franchise actually buckled under fan/customer pressure, rectifying their "wrongdoings" by releasing the 2014 Star Trek: The Compendium Blu-ray set, and offering a $5 rebate for US residents only (a discrimination – not the first time – which, somewhat incomprehensibly, implies that the franchise still considers foreign markets as sideshows), who had previously purchased Star Trek or Into Darkness on Blu-ray. [17]
Exhibit and attraction franchise[]
From the early 1990s onward, the franchise has, through subsidiaries and conglomerate sister companies of Paramount (such as Paramount Production/Show Services, Paramount Parks Entertainment or CBS Consumer Products itself), branched out in Star Trek-themed commercial public side-activities in the form of exhibitions and attractions. However, it was somewhat ironic that neither phenomenon was actually started by the franchise itself; it was only after the phenomenal successes of the 1988-1996 Star Trek Adventure attraction of distribution partner Universal Studios (though fully licensed by Paramount) and the 1992-1994 Star Trek Smithsonian Exhibit by the Smithsonian Institution (though supported by the studio), that the franchise, from 1993 onward and deeming them commercially viable, took over full control over either, starting with the 1993 Star Trek World Tour for exhibitions, and the 1998 Star Trek: The Experience for attractions.
Becoming "The Franchise"[]
By the time the television series Star Trek: Voyager went into production, the studio's stance and attitude towards Star Trek had radically changed from the one it had back in 1967. Studio Executive Brandon Tartikoff had already stated by the time The Next Generation went into its fifth season, "When you look at the books, you saw that Star Trek: The Next Generation was a twenty-five-million-dollar-goody, every year. That's the profit it would generate for Paramount." (Star Trek: The Next Generation - The Continuing Mission, p. 155) Stephen Poe observed two years later for himself how much the studio's stance and attitude had changed, when he resided at the studio on an extended stay in order to chronicle the genesis of the fourth live action Star Trek series, Voyager. Poe noticed that studio employees, executives included, were almost unanimously and reverently referring to their Star Trek property as "The Franchise" due to its reliable and consistent revenue stream, having been from the mid-1980s through the 1990s Paramount's most profitable property, much to the envy of industry competitors. [6] (A Vision of the Future - Star Trek: Voyager, pp. 50-51)
Reporter Mark A. Altman disclosed that the entire franchise – which is otherwise loath to report the other revenue streams themselves, apart from the box office takes – had already passed the US$1 billion mark in total studio revenues by 1993 (Cinefantastique, Vol 24 #3/4, p. 16), which was upped to US$2 billion gross in Entertainment Weekly's Special Star Trek Issue of 18 January 1995. In his 1998 book A Vision of the Future - Star Trek: Voyager (p. 55), Stephen Poe cited a Los Angeles Times article, that claimed nearly US$2 billion franchise revenues in retail sales alone. While the gross box office takes of the Star Trek franchise, US$1.9 billion as of 2015, are relatively well known, the gross revenues from the other franchise elements remain shrouded in mystery (the 1995 Entertainment Weekly US$2 billion statement, implied a rough fifty-fifty split at that time). [18] In December 1998 the Los Angeles Times reported a US$3.5 billion aggregate consumer merchandise turnover, which did not include the box office takes and their derivative home media formats sales, [19] constituting a considerable upward adjustment from the US$1.3 billion franchise total gross they reported four years earlier in May 1994. [20] Richard Arnold has later on reported a US$10 billion total turnover in July 2016, which like the 1994 Los Angeles Times figure, constituted a franchise total up until then, thus also including box office takes and home media format sales, and thus implying a roughly 80/20 split between all merchandise and box office takes – Star Trek Beyond was just released at the time of Arnold's report, its total box office take therefore not yet known. [21]
Despite the reluctance of the franchise to divulge more detailed figures itself, but with revenues undoubtedly running in the billions over the decades, Star Trek has become one of the most successful media franchises in history. Yet, it is the financial success of the younger Star Wars franchise, a franchise rival right from the start, and sporting far fewer movie or television productions, that is truly staggering, dwarfing that of Star Trek. (see: main article)
Viacom/CBS split and reunification[]
A somewhat ambiguous situation arose in late 2005, when the original Viacom holding corporation was split up into two independent corporations (although both corporations were owned by the same company, National Amusements, meaning the franchise was still owned by one company), the television corporation CBS Corporation (which constituted the former Viacom) and a motion picture corporation, which, a bit confusingly perhaps, was also called Viacom and of which Paramount Pictures was now a part. The split was formalized in January 2006. CBS licensed the right to produce Star Trek films to Paramount Pictures, but the newly-formed successor of the Paramount Marketing and Licensing Department, CBS Consumer Products, remained the sole entity responsible for the marketing and licensing of the entire Star Trek product line for both the television as well as the movie properties, instead of farming out the latter to Paramount's own division, Paramount Licensing, Inc.
However, this confusing division ended in 2019, when the new Viacom and CBS corporations were again merged into a new conglomerate, originally called ViacomCBS. With the companies reunited, the Star Trek franchise was also brought under one roof; although television production remained with CBS Studios, that department was once again a corporate sibling of Paramount Pictures. In February 2022, ViacomCBS renamed itself Paramount Global, taking the name of the movie studio for the entire conglomerate.
Relaunching the Star Trek television franchise[]
The continuing success of the syndicated Original Series, now augmented with three successful theatrical movies (even The Motion Picture turned out to be far more profitable than the studio initially led to believe – see: Star Trek films: Performance summary) and with a fourth movie and the 20th anniversary of the franchise coming up, enticed now Paramount Television Group President Mel Harris to decide that it would be an opportune time to launch a brand new Star Trek television series, especially since the fourth movie, The Voyage Home, soon proved to be exceptionally successful. To this end he instructed in mid-summer 1986 his subordinate, Paramount Network Television President John S. Pike, to develop what was to become The Next Generation. Initially, the studio wanted to proceed without Star Trek creator Gene Roddenberry, which was, aside from his notorious eccentricities, partly due to his failing health. Nevertheless Pike, heeding his movie predecessor's considerations, decided to bring him in on 12 September 1986, this time in an active executive producer role. (Star Trek: The Next Generation - The Continuing Mission, p. 7) Unfortunately, Roddenberry's eccentricities, aggravated by ill health and his notorious attorney Leonard Maizlish, soon reasserted themselves yet again, turning the production of the first two seasons of the new series into a repeat performance of what had happened during the production of Star Trek: Phase II - The Motion Picture.
In an ironic repetition of what Herbert Solow had to go through twenty-two years earlier, Pike had a tough time selling the series to the networks, as interest in science fiction for television was at an all time low at the time (after The Next Generation started its run, it was for years the only new science fiction series being aired). Most ironically, it was future Paramount President Brandon Tartikoff who declined to buy the series for NBC, which he headed at the time; in 1965 NBC had bought The Original Series. Pike was down to his last option, Fox Broadcasting Company (which, again ironically, was established by Barry Diller, now succeeding where he had failed for Paramount in 1977 in establishing a fourth television network for which Star Trek: Phase II was slated to serve as flagship), finding it interested, but only wanting to commit to a half season of thirteen episodes at an offer that was nowhere near enough to cover the projected budget of US$1.2 million per episode for a full season. For the briefest of times it appeared that the new Star Trek television series had died before it even had been born, when Pike was approached by his colleague, Paramount Domestic Television President Lucie Salhany. (William Shatner Presents: Chaos on the Bridge)
Salhany convinced Pike to produce the new series for direct syndication, an entirely novel idea at the time, assuring him she could sell a full season of twenty-six episodes. Taking her cue from the syndication history of the Original Series, Salhany reasoned that even if the new series did not turn in a profit in first syndication run, the studio should still take its losses on this occasion, as subsequent runs would, not to mention the future revenues from associated sales, such as merchandise, home media formats (especially appealing to Harris, considering his prior involvement with these), foreign sales, and the like. Even more novel was Salhany's idea to offer the first syndication run of The Next Generation for free, in exchange for control over the seven-minute advertisement blocks. In order to manage financial risk, the studio green-lit a half season run of thirteen episodes packaged with Original Series episodes (which were to be paid for by networks). These were proposed to see if interest in the new series would materialize, especially from the side of advertisers, to continue production if it did. Subsequent events proved Salhany's hunch correct. In ultimately doing so, Star Trek again made television history. Mel Harris officially revealed the news of a new Star Trek television series on 10 October 1986. Despite a troubled and rocky production during its first two seasons, The Next Generation went on to arguably become the most successful outing in the television franchise. (William Shatner Presents: Chaos on the Bridge; Star Trek: The Next Generation - The Continuing Mission, pp. 5-7, 11)
In all fairness though, the concept of direct syndication was not entirely new; Salhany's own division produced the current media affairs show Entertainment Tonight, which was, right from its launch in 1981, already sold through direct syndication. Nonetheless, The Next Generation did become the first major or "real" television show – as in a drama or a sitcom production – to be marketed this way, and it is more than likely that Salhany also got her cue from Entertainment Tonight, whose production she was responsible for. As studio property and an already established show with considerable national coverage, Entertainment Tonight became the franchise's natural choice as the primary outlet for all (live-action) media news regarding Star Trek, and several Star Trek specials have been featured in the show while Star Trek was in production in that period of time. Subsequently, the UPN network, later co-established by Salhany (see below), took over that position. None of the specials aired by either, though, have found their way onto later released home media formats, despite being franchise property.
As if to underscore that Salhany's hunch was a correct one, the first season finished with a 10.6 Nielsen rating, representing 9.4 million households, ranking first in the 18-49 age group, the prime demographic group sought by advertisers. While the first season was running, it was already sold to eight European and Asian countries, albeit for a limited run initially and reflecting the studio's thirteen-episode trial run. Additionally, by the start of the series' first summer hiatus, a domestic sale of US$2 million had already been realized in VHS tape sales, which only comprised the first four-six episodes at the time. (Star Trek: The Next Generation Companion, 3rd ed., p. 32)
For a chauvinistic, male-dominated industry as Hollywood was at the time, it was ironic that Star Trek was effectively saved for a second (or third, if one is to include Dawn Steel's crucial contribution for The Motion Picture) time by a woman, as Salhany's namesake, Lucille Ball, had already done so in February 1966 for the Original Series, followed by the unprecedented 1968 write-in campaign to save the series which was organized, and driven by, another woman, Bjo Trimble. The chauvinistic nature of the industry was further exemplified by the fact that Salhany's name was kept under wraps for decades, even as her novel approach became well-known, with her boss Mel Harris crediting her idea as a group effort. It was not until the 2014 documentary William Shatner Presents: Chaos on the Bridge that Salhany was unequivocally credited in full by her former colleague Pike as being the brains behind the format.
Unlike its original television predecessor, the series became profitable while it was still in production. On 21 January 1993, the studio declared The Next Generation "in the profit", and announced profit distribution to start the following month. Exceptionally pleased with the result, Mel Harris, in a for the studio uncharacteristic and unprecedented stance, became a Roddenberry supporter (in public at least) when he stated, "In the period since 1987 no other program has been able to get anywhere near [TNG]... It's primarily because of the program that was created....[I]f this hadn't been created in the way that it was by Gene Roddenberry, it probably wouldn't be on the air today and it certainly wouldn't be performing as it is." If Harris' praise had been genuine, then it was obvious that he had not been present on those occasions when his subordinate John Pike had to deal with Roddenberry. Pike has had his share of run-ins with Roddenberry. (William Shatner Presents: Chaos on the Bridge; [22])
Despite the studio's troubled relationship with Star Trek creator Roddenberry, the studio did at least exhibit the decency to acknowledge him in full for his contribution to their money making franchise. On the occasion of the franchise's 25th anniversary, on 6 June 1991, shortly before celebrating the 100th episode of The Next Generation, the Producers Building on the former Desilu studio lot was renamed the "Gene Roddenberry Building" in a highly publicized ceremony, the only building on the studio lot named for a television production staffer. Paramount television president Harris held a speech, making the above-quoted statement, and during the ceremony Star Trek captain performers William Shatner and Patrick Stewart said a few words about Roddenberry. Not only was it the sole building on the Paramount lot named for a television staffer, it was also a timely one, as Roddenberry passed away less than a half year later.
Post-Next Generation productions[]
The late Brandon Tartikoff, now chairman of Paramount Pictures from 1991 to 1992, during The Next Generation's fifth and sixth seasons, was deeply impressed with the success of the six (at the time) Star Trek films and The Next Generation, and it was he, in a complete reversal of the position he had six years earlier, who initiated and authorized the creation of a third live-action Star Trek series to launch into syndication, Star Trek: Deep Space Nine. (Trek: The Unauthorized Behind-The-Scenes Story of The Next Generation; DS9 Season 1 DVD-special feature, "A Bold New Beginning")
However, him ordering a third live-action Star Trek television series, entailed far more than just doing that. The Next Generation Executive Producer Rick Berman had recounted that he had a series of meetings with Tartikoff, starting in the summer of 1991. As a former television network executive, Tartikoff was acutely aware that even the most successful series had a limited, economical lifespan for a variety of reasons, ranging from psychological cast fatigue, through naturally increasing production costs – if only for the annually inflation adjusted production staff wages as ordained by the Hollywood Unions, and not in the least for star cast salaries habitually inflating exponentially with each sequel – to increased competition with itself for scarce syndication time slots the longer a series runs. Together with Berman, Tartikoff decided upon an optimum Star Trek series run of seven seasons, meaning that The Next Generation had at that time only three seasons left to go. Though enamored with the Original Crew movies, Tartikoff was well aware that they too had run their course, if only for the age of the cast, but figured this was the perfect time to pass the baton to "the next generation", thereby starting a new Star Trek movie franchise. He instructed Berman to start looking into that, and have a movie ready at the end of The Next Generation television series (by which time the new Deep Space Nine series had to be up and running for two seasons), preferably one in which, one way or another, featured the transition of the Original Crew to The Next Generation Crew. Given his marching orders, Berman was sent on his way to his most daunting year in his career, 1994. For all intents and purposes, it was Tartikoff who had come up with the leap-frogging seven-season format of the modern Star Trek television franchise, and the start of The Next Generation movie franchise, though he had to leave the actual production start in February 1993 and oversight of what was to become the first Next Generation film, Star Trek Generations, to his immediate successor Sherry Lansing, due to his premature departure. (Star Trek Movie Memories, 1995, pp. 399-403; Star Trek: The Next Generation - The Continuing Mission, pp. 154-157; [23])
Voyager itself was actually conceived to serve as the flagship of Paramount's second attempt of operating a television network, established in 1994 as United Paramount Network (UPN) by Lucie Salhany and her superior Kerry McCluggage. Salhany had previously been recruited in 1991 by Barry Diller to head the by him established Fox Broadcasting Company, but returned in 1994 to Paramount to succeed where her former boss had failed back in 1977. [24] Unlike its unsuccessful 1977 predecessor, UPN fared somewhat better, only ceasing to exist in 2006, after it had aired the fifth live action Star Trek series, Star Trek: Enterprise.
It was in this period of time that the most successful film set in the prime universe was released in 1996, Star Trek: First Contact, even surpassing, both in critical as well as financial terms, the two hitherto most successful and beloved ones, The Wrath of Khan and The Voyage Home (see Star Trek films: Performance summary). It was only in hindsight that it became clear that First Contact represented the high water mark of what was then still called "The Franchise".
Demise of "The Franchise" in the prime universe[]
While Voyager was generally well received and considered successful by franchise management, its somewhat mixed reception already hinted at the writing on the wall of what Star Trek author and historian Larry Nemecek had referred to as "Franchise Fatigue". (Before Her Time: Decommissioning Enterprise) And indeed, when Voyager premiered, Star Trek alumnus Robert Justman already observed, "I think the show has been flogged unmercifully and its going to rebound. The reaction is essentially going to be a negative reaction. If it is around in another 30 years, I don't think it's going to resemble what it has been in the past." [25](X) It later turned out that even co-creator and executive producer Rick Berman himself had reservations about the inception of yet another Star Trek reincarnation, so hard in the heels of The Next Generation and Deep Space Nine, essentially for the same franchise fatigue reasons. Yet, since it had slated the production to serve as the flagship for the studio's own recently established UPN television network, the studio had overriding, commercial reasons to push ahead with Voyager nonetheless.
An aggravating contributor to the franchise fatigue, was the proliferation of Star Trek-related merchandise in that period of time, inundating and over-saturating the market. While profitable at first as related above, it has also caused William Shatner to exclaim, "What the hell are all of you people buying, anyway?" in his autobiography Get a Life!, having additionally observed that because of the merchandise proliferation Star Trek was no longer "special" by 1999. Shatner appeared to have a point then, as licensees were already starting to dial down their Star Trek merchandise; long standing Star Trek toy manufacturer Playmates Toys, for example, was already rumored to let its license expire without much further ado in December 1999, [26](X) which turned out to be true even sooner than expected on 17 September 1999, when Playmates formally canceled all Star Trek lines (though it has acquired a new license in 2008). [27] Likewise, Racing Champions, who had acquired Star Trek merchandise producing companies AMT, Ertl, and Playing Mantis, immediately ceased and desisted any and all Star Trek product lines upon their acquisition in 1999, the Johnny Lightning model toy line of the latter having been the sole exception. For AMT in particular, this was poignant, as it had been the oldest and truest known licensing partner of the franchise, courtesy the aforementioned Stephen Edward Poe, ever since it released the very first Star Trek model kit, that of the USS Enterprise, back in 1966 (though it too, under new ownership, has rekindled the license a decade later).
However, the first clear-cut and unmistakable sign that the franchise was in trouble came in December the same year when Star Trek: Insurrection was released; the movie was a flop, at that time the all-time worst performing movie in the franchise ever, and the first Star Trek film to turn in a net loss for the studio, and a substantial one at that. Even the hitherto most reviled one, The Final Frontier had managed to break even.
Still, franchise management decided to push the envelope even further, if only for the fact that Voyager had ended its run and that UPN was in need of another flagship. And so, yet another Star Trek live-action incarnation was ordered to premier in 2000. Having had reservations on Voyager already, this time around Berman was near skeptical, as was later revealed by his partner for the new project, Brannon Braga, in 2014, "Star Trek was wearing out its welcome. Rick Berman didn't want to make a show so soon but Paramount did. I think it was too soon for another show. It was a quality show, but the ratings weren't really what they should be. And I don't think the network – the new regime [at UPN] – I don’t think they treated the show with the tender loving care that it needed to thrive." [28] Not only that, but outside voices started to chime in as well; when interviewed by TV Guide, Mark Altman, even though he was and is a life-long Star Trek fan, additionally expressed his great doubt and was not convinced of the viability of the franchise when a fifth, prequel series was announced, what eventually was to become Enterprise, being on record as having stated, "People are sick of Star Trek. But rather than give the franchise a rest and re-launch in a few years when fervor has built again, Paramount is going to run it into the ground until it's dead." [29]
Having been given his marching orders, Berman had little choice, other than resigning, but to obey his superiors and set to work with partner Braga. "Contrary to the people on the Internet who seem to think I never cared very much about the Star Trek franchise, I did and I do. I felt that if someone was going to keep it true to Gene Roddenberry's vision it would probably be better me than for me to bow out," Berman stated in this respect to Star Trek Magazine. In order to set the new series apart from the others, Berman tried his hand at an entirely different approach, and it was exactly for these reasons that the series was simply called Enterprise, without the Star Trek prenom. Unfortunately, it did not work out as he had hoped. Debuting with a relatively large audience, Enterprise quickly lost viewership and inspired criticism of both the series and its creators, with fans – and as it turned out after-the-fact by production staffers as well – criticizing alleged violations in established continuity, causing a polarization in the apparently dwindling Star Trek fan base.
Enter Star Trek Nemesis in 2002, after the second season airing of Enterprise— and if the performance of Insurrection had been dismal, the box office take of Nemesis was even worse. The film only barely earned back its production budget – barely (see: Star Trek films: Gross vs Net profitability). Already up in arms over Enterprise, outspoken critics saw this as the straw that broke the camel's back and clamored for the removal of Berman in earnest. The most partisan ones were united in the "The Star Trek Fan Association" (STFA). A relatively small organization, it was at the time a very vocal one nonetheless, rapidly becoming the focal point for press and media alike, interested in reporting on what all the upheaval was about. (Star Trek and American Television, p. 40) Nationwide attention the STFA garnered, when it very shortly after the release of Nemesis organized an online petition to Viacom President Sumner Redstone and Paramount head Sherry Lansing, calling for sweeping changes within the Star Trek franchise leadership (not realizing that they by proxy also questioned the abilities of Redstone and Lansing as well) and creative direction with the goal of "restoring" the franchise to Gene Roddenberry's creative precedents. [7] While the franchise usually ignored Trekdom entirely, this was media attention it could do well without, and it conceivably contributed to their internal decision to cancel Enterprise after its third season, which was at the time already in full pre-production. Therefore, while already indicating cancellation with the approach of the end of the third season of Enterprise (though better, not that well received either), so too did Paramount and UPN indicate the apparent end of Rick Berman's tenure as the overseer of Star Trek productions.
Berman himself divulged that, in the case of Enterprise, the relationship between UPN and Star Trek, which had been a warm one during the production of Voyager, had by then soured considerably and had taken a turn for the worst, "Our relationship with the network was distant. And it wasn't embracing and warm and… a sense of working together that had existed in all the years before." (ENT Season 3 Blu-ray-special feature, "In a Time of War") With the 2013-2014 releases of the Enterprise Blu-ray sets, several of his former subordinates, both cast and production staff, have subsequently corroborated Berman's assessment, coming forward with tales which also pointed at studio politics detrimental to Star Trek in general, and serious mismanagement of Enterprise in particular, especially where ratings and demographics interpretation, as well as air time scheduling were concerned. In the latter respect, it exhibited disturbing similarities with what had befallen between The Original Series and NBC back in the 1960s. Exemplary of studio politics was, according to Braga, their decree, if the series was to be renewed for a fourth season – the network actually already of a mind not to do so – the producers would get rid off Scott Bakula as Jonathan Archer, which Berman fought tooth and nail, successfully as it turned out (though he had not been able to counter their decree to add "Star Trek" to the series title which was originally just Enterprise, as explicitly intended). (Before Her Time: Decommissioning Enterprise)
Whether or not influenced by the petition and though remaining credited, franchise management indeed virtually relegated both Berman and Braga to the role of figurehead at the end of the third season (admitted as such by Braga in 2007 [30]), and their places were de facto filled for, what turned out to be, the last season by Manny Coto and his second man Mike Sussman, under whose tenure much of the perceived continuity violation was redressed, aided by writers such as the Reeves-Stevens author couple, who, like them, had an equally thorough understanding of original Star Trek lore. That the series was renewed for a last season, was in no small part due to the fact that strong backing was received from an unexpected corner; Scott Bakula has unequivocally cited Garry Hart, the former UPN head and Star Trek supporter, who had just been promoted to another position within the conglomerate, as the driving force behind the renewal, thereby thwarting the cancellation intents of his successor(s) at UPN, conceivably an instance of "studio politics". (Before Her Time: Decommissioning Enterprise)
How eager UPN was to get rid of Enterprise, despite the last season being considered a triumph by staffers and fans alike, was exemplified by the fact that the last season ended four episodes shy of a full season. At the time UPN made it known that it was changing its focus by targeting an African-American audience and produced urban-themed situation comedies with African-American casts, as well as professional wrestling and reality shows. This change in targeted demographics and programming was by contemporaries accepted as the reason for the cancellation of Enterprise after only four seasons of a projected seven season run. No matter what cancellation considerations were in play; prime universe Star Trek was finished, both literally and figuratively.
"The Franchise" changes hands[]
Though not directly related, a further aggravating circumstance for Star Trek was, that in January 2006, the former Viacom was split into two separate, independent companies: CBS Corporation and a new Viacom. The split resulted in an extensive "Studio Shuffle" with all the unsavory studio politics surrounding it, not unlike the one that had befallen the studio back in 1991 when The Undiscovered Country was in production, with executives fired, hired, promoted, demoted, reassigned, and not few of them hostile to Star Trek as has been, but ending up in places where it mattered to Star Trek nevertheless, most conspicuously Leslie Moonves, a reputed hater "of all things Sci-Fi" – Star Trek included. [31] Moonves, in his previous position as head of Paramount Television in favor of the earlier by Hart thwarted 2003 in-house cancellation decision, had actually been the executive who personally ordained the ultimate cancellation of Enterprise in February 2005, therefore in turn effectively thwarting the efforts of his now subordinate Garry Hart to keep the show alive, and thus ending Star Trek prime as well for the time being. Less than a year later Moonves ended UPN as well. (In Conversation: Writing Star Trek: Enterprise; [32]) Within a year, all executives known, or even rumored, to have been Star Trek-"friendly", were either let go or reassigned to other positions within the conglomerate – only forced to leave as well after the split became effective in January 2006; these included in addition to Garry Hart among others, Sherry Lansing (ironically Moonves' superior until 2004, when the latter was promoted to co-CEO of old Viacom), Kerry McCluggage and, ultimately, Rick Berman (who, unlike every other Star Trek production staffer, had studio tenure) as well.
CBS Corporation was given ownership of Paramount Television, which until then had always been a dependent division of Paramount Pictures, and was renamed "CBS Paramount Television", eventually known as "CBS Television Studios", and most recently CBS Studios, incidentally terminating UPN in the process. It was therefore from now on CBS that exercised ownership of the Star Trek franchise and television series, while Paramount Pictures, now part of the new Viacom, retained the rights to the Star Trek films through a license from CBS Television Studios, which remained the sole entity holding the copyrights to the Star Trek franchise. For the movies this meant that, with the exception of the direct box-office takes, the subsequent home media sales and the sale of television rights – though an undisclosed, but likely hefty percentage of these still have to be paid as license fees – all other forms of revenues, most notably those of related merchandise, revert directly to CBS, not Paramount. An undesirable side-effect the split has caused, was the aggravation of the already controversial "Hollywood accounting" phenomenon.
Yet, for all the repercussions it has entailed for the franchise in practice, it must again be noted and reminded that, while the franchise has formally changed hands – that is, on paper at least – , actual end ownership has remained unchanged factually, as both new entities are still owned and fully controlled by National Amusements, the family owned holding group of "media mogul" Sumner Redstone (who not only continued to serve as CEO of new Viacom, but also as that of CBS Corporation – alongside Moonves – until 2016, when he was forced to step back due to age in favor of his daughter Shari) as it has always been ever since his former Viacom acquired the remnants of Gulf+Western back in 1994, until then the property of the Charles Bluhdorn family.
Liquidation of assets[]
Whether or not the disappointment over the live-action production performances of the last three Star Trek outings, general animosity toward the phenomenon, simple harsh economic realities, or any combination thereof were in play, fact remained, the new owners came at the franchise with a vengeance.
Firstly there was their decision to sell off Paramount's entire warehouses' contents of Star Trek production stock assets in the 2006-2009 40 Years of Star Trek: The Collection, and It's A Wrap! sale and auction wave of auctions, with the exception of those that were still on exhibition tour at the times. While CBS put a positive spin on the decision in wordings that amounted to "graciously allowing" dedicated fans the "wonderful" chance to own a piece of Star Trek history (Star Trek: Beyond the Final Frontier), it did not take a Nobel Prize laureate to realize that the primary reason was CBS' rush to liquidate their Star Trek holdings as quickly as possible, making it abundantly clear that CBS was done with Star Trek as it had been.
There was a certain amount of cynicism involved surrounding the 40 Years of Star Trek: The Collection auction organized by auction house Christie's, as it was presented as the franchise's one of only two official events for Star Trek's 40th anniversary. Additional official events were absent, save for employing a barely observed anniversary logo. The contrast with the high profile, highly publicized Hollywood-style gala event for the 30th anniversary, registered as the Star Trek: 30 Years and Beyond documentary, could not have been any greater. To date, the 40th anniversary has been the least celebrated anniversary of all, ever since the franchise started to celebrate these in 1986, having seen the conception of The Next Generation as part of that anniversary.
If there had been any lingering doubt left within Trekdom about the intentions of CBS, that bubble was popped less than a year later when CBS cut the last line of official communications with the outside Star Trek world (Star Trek Communicator, the official fanclub magazine, had folded the year before when publisher Decipher Games gave up its license due to internal issues unrelated to the studio changes) when StarTrek.com was taken off-line, almost overnight, with its entire staff fired on the spot as the result of "restructuring" at CBS Interactive. [33](X) Over the years a substantial amount of behind-the-scenes production information had been gathered on the site, but CBS has not bothered to make backups of this material and as a result, a valuable cache of information was essentially lost to posterity.
Next up were the former Paramount entertainment parks and attractions that CBS had acquired in the "divorce settlement", with Star Trek: The Experience as one of its flagships. Within the time span of two years all of these were sold to such third parties as Cedar Fair Enterprise, and by 2008 all Star Trek-themed attractions had become defunct.
The print franchise too, enjoyed the scrutiny of the new owners; the number of "official" magazines had already started to dwindle under the previous owner Paramount to just the one, the British Star Trek Magazine, but now CBS went after the foreign language editions that were still in print, as Oliver Denker, the Chief Editor of Star Trek: Das offizielle Magazin (a German language variant of Star Trek Magazine) could attest to. Denker had to renegotiate his license due to the new ownership situation in 2007, only to find out that, much to his dismay, he was unable to and has cited a "mercurial" CBS Consumer Products as the reason for the failed negotiations. [34] Denker had reasons to be dismayed, as the magazine was doing well, since Germany, along with several other European Union nations, enjoyed something of a Star Trek revival due to the syndication phenomenon. Denker was not the only one who found himself in this position, as by 2008, with exception of two GE Fabbri publications, no other foreign language official magazine was still in print, leaving the British magazine the sole "official" survivor. The number of Star Trek books too was whittled down considerably, with Pocket Books ceasing publication of reference books altogether, and the number of new novels reduced to what was essentially a token number only with the majority of 40th anniversary novel releases being cheap reprints. Within two years all Star Trek affiliated editors, most notably, Marco Palmieri and Margaret Clark, were booted out. Remarkably, one successful Pocket Books publication, the Star Trek: Ships of the Line calendar series, was as late as 2012 sold to Universe Publishing and Andrews McMeel Publishing.
The prevailing mood was not lost on other merchandise license holders either, and their exodus continued unabated, resulting in a 2006-2008 merchandise drought and a stark contrast with the merchandise situation a decade before. There was a single bright spot in this era however; Art Asylum had only gained a merchandise license at the turn of the millennium, releasing products pertaining to Enterprise at first, and refused to give in to the pursuant general mood, stubbornly continuing to release Star Trek-based models and action figures in a period of time that was virtually devoid of competitors. Art Asylum's faith in the franchise has paid off, as it still holds the prime universe license as of 2016.
There were however two franchise elements that escaped the scrutiny relatively unscathed. The first one was an obvious one as it had always been relatively easy money – syndication. And as a matter of fact, CBS came in at the tail end of what was essentially a syndication bonanza, courtesy the European Union. From the mid-1990s onward, the Union had ordained its member states to liberalize their broadcast landscape. Up until then, almost all European countries traditionally had their respective governments exercise control over the airwaves, but the member states had now committed themselves to allow commercial broadcasters unrestricted access to the airwaves as well. This sparked a boom in the number of channels all over the Union. However, there was in most countries a proviso: in order to retain their broadcast license, a newcomer committed itself to broadcast a daily minimum number of hours. As virtually none of these newcomers had their own production companies yet in place to fill their time slots, a veritable scramble for 1980s-1990s television productions ensued, Hollywood being the most obvious provider of these. With its impressive backlog catalog, Star Trek fitted the initial need for these newcomers perfectly. As a result, the European airwaves were for nearly a decade flooded with Star Trek, in most cases airing on a daily basis. In a country like the Netherlands, for example, which had only aired part of the Original Series in the early 1970s up until then, all spin-off series were now aired on daily basis, sometimes concurrently on different channels. It should be noted that this was at the time a somewhat unusual situation, as all these series had already been made available to the Dutch public through both the rental circuit as well as the home media format market. The minimum broadcast hours proviso has sometimes also led to odd situations; at one point commercial broadcaster Veronica had to air Enterprise in the dead of night, when the country was asleep, to not lose its license. [35] For the most part this situation applied to the other countries as well, but it has also been a part of the reasons why Denker's above-mentioned magazine was doing so well. However, by 2007-2008, the new situation on the European broadcast landscape had settled, with production companies in full swing, providing the commercial broadcasters with their own productions, and the after-market demand for Star Trek has dropped sharply since then, the movies excepted.
The other franchise element that escaped "The Wrath of CBS" unscathed, for partly the same reasons, was the home media format franchise, particularly since it was the dawn of high definition television. In this light the survival of Fabbri's two publications should be considered, as both were a DVD/Magazine combination partwork publication, the DVD element being, quite literally, the saving grace. In effect, it was one of the very few areas, if not the only one, where CBS took affirmative action in that period of time, by commissioning the production of The Original Series remastering project. Favorably received, the remastering project stands out as the single bright spot, in what was otherwise the "Dark Ages" of what once was "The Franchise". Incidentally and somewhat characteristically, CBS gambled on the wrong horse initially when it released the first season of the remastered series in the HD DVD format, the high resolution format that lost out to Blu Ray. Announced on 31 August 2006, the project was the second (and last) of CBS's official events for Star Trek's 40th anniversary, and its episodes were first broadcast on television, before being disseminated on home media formats. Contrary to the Christie's auction, this project at least had a positive ring about it, lacking the cynical undertones of the former. Actually, the remastering project conceivably helped to keep Star Trek Magazine afloat, as CBS belatedly realized that they were increasingly left without any official communication channels to promote the project to the very target audience it was intended for; the traditional Star Trek fan base. Publisher Titan Magazines was allowed in late 2006 to launch the magazine in the US – having been devoid of any "official" print publication since 2005 – as well, its contents synchronized with the British source publication.
Rekindling "The Franchise"[]
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Reestablishing itself in the alternate universe[]
While the last three live-action Star Trek productions had tanked, the same era also witnessed a remarkable upswing in other science fiction productions; television had Ronald D. Moore's critically acclaimed revamped Battlestar Galactica series, whose first regular season started its run, while Enterprise's last was being aired, but it was especially the big screen that saw a proliferation of genre feature productions, quite a few of them becoming box-office smashes, those stemming from the Marvel Comics universe in particular. It was after Paramount itself had a hand in four of them, War of the Worlds (2005 as distributor), Transformers (2007 as co-producer), Iron Man (2008 as distributor), and Cloverfield (2008 as co-producer), that the studio decided, even though it no longer owned the franchise, to give Star Trek another go and activate the license they held from CBS. In this it was very reminiscent of their decision to do The Motion Picture back in 1977 in response to Star Wars. In order to maximize the chances for commercial success they contracted Transformer scribes Alex Kurtzman and Roberto Orci for the same chore, as well as the highly successful Cloverfield producer J.J. Abrams for that, as well as the directorial chores. In effect, it had been Abrams himself, after he had been signed by Paramount for a five-movie deal in 2006 – Cloverfield becoming his first one for Paramount – who presented the idea of revisiting Star Trek to the studio. (Star Trek Magazine issue 129) These men set to work to reinvent Star Trek, essentially recreating Star Trek from scratch with little of the philosophies behind the Star Trek universe as postulated by creator Roddenberry left intact – if any at all, exactly as predicted by Robert Justman back in 1994, but fifteen years earlier than even he could have foreseen.
It worked, the 2009 alternate universe feature film Star Trek became a box office success, easily surpassing any of its predecessors by far. The 2009 film itself became surpassed by its successor, the 2013 sequel Star Trek Into Darkness, also directed and produced by Abrams. Its sequel became the 2016 film Star Trek Beyond, which was however, rather unexpectedly, considerably less successful. (see: Star Trek films: Performance summary)
Yet, while hugely successful at the box offices, long standing Star Trek production veteran Doug Drexler spoke for many prime universe Star Trek fans, skeptical of the reinvented version, when he stated, "Technically they are beautiful… the work is stunning… however… and I hope no one will hold this against me… I did not enjoy the last two films, and honest… I really wanted to… but for me, Star Trek has to have a philosophical, humanist bend to it… always making a point, or asking a question. It should be introspective, and self examining. That's the Roddenberry factor. The new films are devoid of Gene Roddenberry, and at the end of the day, I'm not ok with that." [36](X) Drexler's observation was more than validated when Paramount Motion Pictures Group President Marc Evans made the following comment in 2015, "I often think about the areas of the Star Trek universe that haven’t been taken advantage of. Like, I'll be ridiculous with you, but what would Star Trek: Zero Dark Thirty look like? Where is the SEAL Team Six of the Star Trek universe? That fascinates me," a statement that flew straight in the face of Roddenberry's non-militaristic vision for his Star Trek universe – and which had actually already spawned some fan criticism when the MACOs were introduced in Enterprise. [37] Drexler is not the only prime universe production staffer skeptical of alternate universe Star Trek, as Producer Robert Meyer Burnett has voiced similar concerns in public. [38]
Still, the box office aggregates of nearly US$1.2 billion for the first three films alone (surpassing the amount all ten previous Star Trek movies had made), as well as the partial resurgence of the overall franchise, indicated that revitalized Star Trek had attracted a new viewership that went well above and beyond traditional Trekdom.
Studio executives actively involved with Star Trek productions[]
(Note: This list is currently incomplete.)
In the list below, the name of the executive producers for any given production is also mentioned after its title. Formally, they are not part of the studio executive staff, but the creative managerial heads of the actual productions, and as such officially credited, which studio executives – Original Series executives Bill Heath, Herb Solow, Douglas S. Cramer, and The Motion Picture's Lindsley Parsons, Jr. being the notably sole exceptions – are traditionally not. Yet, they do serve as the primary liaison between the actual productions and the studio oversight and consequently, they are answerable to studio executives. Note that even the highest Paramount executives had bosses; Diller, for example, was answerable to Gulf+Western President Bluhdorn, who, while relatively far removed from the production, did make some momentous decisions concerning the Star Trek movie franchise, as related above, aside from being responsible for acquiring the franchise for Paramount in the first place. Also listed are the executives involved with the Star Trek television franchise, since these productions were until 2006 part of Paramount Pictures, as explained above.
Historical overview[]
Founded by Adolph Zukor in on 8 May 1912, Paramount Pictures is America's second oldest, still-operating, motion picture studio behind Universal Studios, though only by a little over a week. Its logo – the highly-recognizable, majestic Paramount mountain – has been part of the company from the beginning, thus making it the oldest surviving Hollywood film logo. For nearly half a century it was one of what once was colloquially known as the "Big Five" major Hollywood motion picture studios, along with 20th Century Fox (the "Fox" component having been founded in 1915), and the only surviving one still located in the Los Angeles neighborhood of Hollywood. Ironically, Universal had not been one of them, it being subordinated in a lower tier. One of the original "Big Five" had been RKO Pictures (founded on 23 October 1928) which went defunct on 7 March 1958, after which Desilu Studios bought its assets and real estate – but not its backlog library of film titles, even though a clipping from the 1945 RKO film The Spanish Main became a recurrent Star Trek "guest star". Through the acquisition of Desilu itself in 1967, Paramount became the owner of much of what had been a major industry competitor once.
Paramount Pictures was the company responsible for the film to win the very first "Best Picture" Academy Award in 1929, the silent World War I theatrical feature Wings (1927) – also turning out to become the only silent film to do so – additionally winning the very first "Best Effects, Engineering Effects" Academy Award, the later "Visual Effects" category. [39] Clippings of that movie were featured in the opening title sequences of the two Star Trek: Enterprise "In a Mirror, Darkly" mirror universe episodes.
Since then, Paramount has produced the Academy Award-winning films Going My Way (1944), The Lost Weekend (1945), The Greatest Show on Earth (1952), The Godfather (1972), The Godfather, Part II (1974), Ordinary People (1980), Terms of Endearment (1983), Forrest Gump (1994), Braveheart (1995), and Titanic (1997). Among the other acclaimed films they have produced are Double Indemnity (1944), Stalag 17 (1953), The War of the Worlds (1953, based on the book by H.G. Wells), The Ten Commandments (1956), Breakfast at Tiffany's (1961), The Man Who Shot Liberty Valance (1962), Once Upon a Time in the West (1968), Chinatown (1974), Saturday Night Fever (1977), Grease (1978), Top Gun (1986), Fatal Attraction (1987), Saving Private Ryan (1998), and Zodiac (2007).
By 2020 one of only five to pass the US$2 billion mark as the all-time highest (worldwide) grossing films, the multi Academy Award winning Titanic (served by such Star Trek alumni as Robert Legato
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] | null |
[
"Britt Hayes"
] |
2024-01-10T23:57:28+00:00
|
From slashers to cult classics and modern thrillers, Paramount+ has an impressive library of horror films to stream.
|
The Mary Sue
|
https://www.themarysue.com/best-horror-movies-on-paramount-plus/
|
Although it’s primarily known as the streaming home of Star Trek and Yellowstone, Paramount+ has a pretty impressive movie collection, too. And there’s no shortage of streaming options for horror-loving cinephiles.
Recommended Videos
Now that Paramount+ has gobbled up Showtime, there are even more titles to choose from. Below, you’ll find the best horror movies currently streaming on Paramount+ With Showtime. For the time being, that includes a few titles from A24, which recently signed a deal to migrate over to Max this year.
Scream
Paramount+ currently has the whole Scream franchise—except for Scream 4, which is streaming on Max. Scream, Scream 2, Scream 3, Scream (a.k.a. Scream V), and Scream VI are all available to take you on a postmodern slasher journey. Wes Craven reinvigorated the horror genre with 1996’s Scream, and the recent sequels do a good job of carrying the torch with an assist from Melissa Barrera and Jenna Ortega. Unfortunately, it looks like Scream VII won’t be happening anytime soon.
Smile
Smile was the surprise horror hit of 2022 (there’s a sequel on the way), a supernatural tale of terror that effectively blends classic jumpscares with moments of dread and features a pretty bold climax. Parker Finn’s feature directorial debut follows Dr. Rose Cotter (Sosie Bacon), who finds herself tormented by a mysterious evil force after witnessing a horrific event involving a patient.
Event Horizon
Before he became the architect of the Resident Evil franchise, Paul W.S. Anderson made one of the better entries in the late ‘90s run of sci-fi movies. Set in 2047, Event Horizon stars career freakazoid Sam Neill, Laurence Fishburne, and Jason Isaacs, and centers on a crew of astronauts whose investigation into the sudden reappearance of a spacecraft uncovers horrors beyond imagination. There’s a reason this one is a cult classic.
A Quiet Place
A world in which everyone has to shut the hell up or get killed by insectoid aliens doesn’t sound too dystopian to me, but I’m also not Emily Blunt in A Quiet Place: caring for two children and grieving a horrible loss while pregnant and figuring out how to soundproof the family bunker for delivery day. Directed by John Krasinski (who co-stars as the family patriarch and delivers a hilarious moment involving a whiteboard), A Quiet Place is a fun, riveting horror thriller. And if you’re curious, you can watch A Quiet Place Part II, which is also streaming.
Bodies Bodies Bodies
One of our favorites from 2022, Bodies Bodies Bodies is a total blast with a great ensemble and a killer ending. A group of friends—played by Amandla Stenberg, Rachel Sennott, Myha’la Herrold, Chase Sui Wonders, and Pete Davidson—get stuck in a mansion during a hurricane and decide to play the eponymous party game, in which one friend goes around “killing” the others until their identity is revealed. Things quickly devolve when a friend turns up dead, and everyone becomes a suspect, including the newest additions to the group (Maria Bakalova and Lee Pace, who gives an A+ performance as a walking red flag).
Cloverfield
The months leading up to the release of Cloverfield in 2008 were pretty exciting thanks to a low-key viral marketing campaign and a mysterious teaser. Produced by J.J. Abrams, the found-footage horror flick is set in New York and follows a group of friends—a young Lizzy Caplan among them—as they contend with the arrival of a giant alien creature terrorizing the city. Cloverfield was the directorial debut of one Matt Reeves, who went on to direct Dawn of the Planet of the Apes and its follow-up, as well as The Batman.
It Follows
With a somewhat unexpected sequel on the way, now is a great time to give It Follows a spin. The 2014 horror film concerns a supernatural presence, transmitted via sexual intercourse, that relentlessly stalks its victims until, exhausted and no longer able to run, it kills them. Directed by David Robert Mitchell (Under the Silver Lake), the well-executed scares and timeless production design have made It Follows a modern horror classic.
Men
Alex Garland has made some truly great contributions to genre film, including Ex Machina, Annihilation, and (as screenwriter) 28 Days Later. 2022’s Men is his most divisive movie, an avante garde folk horror thriller in which a woman (Jessie Buckley) rents a home in the rural countryside to cope with a recent tragedy, only to find herself tormented by the town’s men—all of whom are played by Rory Kinnear. It’s a compelling concept that alienated some viewers, especially those who’d come to expect something a little different from Garland. The absolutely batshit-bonkers ending probably didn’t help, but I adore it.
The Host
Long before he swept the Oscars with social thriller Parasite, South Korean filmmaker Bong Joon-ho made a wildly entertaining monster movie. Released in 2006, The Host is set in Seoul, where the American military’s dumping of chemicals into the river has given rise to a massive kaiju. The film is the second collaboration between Director Bong and actor Song Kang-ho, who also stars in Memories of Murder and Parasite.
X and Pearl
Ti West struck gold when he cast Mia Goth in dual roles in X, in which she plays adult film performer Maxine, one of a small group of amateurs trying to shoot a porno on a religious elderly couple’s Texas farm. Goth also plays Pearl, the elderly wife who becomes obsessed with the film crew—and Maxine, in particular.
West followed X up with the campy prequel Pearl, which explores the eponymous character’s past as a deeply repressed aspiring starlet. The trilogy is set to conclude soon with MaXXXine, a sequel set in the ‘80s.
The Exorcist
One of the scariest films of all time hardly needs an introduction. Released in 1973, The Exorcist stars Ellen Burstyn as a single mother struggling with the strange affliction plaguing her daughter, Regan (Linda Blair). Desperate for help, she enlists a Catholic priest, who calls for an exorcist, played by the great Max von Sydow. Directed by William Friedkin, The Exorcist features some of the most iconic imagery in horror. If you haven’t seen it before, you’re likely to have a few a-ha moments when you recognize the scenes that influenced numerous horror movies over the following decades.
What Lies Beneath
Robert Zemeckis released two films in the year 2000: Cast Away and What Lies Beneath. While the Tom Hanks drama is the one people remember most, What Lies Beneath deserves some appreciation, too. Harrison Ford stars in this riveting horror thriller as Dr. Norman Spencer, a man whose secret extramarital affair literally returns to haunt him—and his wife Claire, played by Michelle Pfeiffer. Clark Gregg, best known to audiences as Agent Coulson in the Marvel Cinematic Universe, wrote the screenplay for What Lies Beneath, which features one of the greatest jump-scares in horror history.
(featured image: Paramount Pictures / A24)
|
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https://keithandthemovies.com/2024/08/07/50-years-later-chinatown-1974/
|
en
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50 years Later – “Chinatown” (1974)
|
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[
"Keith Garlington"
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2024-08-07T00:00:00
|
Released on June 20, 1974, the rightly heralded “Chinatown” has firmly held its status as a classic for 50 years. Part old-fashioned film noir, part searing takedown of the ruling class and their institutions - “Chinatown” would go on to earn eleven Academy Award nominations, eleven BAFTA nominations, and nine Golden Globes nominations. But beyond…
|
en
|
https://keithandthemovies.com/2024/08/07/50-years-later-chinatown-1974/
|
Released on June 20, 1974, the rightly heralded “Chinatown” has firmly held its status as a classic for 50 years. Part old-fashioned film noir, part searing takedown of the ruling class and their institutions – “Chinatown” would go on to earn eleven Academy Award nominations, eleven BAFTA nominations, and nine Golden Globes nominations. But beyond all the accolades, what defines “Chinatown” most is how brilliantly it holds up today.
My last rewatch of “Chinatown” was inspired by Sight and Sound magazine’s most recent “Greatest Films of All Time” poll. For those unfamiliar with it, the poll has been taken every ten years since 1952. A select group of film critics and industry insiders are asked to vote for the ten greatest movies of all time. It has generally been a highly regarded poll partly due to the exclusivity of its voting body. But 2022 brought both controversy and skepticism, with S&S boosting its voters to 1,639 hand-picked participants (there were 145 in the 2002 poll; 846 in 2012). Naturally it resulted in some dramatic and head-scratching changes to list.
Here’s the thing, I didn’t revisit “Chinatown” because of its prominent place on the latest S&S list. No, instead it was because the landmark 1974 classic was booted from the list entirely. On the surface it seems like a mind-blowing omission and a real shock to the poll’s credibility (“The Godfather Part II”, “Rio Bravo”, “Raging Bull” and others also got the boot). So I fired up the film to see if something had changed. Nope, it still hits every mark and impressed me more this time than during any of my previous viewings. Sorry Sight and Sound. You got this one wrong.
“Chinatown” comes from director Roman Polanski, a blemish that alone probably cost the film several S&S votes. But the pure quality of the movie itself stands on its own. As does the exceptional Oscar-winning screenplay from the late Robert Towne. As does the cool and charismatic lead performance from Jack Nicholson – arguably the best of his career. As does the stellar supporting work from Faye Dunaway and John Huston. As does the period set design and costumes. As does Jerry Goldsmith’s transporting score. I feel like I could go on and on.
Set in 1937 Los Angeles, Nicholson plays a private detective named J. J. “Jake” Gittes. One afternoon a woman (Diane Ladd) identifying herself as Evelyn Mulwray comes to his office. She suspects her husband, Hollis Mulwray (Darrell Zwerling), is having an affair and she wants Gittes to find out. He takes the job and upon investigating learns that Mulwray is the chief engineer at LA’s Department of Water and Power. Gittes starts tailing Mulwray, eventually snapping some photos of him with a young woman – photos that mysterious end up in the newspaper.
The next day Gittes is confronted by the real Evelyn Mulwray (Dunaway) who hits him with a lawsuit. Steamed that he’s been used by someone to disgrace Hollis Mulwray, Gittes and Evelyn cut a deal. He’ll find out who set up her husband, and she’ll drop the lawsuit. Seems simple enough, but of course it’s not. What started as an infidelity case soon gives way to lies, city corruption, and (as in most good noirs) murder. Even worse, there’s something far more sinister underneath it all.
For lovers of classic noirs, “Chinatown” fits snugly within the bygone genre and feels right at home next to the many films that undoubtedly inspired it. Yet Polanski and Towne add their own special seasoning which makes this more than just a copy-and-paste experience. Much of it is in the way Polanski plays with POV or how he shoots his sun-baked Los Angeles (DP John A. Alonzo received an Oscar nomination). But it’s also evident in Polanski’s willingness to tinker with genre conventions, to the point that we’re never certain where he’s taking us.
Then you have Towne’s absorbing screenplay. It has a few signature noir movie twists with everything being revealed at the very end (Interestingly, Polanski added some grit to the ending, changing it up in a way that initially frustrated Towne. Later, Towne would admit that Polanski’s climactic finish was the right choice). But there is so much more to Towne’s dense and complex story. He offers a deep and compelling spin on the California Water War and all the political deception and chicanery that went with it.
Towne also does some incredible character work. Written specifically for Nicholson, Gittes is a cynical wisecracking sleuth but with an uncommon sense of decency at his core. Dunaway’s Evelyn is an elegant and high-class femme fatale who does her best to hide her fragility. And of course there’s the devilishly good John Huston playing Evelyn’s wealthy and powerful father, Noah Cross. Towne fleshes them all out through his crackling dialogue and his patient attention to detail. They all have roles to play within his winding story, but they are also given plenty of room to develop.
“Chinatown” spends a lot of time covering a lot of ground, yet it’s surprisingly efficient. There’s simply no wasted scenes, no meaningless lines, and no throwaway moments. And while the disgraced director’s post-“Chinatown” offenses undoubtedly hang over his work, there’s a richness to Polanski’s direction. And I love how he entrusts his audience to follow along. In the end, every facet of great filmmaking can be found in “Chinatown”. And I hate to say it, but it’s hard to take a “Greatest Films of All Time” list seriously that doesn’t include this 1974 gem.
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| 0 |
https://m.the-numbers.com/box-office-star-records/worldwide/theatrical-distributors/paramount-pictures-leading-stars
|
en
|
Top Worldwide Leading Stars for Paramount Pictures Movies
|
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[
"Box Office Stars",
"Records",
"Leading",
"Lifetime",
"Worldwide",
"Cumulative",
"Paramount Pictures"
] | null |
[] | null |
The figures in this chart represent the total amount of worldwide revenue generated by all the Paramount Pictures movies a star has had a leading role in over their lifetime.
|
https://the-numbers.com/images/logo_2021/favicon.ico
|
The Numbers
|
https://m.the-numbers.com/box-office-star-records/worldwide/theatrical-distributors/paramount-pictures-leading-stars
|
See also: Domestic Leading Paramount Pictures Stars - International Leading Paramount Pictures Stars - Worldwide Leading Walt Disney Stars - Worldwide Leading Warner Bros. Stars - Worldwide Leading Universal Stars - Worldwide Leading Sony Pictures Stars - Worldwide Leading 20th Century Fox Stars - Worldwide Leading Lionsgate Stars - Worldwide Leading MGM Stars
This chart contains the top 100 stars based on the cumulative worldwide box office of all the Paramount Pictures movies a star has had a leading role in over their lifetime.
Roles in animated movies and other voice-only roles are included in the calculations in this chart.
|
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| 75 |
https://www.thewrap.com/best-movies-on-paramount-plus-right-now/
|
en
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The Best Movies on Paramount+ Right Now
|
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[] |
[] |
[
""
] | null |
[
"Haleigh Foutch",
"Drew Taylor",
"Adam Chitwood",
"Benjamin Lindsay",
"Dessi Gomez"
] |
2023-08-18T13:00:00+00:00
|
Wondering what to watch? Here are the best movies you can stream on Paramount+ right now, from "Scream" to "Top Gun: Maverick"
|
en
|
TheWrap
|
https://www.thewrap.com/best-movies-on-paramount-plus-right-now/
|
Paramount+ (née CBS All Access) has recently shot up as one of the streaming services with the most robust and up-to-date libraries full of hits, hidden gems and classics.
Featuring some of the best Paramount movies, and beloved TV shows from CBS, MTV, Nickelodeon, Comedy Central, BET and more, Paramount+ is the home of hit film franchises like “Scream” and “Mission: Impossible,” TV hits including “Star Trek” and Taylor Sheridan shows including “The Tulsa King” and “Yellowstone” spinoffs “1883” and “1923” (though, somewhat confusingly, you won’t find “Yellowstone” itself on there — that’s on Peacock).
Paramount’s movie list is particularly robust, so whether you’re wondering what’s new on Paramount+ or looking for the overall best movies you’ll find streaming there right now, we’ve got you covered with the best movies on Paramount+ to watch right now. And for your streaming convenience, we’ve linked the titles directly so you can skip the scrolling and get to watching.
“Scream” Movies (1996-2022)
If you’re looking for the latest installment in the recently revived “Scream” franchise, you’ll have to head to Paramount+, where you’ll find “Scream VI,” as well as all of the previous movies except “Scream 4.” From Wes Craven’s genre-redefining 1996 original to the 2022 reboot that made it a buzzy horror hit once again, “Scream” has endured as one of the most consistent — and consistently quotable — slasher franchises in movie history, from the unforgettable cold opens to the parade of iconic characters. — Haleigh Foutch
“Babylon” (2022)
Maligned by many upon release, Oscar-winning “La La Land” and “First Man” director Damien Chazelle’s old Hollywood-set “Babylon” seems destined to pick up a cult following. The sprawling, depraved epic is set in 1920s Hollywood and follows the trajectories of three main characters – Margot Robbie goes from unknown to vamp; Brad Pitt is an aging movie star with a bad drinking habit; and Diego Calva is an outsider who gets invited to the party. Talkies are on the horizon and everyone’s trying to figure out where Hollywood goes next, while still keeping the party alive. – Adam Chitwood
“Top Gun: Maverick” (2022)
One of last year’s biggest movies was also one of its best. “Top Gun: Maverick,” improbably a “Top Gun” sequel released 35 years after the original, follows Pete “Maverick” Mitchell (Tom Cruise), who still gets in trouble for hotdogging (this time in an experimental jet) and as a demotion of sorts gets sent back to the Top Gun academy where he made his name. There, he trains a new group of pilots, including Rooster (Miles Teller), the son of his fallen comrade Goose (Anthony Edwards), who died tragically in the first movie. Maverick has to get them ready for a potential suicide mission in enemy airspace. Even more harrowing: he’s got to figure out a way to connect with the son he never had.
Both a triumph of technical filmmaking prowess and emotional storytelling, “Top Gun: Maverick” is flawlessly directed by Joseph Kosinski from an Oscar-nominated script by Cruise’s frequent collaborator Christopher McQuarrie that mixes machismo and genuine heart. If, for some reason, you never saw “Top Gun: Maverick,” now’s the perfect time. And if you’ve already seen it, you’re probably anxious to watch it again. You are go for launch. – Drew Taylor
“At Midnight” (2023)
“Top Gun: Maverick” alum Monica Barbaro stars in this film-within-a-film about Sophie Wilder, an actress in a superhero franchise. She heads to Mexico to film the final installment in the trilogy after finding out her costar/boyfriend was cheating on her. Once she arrives, she meets Alejandro (Diego Boneta), who manages the hotel where she stays, and their meet-cute (in which Alejandro walks in on Sophie naked in the shower), leads them to an awkward connection. Sophie dares Diego to go dancing at midnight and their chemistry picks up from there. Add this to your list of romantic comedies to stream. — Dessi Gomez
“The Wolf of Wall Street” (2013)
Based on the true story of the rise and fall of Wall Street trader Jordan Belfort, Martin Scorsese’s “The Wolf of Wall Street” is more than just a damning account of the rot fueling the financial world’s elite – it might be one of the funniest movies of the last decade. Plus, it introduced the world to one of today’s biggest stars, Margot Robbie. Leonardo DiCaprio and Jonah Hill, both here nominated for Oscars, lead the stellar ensemble. — Benjamin Lindsay
“Black Bear” (2020)
A festival hit that got swallowed by the void of 2020, “Black Bear” features Aubrey Plaza in one of her best performances yet, starring as a director in a creative dry patch, who travels to a remote cabin and finds inspiration in toying with the cabin’s married owners (Cristopher Abbott and Sarah Gadon). But nothing is as simple as that in Lawrence Michael Levine’s trippy character piece, and in the second act, the film inverts, reframing the players and shifting into new power dynamics. It’s a fascinating watch that’s not really as confusing as it sounds, and Plaza is in peak form playing both sides of the coin. — Haleigh Foutch
“Sonic the Hedgehog” (2020)
There is a rarely-trod hallowed ground for family films that succeed both as a children’s movie and a genuine for-all-ages fun time at the theaters, and the 2020 “Sonic the Hedgehog” adaptation thrives there. Inspired by the international mega-hit video game franchise, “Sonic” succeeds by putting the priority on being an entertaining movie rather than a fan-please homage — without forgetting to do the latter either. It’s a buddy-comedy with real laughs, a road movie with real heart and the funniest Jim Carrey has been in ages. — Haleigh Foutch
“Almost Famous” (2000)
Cameron Crowe’s masterpiece “Almost Famous” feels like a letter from an old friend, and in that way, it serves as a pretty terrific comfort movie. Inspired by Crowe’s experiences as a young reporter for Rolling Stone, the film follows a teenager who somewhat cons his way into going on the road with a breakout band called Stillwater for a profile in Rolling Stone magazine. What follows is a coming-of-age story in the midst of chaos, packed with colorful and loving characters that feel rich and defined. The ensemble cast includes Kate Hudson, Billy Crudup, Frances McDormand and Philip Seymour Hoffman. – Adam Chitwood
“Mission: Impossible” Movies (1996-2018)
For more than twenty years, the “Mission: Impossible” franchise has sent Tom Cruise repelling, diving, cliff-hanging, helicopter-piloting, high-speed chasing and… well, you get the idea. As Ethan Hunt, Cruise has thrown himself full-body at one death-defying stunt after the next for nearly 30 years in pursuit of making one of cinema’s great action franchises — and it worked. Of course, it’s not just the stunts. It’s Cruise’s rare bonafide movie star wattage, a filmmaker-fluid open-armed embrace of the superspy genre, and the increasingly high stakes and more refined character work that have crystalized under Christopher McQuarrie’s shepherding of the series since the fifth installment. Pound for pound, blow for blow, stunt for bananas stunt; “Mission: Impossible” is one of Hollywood’s great franchises. —Haleigh Foutch
“Top Gun” (1986)
Before “Maverick,” there was “Top Gun,” and you’ll find the original streaming on Paramount+ as well. starring Tom Cruise as Pete Mitchell, Anthony Edwards as the beloved Goose, Meg Ryan as Carole, the beloved 80s actioner took audiences into the cockpit with some of the cockiest pilots on earth. Val Kilmer’s Iceman rivals Cruise’s Maverick in flight school. The sunset vibes and humidity were established in the original film, with Kelley McGillis starring opposite Cruise as an instructor and love interest. Berlin’s “Take My Breath Away” adds to the romantic ambiance outside of the action scenes. — Dessi Gomez
“Beverly Hills Cop” Trilogy (1984-1994)
There’s a legacy sequel, “Beverly Hills Cop: Axel Foley,” coming to Netflix sometime later this year (exact timing TBD), so why not brush up on your “Beverly Hills Cop” lore? The first film is still the best of the trilogy, as it introduced hardscrabble Detroit cop Axel Foley (Eddie Murphy) who travels to posh Beverly Hills to solve the murder of his best friend. It really played to Murphy’s smart-aleck-y strengths and so much of the movie remains iconic to this day (Harold Faltermeyer’s glitchy electronic score, Judge Reinhold’s affable detective, Bronson Pinchot’s outrageous art dealer Serge).
The sequel, directed by Tony Scott, is less hilarious but more muscular and effortlessly stylized, while the third film gets a little lost, with a meandering plot and an uninterested Murphy (although Pinchot returns for one very funny scene). Hopefully, the new movie will return the series to the action/comedy balance of the first two films. And if not, you can always re-watch the originals. – Drew Taylor
“Cloverfield” (2008)
Great monsters are personal; a product of their times and the fears of the filmmakers who create them — and the moviegoers who flock to them. From the found-footage format to the post-9/11 anxiety that pulses throughout the film’s imagery, “Cloverfield” is the definitive monster movie of the 2000s. And despite the baffling franchising that followed, despite the downfall of found footage in the court of public opinion, director Matt Reeves and writer Drew Goddard crafted a tight, tense and immersive survival movie that holds up both as a highlight of the giant monster genre and perhaps the most successful studio embrace of the found footage craze. — Haleigh Foutch
“Interstellar” (2014)
You’ve heard the music in TikToks, now see the movie. Christopher Nolan’s 2014 film “Interstellar” is a heady time-travel sci-fi epic that also happens to be Nolan’s most purely emotional film. Set in the near future, Matthew McConaughey plays a former NASA pilot and single father who’s enlisted to travel through a wormhole to investigate three planets that could serve as a safe haven for humanity as Earth’s food sources are quickly dwindling. Anne Hathaway, Jessica Chastain, Casey Affleck and Timothée Chalamet co-star, and the film features one of Hans Zimmer’s best scores. – Adam Chitwood
“Minority Report” (2002)
Steven Spielberg took on the work of literary sci-fi giant Philip K. Dick with his 2002 “Minority Report” adaptation and delivered one of the best science fiction movies of the 21st Century so far. Starring Tom Cruise as John Anderson, Chief of the Precrime police unit that has all but eliminated murder through the questionable use of precognitive abilities, the film finds Anderson on the run from his own unit when they predict he will kill a man he’s never met. An action-packed, gripping mystery that tangles with free will and government overreach, the film has also become known as one of the more accurate sci-fi films when it came to its futuristic world-building thanks to the innovative think tank that helped construct it. — Haleigh Foutch
“The Man Who Shot Liberty Valance” (1962)
Released in 1962, “The Man Who Shot Liberty Valance” is one of the best Westerns ever made. The film stars James Stewart as a young do-gooder attorney who is attacked by a gang leader named Liberty Valance. He’s rescued and nursed back to health by an aging outlaw played by John Wayne, and what ensues are two different kinds of men teaming up to take on a baddie. Stewart’s character believes the law and justice will prevail, while Wayne’s character knows the only way to stop Valance is to take the law into his own hands. Director John Ford gets meta about Western tropes here, as Liberty Valance is very much a “goodbye” to the old-fashioned Westerns led by Wayne and a passing-of-the-torch of sorts to Stewart’s character, who refuses to get his hands dirty. – Adam Chitwood
“Halloween: H20” (1998)
An underrated installment in the hit-or-miss horror franchise, “Halloween: H20” represents an interesting juncture in slasher history, following on the heels of the 1996 game-changer “Scream” while also signaling a desire to return to “Halloween’s” simpler scary-guy-with-a-knife roots. The two tones don’t always mesh perfectly, but there’s a lot to love in the 1998 installment, which shares a lot of creative DNA with the 2018 “Halloween” reboot. Returning to the story of Laurie Strode (Jamie Lee Curtis), “H20” finds her hiding under a new identity, struggling with addiction and battling her trauma as she attempts to raise her son (Josh Hartnett) with a hint of normalcy. Then Michael Myers returns. — Haleigh Foutch
“The Lost City” (2022)
If you’re in the mood for an old-school adventure romance with a bit of a silly streak, “The Lost City” is just the ticket. Sandra Bullock stars as romance novelist Loretta Sage alongside Channing Tatum as her doting cover model, Alan. When Lorretta gets kidnapped by a scheming billionaire, Alan steps up to prove he’s a real hero and the pair wind up on the run, lost in the jungle, and way out of their depth on the hunt to find a great treasure before the big bad. A knowing nod toward genre great “Romancing the Stone,” “The Lost City” stands on its own as more than homage thanks to its laugh-out-loud goofy streak, great chemistry between Bullock and Tatum, and an A+ Brad Pitt cameo. — Haleigh Foutch
The Hours (2002)
Mrs. Dalloway said she would buy the flowers herself – and we say you should watch this modern classic! From filmmaker Stephen Daldry and based on Michael Cunningham’s Pulitzer Prize-winning novel, “The Hours” beautifully depicts the lives, loves and insurmountable tribulations of three different women in three different decades, played exceptionally by Nicole Kidman, Julianne Moore and Meryl Streep. Kidman, who here stars as famed “Mrs. Dalloway” author Virginia Woolf, took home the Best Actress Oscar for her performance in 2003. Standout supporting turns from Toni Collette, Ed Harris, Jeff Daniels and John C. Reilly also help this haunting feature stand the test of time. — Benjamin Lindsay
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At Paramount Pictures, the Family Tree Is Still Growing
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2016-04-11T00:00:00
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It might be easier to trace the genealogy of an alley cat than of the typical Hollywood studio: Over the last century or so, most have accumulated a tangled list of owners and corporate forebears — and none more so than Paramount Pictures.
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https://static01.nyt.com/favicon.ico
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https://www.nytimes.com/interactive/2016/04/11/business/media/paramount-studios-family-tree.html
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It might be easier to trace the genealogy of an alley cat than that of the typical Hollywood studio: Over the last century or so, most have accumulated a tangled list of owners and corporate forebears — and none more so than Paramount Pictures.
Paramount is currently owned by Viacom Inc., which is in turn controlled by Sumner Redstone and his daughter, Shari, through their privately held National Amusements Inc. But the studio’s family tree will become more complicated if Viacom succeeds in its plan to sell a minority stake in Paramount to an outside investor, yet to be identified.
That new partial parent will expand a corporate ancestry that has been growing since 1912, when Adolph Zukor, a nickelodeon king, allied with Daniel and Charles Frohman to start what was then called the Famous Players Film Company.
W.W. Hodkinson was a theater owner based in Utah, where he sometimes gazed on a mountain in the Wasatch Range that inspired the logo for his Paramount Pictures Corp. The company was founded in 1914 and became a national film distributor, through which Famous Players and Lasky released movies—but not happily.
“I was not entirely satisfied with that arrangement,” Mr. Zukor wrote in his autobiography, “The Public Is Never Wrong,” referring to the standard deal under which Paramount received 35 percent of the receipts from each film. Paramount’s early output included Jack London-inspired films like “An Odyssey of the North.”
Mr. Zukor began buying up stock in Paramount. And in 1916, Famous Players, Lasky and Paramount merged to form what was called the Famous Players-Lasky Corp., with Paramount Pictures as its increasingly famous film brand.
Mr. Goldwyn left amid internal conflicts, some provoked by his belief that Mr. Zukor was overpaying stars like Mary Pickford. “The Knickerbocker Buckaroo,” a 1919 comedy with Douglas Fairbanks, soon to become Ms. Pickford’s husband, was among its many star-laden films.
Under its chairman, Mr. Redstone, who was then 70 years old, Viacom bought Paramount in a deal valued at about $10 billion. The sale followed a bruising fight with a rival bidder, QVC Network Inc., which was run by the former Paramount top executive, Mr. Diller.
“Here’s to us who won,” Mr. Redstone said in toasting the purchase at a family dinner.
Ms. Redstone, 61, who is a major shareholder in National Amusements, is expected to wage a fight for control of Viacom upon the eventual death or disability of her father, who is now 92. She does not want to run the company herself, but wants to change the leadership structure. Mr. Dauman, Viacom’s chief executive, has begun to search for an investor who will take a stake in Paramount, and perhaps help to reinvigorate the film operation.
Last year Paramount ranked last among Hollywood’s major studios, according to Boxofficemojo.com, with only 5.9 percent of the domestic box office, notwithstanding a lift from its biggest hit, “Mission: Impossible — Rogue Nation,” which had about $195 million in North American ticket sales.
Which person, company or combination thereof next joins the Paramount ownership family will now be up to Mr. Dauman, Mr. Redstone and the Viacom board. The new part-owner can presumably look forward to the premiere of “Star Trek: Beyond,” set for release in July.
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https://www.afi.com/afis-10-top-10/
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AFI’s 10 TOP 10
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AFI’s 10 Top 10 is a list of the 10 greatest movies in 10 classic American film genres: Animation, Courtroom Drama, Epic, Fantasy, Gangster, Mystery, Romantic Comedy, Science Fiction, Sports and Western.The three-hour special television event, AFI’s 10 TOP 10, was telecast on CBS on June 17, 2008. The show enlisted hosts for each genre including: Jessica Alba for Romantic Comedy; Sean Astin for Fantasy; Gabriel Byrne for Mystery; Kirk Douglas for Epic; Clint Eastwood for Westerns; Cuba Gooding, Jr. for Sports; Jennifer Love Hewitt for Animation; Quentin Tarantino for Gangster; Sigourney Weaver for Sci-Fi; and James Woods for Courtroom Drama.[vc_row_in
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American Film Institute
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https://www.afi.com/afis-10-top-10/
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ANIMATION
AFI defines “animated” as a genre in which the film’s images are primarily created by computer or hand and the characters are voiced by actors.
1. Snow White and the Seven Dwarfs (1937)
As part of her daily beauty routine, the Wicked Queen asks her Magic Mirror, "Who is the fairest one of all?" and is told that Snow White, her blossoming stepdaughter, is now the "fairest one of all." In an envious rage, the queen orders a woodsman to kill Snow White, who has just met the handsome and endearing Prince, in the forest. Once there, however, the woodsman finds he cannot do the deed and admonishes the princess to hide, while he returns to the queen with a pig's heart, which he claims belonged to Snow White. Frightened by the dark, stormy forest, Snow White runs wildly through the trees until she collapses with exhaustion on the forest floor. After her nap, she wakes to find the woods full of friendly, furry animals, who guide her to an empty cottage. Shocked by the decrepit condition of the cottage, Snow White enlists the help of the animals to clean it up, and then falls asleep in an upstairs bedroom, which has been furnished with seven tiny beds. While Snow White sleeps, the owners of the beds, the Seven Dwarfs--Sleepy, Dopey, Doc, Sneezy, Grumpy, Bashful and Happy--return from working at the local diamond mine and discover the snoozing princess. After much confusion, Snow White strikes a deal with the Dwarfs, offering her domestic services in exchange for room and board. To Grumpy's dissatisfaction, Snow White turns the household upside down and instigates positive changes in the Dwarfs' life. The Dwarfs' newly found happiness ends abruptly when the evil queen, who has learned from the Magic Mirror that Snow White is alive, transforms herself into an old hag and, equipped with a poison apple, heads for the Dwarfs' cottage. Lured by the queen, the innocent Snow White bites into the apple and falls into a death-like sleep, which can be broken only when she is kissed by her first true love. Satisfied that Snow White is doomed, the queen rushes back toward her castle but is chased by the Dwarfs and falls to her death off a cliff. While lying in the woods in a glass-domed coffin built by the Dwarfs, Snow White is found by the Prince. Entranced by her tranquil beauty, the prince kisses her back to life and carries her off to eternal happiness.
2. Pinocchio (1940)
Geppetto, a kindly old woodcarver, creates a little puppet boy of pine and names him Pinocchio. Because the old man, who has been generous and good all of his life, loves children and has none of his own, the Blue Fairy brings the marionette to life to be a son to him. She tells Pinocchio, however, that he must earn his right to become a real boy by exhibiting the virtues of truth, courage and selflessness. To aid him in his task, she makes Jiminy, a vagabond cricket who has snuck into Geppetto's workshop to spend the night, Pinocchio's conscience, dubbing him the "Lord High Keeper of the Knowledge of Right and Wrong." Pinocchio's first test comes the next morning, when, on his way to school, he is accosted by J. Worthington Foulfellow, a wily fox also known as "Honest John." Along with his daffy companion Gideon, Foulfellow convinces Pinocchio that he should become an actor in the puppet show belonging to Stromboli, a tyrannical puppeteer. Jiminy's protests that Pinocchio must go to school fall on deaf ears, and the little puppet is soon a big hit with Stromboli's audience. Seeing that Pinocchio is doing well, Jiminy decides that a successful actor does not need a conscience and leaves. All is not well, however, for the cruel Stromboli locks Pinocchio in a bird cage when he tries to leave after the show. After deciding to say goodbye to "Pinoc," Jiminy returns to Stromboli's wagon, where he is horrified to discover the puppet's predicament. Jiminy's efforts to pick the lock do not succeed, and as the companions despair, they are astonished to see the Blue Fairy, who questions Pinocchio about why he did not go to school. The flustered Pinocchio tells lie after lie, and his nose grows with each falsehood. The Blue Fairy rebukes Pinocchio, explaining that "a lie grows and grows until it's as plain as the nose on your face." After Pinocchio promises to reform, the beautiful fairy sets him free, and Pinocchio hastens with Jiminy toward home. Pinocchio is stopped again by Foulfellow, who tempts him to go to Pleasure Island, a magical place where boys can do anything they want. Pinocchio joins the other boys on the coach driven by a mysterious coachman, and soon is indulging in the cigars, beer and billiards offered at Pleasure Island. As Pinocchio plays with his new friend Lampwick, Jiminy discovers that the boys on the island transform into donkeys, which are then sold by the coachman. He then returns to the terrified Pinocchio, who has just seen Lampwick turn into a donkey. Pinocchio sprouts ears and a tail, but escapes with Jiminy before his transformation is complete. Upon their return home, they discover that Geppetto, Figaro, the kitten, and Cleo, the goldfish, have been swallowed by Monstro, a gigantic whale. With no thought for his own safety, Pinocchio voyages to the bottom of the sea, where he finds Geppetto, Cleo and Figaro alive in the whale's belly. After a joyful reunion with his father, Pinocchio hits upon the idea of making Monstro sneeze. After setting Geppetto's boat on fire, the little group escape on a raft when the smoke causes Monstro to sneeze. The irritated whale chases his former captives, and Pinocchio bravely rescues Geppetto at the cost of his own life. Geppetto, Figaro, Cleo and Jiminy sorrowfully return home, and as they are mourning, the Blue Fairy appears and turns Pinocchio into a real boy as a reward for his actions. She also gives Jiminy a gold badge for his services as Pinocchio's conscience, and as Geppetto and his son celebrate, Jiminy sings that "when you wish upon a star, your dreams come true."
3. Bambi (1942)
One April morning, the animal inhabitants of the forest welcome a new fawn, the son of the Great Prince of the Forest. Especially interested in Bambi, the new arrival, is young rabbit Thumper, who watches the fawn take his first awkward steps. Later, Thumper accompanies Bambi on a walk, teaching him how to say "bird" and introducing him to the beauties of the wilderness. While learning to say "flower," Bambi is confused when a young skunk emerges from a patch of blossoms and assumes he is being named, but the skunk is pleased by his new moniker. Bambi and his mother lead an idyllic life, cuddling to ward off April showers and enjoying the protection of the forest. One day, Bambi's mother takes him to the meadow to graze, but warns him that he must be careful as the meadow is without sufficient cover. Bambi and Thumper play and eat clover, although Bambi is overcome with shyness upon meeting a pretty little girl fawn named Faline. The Great Prince then walks through the meadow, and Bambi is awed by his father's majestic bearing. The Great Prince senses danger, however, and helps Bambi and his mother reach the forest as a gunshot echoes through the meadow. Bambi is mystified by the occurrence, and his mother explains that "Man was in the forest." Later, in the winter, Thumper and a clumsy Bambi ice skate on a pond covered with "stiff water." The season is harsh, however, and Bambi's mother diligently forages for food for her hungry son. Soon the grass begins to grow again, and Bambi and his mother return to the meadow to graze, but there, Bambi's mother becomes alarmed and orders him to run. Bambi races ahead as gunshots ring out, and upon reaching the thicket, is terrified to realize that he is alone. The Great Prince arrives and tells the grieving fawn that his mother cannot be with him anymore, then urges his son to follow him. Later, Spring comes again to the forest, and the adolescent Bambi, Thumper and Flower are scornful of the silly antics of the birds. Friend Owl warns them that all animals become "twitterpated" during the Spring, and soon his words are proven true as a pretty girl skunk and a lovely little bunny mesmerize Flower and Thumper. Left on his own, the disgruntled Bambi is drinking from the stream when he once again meets Faline. Faline flirtatiously licks Bambi, and the young couple chase each other and play. Bambi is challenged by another young buck but triumphs in battle, and soon is gamboling across the meadow with Faline. Later, Bambi is disturbed by the sound of hunting horns, and the Great Prince warns him that Man has returned in great numbers, and that they must retreat deep into the forest. Faline is separated from Bambi during the confusion, but when she is cornered by a pack of dogs, Bambi rushes to rescue her. Faline escapes from the dogs, but Bambi is shot as he jumps across a ravine. He falls unconscious as a fire, sparked by the hunters' campfire, begins to spread, but the Great Prince arrives and urges Bambi to flee. The animals dash through the forest as the fire races along behind them, but eventually the Great Prince and Bambi reach safety, and Bambi is reunited with Faline. More time passes as new growth appears in the burned-out areas, and one day, Flower and Thumper, who have families of their own, proudly watch as Faline introduce her twin fawns to the other forest animals. Bambi, who is standing with his father, oversees the gathering, then takes his father's place as the Prince of the Forest.
4. The Lion King (1994)
King Mufasa, a lion who rules over the Pride Lands of Africa, and his queen, Sarabi, present their newborn son, Simba, to a gathering of the animal kingdom. Poised to take his father’s place, Simba is taught the responsibilities of his role, and about the “circle of life” that joins all living things. As Simba grows, Mufasa’s jealous younger brother, Scar, plots to overtake his brother’s throne. He sends Simba and his girl friend, Nala, to wander around an elephants’ graveyard, where they are ambushed by three hyenas—Banzai, Shenzi, and Ed. Mufasa’s aide, a tropical bird named Zazu, alerts him of the attack, and Mufasa comes to Simba’s and Nala’s rescue. Afterward, Mufasa explains to his son that the stars in the night sky are past kings who watch over them. Scar hatches another scheme to defeat his brother. This time, he lures Simba into a stampede of hyenas and wildebeest. Scar tells Mufasa about the stampede, so that Mufasa will go to save Simba, thereby putting himself in peril. The plan works: Scar manages to kill Mufasa, then convinces Simba it was all his fault. Simba escapes another attempt on his life, and ends up in exile in the jungle, along with new friends, Timon the meerkat and Pumbaa the warthog. They teach the young lion their motto, hakuna matata, which means “no worries.” Time passes, and one day Simba rescues Timon and Pumbaa from a lioness attack. The hungry hunter turns out to be Nala. She and Simba reconnect, and she convinces him to return to the Pride Lands, which has languished under Scar’s tyrannical rule. In a standoff between uncle and nephew, Scar reveals to Simba that he purposely killed Mufasa. Simba overpowers Scar, who then tries to save himself by blaming his actions on the hyenas. Simba takes mercy on him, but bans him from the Pride Lands. However, when Scar attacks again, Simba throws him from the heights of Pride Rock. After surviving the fall, Scar is killed by the hyenas, who overheard his betrayal. Peace is restored, and the Pride Lands once again flourish under Simba’s rule. One day, from the top of Pride Rock, Simba and Nala proudly present their newborn cub, and the circle of life continues.
5. Fantasia (1940)
This film consists of animation set to eight musical pieces. Deems Taylor, the narrator, introduces himself and conductor Leopold Stokowski, then describes the three different kinds of music in the program. The first type tells a definite story, and the next, while having no specific plot, suggests a series of definite pictures. The last type is referred to as "absolute" music, that which suggests abstract images and exists solely for its own sake. The first number, "Toccata and Fugue in D Minor," represents the last type of music. In this segment, animated shadows of the orchestra gradually give way to more abstract images. The second number, "The Nutcracker Suite," is an example of the second type of music, and this segment features ballets performed by the fairies who bring the seasons, Hop Low and his fellow mushrooms, goldfish and flowers. The third selection tells a definite story, that of "The Sorcerer's Apprentice." The music is based on a poem by Goethe, which was in turn based upon a 2,000 year old legend. In this number, Mickey Mouse is the young, ambitious apprentice of a powerful sorcerer. When the sorcerer retires for a nap, Mickey takes up his magic hat and acquires his powers, using them to enchant a broom to carry in water. Mickey falls asleep, and while he dreams of enchanting the universe, the broom carries in more and more water until Mickey is awakened by a flood. Mickey's efforts to correct the situation result in catastrophe, but finally the sorcerer appears and restores order. The fourth number, "Rite of Spring," illustrates the story of evolution, showing how the Earth was formed and how life grew from one-celled sea creatures to mighty dinosaurs. The dinosaurs eventually die, and evolution continues. The next segment, "The Pastoral Symphony," presents a lovely day on Mt. Olympus, where cherubs, fauns, unicorns, pegasuses, centaurs and centaurettes frolic. Bacchus, the god of wine, arrives with his trusty steed Jacchus, and a bacchanal begins, only to be interrupted by Zeus and Vulcan, who shower lightning bolts on the merrymakers. Zeus eventually wearies of his game and peace is restored as Isis, the goddess of the rainbow, spreads a rainbow over the land. Apollo drives his sun chariot across the sky, and as he disappears, Morpheus, the god of sleep, draws his blanket of night over everyone. The mythic creatures fall asleep as Diana shoots an arrow of fire and covers the sky with stars. The sixth selection is "Dance of the Hours." This ballet, depicting the passage of time, is performed by a talented corps of ostriches, hippos, elephants and alligators, who represent morning, day, evening and night. The final two numbers, "Night on Bald Mountain" and "Ave Maria," are, according to Taylor, a picture of the struggle between the profane and the sacred. The segment begins on Walpurgis night, when Chernabog, the black god, who lives in Bald Mountain, casts a spell on the sleeping town and raises up ghosts from their graves and demons from the fiery depths. The evil creatures dance for Chernabog's pleasure until dawn comes and the church bells, calling the faithful to worship, begin to ring. The ghosts and demons return to their origins, while Chernabog folds himself back into the top of the mountain. The faithful begin their candlelit procession through the forest as they sing "Ave Maria," and the film ends as the sun rises.
6. Toy Story (1995)
Unbeknown to young Andy Davis, his toys come to life when he is not around. Woody, a cowboy sheriff figure, is Andy’s longtime favorite toy and the unofficial leader of the group, which includes a Bo Peep doll, Mr. Potato Head, a Slinky Dog, a piggy bank named Hamm, and Rex, a neurotic dinosaur. With Andy’s birthday party about to take place a week early, in advance of the Davis’ move to a new home, Woody overseas a mission to spy on the party, concerned that Andy might receive superior new toys. Lo and behold, Andy is given an impressive action figure called Buzz Lightyear. Unlike the others, who understand that they are toys, Buzz Lightyear believes himself to be a real-life astronaut. The other playthings are wowed by his features, and Andy appears to favor Buzz over Woody. One day, as Andy’s family prepares for an outing to Pizza Planet, his mother tells him he can only take one toy to the restaurant. Woody tries to hide Buzz so that Andy cannot choose him, but in doing so, he accidentally pushes Buzz out the window. To many of the toys, Woody’s actions appear intentional. Accusing him of wanting to murder Buzz, they turn against him. However, Andy unwittingly defuses the situation by scooping up Woody and taking him to Pizza Planet. On the way, they stop at a gas station. Buzz appears, having snuck onto the van before they left. Woody and Buzz argue outside the car as the family drives away without them. They make their way to Pizza Planet by jumping onto a delivery truck. Upon arrival, they are deposited inside an arcade game in which a mechanical claw plucks toys from a pile. Andy’s mean-spirited neighbor, Sid, plays the game and retrieves both Woody and Buzz. In the meantime, Woody attempts to disabuse Buzz of the notion that he is a real astronaut. Trapped in Sid’s home, Buzz observes a television advertisement for dolls just like him and realizes Woody is right. Sid, who likes to terrorize toys, develops a scheme to attach Buzz to a firework and launch him into the sky. Woody helps Buzz accept himself as a toy by assuring him how much Andy relies on his playthings. Sid’s abused, mutant toys help Woody rescue Buzz. Before they leave Sid’s house, the two frighten Sid into submission, warning him never to mistreat his toys again. They make it back to the Davis home just in time to see the moving truck pulling away. Sid’s dog, Scud, prevents them from hitching a ride on the truck. Buzz rescues Woody from the dog, allowing Woody to board. Woody attempts to repay the favor by saving Buzz with a radio-controlled car. The other toys still do not trust Woody’s intentions and throw him back onto the street. Buzz and Woody reunite just as the other toys realize they misjudged Woody. Buzz, who still has Sid’s firework attached to his back, successfully executes a return mission by lighting the rocket, and launching them into the Davis’ van, in a box next to Andy. Sometime later, the Davises celebrate Christmas in their new home. Woody and Buzz oversee a spy mission to observe the unveiling of Andy’s new toys. To their surprise and concern, Andy receives a real-life puppy.
7. Beauty and the Beast (1991)
Once upon a time, a spoiled young prince turned away an old beggar woman when she offered him a rose in exchange for shelter. The woman warned him not to be deceived by appearances, then transformed into a beautiful enchantress. The prince apologized, but it was too late. The enchantress turned him into a beast, and put a spell on his castle and its inhabitants. She gave him the rose and told him it would wilt by his twenty-first birthday. If he did not fall in love with someone, and win her love in return, by that time, the spell would never lift and he would remain a beast forever. Sometime later, in rural France, a bookworm named Belle dreams of finding adventure outside her small town. She is seen as a misfit, as is her inventor father, Maurice. However, because she is the prettiest girl in town, she is pursued by a handsome, brutish man named Gaston, who intends to marry her. One day, Gaston follows Belle home from the library, and suggests they go to the tavern to view his hunting trophies, but she rejects the offer. Belle finds her father, Maurice, working on his latest invention, an automated wood-cutter he plans to unveil at a fair the next day. Belle’s father leaves for the fair that evening, but gets lost in a forest. He and his horse, Philippe, are chased by wolves to the gates of a dark castle. He wanders inside and is startled by Lumiere, a talking candlestick who invites Maurice to warm himself by the fire. Maurice soon discovers a host of household objects that talk, including a clock named Cogsworth, a teapot named Mrs. Potts, and her son, Chip, a teacup. Although they are very welcoming, the servants cower at the sight of their master, the Beast, a hulking monster who reprimands Maurice for trespassing and takes him captive. The next day, Gaston surprises Belle with a marriage proposal, but she turns him down. Maurice’s horse returns home alone, and Belle panics. She instructs Philippe to take her to her father, and they ride back to the Beast’s castle. There, Belle is frightened by the Beast, but offers to take her father’s place as his prisoner. The Beast complies, and throws Maurice out. Belle weeps over her father’s abrupt departure. The Beast tries to control his temper as he shows Belle to her quarters. He invites her to explore the castle but forbids her from going to the west wing. That evening, Belle is supposed to join the Beast for dinner, but she refuses. In turn, he forbids Lumiere, Cogsworth, and Mrs. Potts from serving her dinner. Meanwhile, Maurice goes to the tavern and announces his daughter has been taken prisoner by a beast. Gaston and the other patrons ridicule him and ignore his pleas for help. In his quarters, the Beast regards the magical rose, which has begun to wilt. He looks into his magic mirror and asks it to show him Belle. In the mirror’s reflection, he sees Belle saying she wants nothing to do with him. Although Belle is his only hope for breaking the spell, he worries she could never fall in love with a Beast. Late at night, a hungry Belle wanders into the kitchen, and although the Beast instructed them not to, the servants treat her to an elaborate meal. Afterward, Belle sneaks into the west wing. In the Beast’s quarters, she sees a torn portrait of a handsome young man and discovers the magical rose. The Beast appears and flies into a rage. He immediately regrets losing his temper, but Belle has already fled the castle. She rides Philippe into the forest, but they are cornered by wolves. The Beast appears and fends them off, but is wounded in the fight and loses consciousness. Back at the castle, Belle tends to his wounds. They argue over his temper, but Belle eventually thanks the Beast for saving her life. Gaston bribes Monsieur D’Arque, owner of an insane asylum, to commit Maurice, and release him only if Belle agrees to marry Gaston. In the meantime, the Beast begins to fall in love with Belle. As a romantic gesture, Lumiere suggests he take her to the castle library. There, Belle admires the collection of books, and the Beast tells her the library is hers. When they dine together, Belle is appalled, then amused, by Beast’s lack of table manners. They play outside in the snow, and she realizes she is growing fond of him. He plans a romantic evening, and the two dress up and dance together in the ballroom while the servants look on, hopeful that Belle and the Beast will fall in love and break the spell. Later that night, the Beast asks Belle if she is happy. She tells him yes, except she wishes she could see her father again. He grants her wish by offering her the magic mirror. Belle sees Maurice in the mirror’s reflection, alone in the woods and looking unwell. She frets over his safety, and the Beast tells her she is free to go. He gives her the magic mirror so she will always have a way to remember him. After Belle leaves the castle, Cogsworth asks why the Beast let her go. He explains that he had no choice because he loves her. Belle finds Maurice and takes him home. There, she discovers Chip, the teacup, among her things. Outside, Gaston arrives with Monsieur D’Arque and an angry mob. When D’Arque throws Maurice into his carriage, Gaston offers to have him released in exchange for Belle’s hand in marriage. Belle defends her father’s sanity, but the townspeople insist he is crazy for claiming she was held captive by a Beast. Using the magic mirror, Belle proves the Beast exists. Gaston senses that she cares for him, and incites the angry mob to storm the castle. Belle and Maurice are locked in the basement of their home, but Chip frees them with the help of Maurice’s wood-cutter. Gaston and his cohorts attack the castle, and the household items fight back. Heartbroken and resigned to failure, the Beast does nothing when Gaston forces him onto a ledge. Just then, Belle arrives, giving Beast the inspiration to fight for his life. He overpowers Gaston, but takes pity on the brute when he begs for mercy and lets him go. Belle summons the Beast to a balcony, but just as she grabs his hand, Gaston stabs him in the back. Gaston falls to his death, and Belle embraces the Beast as he loses consciousness. Believing he is dead, she cries and says she loves him. At that moment, the magical rose loses its last petal, and the Beast is transformed back into a handsome prince. The castle is returned to its former glory, and the servants become human again. Maurice joins them in celebration as they watch Belle and the prince dance in the ballroom.
8. Shrek (2001)
One night, Shrek, a large ogre who lives in a cozy cottage in a swamp, has his solitude interrupted by torch-carrying villagers from a nearby town. After Shrek politely frightens the villagers away, he picks up a dropped piece of paper that reads: “Wanted Fairy Tale Creatures Reward.” The next day, as dozens of terrified fairy tale creatures are being brought in for rewards, an Old Woman turns in a Donkey, saying that he talks. Donkey refuses to speak, but when a tiny fairy crashes into him, sprinkling him with magic dust, he starts to fly and gleefully boasts out loud. Crashing to earth, Donkey escapes and runs into Shrek. They are soon approached by guards, who order them to halt by order of Lord Farquaad, but Shrek scares them away. The jive-talking Donkey, who immediately warms to his new acquaintance, decides to tag along with Shrek, despite the ogre’s gruff insistence that he likes to be alone. Back at the swamp, Shrek refuses to allow Donkey to stay inside his cottage, but soon finds his dinner interrupted by the appearance of three Blind Mice, a nightgown-clad wolf and a myriad of other fairy tale creatures. Shrek loudly orders them to leave his swamp and return home, but they reply that they cannot because Farquaad has evicted them. The disgusted Shrek determines to remedy the situation by finding Farquaad and demanding that the creatures be sent back. Amid the gleeful cheers of the creatures, Shrek, accompanied by the unshakable Donkey, sets off to find Farquaad. Meanwhile, in a castle in Duloc, the diminutive Farquaad tortures a Gingerbread Man, then asks a Magic Mirror how he can become king. Magic Mirror advises him to marry a princess and shows him three choices, Snow White, Cinderella and, finally, Princess Fiona, who is locked in a castle guarded by a Dragon. Farquaad does not listen to Magic Mirror's warning that something happens to the beautiful Fiona at night and chooses her, then determines to find a champion to free her. When Shrek and Donkey arrive at the immaculately maintained Duloc, the town is deserted, but they find everyone in the stadium listening to a speech by Farquaad, who is holding a tournament to determine a champion. Seeing Shrek, Farquaad announces that the person who kills the ogre will be the champion. Shrek easily bests his attackers and so impresses Farquaad that he names Shrek his champion and agrees to give him the deed to the swamp and send the fairy tale creatures back home in exchange for freeing Princess Fiona. As Shrek and Donkey journey toward the princess’ castle, Shrek philosophizes that ogres are usually misunderstood but actually have many layers, like onions. Once at their destination, Shrek and the frightened Donkey successfully navigate a rope bridge suspended over a lava pit and enter the castle. Donkey comes face to face with the Dragon, who snaps to attention and goes after him, but Shrek dons armor and saves him. In the process, though, Shrek is flung into Fiona’s tower room. She is impressed by Shrek’s entrance and pretends to be asleep so that her “knight so bold as to rescue her” can kiss her awake. Instead, Shrek gives her a shake and is uninterested in her talk of romance. Dragging Fiona through the castle, Shrek finds Donkey, who has inadvertently awakened amorous feelings in the female Dragon. She tries to prevent them from leaving, but Shrek effects their escape and ensnares the Dragon in chains. Once safely on the road to Duloc, Fiona demands to see Shrek’s face and is disappointed by his appearance until he assures her that Farquaad has sent him. When she stubbornly insists that only her true love can rescue her, Shrek hoists her over his shoulder and continues on. During the journey, Donkey seeks Fiona’s advice on how to discourage the Dragon’s romantic interest, and Shrek and Donkey joke about Farquaad’s size. When Fiona realizes that it will soon be nightfall and Duloc is some distance away, she adamantly refuses to go farther and spends the night alone in a cave. Later, as Donkey sympathizes with Shrek’s regret that the world “has a problem” with a big ugly ogre, Fiona eavesdrops. Next morning, a very cheerful Fiona emerges from the cave and makes breakfast for Shrek. When the three resume their journey, Fiona and Shrek playfully tease each other and start to realize that they have a lot in common. When they see Duloc in the distance, both Fiona and Shrek come up with excuses to delay reaching Duloc. During dinner, Shrek and Fiona look dreamy-eyed at each other, but at sunset Fiona retreats, alone, into a deserted windmill. Donkey comments that Shrek and Fiona are “digging on each other,” but Shrek thinks that a princess would never be interested in an ogre. Donkey then sneaks into the windmill and is astonished to find that Fiona has turned into an ogre. She tells him that because of a curse she will spend her days beautiful, but at sunset turn into the ugly creature she is now, until the curse is removed by love’s first kiss. She then starts to cry, saying that she must marry Farquaad before sunset. Just as Fiona expresses doubt that anyone could love someone so ugly, Shrek, who has gathered flowers and practiced loving endearments to tell Fiona, approaches the door of the windmill and thinks that she is speaking of him. The next morning, Shrek angrily tells Fiona he heard what she said the previous night, and she assumes that he knows about the curse but does not care for her because she is ugly. Just then, Farquaad and his entourage arrive, and he proposes to Fiona, who immediately accepts and suggests that they marry that day. After Fiona rides off with Farquaad, Shrek angrily rejects Donkey’s advice and the two part. During the ensuing hours, Fiona pines for Shrek as she prepares for her wedding, while Shrek sadly returns to his lonely swamp and Donkey encounters the lovesick Dragon, who has followed him. Later, Shrek hears something outside and finds Donkey building a wall with some branches. Donkey chastises Shrek for building his own walls and for pushing away Fiona, who likes—and may even love him. Shrek then apologizes to Donkey, who forgives him because "that is what friends are for," and the two determine to stop Fiona’s marriage to Farquaad. With the aid of the happily smitten Dragon, Shrek and Donkey arrive at the Duloc cathedral just as Fiona and Farquaad are pronounced man and wife. Shrek rushes up the aisle and tells Fiona he wants to talk with her, incurring Farquaad’s contempt for being an ogre in love with a princess. Just then the sun begins to set and Fiona turns into her ogre self. When Shrek tells her he loves her, she admits that she loves him, too, and they kiss, apparently breaking the curse. Fiona does not understand why she has not transformed into her beautiful self, but Shrek assures her she is beautiful. Some time later, in the swamp, Fiona and Shrek marry, with all of their fairy tale creatures in attendance, then ride off on their honeymoon in an onion magically transformed into a coach.
9. Cinderella (1950)
In a mythical kingdom, Lord Tremaine remarries so that his beloved young daughter Cinderella can have a mother. Tremaine's new wife is a seemingly kind widow with two daughters, Anastasia and Drizella, but after his death, Lady Tremaine's true, greedy nature emerges. Banishing Cinderella to the attic and forcing her to become their servant, Lady Tremaine squanders the family fortune on Anastasia and Drizella. Growing up to be a lovely young woman, Cinderella patiently bears the cruelties of her family while continuing to believe in her dreams and comforting herself with the friendship of her dog Bruno, horse Major and the chateau's mice and birds. One morning, mouse Jaq informs Cinderella that a new mouse has been caught in a trap, and after rescuing the chubby newcomer, Cinderella names him Octavius, or Gus for short. Cinderella then begins her chores while Gus, who calls himself Gus-Gus, listens to Jaq's warnings about Lady Tremaine's evil cat Lucifer. Meanwhile, at the palace, the King is infuriated that his son, Prince Charming, has not yet married. Longing for grandchildren, the King orders the Grand Duke to arrange a ball to celebrate the return of Prince Charming, who is arriving that day after an extended absence. The King hopes that the prince will find a bride if all the maidens in the kingdom are present, and so the Grand Duke begins the preparations. Cinderella is thrilled when an invitation arrives at the chateau, but, knowing that her stepdaughter will outshine Anastasia and Drizella, Lady Tremaine cannily promises that she can attend only if she finishes her work and finds something suitable to wear. Cinderella begins re-fashioning a gown that belonged to her mother, but is interrupted by her stepsisters' excessive demands. Determined to help their friend, the mice and birds labor on the dress, while Jaq and Gus-Gus retrieve a sash and string of beads discarded by Anastasia and Drizella. Lady Tremaine and her daughters keep Cinderella so busy that she cannot work on her dress, and when the coach arrives to take them to the ball, she stoically tells them that she will not be attending. When she retreats to her attic, however, Cinderella is astonished to see that the old dress is ready. Cinderella changes and joins her family as they are leaving, but the jealous Drizella and Anastasia recognize their beads and sash and tear Cinderella's gown to shreds. After the women leave, the broken-hearted Cinderella cries in the garden, but her tears are quieted by the arrival of her Fairy Godmother. Telling the unhappy girl that she is going to the ball, the fairy uses her wand and the magic phrase "bibbidi-bobbidi-boo" to transform a pumpkin into a glorious coach. The mice are then transformed into horses, and Major and Bruno become the coachman and footman. The Fairy Godmother then transforms Cinderella's rags into an exquisite gown, complete with glass slippers. The fairy instructs Cinderella to leave the ball before midnight, at which time the spell will be broken. At the castle, meanwhile, the King watches in frustration as a bored Prince Charming greets his guests, including Drizella and Anastasia. The prince's attention is captured by Cinderella, however, and the King arranges for the couple to be alone. Prince Charming and Cinderella fall in love as they waltz, although they do not know each other's names. Just as the prince is about to kiss his new love, the clock begins to strike twelve and Cinderella flees. Prince Charming and the Grand Duke chase her as she races away but succeed only in finding one of her glass slippers, which fell off during her flight down the grand staircase. Cinderella is in rags again when the final chime is heard, but still has one glass slipper as a souvenir of her magical evening. The next morning, Cinderella overhears Lady Tremaine inform her daughters that no one knows the identity of the girl loved by the prince, and that the King has ordered him to marry whomever the slipper fits. Realizing her sweetheart's identity, and that he is searching for her, Cinderella goes to get her shoe. Seeing the dreamy look on Cinderella's face, Lady Tremaine deduces that she is the mystery woman and locks her in the attic. Just then, the Grand Duke arrives and offers the slipper to Drizella and Anastasia. While the two big-footed women attempt to don the dainty shoe, Jaq and Gus-Gus steal the key to Cinderella's door from Lady Tremaine's pocket. After dragging the heavy key up the stairs to the attic, Jaq and Gus-Gus succeed in freeing their friend despite interference from Lucifer. Before Cinderella can try on the slipper, however, the vindictive Lady Tremaine trips the lackey carrying the slipper and it shatters. The Grand Duke is devastated until Cinderella happily shows him the slipper's mate and dons it. Soon after, Cinderella and the prince are married.
10. Finding Nemo (2003)
In Australia’s Great Barrier Reef, a clownfish named Marlin and his wife Coral take up residence in an anemone at the edge of the coral reef. Although Marlin frets that his four hundred as-yet-unhatched children will not like him, Coral assures him that he will be a wonderful father. Just then, however, a barracuda attacks the anemone, knocking Marlin unconscious, and he awakens to discover that Coral and all the eggs, except one, have been eaten. Cradling his remaining son, Nemo, Marlin vows to protect him forever. Soon, Nemo is a happy, curious boy, who lets neither a malformed fin nor his father’s overprotectiveness dampen his energy. On Nemo’s first day of school, Marlin embarrasses him at the schoolyard by anxiously fussing over him and insisting on cautiousness. To prove that he does not need coddling, Nemo accepts the other kids’ dare to swim out to a ship just past the reef drop off. Although he bravely swims into the open sea, which his father has taught him is perilous, touches the boat and turns back in triumph, a scuba diver nets him before Nemo can reach safety. Horrified, Marlin rushes to his son’s aid, but the boat speeds away too quickly for Marlin to keep up with it, and when he begs for help, only a cheerful blue tang named Dory responds. She offers to help him follow the ship, which she saw pass by, but after several minutes, Marlin realizes they are swimming aimlessly. As Dory explains that she suffers from short-term memory loss, a menacing shark named Bruce forcibly escorts the pair to a twelve-step meeting designed to cure fish-eating addictions. Chanting “Fish are friends, not food,” the three group members welcome Marlin and Dory, and while Bruce recounts the tale of his father’s abandonment of the family, Marlin spots a diver’s mask and, sure it belongs to the human who captured Nemo, inadvertently cuts Dory in his excitement. The scent of her blood mesmerizes Bruce, who chases the fish into a wrecked ship, and although Marlin and Dory escape, the chase sets off a mine explosion. Meanwhile, Nemo is transported to a fish tank in the Sydney office of dentist P. Sherman. The other aquarium inmates, including Jacques the shrimp, Deb, a starfish named Peach and Bloat the blowfish, welcome the boy, but when he becomes stuck in a filter, their gruff leader, Gill, insists that Nemo escape without help, demonstrating his own damaged fin as proof that a handicap need not impede him. The tank members soon “initiate” Nemo into their society and form an escape plan to save Nemo from being given to the dentist’s niece, Darla, a notorious fish abuser. Gill’s plan calls for Nemo to swim into the filter and jam it with a pebble, after which the dentist will clean the tank, transferring them to plastic bags in which they plan to hurl themselves out the window and into the harbor below. Back in the sea, Marlin swims, with Dory’s encouragement, to the ocean depths to find the fallen mask. In the dark, both are spellbound by the light of a predatory angler fish, but manage to spot the mask. While Marlin distracts the angler, Dory slowly reads the dentist’s address on the mask, and is thrilled to discover that she can remember it. Soon annoyed by her blithe chatter, enthusiasm and memory lapses, Marlin informs Dory that he would like to travel alone, and her subsequent sobs attract the chivalry of a school of fish, who scorn Marlin but provide Dory with direction to the Sydney harbor. Now aware that he needs Dory’s help, Marlin apologizes and swims off before he can hear the school’s advice to avoid the upcoming trench. Although Dory tries to warn Marlin, she forgets the details and follows him above the trench, which serves as a jellyfish bed. Marlin is resistant to the stings, but Dory is not, so to save his oblivious friend, Marlin pretends to play a “game” with Dory in which she bounces harmlessly over the jellyfish tops, thus avoiding the dangerous tentacles. Before they reach the end, however, Dory is stung and lies unconscious. As they both recover in open waters, Nemo continues his getaway attempts, sure that his timid father would never risk the open water to rescue him. He fails to achieve the dangerous task, however, and the tank fish sink into dejection. Meanwhile, Marlin awakens on the back of a sea turtle named Crush, who explains that his school is riding the East Australian Current into Sydney. Dory is nearby, playing games with the turtle children, including Squirt, whose independence while swimming the rapid current impresses Marlin. The youngsters idolize Marlin, as does Dory, as she listens enraptured to his tales of their own travels through the ocean. Marlin’s astounding stories soon spread throughout the ocean until they reach the pelicans in Sydney Harbor, one of whom, Nigel, regularly visits the dentist’s office and recognizes Nemo’s name. When he informs Nemo of his father’s courageous search, Nemo is overjoyed and, inspired, flings himself into the tank filter and jams it. At the same time, Marlin and Dory leave the turtles to brave the current alone, and Marlin finds himself invigorated by the adventure. They swim toward shore but are soon lost in the vast ocean, and after Dory tries to ask a whale direction in its own language, the whale swallows them both. Inside its mouth, Marlin rages at his friend. After he states that he must keep his promise to Nemo never to let anything happen to him, Dory points out that this promise cannot be any fun for the child. Dory then assures Marlin that the whale has told her “it’s time to let go,” and although Marlin is frightened, he does so, allowing the whale to expel them via his blowhole into the harbor. The next morning, the tank fish awaken to discover that a new filtration system has cleaned the aquarium. The dentist then nets Nemo, and although the others try to wrench him free, the dentist succeeds in capturing Nemo just as Darla arrives. Outside, a pelican tries to eat Marlin and Dory, whose struggles attract the attention of Nigel. Upon hearing Marlin say Nemo’s name, Nigel offers to carry them in his mouth to the dentist’s office. Marlin is suspicious, but when hungry seagulls approach, he readily agrees. They reach the office in time to see Nemo feigning death, hoping to be flushed down the toilet, as Gill has assured him that all drains lead to the sea. When Darla grabs Nemo, Gill jumps onto her head, and pandemonium erupts in the office. Soon, the dentist is unconscious and Gill has sacrificed his own chance for escape by tossing Nemo down the spit bowl. As Nemo is flushed into the Sydney water treatment pipes, he calls for his father, who is despondent at this missed opportunity to save his son. Believing Nemo to be dead, he mournfully bids goodbye to Dory, and when she begs him to stay with her so she can continue to regain her memories, Marlin states that he wants only to forget his. Soon, Nemo struggles out of the pipes, and although he meets Dory, she fails to remember that she is on a quest to find him. Suddenly, however, her memory returns, and she brings Nemo to his father, who embraces him joyously. Within moments, the trio is caught up in a fisherman’s net along with a huge school of fish. Marlin tries to hold Nemo back but finally relents when the boy asserts that he can remedy the situation, coaching the fish to swim downward as one. The combined force of their movement breaks the net from its rope, and all are freed. When Marlin searches for Nemo, however, he finds him dazed beneath the fallen net. Marlin cradles his son, who soon regains consciousness. Later, back on the reef, Marlin urges Nemo to get to school on time, and once there, jokes easily with the other fathers, proud to see his son leave to explore his ocean home. At the same time, the tank fish achieve their goal and throw themselves into the ocean, where they float in perfect happiness, though still unsure how to escape their plastic bags.
ROMANTIC COMEDY
AFI defines “romantic comedy” as a genre in which the development of a romance leads to comic situations.
1. City Lights (1931)
At an outdoor dedication ceremony, a tramp is discovered sleeping in the arms of a statue as it is being unveiled before a crowd. He is chased into the city, where he meets a beautiful, blind flower girl, and buys a flower with his last coin. That night, he stops a drunken man from drowning himself. Gratefully, the man invites him to his mansion, which is presided over by a snobby butler named James and they begin to drink. The millionaire and the tramp continue their revels at a nightclub. Early the next morning, when they return home, the millionaire drunkenly offers the tramp money and the use of his Rolls Royce. The tramp uses his windfalls to help the flower girl. Because she cannot see his shabby clothes, the girl thinks her benefactor is a wealthy young man. Determined to help her, the tramp returns to the mansion, but the millionaire has sobered up and does not recognize him, so the tramp takes a job cleaning streets and gives the girl and her grandmother what money he can. By accident the tramp finds out they are behind in their rent and that there is a doctor in Vienna who can cure blindness by an expensive operation. Needing money in a hurry to help his friends, the tramp agrees to participate in a crooked boxing match for a cut of the winning purse, but his crooked partner is replaced by a legitmate fighter, who knocks him cold. Out on the streets, the tramp runs into the millionaire, who is back from Europe. Drunk again, he gladly gives the tramp $1,000 for the operation, but two crooks see the transaction and rob them. The tramp calls the police, but by the time they arrive, the crooks have vanished and the police arrest the tramp. He runs away and manages to give the money to the girl before he is taken off to jail. The girl gets her operation and opens up a successful flower shop, imagining her benefactor in every rich young man who comes into the shop. When the tramp gets out of jail, he wanders into the shop by accident. Naturally, she does not recognize him, and laughingly offers him a flower and a coin. He refuses the money, but when she presses it into his hand, she recognizes him by the feel of his skin and is moved.
2. Annie Hall (1977)
Raised in Brooklyn, New York, Alvy Singer grows up to become a well-known comedian. As an adult, he encounters relationship problems with his girl friend, Annie Hall, when she starts to withdraw her affection. Annie claims she is only going through a phase and reminds him of how he used to be “hot” for Allison, but then his ardor cooled off. Alvy recalls meeting Allison, an ex-girl friend, at a 1956 benefit performance for Adlai Stevenson’s presidential campaign. By 1964, Alvy has lost interest in the relationship. While making love to Allison, he obsesses over conflicting evidence related to the John F. Kennedy assassination, and Allison accuses him of using his fixation to avoid intimacy with her. Alvy reflects that there is some truth in what Allison says—that, like the old Groucho Marx joke, he really does not want to be in any club that would have him as a member. In a happier moment in their relationship, Alvy and Annie Hall vacation at the seashore, and delight in each other’s company as they attempt to cook live lobsters for dinner. Alvy asks Annie if he is her first love. She says no, and reminisces about old boyfriends. When Alvy suggests that Annie is lucky he came along, she responds, “Well, la-dee-dah." Alvy is unimpressed with her choice of words, and Annie suggests that he prefers intellectual women because he married two of them. However, Alvy’s memories of his earlier marriages are not particularly happy. He recalls meeting Annie in 1975, on a tennis date with his friend, Rob, and Rob’s girl friend, Janet. Annie, a sometime actress from Chippewa Falls, Wisconsin, offers Alvy a ride home and invites him up to her apartment for a drink. She makes him uncomfortable when she observes that he is what her “Grammy” Hall would call a “real Jew,” and goes on to explain that her grandmother hates Jews. As they engage in a pretentious conversation about Annie’s photography, they are both distracted by their own insecure inner monologues. Annie reveals that she is auditioning to sing at a local nightclub on Saturday night. Alvy tells Annie he would love to hear her sing and she overcomes her shyness by allowing him to attend. At the nightclub, the audience is restless. Afterward, Annie is embarrassed, believing that the crowd hated her. Alvy assures her that she has a good voice and the audience loved her. He proposes that they kiss before dinner, to get over the awkwardness of a first kiss. The cultural divide between them is revealed at a delicatessen when he orders corned beef on rye, and she orders pastrami on white bread. They make love that night, and afterward Annie smokes marijuana. Soon she moves in with Alvy, although he believes she should maintain a separate apartment. Later, at the beach house, Annie wants to smoke a joint before making love, and suggests that Alvy might not need a psychiatrist if he resorted to marijuana. Upset that Annie needs to get high in order to make love, he takes the joint away. As he starts to kiss her, Annie’s bored spirit separates from her body and searches for her sketchpad so she can draw while her dispirited body has sex with Alvy. When she argues that she needs marijuana to feel comfortable, he again tells her that it upsets him. As a comedian, he is not interested in getting laughs from people who are high, because they are always laughing anyway. Early in his own career, Alvy was reluctant to perform and wrote material for other comics, but now he has overcome his fears and is successful. One night, he performs at the University of Wisconsin and Annie is impressed with his reception by the students. She tells him she is beginning to understand some of the cultural references in his act. Alvy and Annie go to Chippewa Falls to spend Easter with her family. The anti-Semitic Grammy Hall cannot help but see Alvy as an orthodox Hasidic Jew—with spring curls, a beard, and a black suit and hat. Alvy makes a mental comparison between the Hall family’s dinner table etiquette and that of his own raucous New York Jewish family. Later, Annie’s brother, Duane Hall, invites Alvy into his room and confesses that when he is driving at night he sometimes has the urge to drive head-on into oncoming cars. Later, Duane drives Alvy and Annie to the airport, and Alvy is petrified with anxiety. Back in New York, Annie accuses Alvy of following her. He denies the charge and says that he was spying on her and saw her kissing David, her Russian literature professor. Later, Annie enters into psychoanalysis, and notes that Alvy’s last name is “Singer” and that she wants to be a singer. She accuses Alvy of not wanting to be in a committed relationship because he does not think she is smart enough. He counters that encouraging her to take adult education courses is a way to broaden her horizons. He then contradicts himself by saying that such classes are empty and shallow. After Alvy and Annie have broken up, he muses that he has always been attracted to the wrong kind of women. His friend, Rob, introduces him to Pam, a reporter for Rolling Stone magazine. Although they have little in common, they end up having sex and Pam describes the experience as Kafkaesque. During their post-coital conversation, Annie calls Alvy for help, and he rushes over to her apartment. Arring there at 3:00 a.m., he discovers the crisis is merely that there are two spiders in her bathroom. After Alvy kills the spiders, Annie tells him she misses him and asks him to stay. She inquires if someone was in his room when she called, but he denies it. Later, in bed, Annie suggests that she and Alvy never break up again, and they are reunited. After singing again at the nightclub, Annie is approached by record producer Tony Lacey, who invites her and Alvy to his room at the Hotel Pierre. At Alvy’s insistence, Annie turns down the invitation. Instead, he takes her to watch the somber documentary The Sorrow and the Pity, about French anti-Semitism during World War II. With their respective analysts, Annie and Alvy come to similar but different conclusions. She views a day they spent in Brooklyn as the last time they had fun together. He feels that they never have any laughs anymore. Asked how often they have sex, Alvy says, “Hardly ever—three times a week,” while Annie responds, “Constantly! Three times a week.” At a get-together with friends, Annie and Alvy are offered cocaine. Annie urges Alvy to try it, and mentions that they will soon be going to California. Alvy dips the tip of his finger in the white powder, puts it to his nose, then sneezes into the container, sending the drug up in a puff around the room. In California to present an award, Alvy becomes offended when Rob instructs an editor to add fake laughs to the latest episode of his hit comedy series. Alvy is suddenly taken ill and is unable to appear on the awards show. Rob takes him and Annie to Tony Lacey’s Christmas party, and Tony suggests to Annie that they record an album in about six weeks. Flying back to New York, Annie realizes that she liked California, and Alvy that he enjoyed flirting with other women. Each fears breaking up for fear of hurting the other, but ultimately they decide to separate. Later, leaving a movie theater alone, Alvy mentions to himself that he misses Annie, and a passing couple stops to tell him that she is living in California with Tony Lacey. Another stranger asks why he doesn’t go out with other women. Attempting to prepare lobsters at the beach house with another woman, things are not the same as with Annie, and the magic is gone. Alvy calls Annie on the phone, saying that he wants her to come back. In desperation, he travels to Los Angeles and calls her from the airport. They agree to meet at a Sunset Strip health food café, where Alvy asks Annie to marry him and she refuses. Being a New Yorker, Alvy is unused to driving. Leaving the restaurant in his rented car, he smashes into several other cars and ends up in jail. Back in New York, Alvy watches a rehearsal of his new play. Two actors recite dialogue from his last meeting with Annie, but art does not imitate life: the girl in the play agrees to return to New York with the protagonist. In the rehearsal hall, Alvy turns to the audience and says he wanted to have his first play turn out perfectly, the way life seldom does. He mentions running into Annie again, after she returned to New York and moved in with another man. He saw her coming out of a screening of The Sorrow and the Pity and considered it a personal triumph. Sometime later, they had lunch and talked about old times and then parted. He is reminded of an old joke about a guy who goes to a psychiatrist complaining that his brother thinks he is a chicken. The doctor asks, “Why don’t you turn him in?” and the man replies, “Because we need the eggs.” Alvy recognizes that relationships are difficult, but we keep putting ourselves into them “because we need the eggs.”
3. It Happened One Night (1934)
Spoiled heiress Ellie Andrews escapes from her millionaire father Alexander's yacht when he kidnaps her after she elopes with and marries King Westley, a playboy aviator whom Andrews thinks is a fortune hunter. She boards a bus headed for New York and meets Peter Warne, a reporter who has just been fired. Despite their dislike for each other, Peter attempts to catch the thief who steals Ellie's suitcase, but he fails. At their next stop, Ellie misses the bus after going to a nearby hotel to freshen up, and when she returns, discovers that Peter has waited for her, both to return the ticket she left behind and to show her a newspaper article revealing her identity, which she was trying to conceal. After another quarrel, they meet on the next bus, which is forced to stop due to a washed-out bridge. Peter and Ellie spend the night in an auto lodge where they pretend they are married and rent one cabin to save money. Peter informs her that he will help her reach Westley only if she will give him her exclusive story, which he needs to redeem himself, and that if she does not cooperate, he will call her father. She reluctantly accepts his terms while he strings a rope between their beds and hangs up a blanket, which he dubs "The Walls of Jericho." The next morning, they are preparing to leave when they hear her father's detectives approaching. They put on an excellent act of being married, and their fighting convinces the detectives to leave, after which Peter and Ellie board the bus. Meanwhile, Andrews has offered a $10,000 reward for information concerning his daughter. Oscar Shapeley, an obnoxious fellow passenger on the bus, reads about the reward and offers to split it with Peter, but then threatens to go to Ellie's father himself. Peter then convinces Shapeley that he is a gangster who has kidnapped Ellie, and the terrified man flees. Still worried that Shapeley will go to the authorities, Peter and Ellie leave the bus. They try to hitchhike the next morning, and after Peter's technique meets with no success, Ellie quickly stops a car by showing off her legs. Peter sulks as they drive, but his petulance turns to anger when the driver steals his suitcase, rousing Peter to chase the car, tie the driver to a tree and then return for Ellie. Back in New York, Andrews resigns himself to accept Westley to get Ellie back, and they issue a press release. Ellie sees the newspaper article with Westley's pleas for her return, but she hides it from Peter. She insists that they check into another auto lodge for the night, even though they are only three hours away from New York. That night, Ellie confesses her love for Peter, begging him to take her with him, but he rejects her. Later, seeing that Ellie is asleep, Peter rushes to New York, writes his story and sells it to his editor, Joe Gordon, so that he will have enough money to begin a life with Ellie. In his absence, however, the owners of the auto lodge throw Ellie out when she can explain neither Peter's absence nor give them money for the room. Ellie then telephones her father and gives herself up because she thinks Peter has deserted her. As her car goes toward New York, Peter passes it, going in the opposite direction, but Ellie does not see him. On the day of Ellie and Westley's formal wedding, Andrews confronts Ellie, and she confesses that although she loves Peter, she will go through with the wedding because Peter despises her. Her father inadvertently shows her a letter he received from Peter about a financial matter, which both of the Andrews mistakenly assume refers to the reward. Andrews summons Peter to the house, and when he arrives, he presents Andrews with an itemized bill for $39.60, the amount he spent during the trip. He refuses any reward, which impresses Andrews, and Andrews makes Peter admit that he loves Ellie as well. Moments later, as Andrews walks Ellie down the aisle, he tells her of his meeting with Peter and that her car is waiting by the gate if she changes her mind. She does, and runs off again, but this time much to the pleasure of her father. Andrews pays Westley $100,000 for not contesting the annulment of his and Ellie's marriage, then notifies Peter and Ellie that they may marry. The newlyweds go to another auto lodge, where they ask the owners for a rope, a blanket and a trumpet. That night, the trumpet sounds as The Walls of Jerico tumble down.
4. Roman Holiday (1953)
While in Rome, Italy, during a multi-city goodwill tour, Princess Anne, the youthful heir to a European crown, impresses the guests of an embassy ball with her charm and poise. Later, as she is preparing for bed, Anne, feeling overwhelmed by her tedious, endless schedule, starts to scream uncontrollably at her efficient secretary, Countess Vereberg. To calm her, Anne's doctor injects her with a sedative, but before the drug takes effect, Anne sneaks out of the palatial embassy and hides in the back of a truck. Anne jumps out when the truck reaches a lively part of town, but is already starting to yawn from the sedative. Soon after, American reporter Joe Bradley spots her prostrate on some stairs and hears her mumbling in English. Joe is unaware of her identity and assumes she is drunk, but reluctantly drags her into a cab. When Joe asks the increasingly groggy Anne for an address, she insists that she lives in the Colosseum. Not knowing what else to do, Joe takes Anne to his tiny apartment. There, while trying to undress herself so that she can don Joe's pajamas, Anne admits that she has never been alone with a man and begins to recite poetry. Frustrated, Joe goes out for coffee after instructing her to sleep on his couch. When he returns, however, he finds her curled up in his bed and rolls her onto the couch. The next day, Joe, who was scheduled to interview the princess that morning, wakes up late and rushes out, leaving behind the still sleeping Anne. At his newspaper office, Joe, unaware that the princess' activities for the day have been cancelled, lies to Hennessy, his editor, that he conducted the interview. When Hennessy shows him a newspaper report about the princess' sudden "illness," Joe stares at the accompanying photograph and realizes that the princess is the woman on his couch. Seeing his opportunity, the perpetually broke Joe gets Hennessy to agree to pay him $5,000 if he produces an exclusive, revealing interview with the princess, complete with photographs. Back at Joe's apartment, Anne finally wakes up and introduces herself as Anya. After drawing Anne a bath, Joe slips out and telephones his photographer friend, Irving Radovich, telling him only that he needs him for an important story. Now bathed and dressed, a grateful Anne borrows 1,000 lire, or $1.50, from Joe and leaves on foot. Joe follows her, watching with amusement as she buys a pair of shoes from a street vendor. Anne then enters a barbershop and insists that the barber, Mario Delani, cut her long hair into a stylish bob. Mario is taken with the transformed Anne and invites her to a barge dance that night. With her last bit of money, Anne buys a gelato and at the Trevi fountain, is joined by Joe, who pretends he has run into her. Anne, in turn, claims she is a runaway schoolgirl and admits that her only desire is to spend the day having fun. Anxious to please, Joe takes her to a nearby cafe, where she meets Irving, who, unaware of Joe's scheme, almost reveals Joe's identity. After Joe fills him in, Irving, using a miniature camera hidden inside a cigarette lighter, snaps pictures of Anne smoking her first cigarette. The three then go sightseeing, and Anne, whom Irving nicknames "Smitty" after she states that her last name is Smith, jumps on a motorscooter Joe has rented and takes a wild ride around the plaza. The ride gets them arrested, but when Joe claims that he and Anne were on their way to get married, the police let them go. Anne and Joe test their truthfulness at the ancient sculpture Bocca della Verità, or Mouth of Truth, and then visit a wall on which passersby post their hopes and wishes. Having made her wish, Anne asks to be taken to the barge dance near the Castel Saint Angelo and there enjoys a romantic dance with Joe. When Mario shows up and cuts in, Joe and Irving become excited imagining the publicity potential of the headline "The Princess and the Barber." Just then, secret service agents from Anne's homeland grab her and start to drag her away. Anne screams for Joe, who races to the rescue and instigates a brawl. Anne gleefully joins in the fracas and jumps in the Tiber River with Joe to escape capture. After swimming to safety, Joe and Anne embrace and kiss, then return to Joe's apartment. There, Anne hears a radio report about the distress her "illness" is causing her people and sadly tells Joe she must leave. Stopping near the embassy, Joe and Anne share a final, passionate kiss before Anne runs off into the night. In the embassy, Anne's advisors scold her for neglecting her duty, but Anne silences them by stating that duty was the only reason she came back. The next day, Hennessy drops by Joe's apartment, anxious to collect his story, and is dismayed when Joe insists he does not have one. Irving then shows up with the photographs he took of Anne, but Joe refuses to use them. Later, Anne appears at the previously scheduled press conference and is pleasantly surprised to see Joe and Irving there. After Joe lets her know through his public comments that her secrets are safe with him, Anne deviates from protocol and shakes hands with the reporters. Irving then gives her the photos he took, and with tears in her eyes, she tells Joe how much she has enjoyed meeting him. Heartbroken, Joe watches Anne retreat with her advisors and walks out of the embassy alone.
5. The Philadelphia Story (1940)
The wealth and position of the socially prominent Lord family of Philadelphia has made Tracy, the eldest daughter, into an imperious and haughty shrew. Tracy's attitude causes a marital rift with her childhood sweetheart, sportsman and recovering alcoholic C. K. Dexter Haven, leading to a divorce. Two years later, Tracy is poised to wed the pompous and politically ambitious self-made man George Kittredge when Dexter returns from an extended absence accompanied by scandal sheet reporters Macaulay "Mike" Connor and Elizabeth Imbrie. Because Sidney Kidd, the powerful publisher of the scandal magazine Spy , has embarassing information on Tracy's father Seth's affair with a dancer, Dexter agrees to allow Mike and Liz access to Tracy's wedding in exchange for not printing the story on Seth. Although Dexter introduces Mike and Liz as old friends of Tracy's brother Junius, who is living in South America, Tracy realizes that Mike and Liz are reporters. She allows them to stay, however, and puts on an exaggerated performance of a society girl for them when Dexter tells her about Kidd. Tracy is angry at Dexter for coming back after two years, but her mother Margaret and sister Dinah are delighted at his presence, complicating Tracy's attempts to have a dignified wedding. Because Tracy is angry at her father for his affair and doesn't expect him at the wedding, she pretends that her uncle Willie is her father, hoping to make Mike and Liz think that everyone is happy. Though she at first has nothing but contempt for Mike, she gradually comes to admire him when she finds a book of poetry he has written at the local public library. Mike, too, comes to admire Tracy, whom he realizes is more than just a superficial society girl. Liz, who thinks that Tracy and Dexter are still in love, begins to get jealous when she realizes that Mike is starting to fall for Tracy. When Seth unexpectedly returns home and Margaret is happy to see him, Tracy chastises them. Seth then lectures her about her heartlessness, as does Dexter, who gives her a model of the yacht they used for their honeymoon, The True Love , as a wedding present. Confused and hurt over things that Seth and Dexter have said to her, Tracy becomes very drunk at her engagement party and starts kissing Mike after a middle-of-the-night swim at home. The next morning, a very hung over Tracy doesn't seem to remember what happened the night before, but as Dinah and the others start to remind her, she becomes even more confused. When Dexter and Kittredge arrive and Kittridge's pompous reaction to Tracy's seeming indiscretion the night before is revealed, Tracy realizes that she doesn't love him, and Kittridge leaves. The guests have gathered for the wedding, however, and the entire family is waiting for Tracy to do something. As the orchestra plays the strings of the wedding march, Dexter advises Tracy on what to say to the guests and, as he feeds her the lines, she tells them that they were cheated out of seeing her marry Dexter the first time, but they will be able to see her marry him this time. Now realizing that Dexter is proposing, Tracy happily accompanies him down the aisle. Harmony seems to be restored in the Lord household until a flashbulb pops and the bride and groom are surprised by a photographer and Kidd places their picture in the next issue of Spy .
6. When Harry Met Sally... (1989)
In 1977, University of Chicago students Sally Albright and Harry Burns arrange to share a ride to New York City, where Sally plans to study journalism and Harry will attend law school. While Sally waits impatiently in her car, Harry and his girl friend, Amanda Reese, engage in a prolonged goodbye kiss. Harry finally gets into Sally’s car and begins to snack on grapes. He mistakenly assumes the window is rolled down, spits out a grape seed, and it hits the glass. Disgusted, Sally refuses his offer of a grape, explaining that she does not eat between meals. As they get to know each other, Harry reveals his dark outlook on life, and they disagree over the ending of the film Casablanca. Sally insists that Ingrid Bergman’s character made the right choice by leaving Casablanca at the end of the movie, asserting that all women prefer stability over romance. The two stop for dinner, and Harry is amused by Sally’s picky way of ordering food. He compliments her on her good looks, but she takes offense, reminding him that he is dating her friend, Amanda. Returning to the car, Sally suggests that she and Harry become friends. However, Harry does not believe men and women can be friends, as “the sex part always gets in the way.” Sally laments that Harry was the only person she would have known in New York, and shakes his hand when they part ways in the city. Five years later, Sally kisses her boyfriend, Joe, at the airport. Harry interrupts, recognizing Joe from law school, but he cannot place Sally. She and Harry board the same flight, and he finagles the seat beside her after finally remembering her from the University of Chicago. Harry guesses that Sally and her boyfriend, Joe, are at an early stage in their relationship, and claims he would never take a girl friend to the airport to avoid setting a precedent. Sally is surprised to hear that Harry is engaged to a lawyer named Helen Hillson, with whom he claims to be madly in love. When they land, Harry invites Sally to dinner, but she reminds him of his theory that men and women cannot be friends. Harry argues that a friendship would work since they are both involved with other people, but contradicts himself by predicting their significant others would become jealous. The two part ways. Five years later, Sally meets her friends Marie and Alice for lunch and announces that she and Joe have broken up. The women are impressed by how well Sally is handling the heartbreak, but when Marie suggests setting her up on a date, Sally refuses. Elsewhere, at a football stadium, Harry tells his friend, Jess, that his wife, Helen, just left him for another man. Harry runs into Sally at a bookstore, and the two commiserate over their breakups. Sally asks him to dinner, and he asks, “Are we becoming friends now?” Soon, Harry and Sally’s friendship blossoms, and they begin to rely on each other for emotional support. When discussing their dating lives, Harry reveals that he sleeps with women even if he dislikes them, and Sally is appalled. At a batting cage, Harry’s friend, Jess, asks if he is attracted to Sally and likes to spend time with her, and Harry says yes. Jess does not understand why Harry refuses to become romantically involved with Sally, but Harry claims the friendship is helping his personal growth. At a delicatessen, Sally criticizes Harry’s casual approach to sex. He responds that the women he sleeps with have a good time, implying that they achieve orgasms when they are with him. Sally counters that women fake orgasms all the time, and when he does not believe her, she pretends to have one at the table. Moaning, shouting, and pounding on the tabletop, Sally draws everyone’s attention and prompts an older female patron to order whatever Sally is having. On New Year’s Eve, Harry and Sally go to a party, and Harry vows that if they are still single next year, he will be her date again. At midnight, they watch other couples kiss and give each other an awkward peck on the lips. Later, Harry and Sally set each other up with Marie and Jess on a double blind date. However, Marie prefers Jess over Harry, and vice versa, and the two hop into a cab together after dinner, leaving Harry and Sally alone. Four months later, while shopping for a housewarming gift for Marie and Jess, Harry and Sally run into Harry’s ex-wife, Helen. Upset by the encounter, Harry takes out his anger on Marie and Jess as they bicker over a coffee table in their new apartment. Sally leads Harry outside and discourages him from expressing every emotion he feels whenever he feels it. Harry accuses Sally of burying her emotions and reminds her that she has not slept with anyone since her ex-boyfriend, Joe. Hurt by the accusations, Sally tells Harry he sleeps with too many women, and he quickly apologizes, offering her a hug. Sometime later, Sally calls Harry in tears, relaying the news that Joe is getting married. Harry rushes over to Sally’s apartment. She cries on his shoulder, and he gives her a friendly kiss. She kisses him back, and the two make love. Afterward, Sally nuzzles Harry, while he lies nervously in her bed. In the morning, she wakes up to find him getting dressed. Before hurrying out, Harry asks Sally to dinner that night. The two spend the day fretting over what happened, and Sally announces at dinner that they made a mistake sleeping together. Harry is relieved. Later, Harry tells Jess that he and Sally must have passed a point in their relationship when it became too late to have sex. Weeks pass, and Harry and Sally are reunited at Marie and Jess’s wedding. Harry attempts to apologize, telling Sally he did not plan to make love to her when he went to her apartment, but he did not know how else to comfort her. She shouts at him for suggesting that he took pity on her and slaps him. Over Christmas, Sally ignores Harry’s phone calls. One day, he sings a song on her answering machine and she picks up. Harry apologizes, but Sally refuses to be his “consolation prize” when he asks her to be his date for New Year’s Eve. Sally goes to the New Year’s Eve party with Marie and Jess, but she cannot face the idea of being alone at midnight and decides to leave the party early. Meanwhile, Harry walks around the city, ruminating over his relationship with Sally. He runs to the party and finds Sally on her way out. Harry tells Sally he loves her, but she assumes he is only saying it because he is lonely. Harry lists off the personality traits that have endeared him to Sally and tells her that he wants to spend the rest of his life with her. Sally shouts that she hates Harry, then kisses him. Sometime later, Harry and Sally discuss their wedding, which took place three months later, and recall the coconut wedding cake served with chocolate sauce on the side, per Sally’s instructions.
7. Adam's Rib (1949)
Doris Attinger, a mother of three who is fed up with her husband Warren's philandering, arms herself with a gun, follows her husband to his mistress Beryl Caighn's Manhattan apartment and clumsily fires shots at the couple. Beryl manages to escape without injury in the shooting, but Warren is wounded. The following morning, attorney Amanda Bonner reads a sensational newspaper story about the details of the shooting to her husband Adam, an Assistant District Attorney, and an argument over who is at fault ensues. Adam, who is lovingly called Pinky by Amanda--he, in turn, calls her Pinkie--disagrees with the assertion that the woman was acting out of a desire to keep her family intact, and that society uses a double standard between the sexes in infidelity cases. Amanda and Adam are soon afforded the opportunity to argue their differing opinions in a courtroom when Adam is assigned to defend Warren, and Amanda decides to represent Beryl. Following the first day of a contentious jury selection process, Adam and Amanda return home and settle into their daily routine until Adam tries to persuade Amanda to bow out of the case. Amanda reacts angrily, but their quarrel is interrupted by the arrival of singer Kip Lurie. Kip, a friend of the Bonners, quickly sides with Amanda and leaves after singing a new song he wrote for her entitled "Farewell, Amanda." The trial gets off to an explosive start when Amanda tests her husband's patience, first by calling attention to every prejudicial remark he makes, and then by coaxing his client to admit that he struck his wife and stopped loving her because she got fat. Later, when Adam tells Amanda that he is ashamed of her, Amanda decides to fight her husband with even greater intensity. Amanda's presentation of the case for the defense includes testimony from a number of female witnesses who are called to the stand to prove Amanda's point that there are many accomplished women in society. When Amanda signals one of the women, a circus performer, to demonstrate her skills on Adam, she does a spectacular series of backflips across the courtroom and then lifts Adam off the floor and over her head. The trial comes to a close with a verdict in Doris's favor, and Adam appears crushed about the outcome. Adam's reaction troubles Amanda and prompts her to visit Kip seeking comfort and advice. Kip, however, takes advantage of Amanda's vulnerability and makes a pass at her. Adam, waiting on the street below, sees the silhouette of Kip and Amanda's loving embrace and bursts into Kip's apartment with a gun pointed at both of them. After forcing Amanda to admit that he, like Doris, is wrong to use a gun to try to prove his point, he points the barrel of the gun, which is made of candy, to his mouth and takes a bite out of it. Adam and Amanda soon reconcile, but when Adam tells Amanda that he will be running for the post of County Court Judge on the Republican ticket, Amanda asks if the Democrat opponent has been chosen yet.
8. Moonstruck (1987)
Italian-American widow Loretta Castorini walks to her bookkeeping jobs in New York City. That evening, at Grand Ticino restaurant, businessman Johnny Cammareri nervously proposes to the thirty-seven-year-old Loretta, who insists he bend on one knee and present her with his pinky ring. However, she warns that her previous marriage was cursed with bad luck because there was no proper ceremony. Loretta then drives Johnny to the airport, where he is leaving to visit his dying mother in Sicily, Italy. While Loretta insists on setting a wedding date, Johnny is unsure when he will return, but they agree to wed in exactly one month. Before getting on his plane, Johnny gives Loretta the business card of his estranged brother, Ronny Cammareri, whom he wants to invite to the wedding. Returning to her family home in Brooklyn with a bottle of champagne, Loretta tells her father, Cosmo, about the engagement, but he warns that Loretta is unlucky in love. Although she insists her luck will change if she has a proper ceremony, Cosmo is suspicious of Johnny and refuses to support the marriage. When Cosmo awakens his wife, Rose, to tell her the news, she is relieved to learn that Loretta does not truly love her future husband. The following day, Cosmo’s aged father walks his five dogs to a local cemetery and regales his comrades with family woes, since Cosmo still refuses to pay for the wedding. One friend chimes in that there will be a full moon that evening, and the elder Castorini declares that the lunar event will provoke romance. In the morning, Johnny telephones Loretta from his mother’s deathbed in Sicily and reminds her to find Ronny. However, Loretta is more concerned about Johnny’s failure to announce the marriage to his mother. Still, she telephones Ronny at the family business, the Cammareri Bros. Bakery, but is unable elicit his sympathy. She walks to the bakery and finds Ronny in the cellar, stoking the oven fires. Seething with rage, Ronny reports that his brother, Johnny, robbed him of his life and reveals his prosthetic left hand. Five years ago, Ronny was also engaged, but Johnny distracted him with a bread order, and Ronny accidentally ran his hand through a slicer. In turn, his fiancée left him for another man. Although Loretta points out that Johnny was not at fault, Ronny fumes that his brother should not be entitled to the same joy of marriage that he was denied. However, he agrees to talk to Loretta in his apartment above the bakery. There, Loretta cooks him a steak and reveals that her deceased husband was hit by a bus. Loretta argues that Ronny is not a victim, but rather a wolf that felt trapped by his pending marriage five years ago; he mangled his hand intentionally, just as a wolf would chew off its own foot, to break free from a snare. Ronny counters that Loretta is losing her head by marrying Johnny out of convenience instead of love. He knocks over the kitchen table, kisses Loretta passionately, and carries her to his bed to make love. Meanwhile, Loretta’s philandering father, Cosmo, presents his mistress, Mona, with a gold bracelet. Sometime later, at the Castorini home, Loretta’s uncle, Raymond Cappomaggi, reminisces about a moonlight courtship he witnessed years ago, between Cosmo and his sister, Rose. However, Cosmo dismisses the conversation, and Rose senses her husband’s infidelity. In the morning, Loretta awakens in Ronny’s bed but insists on going through with her marriage to Johnny. When Ronny declares his love, she slaps his face, ordering him to “snap out of it.” Ronny promises to stay away from Loretta on condition she join him at the Metropolitan opera that evening. After confessing her sins in church, Loretta sees her mother praying. Rose reveals her belief that Cosmo is having an affair. On her way home, Loretta stops at a salon to have her grey hair dyed and her face made up. She then purchases an evening gown and red stiletto-heeled shoes. That night, at Lincoln Center, Loretta and Ronny watch La Bohème while Rose dines alone at Grand Ticino restaurant. There, a regular customer named Perry is humiliated when his date throws her drink in his face. Rose sparks a conversation with Perry, invites him to join her table, and declares that men chase women because they fear death. As Perry walks Rose home arm in arm, they run into Cosmo’s father, who does not acknowledge his daughter-in-law but assumes she is having an affair. Although Perry propositions Rose, she remains loyal to Cosmo. Back at the Met, Loretta catches her father with his mistress, Mona. Cosmo is equally distressed to see his daughter with a man other than her fiancé. After the opera, Ronny walks Loretta home and reflects that she is unwittingly attracted to his wolf-like qualities; a safe marriage to Johnny will kill her bold spirit. Realizing that Ronny has led her back to his apartment, Loretta insists on staying true to Johnny because the wedding will reverse her bad luck. In response, Ronny declares that love is not an ideal of perfection, but rather a purveyor of pain, heartbreak, and ruin. Unable to restrain her passion, Loretta reaches out for Ronny’s prosthetic hand. Meanwhile, Johnny returns to New York City and takes a taxicab to Loretta’s home. Discovering Loretta missing, Johnny tells Rose that his mother miraculously recovered. Rose is still pondering her husband’s affair and asks Johnny why men chase women? In response, he refers to the Bible; ever since God took a rib from Adam to create Eve, men have felt a void near their hearts, and long to recover the loss. When Rose demands to know why men need more than one woman, Johnny confirms her belief that men fear death. The next morning, Loretta saunters home to receive the alarming news of Johnny’s return. Ronny arrives at the Castorini brownstone unexpectedly, and insists on meeting Loretta’s family as they convene at the breakfast table for oatmeal. When Rose asks Cosmo to stop seeing his mistress, he hits the table in anger, but agrees. Soon after, Johnny comes to the house and is shocked to see his brother; he assumes Ronny is there to “make peace.” Johnny announces that his mother revived as soon as she learned about the pending marriage, but now he cannot go through with the wedding because he is suspicious that the ceremony will provoke his mother’s death. Loretta is furious about the broken promise and grudgingly returns Johnny’s pinky ring. Just then, Ronny proposes to Loretta. She demands the ring back from Johnny, and declares her love for Ronny. Champagne glasses are filled for a toast to “the family.”
9. Harold and Maude (1971)
After another in a series of mock suicides staged by 20-year-old Harold Chasen fails to gain the attention he craves from his wealthy, socialite mother, the sullen young man stages a bloody scene in her bathroom, finally driving her to send him to a psychiatrist. During a therapy session, Harold explains that he finds "fun" in attending funerals. Soon after, Harold buys a hearse and goes to a funeral for a stranger, where he spots another casual observer, the 79-year-old Maude. At home that night, Mrs. Chasen, outraged by Harold's "amateur theatrics," sends him to his uncle, Gen. Victor Ball, a one-armed veteran who urges him to join the military and then salutes a portrait of his hero, Nathan Hale, using his mechanically rigged sleeve. Days later, after Harold fails to shake his imperturbable mother by floating face down in her lap pool, Mrs. Chasen announces that Harold must assume "adult responsibilities" by marrying and arranges for a series of dates. During a funeral for another stranger, Maude offers Harold licorice and then suggests that the deceased, who was 80, died at the perfect age. As the mourners exit the church, the affable Maude introduces herself, tells Harold they will be "great friends" and then steals the minister's car. Later, while Mrs. Chasen recites the dating service survey question "Do you have ups and downs without obvious reason?" Harold fakes shooting himself in the head. At the end of the next funeral Harold attends, Maude steals his hearse for a joy ride, then turns the wheel over to him after he informs her that it is his vehicle. Harold then drives Maude to her home, a converted railroad car full of art and memorabilia. Later, at the psychiatrist's office, Harold admits that he might have one friend, Maude. During his first date with Candy Gulf at the Chasen home, Harold pretends to set himself on fire within sight of young woman, who flees the house in terror. On his next visit to Maude, he finds his friend modeling in the nude for ice sculptor Glaucus. After he agrees with her that the nudity is permissible, Maude shows Harold her paintings, sculpture and “olfactory machine,” demonstrating it with a scent called "Snow on 42nd Street." Entranced by Maude's creativity and her insistence on experiencing something new each day, Harold shares with her his favorite activities: watching building demolitions and picnicking at a metal junkyard. Later, at a nursery, Maude explains that she likes to watch things grow and picks a tall solitary sunflower as her favorite flower. After Harold, in turn, chooses a ground cover daisy, saying that all daisies are alike, Maude notes observable differences between them. She advises him that all humans are special; the problem lies in the fact that they allow themselves to be treated all the same. On another outing, Maude, in her zeal, drives over a curb to show Harold a tree being suffocated by the city's smog. When the car is ticketed by police officers, Harold and Maude steal a different vehicle and race through a stop sign, defying the awe-struck police. Later at her home, Maude reminisces metaphorically about her past as a political protestor and explains that now she attempts more idiosyncratic strategies toward change. After playing a song on her player piano for him, Maude gives Harold a banjo. Harold returns home to find his mother has replaced his hearse with a new Jaguar sports car, which he quickly transforms into a mini-hearse with the help of a blowtorch. Days later, when Harold and Maude rush through a tollbooth while delivering the smog-ridden tree to its new home, a motorcycle officer pulls them over. Maude speeds off during the officer's interrogation and drives around in circles until the motorcycle breaks down. Later, when the same officer pulls them over again and reads a list of offenses, Maude and Harold steal his motorcycle. The officer aims his gun at them, but finds his efforts foiled by his unloaded gun. After sharing a hashish pipe at Maude's home, Harold admits that he has not lived, but does enjoy dying and recounts his first "death:" After a school physics lab experiment blows a hole in floor, police mistakenly report to Mrs. Chasen that her son has died in the explosion. Seeing his mother faint and relishing her attention, Harold decides to continue dying. Maude enthusiastically coaches Harold to live in the present and begins to waltz with him. Days later, during a date with Edith Phern, Harold, who has placed a fake plastic arm in the sleeve of his jacket, takes out a meat cleaver and chops off his hand arm, sending Edith fleeing from the room. Learning that his determined mother plans to induct him into the military, Harold and Maude scheme to foil her. Asking Victor to take a walk, Harold endures a minutely detailed account of his uncle's war adventures during another military pep talk. Harold then excitedly enumerates ways to kill and finally reveals a shrunken head, asking if Victor keeps souvenirs. When Maude suddenly appears carrying a peace sign and grabs the head, Harold pretends to start a brawl with her and pushes the elderly woman down a hole in the stone landing. A shocked Victor is convinced Harold killed the protestor and stops talking about the young man's induction. At the close of the day, Harold tells Maude she is beautiful and holds her hand, revealing a number tattoo indicating that she is a Holocaust survivor. During a date with actress Sunshine Doré, Harold performs a mock hara-kiri, but instead of being shocked, the actress recites the suicide scene from "Romeo and Juliet," pretends to stab herself and falls to Harold's side. That night, as Harold gives Maude a gift with the inscription "Harold loves Maude," she throws it in the sea, explaining with a smile that she will always know where it is. After spending the night with Maude, an ebullient Harold announces to his mother that he is marrying her and shows Mrs. Chasen Maude's picture. Horrified by their age difference, Mrs. Chasen sends Harold to see Victor and the psychiatrist, who caution him against the marriage. Finally, Harold is sent to a priest, who suggests that the idea of Harold "commingling" his "firm" body with the elderly woman is perverse. On Maude's 80th birthday, Harold fills her room with paper sunflowers and plans to propose to her, but Maude announces that she has taken enough sleeping tablets to kill her by midnight and wishes him farewell. Harold screams in outrage and calls for an ambulance. On the way to the hospital, as he professes his love to her, Maude looks on approvingly and suggests that Harold "go love some more." A grief-stricken Harold races from the hospital after Maude dies. When his car careens over an ocean cliff, Harold, standing high above on the cliff's edge, plucks at his banjo and skips to the music, celebrating life as Maude would have wanted.
10. Sleepless in Seattle (1993)
Recent widower Sam Baldwin decides he and his eight-year-old son, Jonah, need a change. They uproot from Chicago, Illinois, to a floating home on Lake Union in Seattle, Washington. On Christmas Eve, Jonah calls into the “You and Your Emotions” radio show hosted by Dr. Marcia Fieldstone, and tells her his Christmas wish: a new wife for his grieving father. Fieldstone urges the boy to put Sam on the phone. Meanwhile, in Baltimore, Maryland, Annie Reed listens to the show on her way to visit her fiancé Walter’s family, and is brought to tears when Sam reveals the deep love he had for his wife, and the magic he felt when first holding her hand. Learning that Sam suffers from insomnia, Fieldstone refers to him as “Sleepless in Seattle.” After the holiday, Annie returns to work at the Baltimore Sun. At a staff meeting, her co-worker, Becky, mentions that 2,000 women called in to Dr. Fieldstone’s radio show to get “Sleepless in Seattle’s” number. Annie admits she was also swept up by Sam’s story, and Becky suggests she write about it. On New Year’s Eve, Annie celebrates with Walter, who suggests a Valentine’s Day trip to New York City. Meanwhile, in Seattle, Sam puts Jonah to bed, then daydreams a conversation with his late wife, Maggie. He returns to work on a house he is designing, and is embarrassed to learn that his client, Claire, heard him on the “You and Your Emotions” show. Soon, Sam receives letters from many interested women, sent to him via Dr. Marcia Fieldstone. Jonah excitedly reads the letters, but Sam prefers to meet a woman on his own terms. In Baltimore, Annie barges in on her brother, Dennis, at his office, and admits to having fantasies about a stranger in Seattle. She is relieved when Dennis debunks the idea of fate, and confesses that he too had “cold feet” before his wedding. Later, Annie and Becky watch the 1957 film, An Affair to Remember, in which two lovers agree to meet at the top of the Empire State Building. Becky looks on as Annie writes a letter to Sam, then crumples it up and tosses it. Unable to shake her obsession, she hires a private detective to perform a background check and snap Sam’s photograph. Jonah receives Annie’s letter in the mail. Convinced she is the right woman for his father, he reads the letter aloud, noting that Annie’s favorite baseball player, Brooks Robinson, is also Sam’s favorite. Sam argues that Baltimore is too far away, and leaves for a dinner date with an interior designer named Victoria. Jonah interrupts the date by calling Sam to tell him that Annie wants to meet at the top of the Empire State Building on Valentine’s Day. Sam reprimands his son for interrupting him, and hangs up. Later, Sam introduces Victoria to Jonah, who vehemently dislikes her. The boy spies them kissing and calls into the “You and Your Emotions” show in a panic. Becky calls to alert Annie that Jonah is back on the show, rousing both Annie and Walter from a deep sleep. Annie sneaks downstairs and turns on the radio. Later, Jonah shares Annie’s letter with his girl friend, Jessica, who agrees that Annie is the perfect match for Sam. She encourages Jonah to write back, and they draft a letter together. Meanwhile, Annie tells Becky she wants to write a story about Sam, and Becky authorizes her to travel to Seattle for “research.” When Annie gets off the airplane, she happens to pass Sam and Jonah, who are at the airport to drop off Victoria. Sam notices Annie and stares at her as she passes. She arrives at Sam’s house just as he and Jonah paddle off in a boat. Annie follows them to a beach, but cannot muster the courage to approach them. The next day, she finds them at a marina, but stops short when she sees Sam and Jonah embracing Sam’s visiting sister, Suzy. Mistaking Suzy for Victoria, Annie is crestfallen. Sam notices her in the middle of the road and says “Hello.” Annie responds, but is nearly hit by a car. Back in Baltimore, she tells Becky about the encounter, telling her, “All I could say was ‘hello.’” Becky recalls the heroine in An Affair to Remember saying the same line, and tells Annie it must be a sign. Annie receives Jonah’s letter, in which the boy, posing as his father, agrees to meet her in New York. Becky confesses to sending Annie’s crumpled-up letter. However, having seen Sam embracing another woman, Annie no longer wants to pursue him. When Sam continues to refuse to go to New York, Jonah decides to go on his own. He enlists the help of Jessica, whose parents own a travel agency. She books him on a flight and they pool their money for taxi fare. Having recommitted herself to the idea of marrying Walter, Annie goes to meet him in New York. While registering for wedding gifts, Walter gives Annie his mother’s engagement ring. It is just what she would have picked, and she praises Walter’s predictability. On Valentine’s Day morning, Sam packs for a weekend getaway with Victoria. The babysitter arrives, but Jonah is nowhere to be found. Sam goes to Jessica’s house, and Jessica informs him that Jonah is on a flight to New York. The panicked Sam rushes to the airport and gets on the next flight to New York. That evening, Annie goes for drinks with Walter. Noticing the Empire State Building in clear view, she returns his mother’s ring, and tells him about Sam. Walter remains even-keeled and tells Annie that he never wants to be “settled for.” The Empire State Building windows light up red, forming a heart, and Annie decides it is a sign. She hails a taxi to the Empire State Building, where Jonah has spent the day looking for her, but gets caught in traffic. Sam finally catches up to Jonah on the observation deck, and is relieved to find him unharmed. Minutes later, Annie coaxes a security guard to let her up to the observation deck after closing, but finds it empty. She notices Jonah’s abandoned backpack, and rifles through it just as Sam and Jonah come back for it. Annie and Sam lock eyes. She introduces herself, and he takes her hand. Admiring each other in silence, Annie and Sam board the elevator with the contented Jonah. Finally, Annie tells Sam it is nice to meet him.
WESTERN
AFI defines “western” as a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier.
1. The Searchers (1956)
Martha Edwards opens the door of her cabin to the arid Texas landscape outside just as her brother-in-law, Ethan Edwards, approaches on horseback. Although it is 1868, Martha, her husband Aaron, their children Debbie, Lucy and Ben, and their adopted son, Martin Pawley, have not seen Ethan since he left them to fight for the Confederacy during the Civil War. Because Martin, an earnest but friendly young man, is part Cherokee, Ethan treats him coldly, even though it was he who rescued the lad when his parents were massacred in an Indian raid years earlier. Soon after Ethan's arrival, Rev. Samuel Johnson Clayton, a captain in the Texas Rangers as well as an old family friend, announces that the cattle of local rancher Lars Jorgensen have been stolen. Although Ethan is somewhat contemptuous of Sam, he joins Martin and a posse in pursuit of the thieves. When they find that the bulls have been killed with Comanche lances, Ethan declares that what the Indians really wanted was to lure the
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What is the Studio System — Hollywood’s Studio Era Explained
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The studio system is a business method where Hollywood movie studios control all aspects of their film productions, including distribution.
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Classical Hollywood System
Defining the Hollywood studio system
Admittedly, just asking, “ what is the studio system” is fairly vague, but it almost always refers to the Hollywood studio system of the 1930s and ‘40s. So, while people could use the term “studio system” in other contexts, we will be sticking to the most common and original version of the term.
STUDIO SYSTEM DEFINITION
What is the studio system?
The studio system is a business method where Hollywood movie studios control all aspects of their film productions, including production, distribution, and exhibition. Dominated by the Big Five studios, all personnel including actors, crew, directors, and writers were under contract to the studios. It made for efficient and “assembly-line” style filmmaking that dominated the industry for about two crucial decades.
Characteristics of the studio system included:
Studios owned their own movie theaters (which would play their movies).
Studios offered independent theaters a block set of films (known as “block booking”), containing desirable movies mixed with unwanted ones.
Everyone from actors to directors were paid a salary instead of “per film,” along with having contracts.
Big FIve Studios
The Big Five (and Little Three)
It all starts with what will always be known as the Big Five studios. These were five major film studios that were responsible for the classical Hollywood system. They included Metro-Goldwyn-Mayer, Warner Bros., Paramount, Fox, and RKO. All of which were "vertically integrated" meaning that production, distribution, and exhibition were handled "in-house."
This made it extremely difficult for independent studios, distributors, and exhibitors to compete in the industry, but more on that later.
Most of these studios were fronted by major movie moguls who previously owned movie theaters in the 1910s before heading to Los Angeles to run their own studios. They included Louis B. Mayer (MGM), Jack Warner (Warner Bros.), Adolph Zukor (Paramount), and Darryl Zanuck (Fox).
You can learn a bit more about the time period in which these movie moguls ruled in the video below. It covers what was known as the Golden Age of Hollywood era, when some real deal classics were produced under the studio system (and the Hays Code).
What is the studio system? • Classical Hollywood era
Aside from the Big Five studios, there were also three smaller studios that did not own as many of their own movie theaters. They were Universal, Columbia, and United Artists, a studio founded by Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith precisely because the studios were so controlling of their work, salary, and creativity.
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Hollywood Studio Era
The Hollywood studio system in action
The Hollywood studio era involved the Big Five studios controlling all aspects of their movies, with owning their own movie theaters being the most notable. In this way, if you lived in a town with a Warner Bros. and Paramount theater, you would have no trouble checking out their latest movies.
For all the other movie theaters they didn’t own, they offered them blocks of movies they could distribute, which was known as “block booking.” This involved having, for example, a set of five movies; one is actually good, while the rest are middling or just bad. Due to it being an “all or nothing” deal, many of these independent theaters took what they were offered, resulting in a swath of movies being distributed all across the country.
During the Hollywood studio era, there was also the “Star System,” which was when actors, under contract to a studio, would be sculpted by said studio to fit an ideal, one which could not be tarnished.
You can learn a bit more about it in the video below.
What is the Studio System? • Making a star
The movies made by these Big Five studios would also be stuck to the lot, which means every aspect of the filmmaking was typically done in one place. Unless you were filming establishing shots or something similar, your camera would not be leaving the Los Angeles area. To top it off, if you worked for the movie studios, you weren’t paid by film: you had a contract and salary.
Studio System Demise
The end of the Hollywood studio system
But the “good times” were not to last, because the U.S. government was knocking on the door of the Hollywood studio era. While they tried earlier, it would not be until 1948, with the United States v. Paramount Pictures, Inc. case, that the studio system would come to an end.
It stated that this studio system was in violation of the nation’s antitrust law, and was therefore illegal. This resulted in the movie studios no longer owning — either partially or fully — their movie theaters. Not only that, but television was on the rise, so ticket sales were also falling. So while it broke up what was essentially a monopoly, it also put the studios in a financial tight spot.
But it wasn’t just the movie theaters, as the court decision also brought about changes to the way the Big Five made films. For example: actors would no longer be held hostage by contracts or salaries (though contracts would still be a thing, just with less restrictions).
This was pretty great for major actors who could earn hundreds of thousands per movie, but it also meant less stable revenue for others.
In the interim, the Hollywood studio system now had to figure out how to get people back in the theaters. TV was the hottest thing in town, but limited theater events like Cinerama and CinemaScope gave the studios an unprecedented idea to change the way movies looked.
What is the Studio System? • CinemaScope
By introducing new widescreen films, with CinemaScope, VistaVision, and others, the classical Hollywood system was able to find a way to make going to the movies attractive again. While it wasn’t perfect, it did help them out and ended up having a permanent impact on the way we literally look at movies.
UP NEXT
The New Hollywood Era
You have now answered “what is the studio system,” so why not learn about how Hollywood got its groove back? The New Hollywood era breathed new life into an established but aging landscape, creating movies that broke convention and continue to influence filmmakers the world over. Read more about this innovative and exciting time.
Up Next: New Hollywood →
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History, Credits, & Facts
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2024-08-10T00:00:00
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Paramount Pictures, one of the first and most successful of the Hollywood film studios.
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https://www.britannica.com/money
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Read More
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https://www.vulture.com/article/best-movies-paramount-plus-streaming.html
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The 30 Best Movies on Paramount+ Right Now
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2021-03-04T17:30:07.860000-05:00
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Paramount+ has a deep catalogue full of great films — ‘Election,’ ‘Face/Off,’ ‘Past Lives,’ and more. Here are the very best.
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en
|
Vulture
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https://www.vulture.com/article/best-movies-paramount-plus-streaming.html
|
This post will be updated frequently as movies enter and leave the service. *New titles are indicated with an asterisk.
In 2021, CBS All Access rebranded with the name Paramount+, reflecting the history of the legendary film and TV company with that nifty little mathematical sign that all the streaming companies seem to love these days. The name Paramount brings a deep catalogue of feature films, and the streaming service also includes titles from the Miramax and MGM libraries. They have also added a more robust original selection than at launch to complement the service’s classics like Gladiator, the Mission: Impossible series and Grease.
For now, Paramount+ can’t compare to the depth of a catalogue like Max’s or the award-winning original works at other streamers, but it has a solid library with at least 30 films you should see.
This Month’s Editor’s Pick
*Election
Year: 1999
Runtime: 1h 42m
Director: Alexander Payne
The writer/director of Nebraska and The Descendants adapted Tom Perrotta’s novel of the same name and produced arguably his best film to date. Reese Witherspoon is amazing as Tracy Flick, an overachieving student who really aggravates a high school teacher named Jim McAllister, played by Matthew Broderick. So much so that he sabotages her run for student government president in a film that understands the intersection of the political and the personal in ways that movies actually set in D.C. rarely do.
*Almost Famous
Year: 2000
Runtime: 2h 3m
Director: Cameron Crowe
Cameron Crowe wrote and directed his masterpiece about a young man (Patrick Fugit) who ends up on tour with a rock band known as Stillwater. With incredible supporting performances from Kate Hudson, Billy Crudup, Frances McDormand, and Philip Seymour Hoffman, Almost Famous is one of the richest and most timeless films of its era, a rare movie that gets better every time you see it.
Arrival
Year: 2016
Runtime: 1h 56m
Director: Denis Villeneuve
The beloved French director’s best film remains his adaptation of “Story of Your Life” by Ted Chiang, a tale of alien invasion that’s really more about the people on Earth than the interplanetary visitors. Amy Adams gives one of the best performances of her career as a linguist tasked with communicating with the aliens.
*The Aviator
Year: 2004
Runtime: 2h 50m
Director: Martin Scorsese
Leonardo DiCaprio stars as Howard Hughes in Martin Scorsese’s incredibly detailed and lavish period piece about one of the most infamous eccentric millionaires of all time. It feels like every other month produces a bit of social outrage about Scorsese’s place in movie history or his comments on Marvel movies. Ignore that noise and just watch one of his works that doesn’t get nearly enough praise, anchored by one of DiCaprio’s best performances and some of the most impressive aerial cinematography of all time.
Beverly Hills Cop
Year: 1984
Runtime: 1h 45m
Director: Martin Brest
It’s hard to explain to people too young to experience it how big a star Eddie Murphy was in 1984 when his Axel Foley ruled the world. Murphy’s wit and charm were put to perfect use in Beverly Hills Cop that produced two inferior sequels, and both happen to also be on Paramount Plus.
Boogie Nights
Year: 1997
Runtime: 2h 35m
Director: P.T. Anderson
Paul Thomas Anderson is widely recognized as one of the best living American filmmakers now, but that wasn’t the case before the release of this masterpiece about life in the Los Angeles porn scene. Mark Wahlberg has never (and likely never will be) better than he is here, anchoring an ensemble that includes equally great work from Julianne Moore and Burt Reynolds.
Chinatown
Year: 1974
Runtime: 2h 10m
Director: Roman Polanski
Forget it Jake, it’s Chinatown. One of the best movies of the ‘70s, this Best Picture nominee (and Best Screenplay winner) tells the story of Jake Gittes, played unforgettably by Jack Nicholson, as he investigates an adulterer and finds something much more insidious under the surface of Los Angeles. It’s a must-see, as important as almost any film from its era.
Clueless
Year: 1995
Runtime: 1h 37m
Director: Amy Heckerling
You can keep all those stuffy Jane Austen adaptations—one of the best remains Amy Heckerling’s updating of the 1815 classic Emma to mid-‘90s L.A. Is this the most ‘90s movie ever? From its fashion to its references to its beloved characters, Clueless is certainly one of the most iconic, a movie that made a small impact when it was released but feels like it grows even more popular with each generation that discovers it.
Collateral
Year: 2004
Runtime: 1h 59m
Director: Michael Mann
Tom Cruise gives one of his most fascinating performances as Vincent, the passenger to Jamie Foxx’s L.A. cab driver on a very fateful night. It turns out that Vincent is hitman and he needs Foxx’s character to drive him on a killing spree in this tense, gorgeously-shot thriller from the masterful craftsman Michael Mann.
Devotion
Year: 2022
Runtime: 2h 19m
Director: J.D. Dillard
The proximity to another little movie about pilots called Top Gun: Maverick likely hurt the bottom line of this excellent, old-fashioned drama based on a true story. The excellent Jonathan Majors plays Jesse Brown, the first Black aviator in Navy history, and Maverick star Glen Powell plays his co-pilot and friend Tom Hudner. Both young future stars are excellent in a film that viewers can now find at home.
Dog Day Afternoon
Year: 1975
Runtime: 2h 4m
Director: Sidney Lumet
Any list of the best performances of all time that doesn’t include Al Pacino’s work in this 1975 masterpiece is simply incorrect. Pacino plays Sonny Wortzik, a New Yorker who tries to rob a bank with his buddy Sal (John Cazale). Sidney Lumet directs a film that’s alternately as tense as any thriller and as illuminating as any character study. It’s a must-see.
*Face/Off
Year: 1997
Runtime: 2h 18m
Director: John Woo
There are rumors that a remake of this John Woo classic is on the horizon, so you owe it to yourself to go back and see the very high standard that project will have to meet. Face/Off is one of the best action movies of the ‘90s, a wonderfully staged blockbuster by one of the genre’s best filmmakers. And John Travolta and Nicolas Cage were near the peaks of their screen charismas as an FBI agent and terrorist who end up, well, switching faces. It’s a blast.
Finding Yingying
Year: 2020
Runtime: 1h 38m
Director: Jiayan “Jenny” Shi
Jiayan Shi directed and produced this heartbreaking documentary about the disappearance and death of Yingying Zhang in 2017. Shi has unique access to the story in that she knew Yingying, and so her film has an incredible you-are-there quality as Shi captures the investigation and grief that would emerge from this horrific crime. Paramount+ deserves credit for bringing smaller projects like this to their subscribers, ones that other major streamers might ignore.
Gladiator
Year: 2000
Runtime: 2h 34m
Director: Ridley Scott
One of the most popular films of its era, this action epic stars Russell Crowe as the legendary Maximus, a warrior whose family is murdered by the vicious Commodus (Joaquin Phoenix). Forced into slavery, Maximus has to rise the gladiator arenas to get his vengeance. The film made a fortune on its way to winning the Oscar for Best Picture.
The Godfather
Year: 1972
Runtime: 2h 55m
Director: Francis Ford Coppola
Maybe you’ve heard of it? In all seriousness, there’s a very cool opportunity right now to watch the entire Godfather trilogy on Paramount+, including the superior recent cut of the third film. You could then slide from some of the best filmmaking of all time into the streaming service’s original series The Offer, about the making of Coppola’s masterpiece.
Interstellar
Year: 2014
Runtime: 2h 49m
Director: Christopher Nolan
No one else makes movies like Christopher Nolan, a man who took his superhero success and used it to get gigantic budgets to bring his wildest dreams to the big screen. Who else could make this sprawling, emotional, complicated film about an astronaut (Matthew McConaughey) searching for a new home for humanity? It’s divisive among some Nolan fans for its deep emotions, but those who love it really love it.
Jackass
Year: 2002
Runtime: 1h 25m
Director: Jeff Tremaine
Jackass Forever helped 2022 start with a bang. Now you can go back and watch the whole series exclusively on Paramount+ right now! (Even the “alternate” ones like Jackass 3.5). Go back to the heyday of Johnny Knoxville, Steve-O, and the rest of the dangerous idiots. These movies are often derided as being dumb but they’re a glorious, infectious kind of dumb that wants nothing more than to make you laugh.
The Lost City
Year: 2022
Runtime: 1h 52m
Director: Aaron Nee, Adam Nee
With echoes of beloved rom-coms like African Queen and Romancing the Stone, this film truly felt like an anomaly in 2022, and yet it turned into a pretty big hit at the theater. It’s already on streaming services, and it’s a great choice if you’re looking for some escapism tonight. Travel to the middle of nowhere with a romance novel writer (Sandra Bullock) and the cover model (Channing Tatum) who tries to save the day.
Minority Report
Year: 2002
Runtime: 2h 25m
Director: Steven Spielberg
One of Steven Spielberg’s best modern movies is this adaptation of a Philip K. Dick story about a future in which crime can be predicted before it happens. Tom Cruise stars as a man who is convicted of a crime he has no intent of committing in a fantastic vision of a future in which the systems designed to stop crime have been corrupted. It’s timely and probably always will be.
Mission: Impossible franchise
Year: 1996-present
Runtime: Varies
Director: Various
The whole series is finally here! For some reason, parts 1 to 3 and parts 4 to 6 have alternated residence on a lot of streaming services, but Paramount+ currently hosts the entire thing from De Palma’s first movie to Fallout. While we wait for Mission: Impossible 7, revisit the whole arc of the saga of Ethan Hunt to date.
Past Lives
Year: 2023
Runtime: 1h 45m
Director: Celine Song
A current Best Picture and Best Original Screenplay nominee, this phenomenal film isn’t on any of the other streamers. It stars the excellent Greta Lee and Teo Yoo as a couple who were close as children but reunite years later after she immigrated to the United States. It’s as much a story of what people leave behind when they change their entire lives as it is a traditional story of unrequited love. It’s beautiful and unforgettable.
Pineapple Express
Year: 2008
Runtime: 1h 52m
Director: David Gordon Green
Seth Rogen gives one of his best performances as Dale Denton, an average guy who just wants to get high. He visits his dealer (played perfectly by James Franco) on the wrong night as the pair cross paths with hitmen and a police officer on the wrong side of the law. This is an incredibly funny movie, and you don’t need to be high to love it.
A Quiet Place
Year: 2018
Runtime: 1h 30m
Director: John Krasinski
Who could have possibly guessed that Jim from The Office would be behind one of the most successful horror films of the ‘10s? You’ve probably already seen this story of a world in which silence is the only way to survive, but it’s worth another look to marvel at its tight, taut filmmaking and a stellar performance from Emily Blunt. Plus, Paramount+ recently added the sequel, so: double feature time!
Red Eye
Year: 2005
Runtime: 1h 25m
Director: Wes Craven
With one of his last great movies, the master of horror Wes Craven proved he could also do thrills without supernatural monsters. This is a film that Alfred Hitchcock would have loved, the story of an average woman (Rachel McAdams) terrorized by the guy in the seat next to her on a red-eye flight to Miami. Cillian Murphy is chilling in this memorable, tight little genre movie.
Rushmore
Year: 1999
Runtime: 1h 32m
Director: Wes Anderson
Writer/director Wes Anderson’s best film is arguably still his second work, a brilliant coming-of-age comedy about a teenager named Max Fischer (Jason Schwartzman) and the love triangle that forms (at least in his mind) between him, a teacher named Rosemary Cross (Olivia Williams), and a wealthy man named Herman Blume (Bill Murray). Charming, eccentric, and hysterical, Rushmore is a modern classic.
Saint Maud
Year: 2019
Runtime: 1h 24m
Director: Rose Glass
Rose Glass’s terrifying horror film is one of the best movies of 2021 and it’s already on Paramount+. Reminiscent of psychological nightmares of the ‘70s like Repulsion and Rosemary’s Baby, this is the tale of a hospice nurse named Maud (a fearless performance from Morfydd Clark) who becomes obsessed with saving the soul of one of her patients (Jennifer Ehle). It’s unforgettable.
Scream
Year: 1996
Runtime: 1h 51m
Director: Wes Craven
The Ghostface killer came back in January 2022 with the release of Scream, the fifth film in this franchise and the first since the death of Wes Craven, and the fun continued with another sequel in 2023 (although the troubles around the production of the seventh film have been, well, notable). Paramount+ is the best place for a marathon with the original trilogy and the fifth and sixth films (but, bizarrely, not Scream 4.) The first movie is still a flat-out genre masterpiece.
The Social Network
Year: 2010
Runtime: 2h
Director: David Fincher
One of the best movies of the 2010s has returned to Paramount after a brief hiatus to remind people how wildly far ahead of its time this movie was when it was released. With a razor-sharp screenplay by Aaron Sorkin and some of the best direction of David Fincher’s career, this is a flawless movie, one that resonates even more now in the era of constant internet than it did thirteen years ago.
Something Wild
Year: 1986
Runtime: 1h 53m
Director: Jonathan Demme
Jonathan Demme was a master of tonal balancing, finding a way to perfectly blend the comedy and the dread in this story of an average man caught up in a criminal’s web. Charlie (Jeff Daniels) is a milquetoast banker who goes on a wild ride with a girl named Lulu (Melanie Griffith), but everything changes when Lulu’s ex (an unforgettable Ray Liotta) enters the picture.
There Will Be Blood
Year: 2007
Runtime: 2h 38m
Director: Paul Thomas Anderson
One of the best films of the ‘00s, Paul Thomas Anderson’s adaptation of Upton Sinclair’s Oil! won Daniel Day-Lewis his second Oscar as the unforgettable Daniel Plainview. As detailed and epic as great fiction, Anderson’s movie is one of the most acclaimed of its era, a film in which it’s hard to find a single flaw. Even if you think you’ve seen it enough, watch it again. You’ll find a new reason to admire it.
Titanic
Year: 1997
Runtime: 3h 14m
Director: James Cameron
More than just a blockbuster, this Best Picture winner was a legitimate cultural phenomenon, staying at the top of the box office charts for months. There was a point when it felt like not only had everyone seen the story of Jack (Leonardo DiCaprio) and Rose (Kate Winslet), but most people had seen it twice. History has kind of reduced this epic to its quotable scenes and earworm theme song, but it’s a better movie than you remember, a great example of James Cameron’s truly robust filmmaking style.
Top Gun: Maverick
Year: 2022
Runtime: 2h 10m
Director: Joseph Kosinski
It’s the movie that saved movies last year! The truth is that Paramount wanted to drop this long-awaited sequel on a streamer during the pandemic, but Tom Cruise knew it was the kind of thing that should be appreciated in a theater. He bet on himself and the result is arguably the biggest hit of his career, a movie that made a fortune and seems primed to win Oscars in a couple months.
Trainspotting
Year: 1996
Runtime: 1h 34m
Director: Danny Boyle
Danny Boyle really broke through with his second film, a beloved adaptation of Irvine Welsh’s novel about addiction. Ewan McGregor plays Mark Renton, the most charismatic member of a group of friends who became instantly iconic, including Spud (Ewan Bremner), Sick Boy (Jonny Lee Miller), Tommy (Kevin McKidd), and the sociopathic Begbie (Robert Carlyle). Propelled by one of the best soundtracks of the ‘90s, Trainspotting has more energy than nearly anything else on Paramount+.
The Wolf of Wall Street
Year: 2013
Runtime: 3h
Director: Martin Scorsese
Leonardo DiCaprio should have won the Oscar for his amazing performance as Jordan Belfort, the financial criminal that rocked Wall Street and shocked audiences in one of Scorsese’s best late films. Arguments over whether or not this film glorifies a “bad guy” have become prominent—and could only really be made by people who haven’t actually watched it. Most of all, it’s a shockingly robust film, filmed with more energy in a few minutes than most flicks have in their entire runtime.
*Zodiac
Year: 2007
Runtime: 2h 37m
Director: David Fincher
David Fincher’s masterpiece is more about the impact of crime than crime itself. The fact that he made a sprawling epic about an unsolved murder is daring enough, but what’s most remarkable is how much this movie becomes less and less about figuring out the identity of the Zodiac Killer and more about the impact of obsession. It’s one of the best films of the ‘00s.
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https://bulletin.hds.harvard.edu/jewish-identity-and-biblical-exposition-in-darren-aronofskys-films/
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en
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Jewish Identity and Biblical Exposition in Darren Aronofsky’s Films
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Evaluating the use of ancient Jewish modes of interpretation in Aronofsky’s mother! and Noah. By Eric X. Jarrard
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en
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Harvard Divinity Bulletin
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https://bulletin.hds.harvard.edu/jewish-identity-and-biblical-exposition-in-darren-aronofskys-films/
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By Eric X. Jarrard
“This is why you should never trust academics. Midrash? More like mid-trash!”
—Anonymous internet comment1
If there is another film in recent memory so deeply disliked by audiences as Darren Aronofsky’s mother!,2 it does not come to mind. Statistically speaking, there is good reason for the near impossibility of recollecting such a maligned movie. When the film debuted in September 2017, it joined the unenviable ranks of only nineteen other movies in the history of CinemaScore—a metric of audience satisfaction widely used to survey moviegoers’ reactions on opening night—that earned the abysmal rating of “F”. Yes, only nineteen other films since 1978 have been so roundly hated by audiences. To give you some perspective on just how bad this rating is, even the 2003 Jennifer Lopez and Ben Affleck disaster and consummate punchline, Gigli, was able to manage a “D-”.
Some have suggested that the mismarketing of the film was what earned it such a low rating. Kevin Lincoln, for example, observed that among these nineteen films, about half of them displayed a trend that he terms “misleading auteurism.”3 These are films, like Aronofsky’s mother!, that are written, directed, and/or produced by Academy Award-nominated directors that deliver a bait-and-switch. They are intended as thought-provoking, artistic pieces, but are shoehorned into ill-fitting marketing categories. Such was the case with Steven Soderbergh’s 2002 film Solaris, marketed as science fiction but brazenly defying the genre’s stereotypes at every turn. This upheaval of audience expectations, argued Lincoln, was the downfall of mother!: Paramount Pictures marketed the film as a horror movie, but Aronofsky delivered a “roller-coaster-of-weird exhibitionism.”4 The apparent deception was unpalatable for moviegoers. Certainly, one can imagine the appreciable disappointment experienced by the audience: When you order the crème brûlée but receive the soufflé, the restaurant experience may be irredeemable. But this critique is less of Aronofsky’s work and more of Paramount Pictures.
A second kind of critique has focused instead on the merits of the film. Here, the critical response that evaluates his work on its own content rather than audience expectations is also mixed. The film received a Metascore of 75 and a Tomatometer 69 percent rating.5 Anthony Lane, critic for the New Yorker, wrote: “If you gave an extremely bright fifteen-year-old a bag of unfamiliar herbs to smoke, and forty million dollars or so to play with, ‘Mother!’ would be the result.”6 Per the norms of popular film criticism, in Lane’s critique there is a type of subjective criticism wherein the film does not measure up to the critic’s own idea of successful execution; Lane ordered and received the crème brûlée, but it failed to meet his imagined standards for the dessert.
Neither of these two critiques—subverted expectation or subjective disappointment—target the mechanics of the filmmaker’s artistic product. Any subjective criticism of Aronofsky’s work according to one’s own taste or an abstract artistic ideal is easily eschewed by the auteur. Such was the case with Aronofsky’s rejoinder to the severe response to mother!: “Anytime you do something that aggressive there are going to be people who enjoy it, who want to be on that roller coaster ride, and then there are others who say, ‘Oh no, that was not for me.’ ”7 Aronofsky’s response to the criticism was to put the blame on the audience; they either did not understand the work, or they did understand it but rejected the artistic mirror that Aronofsky held up for them. According to Aronofsky, audiences did not like his film because he did his job well.
In yet a third, more apropos, category of criticism, one might evaluate Aronofsky’s work by how effectively his own methods and goals for the film were met. There is little doubt that the vast majority of Aronofsky’s films are influenced by his Jewish background.8 The mere existence of this influence, though, does not provide a productive analytical tool for Aronofsky’s œuvre. Instead, an analysis of how well he uses traditional modes of Jewish interpretation does offer the possibility of an objective approach. Thus, in this third type of criticism, one would assess the success of the crème brûlée by how precisely the dish was executed according to the recipe by which it was prepared.
Put more simply, in the remainder of this essay I will assess whether Aronofsky’s two most recent films, Noah and mother!, are the instantiations of the Jewish modes of interpretation—midrashic and allegorical, respectively—that he claims them to be. To do so, I will (1) briefly summarize the historical antecedents—specifically midrash and allegory—that Aronofsky seeks to replicate in his works; (2) discuss Aronofsky’s use of these ancient Jewish interpretive modes; and (3) evaluate Aronofsky’s adherence to their internal mechanisms, as well as his effectiveness in using those modes of interpretation. In so doing, I hope to demonstrate that the most penetrating criticism of Aronofsky’s work will benefit from an understanding and appreciation of the historical models of biblical interpretation that the auteur has inherited. Moreover, this analysis will demonstrate specific deficiencies in Aronofsky’s use of these techniques that undermine the auteur’s intent. In order to explore Aronofsky’s attention—or lack thereof—to the mechanisms of early Jewish interpretation,9 it will be helpful to begin by considering the origins of the two interpretive techniques—midrash and allegory—on which these films most clearly rely.
Unsurprisingly, Biblical interpretation has its roots within the Bible itself, where we can observe the phenomenon of inner-biblical interpretation: places where the text self-reflexively reinterprets earlier traditions. The most obvious example is the relationship between Samuel-Kings and Chronicles. In these two works, the latter significantly redacts, contextualizes, and shapes the former for its own rhetorical purposes—for instance, the omission of the story from 2 Samuel 11, on David’s illicit affair with Bathsheba is a significant change meant to bolster the presentation of David. Another oft-cited example is the seventy-year prophecy of the end of the Babylonian exile, found in Jeremiah 25:11, and its reflex in Daniel 9:24–27. In both of these examples, we see the biblical author(s) grappling with how to interpret texts that are problematic in their contemporaneous context. For David Stern, there are commonalities in the inner-biblical and post-biblical interpretation. Specifically, he points to the tendencies of both types of interpretation to: “Harmonize conflicting or discordant verses; to reemploy and reapply biblical paradigms and imagery to new cases; to reinvent ‘old’ historical references with ‘new’ historical contexts; and to integrate non-historical-portions of the Bible within the larger context of biblical history.”10
At some point in the Second Temple period, though, the biblical canon became fixed, and the ability to offer these reinterpretations within the biblical text itself came to an end. The need to contemporize and harmonize, however, remained a concern for post-biblical interpreters, and the modes of these later interpreters—the Qumran community, the rabbis, and Philo, among others—continued to be largely congruous with the earlier methods and motivations of inner-biblical interpretation.11
1. Midrash
Properly speaking, midrash (plural, midrashim) refers to a type of rabbinic biblical interpretation taking place in the Southern Levant at the beginning of the common era—primarily in and around Galilee post 135 CE— and roughly five hundred years following. The term “midrash” is from the Hebrew root (דרשׁ; d-r-sh) meaning “to seek” (often the meaning of) something.12 The term “midrash” has more commonly come to signify the yield of that activity—including the actual collections of midrash—as well; that is, the act of seeking meaning from a biblical text and the meaning derived from the process of seeking are both “midrash.” To confuse matters still further, David Stern points out that in scholarly circles midrash has also been used to describe all ancient (usually Jewish) biblical interpretation, and that outside of scholarly circles, the term functions as a stand-in for all manners of “creative interpretations of the Bible that seek to move beyond the historical, ‘original’ sense of the biblical text.”13
Excluding the final, contemporary use of the term, to which I will return below, we can still distill a “spirit” of midrash. For the ancient interpreter, the biblical text is omni-significant—every detail has meaning—and that meaning has contemporaneous relevance for its interpreter. Gerald Bruns clarifies this relationship: “What matters in midrash is not only what lies behind the text in the form of an originating intention but what is in front of the text where the text is put into play. The text is always contemporary with its readers or listeners, that is, always oriented towards the time and circumstances of the interpreter.”14 Said another way, the onus is on the darshan (explicator of scripture) to make the connection between the omni-significant features of the text and his or her own contemporary setting.15
Although there is considerable debate regarding whether there are rules for midrashic interpretation (middot),16 at least four characteristics of midrashim can be distilled for mypurposes: (1) attention to detail, specifically the verbal, phonetic, and orthographic features of the text, (2) a plurality of interpretations, (3) contemporizing of the biblical text, and (4) character development. A few examples from Bereshit Rabbah are illustrative of these characteristics.
The first two characteristics—attention to detail and plurality of interpretations—can be seen in two different midrashim on the first four words of the Binding of Isaac (Gen 22:1). The passage begins: “After these things . . .” (ויהי אחר הדברים האלה)17 In these midrashim, the rabbis, led by the belief that every feature of written Torah (the biblical text) held significance, created multiple expansions to the biblical text that make sense of idiomatic features of biblical narrative. In this case, the rabbis marked the text with a midrashic red pen: “Antecedent unclear! After what things?”
They gave future readers two equally interesting options to resolve the issue. The first midrash links the Binding of Isaac to the chapter preceding it—which includes the feast for Isaac’s weaning (Gen 21:8). In this expansion, Abraham laments not having offered a sacrifice to God for his good fortune, prompting a conversation among the heavenly host. In this conversation, God reaffirms His trust in Abraham to His court:18 Abraham would not even withhold His beloved son, Isaac, were God to demand Abraham to sacrifice him. In the other expansion, we receive the story of an escalating sibling rivalry between Isaac and Ishmael, who debate which of the two sons of Abraham is more beloved by God. The debate culminates in Isaac boasting that he would offer his own life if asked, which kindles the narrative fire of Genesis 22. Characteristic of midrashic interpretation, each story offers an expansion on the biblical narrative as an explanation of the antecedent of “these things,” and, as is typical in midrashic collections, both are presented without comment or preference. Thus, it seems just as important for the rabbis to resolve the grammatical conundrum of an unclear antecedent as it is to present the multiple received traditions that satisfy the issue; the interest of the rabbis is dialogic, not expository.
Among the multiple midrashim addressing God’s call to Abraham (Gen 12), we can see the second two characteristics at work: contemporizing of the biblical text, and character development.19 In one story, Abraham is concerned with leaving his father, Terah, to answer God’s call. Leaving his father to die alone presents a significant problem for Abraham: not only would it violate one of the ten commandments (Ex 20:12), but it would also bring shame upon God, presumably for selecting a covenant violator. The solution is twofold. First, R. Isaac notes that the wicked (a typical characterization of the midrashically idolatrous father of Abraham) are called “dead” even when they are alive. Second, Abraham receives a pre-emptive reprieve from the commandment: “I set you (alluded to by the use of lekā; Gen 12:1) free from honoring your father, but I am not setting anyone else free from honoring (their) father or mother.”20
One might rightly wonder why Abraham is worried about a commandment that is not, chronologically speaking, given until much later, when Moses receives the ten commandments on Mt. Sinai. The rabbis, though, have a specific idea of Abraham’s relationship to Torah; in rabbinic literature—and for Philo as well as in Jubilees—Torah already exists for Abraham, and thus he is expected to follow it completely. Abraham’s sensitivity to Torah observance is, on one level, a contemporizing of the biblical text for the rabbis, but on another, it functions as character development for the limited characterization of Abraham in the Torah. This midrash, among many others related to Abraham, gives the midrashic Abraham a greater sense of interiority—he thinks, worries, cares for his father, etc.—at least more so than the biblical Abraham. The combined effect makes him more human, and perhaps more imitable for the contemporaneous generation.
From these examples, we can see how midrash as an interpretive method is primarily oriented to the world “in front of” the text, to echo the previously mentioned sentiments of Bruns. Stern, too, has expressly reiterated this position: “Midrash has been celebrated for seeing meaning ‘in front’ of the text, in the intertextual play between verses, in the deferral of a single absolute meaning in favor of a multiplicity of provision and possible meanings.”21 This contrast between an interpretive method oriented towards the meaning “in front of” the text is made even more apparent when juxtaposed to allegoric interpretations, or those, according to Stern, “said to posit the existence of a reference or meaning ‘behind’ the text as a kind of static metaphysical presence.”22
2. Allegory
As a mode of biblical interpretation, allegory posits the true meaning of the text is something other than its plain sense (peshat). It bears the same spirit as midrash in that it attempts to contemporize the meaning of the text, but unlike midrash, it assumes a specific cultural milieu wherein the peshat of the text is irrelevant or at lease opaque for the interpreter.
The work of the early Jewish interpreter Philo of Alexandria provides a lucid example of allegoric interpretation. A Hellenistic Jewish philosopher of the first century CE, Philo’s hermeneutical method assumes two ways of understanding a text. The plain meaning, which “circulates widely and which everyone can recognize,” and the figurative meaning, which “requires study, reflection, investigation, and the assistance of the sorts of special insight possessed by unique individuals.”23 Philo’s commentary activity is not primarily exegetical in nature; it is interested in interpreting the Hebrew Bible as moral philosophy and exposing the hyponoia—the underlying meaning that emerges after thought and reflection—of the text.
An example of allegoric interpretation should help to clarify the hermeneutics of this mode. Philo has great difficulty with the literal reading of the creation of Eve from the rib of Adam (Gen 2:21). In his work Legum Allegoriae, Philo goes on at great length about how utterly preposterous it would be to think an anatomical rib would be removed from Adam to create Eve: “The literal statement conveyed in these words is a fabulous one; for how can anyone believe that a woman was made of a rib of a man, or, in short, that any human being was made out of another?”24 Instead, he interprets “rib” as Adam’s non-physical mind (not his anatomical brain). That is, Eve receives Adam’s intelligence, not his rib. He offers this solution with both a practical justification—the mind is not physically attached and thus is easily removed and transferred—and a philosophical one—that the mind and intelligence transcend the physical body and its limitations, a clear marker of the Platonic influence on Philo’s thought.
Having rehearsed the background and methods of the two primary methods of Jewish interpretation utilized by Aronofsky in Noah and mother!, I can now examine how Aronofsky applies these techniques to his own films.
That the film Noah is somehow a modern midrash on the biblical text is not a new idea. The identification of midrashic antecedents in the film was quite popular fodder for think pieces after the movie’s release,25 and the incorporation of these traditions was openly acknowledged by Ari Handel, the movie’s co-creator.26 The list of instances is remarkably expansive: Noah’s vegetarianism,27 his agrarian lifestyle and success as a farmer,28 his interaction with the descendants of Cain and their subsequent attempts to enter the ark,29 Noah’s care for the animals on the ark,30 and the (t)zohar-light, to name just a few.31 What is clear from the impressively long list of midrashim incorporated in Aronofsky’s work is that the filmmaker is certainly aware of the larger rabbinic corpus surrounding the work, and especially the haggadic midrashim (midrash related to biblical narrative). The most obvious motivating factor behind such efforts is their ability to lend authorization to Aronofsky’s own narrative expansion: he can expand and reinterpret the biblical story of Noah because so many before him have done so too.
This authorization provides Aronofsky the leeway to pursue what he believes is the underlying question of the biblical Noah story: why Noah was spared by God. This question of divine selection is, of course, not new; it was treated at great length by the rabbis, not only for Noah,32 but for virtually every other patriarch.33 At the heart of the issue for the rabbis and for Aronofsky is the question of Noah’s (or anyone’s) merit.
Two aspects of Aronofsky’s resolution provide an interesting take on the problem. First, the film is careful to depict a gradual decline in the character of Noah from protagonist—even chiding his son for picking a flower without cause—to antagonist—allowing a young girl, Na’el, to die in the forest and threatening to kill his own grandchildren.34 In this way, it takes up the midrashic exposition of Noah’s character. When Noah is compared to his generation (Gen 6:9), he is righteous, but when he is on the ark with his family, his righteousness is much less pronounced, if it exists at all. Second, Aronofsky also leaves unresolved the veracity of God’s calling of Noah. Because God is never seen in the film, the implication may be that Noah suffers from mental illness with delusions of grandeur: he imagined the whole thing. Or, if we are to believe Noah’s visions and that he is truly called by God, by the end of the film Noah is unable to bear the weight of his chosenness, and thus God is wrong—either in his choice of Noah or his creation of humanity.
The film mother! ostensibly tells the story of a brooding artist who, in his obsessive pursuit of fame and adoration, ruins the life of his wife, child, and everything he touches. The film begins with a burned house and a man, Him, placing a crystal on a mantel, causing the home magically to be restored. A woman, Mother, wakes from a peaceful rest. Soon after, an interloping man with a wound in his side arrives and is invited to stay in the home by Him; the man’s wife arrives shortly thereafter, followed by their two sons—one of whom has fratricidal tendencies. A wake ensues after the death of one son at the hand of the other, followed by a kitchen accident that floods the home and leads to the eviction of the house guests.
After the house guests leave, Mother conceives, Him writes the baby a poem, and the poem becomes so wildly popular that the house eventually fills to capacity with the overzealous. In the last third of the film, the house conditions rapidly deteriorate in chaos and violence, in the midst of which Mother bears her child only to have it murdered in a frenzy of adulation. Him begs Mother to forgive the crowd, but she flees to the basement and starts a fire that destroys the home and everything in it, save Him and a horrifically burned Mother. The movie ends as it began, with a woman emerging from the ashes (Mother 2.0, or 3.0, or 59789.0, we cannot be sure) and awakening from her sleep.
If mother! were a text, the peshat would be virtually incomprehensible. The non-linear plot, the nameless characters without backstory, the uneven pacing, all have the combined effect of utterly defying cinematic convention. As Richard Brody described the film: “There’s a special kind of movie that invites questions from viewers and answers of the sort that Aronofsky offered, W.T.F. movies in which the drama itself is utterly unclear.”35 This incomprehensibility, the “W.T.F.”-ness of a text—written, visual, or otherwise—is characteristic of allegory, and indeed, Aronofsky intended it to be understood as such. In an interview with Collider, Aronofsky commented: “The structure of the film was the Bible, using that as a way of discussing how humans have lived here on Earth. . . . I started off with the themes, the allegory; I sort of wanted to tell the story of Mother Nature from her point of view.”36
Not unlike the equivalence manuals circulating the Hellenistic world in the first century (Adam = Natural Reason, Eve = The Senses, etc.),37 a similar manual could be provided for mother! Aronofsky acknowledged, for instance, that the crystal in the beginning of the film was the fruit of the Tree of Knowledge,38 but other equivalencies are not difficult for the thoughtful viewer with even a basic knowledge of one of the most famous stories in the world: Him = God, Mother = Mother Nature, the house = Eden, Man = Adam, Man’s wound = place where the rib was removed, Woman = Eve, and so on. On his construction of the allegory, Aronofsky responded: “Lightning struck for me as a writer when I realized my initial intentions of creating this allegory in a very Luis Bunuel [sic] type of way . . . taking a piece of a world and confining it to a space and making it a conversation about society, lined up with a personal human story, and I figured out how to structure it with a biblical core, and was able to write so quickly.”39 The most obvious point of departure for Aronofsky’s vision is in the film’s perspective: he tells the story of humanity, not from the perspective of the chosen people or their God, but from the perspective of Mother Nature. Beyond that, the film is simply an allegorical interpretation of the biblical and human narrative and an environmental indictment of humankind.
There can be little doubt that both Noah and mother! attempt to engage in two forms of ancient Jewish biblical interpretation—midrash and allegory. Were the films not evidence enough, the filmmaker has gone on record in multiple interviews confirming as much. It is certainly clear that Aronofsky is interested in engaging with the interpretive models he has inherited. Decidedly less clear, though, is whether Aronofsky grasps the mechanisms fueling the works he is so eager to incorporate. Three aspects in particular stand out as deficiencies in Aronofsky’s use of Jewish biblical interpretation.
The first disconformity between Aronofsky’s work and early biblical interpretation pertains to the question of discomfort. In my earlier discussion of midrash, David Stern described the “prenatural sensitivity” of the rabbis “to the least ‘bump’ in the scriptural text . . . a mere hint at something unseemly in the way of behavior.”40 Their attention to these details, however, was not to exploit these unseemly behaviors in the text, but rather, to smooth out the edges, to create unity where there is disunity. Aronofsky, on the other hand, seems by all accounts to be motivated by the opposite. As a director, he seems to indulge intentionally in and dwell on viscerally graphic violence and images in a way that few other filmmakers dare. The most interesting example of this inclination is not from Noah or mother!, but from Black Swan, a film for which he received an Academy Award nomination. In his 2014 interview with Aronofsky, Tad Friend relays the following story:
When “Black Swan” was tested, [Aronofsky] told me, “Fox used the scores to attack me with notes. They wanted me to cut the bird-legs thing”—the freaky moment when Natalie Portman’s legs become swan legs and then snap backward—“and the gore of Winona Ryder stabbing herself in the face. It was the best stuff in the film!” Aronofsky refused to make the suggested cuts, and argued with Claudia Lewis, the president of production at Fox Searchlight Pictures.41
Whereas the rabbis endeavored to harmonize disjunctive features in the text, Aronofsky apparently relishes opportunities to create them for his audience; he intentionally and deliberately interrupts the moviegoing experience. This is confirmed by a second story later in the same interview:
In March of last year, Aronofsky screened his rough cut of “Noah” for Paramount and its funding partner, New Regency Productions. It was two hours and forty-six minutes long, filled with half-realized effects, and had only twenty minutes of music. Clint Mansell [the film’s composer] urged [Aronofsky] to include additional “temp music,” borrowed from other films, to help sell the experience. “Darren said absolutely not,” Mansell told me. “He’s more comfortable with other people feeling uncomfortable with the film than with him feeling uncomfortable with it.”
I remain wholly unconvinced that Aronofsky’s uncompromising artistic vision for his films could ever fully square with the rabbinic vision of the relationship between written and oral Torah. First, for the rabbis, the two halves combine perfectly and seamlessly to create a single whole. The divinely given whole is the gift, not their own vision for how that gift should be presented.
Second, Aronofsky seems uninterested in attending to the unity of the biblical text in the rabbinic imagination or to the diversity of rabbinic interpretation as a genre. His engagement with the midrashim related to the biblical Noah story avoids any notion of literary connections to rabbinic material outside of Genesis. This isolationist reading of select midrashim connected to a particular biblical story is incongruent with rabbinic methods, for rabbinic literature is, as Shaye Cohen argues, “linked by [the rabbis’] common education, vocabulary, values, and culture, [and] the rabbis clearly constitute a unified group. Rabbinic literature is a remarkably homogeneous corpus.”42 At the same time, however, this unity does not suggest a homogeneity in style or thought. Indeed, Cohen continues: “these facts do not mean that rabbinic literature really is seamless or that all rabbis of antiquity thought and behaved in identical fashion. . . . Every generation of rabbis had its own interests.”43 If we were to rely solely on Aronofsky’s use of midrash, we might believe that the sole purpose of rabbinic midrash was expansive narrative exegesis. Such a belief, however, would be ignoring not only the rabbinic motivation for doing so (i.e. their attention to details in the text, noted above), but also a wealth of other material: the rabbinic parables, halakhic (related to legal material) midrash, and a large volume of other rabbinic output. Similarly, his notion of allegory is limited to formulaic allegorical equivalencies: this biblical character = this movie character, and so on. If there is a larger philosophical purpose to his work—some vague notion of environmentalism notwithstanding—it is difficult to discern.
Finally, and most importantly, there is the obfuscation of the God character in Aronofsky’s work. While it is a matter of debate whether one can distill a consistent “theology” of midrash or early allegoric interpretations of the Bible,44 no biblical reader, ancient or modern, has ever picked up the Hebrew Bible and thought: “I don’t think it’s a very religious story.”45 While I suppose some arguments could be made about modern notions of religion and the development of ancient Israelite religious institutions, this, I would argue, misses the point of Aronofsky’s inability to see these stories as “religious.” What he claims here, and what both Noah and mother! boldly assert, is that the God character is superfluous, or even detrimental to the story. Yet the lack of cohesion in the rabbinic characterization(s) of God and the general sense of ineffability of the deity’s majesty is certainly not owing to the deity’s lack of importance. Quite the opposite. If the rabbis were unable to theologize consistently about the deity, it is because God is everywhere in the Hebrew Bible. Aronofsky’s movies are appropriately titled: mother! and Noah. He is blind to the character of God in the stories, and that blindness manifests itself as absence and/or hallucination in Noah and in the terrorizing narcissism in the character of Him in mother! What Aronofsky cannot understand about the biblical narrative and the ancient interpreters who wrestled with it is that the text and its interpretations are never solely human actors, but rather about the God who acts through humans. If Aronofsky were to make an accurate movie about any part of the Bible and incorporate any ancient interpretations of the biblical text, only one title would suffice: God.
To be sure, and as evidence by their nearly $120 million combined domestic gross, the success of these two films is not contingent on Aronofsky’s ability to or interest in remaining loyal to the mechanics of ancient Jewish modes of biblical interpretation. Put simply, audiences likely do not care how good an ancient exegete Aronfsky is or is not. Yet the three above-mentioned failings of Aronofsky’s work do indicate that there is much at stake in his interpretive work, and all the more so when he represents his work as the successor of such rich and complex traditions.
Thus, I am inclined to agree with Stern when he says that he “would prefer to restrict the use of the word ‘midrash’ to the ancient biblical interpretations of the Rabbis.”46 If I were to offer to expand on Stern’s preference, I would extend his desire to differentiate works of classical midrash from neo-midrash to the genre of “allegory,” too. While Aronofsky may owe much to the creators of the traditions with which he engages, he is no darshan or allegorist, in the classical senses of those words—at least not until he can embrace their subject matter and diversity in their multiple forms and singular concern.
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[
""
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[] | null |
https://en.wikipedia.org/wiki/List_of_Paramount_Pictures_films_(1980%E2%80%931989)
|
en
|
IMDb
|
https://www.imdb.com/list/ls545795552/
|
A Los Angeles escort is accused of a murder which he did not commit.
The story of Vaslav Nijinsky, who is widely believed to be one of the greatest ballet dancers of all time. Based on Romola Nijinsky's "Last Years Of Nijinski.
Two fifteen year-old girls from different sides of the tracks compete to see who will be the first to lose their virginity while at a summer camp.
It's the end of the seventies. Hippies are assimilating, women are becoming aware and men are becoming confused and ineffective. Don't expect to be able to keep track of all the names.s.
A group of teenage camp counselors attempt to re-open an abandoned summer camp with a tragic past, but they are stalked by a mysterious, relentless killer.
A young American man joins the IRA in Ireland but soon finds out that he is being used for political purposes and propaganda.
Bud is a young man from the country who learns about life and love in a Houston bar.
Two sophisticated jewel thieves join forces to steal $30 million in uncut jewels. Despite a continuous exchange of quips they eventually become romantically involved.
After the crew becomes sick with food poisoning, a neurotic ex-fighter pilot must safely land a commercial airplane full of passengers.
Bounty hunter Ralph "Papa" Thorson is receiving death threats from a criminal he helped put away. This while his girlfriend is about to give birth, an event he isn't looking forward to.
A psychiatrist involved in a radical new therapy comes under suspicion when his patients are murdered, each according to their individual phobias.
The accidental death of the older son of an affluent family deeply strains the relationships among the bitter mother, the good-natured father and the guilt-ridden younger son.
A wealthy neurotic woman escapes from a New York mental asylum, and hitches a ride back to California with a moody down-on-his-luck cowboy trucker. They fall in love with each other while on the run from bounty hunters and a repo man.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous façade, there is revealed a person of kindness, intelligence and sophistication.
A rock singer is determined to rise to the top of the profession, letting nothing stand in the way of that goal.
The adventures of the famous sailor man and his friends in the seaside town of Sweethaven.
A decades-old folk tale surrounding a deranged murderer killing those who celebrate Valentine's Day turns out to be true to legend when a group defies the killer's order and people start turning up dead.
The sensuous wife of a roadside diner proprietor and a rootless drifter begin a sordid, steamy affair and conspire to murder her Greek husband.
A young girl from a broken home who is having problems in school and her personal life decides to run away and live with her father in the wilderness.
In a corrupt city, a small-time gangster and the estranged wife of a pot dealer find themselves thrown together in an escapade of love, money, drugs and danger.
When 80-year-old Max Sabatini dies, he leaves his three prized orangutans in the care of his only son, Foster. To inherit his father's $5-million fortune, Foster must take care of the apes for the next five years.
Five years after the events of the first film, a summer camp next to the infamous Camp Crystal Lake is preparing to open, but the legend of Jason is weighing heavy on the proceedings.
A high-spirited wife and her meekish husband hit the road to take back her kids from her previous marriage who live with her ex-inlaws.
|
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dbpedia
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2
| 55 |
https://www.bjornmunson.com/2022/02/04/film-genre-popularity-over-the-decades/
|
en
|
Film Genre Popularity Over the Decades
|
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[
""
] | null |
[
"Bjorn Munson"
] |
2022-02-04T00:00:00
|
Bo McCready has done every cinephile a solid by taking film genre data (as tagged on IMDb) and creating this visualization via Tableau. Now, considering that this is over 100 years’ worth of …
|
en
|
Bjorn Munson
|
https://www.bjornmunson.com/2022/02/04/film-genre-popularity-over-the-decades/
|
Bo McCready has done every cinephile a solid by taking film genre data (as tagged on IMDb) and creating this visualization via Tableau.
Now, considering that this is over 100 years’ worth of films… and thousands and thousands of films, this is quite interesting. However, if you look at the visualization above, you’ll see a given genre waxing and waning in relation to its maximum percentage of the overall number of films released that year — and for several genres, that percentage never cracks 10%. So to get an idea of how genres rise and fall in comparison to their fellow genres, take a look at this chart:
If you’re like me, you’re kinda bummed sci-fi and fantasy remain so low for the duration. However, it does go to show how the growth of documentaries is quite impressive.
Additionally, I kind of knew about the cycles of musicals and westerns, but it was interesting to see that both crime and romance have been pretty steady for a pretty long time. And, of course, comedy is gold that stays.
It also struck me that “Popularity” in this context is something of a lagging indicator, because the film studios are going to chase trends and push some of the movement in genres going up and down. It usually takes a couple years for a feature film to go from idea to script to production to finished product, though studios do their best to react as quickly as possible and indie filmmakers –the start-up entrepreneurs in this model– are ever ready to try and risk something faster, cheaper, and –quite often– out of control.
Alas, a good way to get some of that “chasing trends” energy would be to track subgenres and certain elements in movies. So, for instance, examples of “Found Footage” horror films can be cited back over 50 years, but one could venture that that subgenre took off more so after The Blair Witch Project in 1999. Similarly, there have presumably been female cellist characters in films throughout cinema history, but there was a preponderance of female cellists in films across genres in the 1980s. Since such information is coded in the IMDb records, we’re not able to visualize the data.
In any case, enjoy, and perhaps check out a few films this weekend.
|
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3324
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dbpedia
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3
| 19 |
https://www.linkedin.com/today/post/article/20140919075547-62792546-history-of-paramount-pictures
|
en
|
History of Paramount Pictures
|
https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr
|
https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr
|
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[] |
[] |
[
""
] | null |
[
"Shaji Viswanathan"
] |
2014-09-19T07:55:47+00:00
|
Paramount Pictures Corporation owned by media conglomerate Viacom was founded in the year 1912. The founder Adolph Zukor of Famous Players Film Company decided to make feature films that would fulfill the demands of immigrants.
|
en
|
https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
|
https://www.linkedin.com/pulse/20140919075547-62792546-history-of-paramount-pictures
|
Paramount Pictures Corporation owned by media conglomerate Viacom was founded in the year 1912. The founder Adolph Zukor of Famous Players Film Company decided to make feature films that would fulfill the demands of immigrants. By the mid of next year he made five successful films. In the same year Jesse L. Lasky founded Lasky Feature Play Company and hired Cecil B. DeMille for his first movie “The Squaw Man”. Both these production companies sought help of Paramount Pictures to release their movies. Paramount Pictures was a new company at that time and was a merger of many small firms by W. W. Hokinson. The idea was appreciated and the new company, Famous Players-Lasky, got a good start. Lasky and his brother-in-law, Goldfish became in charge of the production, along with DeMille. Hiram Abrams was responsible for the distribution where as Zukor made plans for the development of the company. The company soon touched great heights. In 1916, Zukor decided to talk about the merging of the three companies with Lasky and Hodkinson. Public can take guided tour into the Paramount Studios situated in Hollywood, California.
Zukor made the first slogan of the company “Famous Players in Famous Plays”. He was the man behind successful actors like Douglas Fairbanks, Rudolph Valentino, Mary Pickford, Wallace Reid and Gloria Swanson. Paramount Pictures were the first to introduce the concept of block booking; this meant that if a particular firm wanted to buy the rights of a particular actor, they were also required to buy the other productions of Paramount Productions for that year. This concept proved to be a huge success and boosted the company’s sale.
Under the leadership of Zukor, Paramount had huge success. He was responsible for building number of theaters which had nearly two thousand screens altogether. He also had big investments in radio and in 1926 he gained control over the Balaban & Katz chain. Barney Balaban became the president and Sam Katz handled the Paramount Publix theater chain. The company’s name, Famous Players-Lasky was changed to Paramount-Publix Corporation, in 1927. Due to the success of Publix theater chain the name was changed to Paramount-Publix Corporation in 1930.
By 1932 Zukon left all his old partners behind as the company was facing bankruptcy due to the enormous expansion projects. A bank reorganization team, consisting of Otto Kahn and John Hertz took over the company but kept Zukon in the company. After dealing with bankruptcy, the company was named Paramount Pictures, Inc. and Barney Balaban became the chairman. Many actors and singers were roped in and on a yearly basis; the company was producing nearly seventy movies a year. They also tried their hand at cartoon and the two characters, Popeye the Sailor and Betty Boop became an instant hit.
The government was having problems with the block booking, so the company decided to end it in 1940, after which the company’s production went down to twenty movies a year. While the company was making an effort to attract audience during the World War II, the Federal Trade Commission and the Justice Department reopened the case, U.S. vs. Paramount Pictures and the Supreme Court ordered the split of the company into two. Due to the loss of theater chains, the position of Paramount Pictures was very unstable and the company was sold to Gulf and Western Industries.
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dbpedia
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| 14 |
https://www.premiumbeat.com/blog/guide-to-basic-film-genres/
|
en
|
A Guide to the Basic Film Genres (and How to Use Them)
|
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[
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[
"Jourdan Aldredge",
"www.facebook.com",
"jourdan.aldredge"
] |
2022-08-29T16:27:00+00:00
|
Let’s look at genre theory, what it entails, and how to utilize film genres with a bit more practicality and creativity in your own projects.
|
en
|
The Beat: A Blog by PremiumBeat
|
https://www.premiumbeat.com/blog/guide-to-basic-film-genres/
|
Let’s look at genre theory, what it entails, and how to utilize genres with a bit more practicality and creativity in your own projects.
One of the few rare things that one can actually learn in film school is the simple trick of taking a step back to view something you already know—through a new, academic lens. As filmmakers and film fans, we already know about film genres. It wasn’t until one of the first film theory classes I took that I actually learned how to view, deconstruct, and understand something as seemingly innate as genre.
Understanding “genre theory” is both very simple and very complex. In general, we all know the basics. The Hobbit is a fantasy book. Star Trek is a sci-fi television show. When Harry Met Sally is a rom-com. So, what do all those genre names actually mean? And, what exactly are the writers, filmmakers, and storytellers really doing to work within and against these modes?
Here’s a brief introduction into how filmmakers can understand and use “genre theory.”
What Are Film Genres?
Taking the word at its definition, genre is the “term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audio or visual, based on some set of stylistic criteria.”
The term dates back to ancient Greek literature. But, for writers, artists, and filmmakers, it’s usually the simplest, most practical way to categorize different styles of stories and content. We see genres while scrolling through Netflix, giving us a rough idea of what the stories are like.
It’s important to understand, though, that what we consider film genres today are, more often than not, hardly pure film genres, as they were in the early days of film. The majority of content produced in the last several decades often includes genre hybrids, using the rules of genre theory to produce new, unique, and different stories.
The Basic Film Genres
In the early days of cinema, genres were much more uniform and defined. Just as they were in literature and other forms of art and entertainment, people would go to the theater to watch a war film, a musical, or a comedy. The basic genres were well defined and included some of the following:
Action
Comedy
Drama
Fantasy
Horror
Mystery
Romance
Thriller
Western
From there, you could dive a bit deeper. Sub-genres gave names and classifications to certain types of films within each genre. The “thriller” genre, for example, had the following sub-genres:
Crime thriller
Disaster thriller
Psychological thriller
Techno thriller
However, before we go over how to mix and match film genres, let’s go over some of the biggest and most notable.
The Action Film Genre
One of the earliest film genres, the action genre, has close ties to classic strife and struggle narratives that you find across all manner of art and literature. With some of the earliest examples dating back to everything from historical war epics to some basic portrayals of dastardly train robberies, action films have been popular with cinema audiences since the very beginning.
It’s also one of our best examples of the evolution of our cinematic hero’s journey and the classic hero vs. villain narratives, which you’ll find across all genres.
Some of the main sub-genres include the following:
War and military action
Spy and espionage action
Martial arts action
Western shoot ‘em up action
Action hybrid genres
You can read more about the evolution of the action genre, its many sub-genres and examples, and some tips for creating modern action films in our full action genre breakdown.
The Comedy Film Genre
A favorite genre of film audiences young and old since the very beginning of cinema, the comedy genre has been a fun-loving, sophisticated, and innovative genre that’s delighted viewers. Some of the biggest names in the history of filmmaking include comedy genre pioneers—like Buster Keaton, Charlie Chaplin, and Lucille Ball—who made successful careers out of finding new and unique ways to make audiences laugh.
The comedy genre has also been one of the most flexible, as its roots have made their way into the very fabric of cinema and its many other genres. The art of warming a heart and bringing a smile to a viewer’s face will never get old, nor should we consider it anything but truly powerful.
Some of the main sub-genres include the following:
Slapstick comedy
Screwball comedy
Parody comedy
Black comedy
You can explore the comedy genre in-depth in our full comedy genre breakdown.
The Horror Film Genre
While the horror genre is sometimes considered a younger film genre, elements of horror have long been a bedrock of classic cinema, dating back to some of the earliest—and eeriest—days of filmmaking.
Examples like 1898’s Shinin No Sosei (Resurrection of a Corpse) come to mind, as well as several early horror iterations across the globe that captured the imagination of an audience hungry for creepy, occult fun. Taking cues from classic horror literature, big name horror franchises (of sorts) like Dracula and Frankenstein have existed within cinema for decades.
However, it’s in the rise of newer horror genres featuring zombies, slashers, found footage, and haunted dolls that horror has really found its hold, from the 1970s into modern times.
Some of the main sub-genres include:
Zombie horror
Folk horror
Body Horror
Found footage Horror
If you’d like to explore a great deal more about the origins and modern portrayals of the horror film genre, check out our full horror genre breakdown.
The Sci-Fi Film Genre
Science fiction is one of the most innovative of the cinematic super-genres. As far back as the Renaissance and the Enlightenment period, the development of what we call science today began influencing art and culture. It took it a while to fully integrate, and by the time the cinematic arts rolled around, audiences everywhere were ready to add “science fiction” to the types of genres they wanted to see.
Science fiction films are ostensibly about the future, when we’ve developed the technology to travel between stars, travel back in time, or pull off other technological marvels.
Of course, though, that notion is just an affectation. Science fiction stories take the social, cultural, political, and technological issues that we’re facing today and project them into a fictional future, where we can get a good look at them. Fear, awe, excitement, and hope are all hallmarks of the science fiction genre, which does a great job of showing its audiences what they aren’t noticing about their lives right now.
There are many sub-genres of science fiction, including the following:
Science fantasy
Cyberpunk
Space Opera
For a full write-up on the history and development of science fiction films (and how to make one of your own), see our filmmaker’s guide to science fiction.
The Western Film Genre
The Western is rich film tradition that has its roots in the American fascination with its Western frontier. These stories have their roots in the period of American expansionism, when fantasies of the “untamed” West thrilled Americans living in ever-expanding cities along the eastern seaboard. Tales of grit, honor, bravery, and “justice” turned this misunderstood territory (already fully inhabited by Native Americans) into a myth of manifest destiny and the idea that Americans should conquer it simply because it’s there.
Full of melodramatic conflicts, simplistic systems of morality, and the idea of taming the wild, the Western introduced film fans to a new type of experience—the terrain itself was a type of character. It could challenge the heroes, boggle the mind, conceal hidden dangers, and otherwise present itself as a force to be reckoned with.
Not surprisingly, the Western film had to evolve in order to keep up with developing ideas about social equity, brutality against native peoples, and the disappearance of “untamed” territory, so there are a number of Western sub-genres, including the following:
Spaghetti Westerns
Space Westerns
Singing cowboy Westerns
Comedy Westerns
Neo-westerns
Acid Westerns
Meat Pie Westerns
Charro Westerns
Dacoit Westerns
Documentary Westerns
For a full exploration of the history and development of the Western—and what you need to know to make your own—see our field guide to the Western.
The Romance Film Genre
Ah, what would the great cinema tradition be if it weren’t for the countless stories of love and courtship. Since the advent of the movie theater experience, cinema has long been a favored pastime for couples looking to escape into a world of romance.
Similar to the action and comedy genres, the romance genre has become a central force in pretty much every other film genre under the sun. (Try to think of the last mainstream blockbuster you went to that didn’t have a love story at its core.) Still, even as early cinema was filled with classic romance examples and many hybridizations like the “rom-com,” the genre has certainly shifted over the years. Nonetheless, it remains a hugely significant genre for filmmakers and film fans alike.
Some of the main sub-genres include:
Historical Romance
Romantic Drama
Romantic Comedy
Chick Flick
Paranormal Romance
For more information into how the romance film genre has shaped the history of cinema, check out our full romance genre breakdown.
The Thriller Film Genre
Once a stylized niche genre, the thriller film has gone so mainstream that it might be time to change the genre’s name to Summer Blockbuster Event.
The thriller’s rise coincides with the rise of the spy and detective pulp novels of the 1960s and 1970s. It’s been one of the best cinematic vehicles for exploring the sometimes upsetting and underrepresented truths about our governments and society at large. Owing some of its biggest successes to famous filmmakers like Alfred Hitchcock, and including some of our favorite characters like James Bond, the thriller has become a popular and important part of the cinema tradition.
Some of the main sub-genres include:
Conspiracy Thriller
Crime Thriller
Legal Thriller
Spy Thriller
Supernatural Thriller
If you’d like to look deeper into the thriller genre, its development, and the many ways you can subvert its sub-genres for your own projects, read our full thriller genre breakdown.
The Fantasy Film Genre
There are a number of ways to define the fantasy film genre, but perhaps the simplest is the inclusion of magic. In a fantasy film, there is usually a system for performing superhuman feats, be it by casting spells, using magic items, or some other means.
Fantasy has been a part of cinematic history since its earliest days, beginning in 1896 with Alice Guy‘s “The Cabbage Fairy.” Fantasy stories themselves go back even further than that—The Epic of Gilgamesh is one of humanity’s oldest fantasy stories, dating back roughly 4,000 years.
There are several different sub-genres we can use to classify fantasy films:
High fantasy
Urban fantasy
Sword and sorcery
Dark fantasy
Magical realism
Portal fantasy
Superhero fantasy
For a more detailed look at these sub-genres, check out our guide on all things fantasy.
The Apocalypse Film Genre
The apocalypse film is another popular genre. On the surface, these movies are simply about the end of the world. Typically, there’s a natural disaster (or several), a looming astronomical threat, a rampaging monster, or a nuclear holocaust taking center stage. Surviving the deluge of special effects is the name of the game, and the budgets for these blockbusters are usually huge.
However, there’s more nuance to this seemingly destructive genre than you might think. The apocalypse is usually a metaphor of some kind. It divides families, it rolls back social progress, it reveals the fragility of human life—there are any number of things the apocalypse can be doing that we usually attribute to something else, like broken marriages, politics, or famine.
The most popular apocalypse films use this metaphor to their advantage, and we get to watch the protagonists overcome not only the pending global threat, but the threats to their home, family, and personal lives that they had been ignoring.
There are several sub-genres of the apocalypse film:
Monster apocalypse
Zombie apocalypse
Invasion apocalypse
Natural disaster
Nuclear apocalypse
For more on this oft-misunderstood genre (and its sub-genres), check out “The Filmmaker’s Guide to the Apocalypse.”
The Martial Arts Film Genre
When you think of the martial arts film genre, you think of fights, and these films have left an indelible mark on the cinema. Many genres today rely on heavily choreographed fight scenes developed over months. We can thank the martial arts film, and Bruce’s Lee’s innovation of hiring actual martial artists, for these crowd-favorite fight scenes.
While it’s easy to think the martial arts film as simply about fighting, that would be an oversimplification. The martial arts film folds combat into its narratives, and it uses this conflict to tell stories that we don’t otherwise see in our favorite film genres. Every martial arts fight implies years of training, dedication, and work that the characters went through to prepare for exactly this moment. There is an intersection of lives and traditions that unfolds in a matter of seconds.
The martial arts film genre includes several sub-genres:
The Kung Fu film
The Wuxia film
Karate films
Action-comedy
For more on these different traditions and how they have shaped the martial arts film genre, check out “The Life and Times of the Kung Fu Film.”
The Sports Film Genre
If the martial arts film genre captures our fascination with combat, then the sports film captures our fascination with competition. We love a good underdog story, and the best sports films take us on a journey that charts a winner’s unlikely beginnings through the tremendous challenges they must overcome to become the best. Viewers will watch competitions of all kinds, from championship football matches to hot dog eating contests to how long people can stand and maintain contact with an automobile.
The stories in sports movies are often familiar—a champion prevails. But we like watching them over and over because they offer a thrill that we can’t find in any other genre.
Here are just a few of the sub-genres of sports films we all know and love—be sure to read our write-up on each one:
Boxing films
Hockey films
Golf films
Football films
Baseball films
Basketball films
How to Use Film Genres
As the art of film evolved, more and more genres developed as filmmakers moved towards finding new and creative ways to subvert and combine them. Concepts like the “rom-com” appeared, combining the traditional genre elements of romance films and comedy films. Newer, more niche genres like the “road movie” and “disaster film” popped up alongside hybrid genres like “buddy cop” and “sci-fi western.”
By examining and mashing up genre theory, filmmakers have unlocked and combined different elements from disparate genres to create legendary results—like George Lucas’s Star Wars, which combines science fiction, samurai, western, and war genres, to name a few. Some take it further—Quentin Tarantino’s Pulp Fiction glides between genres chapter by chapter.
Genre theory is still very much a part of how we view and create films. However, genres are also in the process of being completely radicalized. It’s up to you to not just consume, but also strive to understand what other movies are doing. Then, apply your own research and inclinations toward the genres you choose to work with in your projects.
For more genre theory and filmmaking tips and tricks, check out these articles:
7 Filmmaking Insights from Modern Film and Television
Filmmaking Challenge: How to Create Foley for Stock Footage
How “The Mandalorian” Got Feature Film Effects on a TV Budget
The 2010s: The Biggest Filmmaking Moments of the Decade
Roundup: Genre Filmmaking Tips and Tricks from the Filmmakers of Fantastic Fest
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Paramount Ranch: Old Movie Town & Westworld Filming Location in Agoura Hills
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2014-03-10T13:40:28+00:00
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Update Nov 2018: Unfortunately this property was lost in the Woolsey Fire. I visited again in 2021 and here is what it looked like. Basically, the entire area’s buildings burned down in the fire. There are only two buildings that remain, the train station and the church. Other than that, you can’t even see the...
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en
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California Through My Lens
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https://californiathroughmylens.com/paramount-ranch-old-movie-town/
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Update Nov 2018: Unfortunately this property was lost in the Woolsey Fire. I visited again in 2021 and here is what it looked like.
Basically, the entire area’s buildings burned down in the fire. There are only two buildings that remain, the train station and the church. Other than that, you can’t even see the remains of the buildings as weeds have grown up where they stood. Here are a few photos of what the area looks like. You can still visit to see the train station and the church if you would like though.
You can read my previous post about this area prior to the fire below.
Tucked in the same hills of Malibu that house the magical Old Place Restaurant and the massive Hindu Temple, Paramount Ranch is a unique cowboy town that was created for the movies. Paramount Ranch is a free park that you can drive up to and explore, even when filming is taking place, and that has everything from hiking trails and abandoned buildings to a fake train station and jail. It is awesome and will make the young cowboy in all of you jump for joy as you explore. Westworld film locations added in 2017 below.
Details
Hours: 8 AM – Sunset
Cost: Free
Park Map
Video
Movies Filmed Here
Here are a few of the hundreds of movies that have been shot here:
American Sniper
Norbit
Blast from the Past
The Great Outdoors
Scream
The Love Bug
Geronimo
The Adventures of Tom Sawyer
Sutter’s Gold
The Texan
Open Range
TV Show – Dr. Quinn, Medicine Woman
TV Show – Westworld
History
Taken from NPS Site:
In 1927, Paramount Pictures purchased 2,700 acres of the old Rancho Las Virgenes for use as a “movie ranch.” For 25 years, a veritable who’s who of Hollywood practiced their craft at Paramount Ranch including director Cecil B. Demille and actors Bob Hope, Gary Cooper, and Claudette Colbert.
From 1957 to 1980, the ranch changed ownership several times, but filmmaking continued. After purchasing a portion of the original Paramount property in 1980, the National Park Service revitalized the old movie ranch. From 1992 to 1997, Paramount Ranch was used as the setting for the television show, Dr. Quinn, Medicine Woman.
More great history at the end of the post.
The Town
After parking in the large dirt lot, you will walk across the small rickety wooden bridge and over into a wonderland of movie magic.
While you cannot enter any of the buildings, you are more than welcome to walk the two long dirt streets and imagine all the old classic cowboy movies that were filmed here.
I loved walking Main Street; there was so much to take in and so much to photograph. Some of my favorite spots are as follows.
First is the old saloon you can look into for a taste of the interior set or just check out the painted sign that made me feel like I could wander in for a poker game.
The jail, complete with an old jail cell, you just have to peak in the window to see it. Sometimes, if a ranger is around, they may actually let you go inside of this one though.
The old main building that you can pretend like you are having a duel in front of.
The train station was missing a track but still had an excellent nostalgic feel.
The rundown shack that could be home to the town drunk or an abandoned homestead that you could escape the rain in. This is not here in 2016.
Update 2016: Westworld Filming Location
The HBO show Westworld became incredibly popular in 2016, and parts of it were filmed at Paramount Ranch. The church that is crucial in the show was built and now lives here at the ranch.
The top of the church has been edited in the show, but it is still impressive to see it sitting here in the park. You can even go up to the window and look inside the church, but there isn’t much there.
It is a lot of fun to explore an area like this over the years and see new places being added to what is here. As you can see there really is a lot to explore here. If hiking is your thing, there are many trails that will take you around the wilderness surrounding the town and even take you up to a summit to see the town from above.
All in all, you really should check Paramount Ranch out. If you do, make sure to spend the day exploring all of the hidden gems that hide in these hills, as you really shouldn’t go out of your way without seeing as much as you can right? If you are in Northern California, you can also go to Old Town Sacramento as it has the same vibe, albeit more touristy.
More History
Don Bitz was kind enough to leave a lot of great history in the comments section. I wanted to move it up here so that more people saw it.
“Just a few things from a Paramount Ranch Historian… The present-day Western town was created in the early 1950s by a man named William Hertz by building facades around buildings that had been a support area during the Paramount Studios days. It was created more with the intent to rent out for television filming, rather than movies, as TV Westerns were plentiful at the time. Popular shows like The Cisco Kid, Tombstone Territory, and Bat Masterson shot footage for episodes during the 1950s and early 1960s. As did lesser-known shows like The Rough Riders, and Hotel de Paree and Klondike, for which the town was used as the main town for both. No well-known Western movies that we have found as of yet used the town in the 1950s or 1960s. The Western movies with stars like Gary Cooper, Buck Jones, Hopalong Cassidy, or other well-known stars did not film in this town. The Western town built by Paramount Studios was on another part of their property, approximately where Silver Creek Road is off Cornell.
An oft-spread bit of misinformation is that The Gunfight at the OK Corral used the Hertz town as Tombstone. Research has proven that to be wrong. Several other popular TV Westerns were long believed by the Park Service to have used the ranch. These include The Rifleman, Have Gun Will Travel, Wanted: Dead or Alive, and Gunsmoke. Ongoing research has yet to verify any of these except Gunsmoke. We know that the Hertz family also owned the old Jack Ingram Ranch for a few years and we now think that the family records held in the Park Archives have records from both properties mixed up. We’ll keep researching, though!
By the late 1960s and the 1970s, the Hertz town was beginning to get very run down and was used less for Westerns and more for things like BJ & the Bear, Chips, Charlie’s Angels, etc. Of note is that ramshackle town was the location of the album cover photos for The Eagle’s Desperado album and for photos intended for an inside spread that got cut! A comedy Western that used the town in the late 1970’s called Shame, Shame on the Bixby Boys spruced up the town some and replaced some badly aging facades with a new one.
The Park Service purchased the property in 1980, just in time to rescue the town from impending doom as the property was set to be developed. In 1985 pretty much everything of the Hertz town was torn down, leaving only the old Paramount barns, and a completely new, redesigned town was built. That version of the town was given an extensive overhaul to make it into Colorado Springs for Dr. Quinn in the early 1990s. The town was made over again, in the early 2000s, like a 1930’s town for HBO’s Carnivale. When they left, the town was restored to a Western look, but retaining some architectural features from Carnivale. In the years since, the town has been used for some TV shows and movies, with little changing until Westworld. Most of the changes to the town were temporary cosmetic ones. The church was built as seen in the show, but the steeple was removed by the production when they left so that their church would not be seen exactly as it was in Westworld in other things. The old log cabin behind the train station was torn down in error and is supposed to be replaced.”
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https://weminoredinfilm.com/2019/01/21/the-10-best-paramount-pictures-movies-of-the-last-decade/
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en
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The 10 Best Paramount Pictures Movies of the Last Decade
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2019-01-21T00:00:00
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You know times are tough when losing $39 million in a single year is somehow considered a win, yet that’s where Paramount Pictures currently finds itself. Once the industry standard for excellence, Paramount’s turnaround effort is finally underway, with veteran executives either newly hired or promoted and a diversified slate of TV and movie projects……
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en
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https://s1.wp.com/i/favicon.ico
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We Minored in Film
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https://weminoredinfilm.com/2019/01/21/the-10-best-paramount-pictures-movies-of-the-last-decade/
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You know times are tough when losing $39 million in a single year is somehow considered a win, yet that’s where Paramount Pictures currently finds itself. Once the industry standard for excellence, Paramount’s turnaround effort is finally underway, with veteran executives either newly hired or promoted and a diversified slate of TV and movie projects…
Ugh.
Haven’t you read this story before? Today, Paramount. Yesterday, Sony. Before that, MGM.
The specifics may change, but the general outline remains the same: a once-vaunted institution falls on hard times due to an almost comical inability to adjust to new trends, chronic mismanagement, and a senior leadership which unforgivably passed on multiple opportunities to get ahead of the game. The Wall Street Journal’s Ben Fritz wrote a whole (highly recommended) book about how all of those things spelled doom for Amy Pascal at Sony. Now, The New York Times has a long piece arguing the same about the sad demise of Paramount Pictures under the direct leadership fo Brad Grey and corporate control of Sumner Redstone’s Viacom.
It’s a great read for anyone interested in the history of how the 107-year-old studio behind some of the greatest films of all time devolved in this new century into the industry’s cellar dweller. But I’ve already written at length about Paramount’s financial woes and synergistic strategies for a rebound under new chairman Jim Gianopulos and Viacom boss Shari Redstone.
So, today let’s focus instead on the actual movies, specifically Paramount’s 10 best from the last decade. I single out the last decade because, well, if you grew up watching movies in the 70s, 80s, or 90s that Paramount mountain logo was an ever-present companion. It flashed in front of Love Story, The Godfather, Grease, Airplane!, all of the Indiana Jones movies, most of the Friday the 13ths, too many Eddie Murphy titles to count, Major League, Ghost, all of the good SNL movies (and some of the bad), Forrest Gump, the Harrison Ford Jack Ryan movies, The Truman Show, and, of course, Titanic. All rewatched ad nauseum over the years.
It’s far more challenging to remember what Paramount has made over the past decade other than a bunch of Mission: Impossible and Transformers movies. And do you even count the early Marvel Studios movies since all Paramount did was distribute those, leaving the actual filmmaking to Kevin Feige’s crew? I tend not to think of them as Paramount movies for that very movie.
Marvel movies notwithstanding, under Brad Grey and now Jim Gianopulos’ watch, some fantastic films have been unleashed. Here are my picks for the 10 best, in alphabetical order (because ranking movies is so two weeks ago):
10 Cloverfield Lane (2017)
One-Sentence Pitch: John Goodman’s plays the absolute last person you’d ever want to get stuck in an underground bunker with – he’s crazy, creepy, but also just might right about everything in this surprise Cloverfield sequel.
Where Can I Stream It?: FX or FOX
A Quiet Place (2018)
One-Sentence Pitch: Like Bird Box, but good.
Where Can I Stream It?: Epix or Rent It
Annihilation (2018)
One-Sentence Pitch: A more estrogen-infused version of Predator with an all-time mind-fuck ending, although the irony of including this in a list of Paramount’s best even though Gianopulos famously sold it to Netflix overseas is not lost on me.
Where Can I Stream It?: Amazon Prime or Hulu here; Netflix everywhere else
Arrival (2016)
One-Sentence Pitch: Fewer movies have so successfully stripped away the Spielbergian sentimentality of a first contact story, replaced it with cold, scientific reasoning, and still managed to have so much heart without seeming trite about it, thanks in large part do Amy Adams’ mesmerizing central performance.
Where Can I Stream It?: Amazon Prime or Hulu
Fences (2016)
One-Sentence Pitch: I won’t mount an entirely passionate defense if you want to argue this is basically just a filmed play, but August Wilson’s words and story – which I think of as a kind of Death of a Salesman for 1950s African-Americans – have rarely seemed as vital as they do here thanks to Denzel Washington and Viola Davis’ powerhouse performances as the feuding heads of a struggling family.
Where Can I Stream It? Amazon Prime or Hulu
Hugo (2011)
One-Sentence Pitch: Challenged to find the actual artistic – instead of purely financial -potential for 3D, Martin Scorsese turned toward the life story of one cinema’s very first innovators, Georges Méliès, for inspiration and delivered both one of the most heartwarming and visually arresting films of his career in the process.
Where Can I Stream It?: Amazon Prime or for free on Tubi TV
Interstellar (2014)
One-Sentence Pitch: Look away if you are turned off by sci-fi’s odd propensity for “And the fifth dimension is…love!” plot twists, but definitely stay for one of Christopher Nolan’s most nakedly emotional efforts to date, a twisty space exploration tale that not-so-secretly functions as a love letter to his daughter.
Where Can I Stream It?: FX, Fox or Rent It
Mission: Impossible-Fallout (2018)
One-Sentence Pitch: He climbed the tallest building and stuck to the side of a plane like glue, but this is the one where Tom Cruise finally slipped and got hurt, not that you’d notice since his on-screen counterpart, Ethan Hunt, has his best and most emotionally satisfying adventure yet.
Where Can I Stream It?: Rent It
Star Trek (2009)
One-Sentence Pitch: If you can ignore the persistent lens flares and are not the type of fan who will use “They blew up Vulcan! They’re dead to me!” as a rallying cry, J.J. Abrams’ Star Trek is the gold standard for how to take an old, somewhat calcified franchise and breathe new life into it in a way that honors the past (again, RIP Vulcan) while boldly facing the future.
Where Can I Stream It?: Amazon Prime or Epix
The Big Short (2015)
One-Sentence Pitch: Never has a dry lesson about macroeconomics, bank loans, and the real estate industry seemed so understandable, immediate, and engaging, as director Adam McKay and his talented ensemble make us laugh to keep from crying before ultimately making us want to rage against the machine.
Where Can I Stream It?: Rent It
All streaming availability listed above is as of 1/21/19.
Honorable Mentions:
Anomalisa
Bumblebee
Rango
Shutter Island
Silence
Super 8
The SpongeBob Movie: Sponge Out of Water
The Wolf of Wall Street
True Grit
Up in the Air
Young Adult
What about you? What are some of your favorite recent Paramount movies, if, indeed, you have any?
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https://glaad.org/sri/2021/paramount-pictures/
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en
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Paramount Pictures
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2021-06-11T11:32:15-04:00
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Paramount Pictures was formed in 1916 when the Famous Players Film Company (founded in 1912) merged with two others. The Viacom Network acquired Paramount in 1994 and Viacom then re-merged with CBS in 2019, making Paramount currently sit under the ViacomCBS banner. Paramount became the first major studio to sign a multi-picture film deal with
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/apple-touch-icon-57x57.png
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GLAAD | GLAAD rewrites the script for LGBTQ acceptance.
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https://glaad.org/sri/2021/paramount-pictures/
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Paramount Pictures was formed in 1916 when the Famous Players Film Company (founded in 1912) merged with two others. The Viacom Network acquired Paramount in 1994 and Viacom then re-merged with CBS in 2019, making Paramount currently sit under the ViacomCBS banner. Paramount became the first major studio to sign a multi-picture film deal with streaming giant Netflix in November 2018. However, in the future, several of Paramount’s films will stream on the recently rebranded Paramount+, ViacomCBS’s own streaming platform.
Paramount is known for big budget franchises such as Indiana Jones, Transformers, and Mission: Impossible. Starting in the mid-nineties, Paramount released several LGBTQ-themed or LGBTQ-inclusive films including Home for the Holidays (1995), Clueless (1995), The Brady Bunch Movie (1995), Brain Candy (1996), Kiss Me Guido (1997), Election (1999), The Talented Mr. Ripley (1999), The Next Best Thing (2000), and The Hours (2002).
In 1997, Paramount released the groundbreaking comedy In and Out, which received substantial press for a kiss between Kevin Kline and Tom Selleck. The film was wildly successful at the box office and joins The Talented Mr. Ripley among the top 10 highest grossing LGBTQ films. Paramount released Star Trek: Beyond in 2016, the third film in the new Star Trek franchise, which showed Hikaru Sulu with his husband and daughter. The inclusion of a gay man of color in such a large and recognizable franchise was a step in the right direction for representation. In 2019, Paramount released Rocketman, a biopic of famed singer Elton John, which fully delves into his life as gay man and icon.
In 2020, Paramount released six films, two of which included appearances by LGBTQ people, amounting to 33%. One of these films passed the Vito Russo Test.
Buddy Games
Widest Theatrical Release: 401 theaters
Vito Russo Test: Fail
This outrageous comedy follows a group of men who each year gather and play extreme games until one of the friends is crowned the champion for that year. The way these men interact with each other is primarily through using gross-out humor, involving feces, semen, testicles, and the like. There are also a few jokes scattered throughout about the guys laughing at the idea of two of them kissing or one of them going down on the other. These jokes, along with the general aggressive masculinity presented in the movie, feels extremely outdated and is not even funny.
One of the friends who partakes in the game is named Zane. He doesn’t get as much of a backstory as the more central characters, but the audience finds out that he owns a tanning business, works out a lot, and makes several comments about other men. Over the course of the film, he references how much he likes Mark Wahlberg, shows a tattoo he has of Zac Efron, references knowing the taste of semen, and other aside comments that show in a very stereotypical way that he is gay, though he also mentions several times that he “scores with the ladies.” At the end of the film, he comes out to another friend in the group, who responds that he knows, and they move on. While it is nice that Zane being gay is accepted by his friends, the character of Zane himself is built on nothing except lazy jokes about his sexual orientation.
Like a Boss
Widest Theatrical Release: 3078 theaters
Vito Russo Test: Pass
Like A Boss follows two best friends who own a small cosmetics company and have to figure out how to move forward after a bad deal leads to their business being stolen from them. Billy Porter plays Barrett, one of the two employees of the makeup company and a close friend of the film’s leads. After the business is taken over by a cutthroat executive, the owners are forced to fire Barrett, but ultimately re-hire him in the film’s third act when they are able to launch a new cosmetics brand. The film also includes a short appearance from a drag queen emcee at a karaoke night. While Barrett is primarily seen in the context of the lead’s friendship with him rather than as a character with his own development and story, Barrett is still significant and a respected character who drives the plot forward. The film leads realize how they have failed their friendship and how far they’ve gotten caught up in the drama when they make the decision to fire him to move their business forward rather than prioritizing their friend’s wellbeing. It should be noted that the film would have done better to leave a recurring joke about a woman having a penis on the cutting room floor.
Barrett’s character is a good example of casual inclusion, featuring an explicitly LGBTQ character in a film that is not otherwise focused on LGBTQ themes. It is also important to note that the production chose to hire an out actor, Billy Porter, to bring this character to life. Studio’s slates should continue to include both films with this type of LGBTQ inclusion as part of an ensemble – just as we are in the real world – as well as stories specifically led by LGBTQ characters and/or which are centrally focused on LGBTQ themes and experiences.
OPPORTUNITIES AHEAD
Paramount has announced an adaptation of the stage musical Spamalot, which features the character of Lancelot as gay and gave him a love interest in the character of Prince Herbert, with the two marrying at the end of the show. Though the story of the stage show is a bit dated, Lancelot’s orientation and relationship should be included and updated for this new adaptation.
Paramount has announced an adaptation of best-selling author Angie Thomas’ young adult novel On the Come Up, which follows a teen girl who becomes an overnight rap star. The book includes Sonny, who is gay and a close friend of the protagonist, as well as his love interest Milez. These characters should remain in the film adaptation.
There have been talks of a variety of new Star Trek films at Paramount since 2016’s Star Trek Beyond, which introduced Sulu’s husband and child, confirming he was gay. The newest announced Star Trek film has hired Star Trek: Discovery’s Kalinda Vasquez to write the script. Discovery itself includes multiple queer and trans characters, and Vasquez’s attachment presents a perfect opportunity for that same inclusion to translate onto the big screen, though the movie plot details are being kept under wraps. Paramount is also adapting popular Nickelodeon animated series Avatar: The Last Airbender into a feature animated film. The spinoff series The Legend of Korra confirmed the romantic relationship between Korra and her girlfriend Asami which has since continued across new comic and graphic novels. This film would be a great opportunity to move this beloved character and relationship to the big screen.
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https://www.sundance.org/festivals/sundance-film-festival/about/
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en
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About The Sundance Film Festival
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The 2025 Sundance Film Festival will take place January 23–February 2, 2025. We are in the process of designing a safe and accessible Festival where our audiences and artists can come together to celebrate and discover new work, and each other. Mark your calendars and stay tuned: This fall we will have more details to help you craft your plan and arrange for any related travel.
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en
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sundance.org - sundance.org
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https://www.sundance.org/festivals/sundance-film-festival/about/
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U.S. Grand Jury Prizes
The ranking award is the Grand Jury Prize, which recognizes a film in both the U.S. Dramatic and U.S. Documentary Competitions as the best from the independent film community this year.
World Cinema Grand Jury Prizes
The highest award for international films, the World Cinema Grand Jury Prize recognizes the best dramatic and documentary work in international independent filmmaking this year.
Directing Award
The Directing Award honors directors in the U.S. Dramatic Competition, U.S. Documentary Competition, World Cinema Dramatic Competition, and World Cinema Documentary Competition.
Special Jury Awards
Jurors give a number of Special Jury Awards recognizing excellence in the craft of filmmaking. Inspired by the Art of Film Weekend, these prizes are chosen by their respective juries as they deem appropriate. The Waldo Salt Screenwriting Award will still be given given to a U.S. Dramatic film for excellence in screenwriting.
Audience Awards
Audience Awards are chosen by Festivalgoers themselves through ballots cast at the theaters after screenings. Audience Awards are presented to films in the Festival’s U.S. Dramatic Competition, U.S. Documentary Competition, World Cinema Dramatic Competition, World Cinema Documentary Competition, and NEXT categories.
The U.S. Dramatic and Documentary Competition Audience Awards are presented by Acura.
The NEXT Audience Award is presented by Adobe.
Festival Favorite Award
All feature films presented at the Festival are eligible for the Festival Favorite Award, which will be determined by audience ballots across all Festival screenings. Similar to the Festival’s long-standing Audience Awards for each competition section, this award will designate the feature film from any of the Festival’s sections that best connects with audiences.
NEXT Innovator Award
This award recognizes the most innovative and forward-thinking film screened in the NEXT category. The prize is awarded by an iconic figure regarded as an important innovator in their respective field. This single juror will choose one film that they believe to be the most innovative.
The NEXT Innovator Award is presented by Adobe.
Sundance Institute/NHK Award
This annual award was created to support the next generation of emerging directors.
Alfred P. Sloan Feature Film Prize
Provided by the Alfred P. Sloan Foundation, this juried award is presented to the writer and director of an outstanding feature film focusing on science or technology as a theme or depicting a scientist, engineer, or mathematician as a major character.
Jury Prizes and Awards in Short Filmmaking
The following prizes and awards are bestowed on short films in the Festival that exemplify outstanding vision and creativity in their respective categories:
Short Film Grand Jury Prize
Short Film Jury Award: U.S. Fiction
Short Film Jury Award: International Fiction
Short Film Jury Award: Nonfiction
Short Film Jury Award: Animation
Short Film Special Jury Awards
The Short Film Program Awards are presented by Shutterstock.
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https://editorial.rottentomatoes.com/article/12-native-american-actors-who-have-made-a-massive-impact-in-film-and-television/
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en
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12 Native American Actors Who Have Made a Massive Impact in Film and Television
|
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To celebrate Native American Heritage Month, we profile a dozen trailblazing actors dating from the silent era to the present day whose careers have set the stage for increasing representation in the industry.
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https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/static/images/icons/favicon.ico
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https://editorial.rottentomatoes.com/article/12-native-american-actors-who-have-made-a-massive-impact-in-film-and-television/
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In 1883, a man by the name of William Frederick Cody, who also went by the nickname “Buffalo Bill,” created “Buffalo Bill’s Wild West Show.” The show, which included up to 1,200 performers and showcased staged historical battles between soldiers and/or cowboys and Indians, featured actual Native American performers like Geronimo, Sitting Bull, Will Rogers (yes, he was Cherokee), and Chief Joseph and attracted thousands of eager viewers. In 1893, the show performed for a crowd of 18,000 people at the Chicago World’s Fair.
In 1894, Thomas Edison’s kinetoscope, a new invention, showcased moving images of a Laguna Pueblo ghost dance at an exhibition in Times Square. The crowds were ravenous to get a glimpse of these first moving pictures.
The 1900s celebrated a new wave of films in the silent industry, reputedly starting off with Hollywood’s first film, The Squaw Man, in 1914. Considering the reputation of the problematic and offensive word in the title, it certainly could not be made today without tremendous outcries from Indigenous communities. Of course, films about American Indians continued to be made, including the films Last of the Mohicans in 1920 and The Silent Enemy in 1930. In the silent film era, filmmakers made over 100 films about Indians.
As the romanticized version of the American Indian began to wear thin, Hollywood introduced the savage Indian stereotype, which audiences loved. In the interest of making movies the public loved, Hollywood filmmakers embraced the savage stereotype, which, unfortunately for Native people, proved difficult to escape. In 1939, John Ford’s stereotype-laden movie Stagecoach, starring John Wayne, was wildly popular with filmgoers and even secured several Oscar nominations.
For a generation, Westernized versions of Native Americans became standard fare for moviegoers, but on occasion, a Native actor would step outside of the Hollywood norm. One example was the performance of Chief Dan George in the 1970s film Little Big Man with Dustin Hoffman. As the character Old Lodge Skins, George plays a Native elder who is hilarious and likable, something that had not yet been explored in Hollywood.
Films about Native people began to embrace more truth in the 1980s, 1990s and beyond. Kevin Costner’s epic, Oscar-winning 1990 drama Dances With Wolves was arguably the most authentic film showcasing Native culture, though the premise of white saviorism played a prominent role in the film.
As we are now in a new millennium, the face of Native Americans in the film and television industry is truly changing the way audiences are entertained and educated about the lives of Native Americans. Here is a selection of Native American and First Nations actors whose notable careers have set the stage for the representation we have today.
Recommended: 12 TV and Streaming Shows About the Native American Experience That Celebrate Indigenous Culture
Adam Beach – Saulteaux Anishinaabe
(Photo by ©DreamWorks)
Adam Beach is perhaps one of the most well-known Native (First Nations) actors in Hollywood, having appeared in such roles as Victor Joseph in Smoke Signals, Ira Hayes in Clint Eastwood’s Flags of Our Fathers, Dr. Charles Eastman in Bury My Heart at Wounded Knee, and Detective Chester Lake alongside Ice-T in Law & Order: Special Victims Unit. In 2016, Beach briefly made an appearance as one of DC’s first Native American superheroes Slipknot in Suicide Squad, but his first foray into the world of comic books was cut short when his character was quickly terminated. In the course of Beach’s career, he has performed in over 60 feature films and nearly 50 television titles and series episodes.
“As the tortured, heavy-drinking Hayes, Beach is an emotional open wound, and his performance gives the movie its soul.”
– Carla Meyer, Sacramento Bee, Oct. 20, 2006 on Flags of Our Fathers
Ben Johnson – Cherokee
(Photo by Everett Collection)
Born in Osage country, and a self-proclaimed Cherokee who also had Irish heritage, Francis Benjamin Johnson Jr. was an Indian who spent his entire acting career playing pretty much anything but an Indian. Hired as a stuntman by director John Ford in the 1948 film Fort Apache, Johnson’s career continued for decades, working with the likes of John Wayne, Rock Hudson, Marlon Brando and Steve McQueen. In 1971, Johnson was awarded the Academy Award for Best Supporting Actor for his role in The Last Picture Show. Johnson worked up until his death at 77 years of age, garnering over 100 films and television shows in his career. In 2003, Johnson was inducted into the Texas Hall of Fame, and the Ben Johnson Cowboy Museum was opened in his hometown of Pawhuska in 2019. He has a star on the Hollywood Walk of Fame at 7083 Hollywood Boulevard.
“The most memorable performance in this finely crafted film is given by [Ben Johnson], a weather survivor of the cinematic Old West… What he does in The Last Picture Show deserves recognition when the next Oscar nominees are selected.”
– Clyde Gilmour, Toronto Star, Jan. 29, 1972 on The Last Picture Show
Chief Dan George – Tsleil-Waututh Nation
(Photo by Everett Collection)
Hailing from the Tsleil-Waututh Nation, located in British Columbia, Chief Dan George is a First Nations actor who received tremendous acclaim as Old Lodge Skins in the 1970 film Little Big Man, starring Dustin Hoffman. At 71 years of age, George received an Academy Award nomination as well as a Golden Globe nomination for his performance as supporting actor in the film. His career continued into his older years, taking roles in such productions as the television shows Bonanza, Kung Fu, and The Incredible Hulk. In 1976, George portrayed the character Lone Watie in Clint Eastwood’s The Outlaw Josey Wales. George died at the age of 82 in North Vancouver. In 2008, the Canadian postal system issued a postage stamp featuring Chief Dan George as part of the “Canadians in Hollywood” stamp series.
“George gives a performance of such natural dignity and warmth that he and his character will live on in the mind and the heart for a long time to come.”
– George Anderson, Pittsburgh Post-Gazette, March 11, 1971 on Little Big Man
Graham Greene – Oneida
(Photo by ©Orion Pictures)
Graham Greene is a Oneida actor who hails from the Six Nations Reserve in Ontario, Canada. He began his acting career in theater at the Native Earth Performing Arts Center in Toronto and, in 1984, got a role in the CBC series Spirit Bay. In 1990, Greene portrayed the role that would change his career as the character Kicking Bird in Kevin Costner’s Dances with Wolves, for which Greene received an Academy Award nomination. After that high-profile role, Greene acted in such films as Thunderheart, Maverick, and Die Hard with a Vengeance alongside Samuel Jackson and Bruce Willis. His work has continued up until the present, playing a role in such productions as Longmire, Disney’s Echo, and as the character Maximus in Sterlin Harjo’s Reservation Dogs.
“Greene handles the role extremely well. He makes the language come alive and balances Costner’s quirky John Dunbar quite nicely.”
– Bruce R. Miller, Sioux City Journal, Nov. 30, 1990 on Dances with Wolves
Irene Bedard – Iñupiat /Cree/Métis
(Photo by Andrew Eccles/©TBS courtesy Everett Collection)
Born in Anchorage and a citizen of the Alaska Native Village Koyuk, Irene Bedard began her career as Mary Crow Dog in the television program Lakota Woman: Siege at Wounded Knee — a role for which she received a Golden Globe nomination for Best Actress in a Miniseries or Television Film. In 1995, the same year Bedard portrayed the voice of Disney’s since-deemed problematic film Pocahontas, she was selected as one of People Magazine’s “50 Most Beautiful People.” In 1998, Bedard played the role of Suzy Song in the Native American cult classic film Smoke Signals, which Navajo director Chris Eyre directed. In the years that followed, Bedard continued to work in television and film in such projects as Into the West, Longmire, The Stand, Alaska Daily, and most currently as Yagoda in the yet-to-be-released live-action adaptation of Avatar: The Last Airbender.
“A young social worker who has befriended Arnold and who discovered his body, helps to bring the sojourners together, with Irene Bedard bringing a piquancy and. intelligence to [her role].”
– Malcolm Johnson, Hartford Courant, July 24, 1998 on Smoke Signals
Jay Silverheels – Six Nations Mohawk
(Photo by Everett Collection)
Born under the name Harold Jay Smith (which means he is likely my cousin), Jay Silverheels was the grandson of the Mohawk Chief A.G. Smith and Mary Wedge. A notable athlete and Lacrosse player, Silverheels played for the Toronto Tecumsehs, a box lacrosse team. He was also a Golden Gloves tournament boxer, placing second in the middleweight class. While touring as a lacrosse box player in 1937, American actor and comedian Joseph Evans Brown convinced Silverheels to do a screen test, after which he soon began work as a stuntman and extra. For the next several years, he acted in films and westerns alongside Humphrey Bogart, James Stewart, and Bob Hope. In 1949, he would be cast as the wildly popular character of Tonto in the television series The Lone Ranger for 217 episodes. In his career, Silverheels appeared in about 100 films and television series. His star on the Hollywood Walk of Fame is at 6538 Hollywood Blvd.
“The difference in mediums has occasioned no departure in the characterizations of Clayton Moore as the masked stalwart or Jay Silverheels as Tonto, with both living up to past traditions of cunning and daring.”
– The Kansas City Star, Feb. 2, 1956 on The Lone Ranger
Lily Gladstone – Piegan Blackfeet, Nez Perce
(Photo by ©Paramount Pictures)
As a Native American actress, Lily Gladstone has perhaps received the highest degree of current recognition and exposure due to the release of Martin Scorsese’s Killers of the Flower Moon, a film that details the atrocities and murders during the Osage Reign of Terror. Gladstone’s feature film career got its start when she appeared in director Arnaud Desplechin’s film Jimmy P: Psychotherapy of a Plains Indian in 2012. Just a few years later, Gladstone appeared in Kelly Reichardt’s Certain Women, for which she earned widespread acclaim, including a Los Angeles Film Critics Association Award for Best Supporting Actress among several other accolades. Gladstone has also earned praise from critics in her roles in The Unknown Country and Fancy Dance. There has been a consensus among several critics that Gladstone’s role as Millie Burkhart in Killers of the Flower Moon could earn her the distinction as the first Native American actress to receive an Oscar.
“Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.”
– Jocelyn Noveck, Associated Press, Oct. 18, 2023 on Killers of the Flower Moon
Natar Ungalaaq – Inuit
(Photo by ©Lot 47 Films courtesy Everett Collection)
Natar Ungalaaq is an Inuit actor and filmmaker known for his world-renowned roles in the films Atanarjuat: The Fast Runner in 2001 and The Necessities of Life in 2008. In 2002, Ungalaaq was presented with the award for Best Actor at the American Indian Movie Awards, as well as the Jutra Award for Best Actor in a Leading Role and the Best Actor award at the Palm Springs International Film Festival. Due to the incredible popularity of his films at an international level, Ungalaaq is credited with bringing Alaska Native stories and culture to a world film audience.
“Natar Ungalaaq, a prominent Inuit sculptor and actor, anchors the drama in the robust role of Atanarjuat, and he manages to make the man both grandly heroic and frustratingly human.”
– Dennis King, Tulsa World, July 19, 2002 on Atanarjuat: The Fast Runner
Wes Studi – Cherokee
(Photo by ©Bleecker Street Media)
Born in Nofire Hollow, Oklahoma, Wesley Studi is a Cherokee actor who attended the Chilocco Indian Agricultural School, later enlisted in the Oklahoma National Guard, and went to Vietnam as an infantry soldier. He later participated in the conflict at the Second Wounded Knee in 1973. In college after Vietnam, Studi got a theatrical role in a production of The Royal Hunt of the Sun with the American Indian Theater Company. Eventually, Studi appeared in the film The Trial of Standing Bear. He frequently got roles portraying Native Americans in a historical context, including Dances with Wolves, The Last of the Mohicans, Geronimo, and Hostiles, but he also demonstrated his versatility in films like Mystery Men, Avatar, and A Love Song. Considering his career spanned several decades in television and film, Studi was honored at the 11th annual Governors Awards with an Academy Award for a lifetime of work.
“The charismatic actor brings a stalwart grace to [his role]… Studi’s Lito is full of internal conflicts, a man who misses his wife dearly and hasn’t yet learned how to be intimate with others again but still feels the pull of this other woman he once loved.”
– Marya E. Gates, The Playlist, Jan. 21, 2022 on A Love Song
Will Rogers – Cherokee
(Photo by ©20th Century-Fox Film Corp.)
Born in 1879 in the Cherokee Nation on the Dog Iron Ranch, near Oologah, Oklahoma, William Penn Adair Rogers was one of the most popular and highest-paid American actors in the early 20th century. His film career spanned over 50 features during the silent era, as well as an additional 21 films that were considered “talkies.” In addition to his film career, he got his start as a cowboy trick roper and eventually performed in the popular Colonel Mulhall’s Wild West Show. He even saved the audience at Madison Square Garden when a wild steer escaped and he roped it in front of the crowd, an act that garnered national attention. He also signed with the famous Ziegfield Follies on Broadway, even entertaining President Woodrow Wilson. In a sad tragedy and at the height of his career, Rogers, at 55, was killed with aviator Wiley Post in a plane crash. Rogers has a star on the Hollywood Walk of Fame at 6401 Hollywood Blvd. On Nov 14, 2019, Google honored his 140th birthday with a Will Rogers Google Doodle.
“Will Rogers gives the performance of his life and the owner of “Blue Boy” — proud, anxious, and tender by turns… It is a perfect bit of genre work — a reminder that in a business full of grand character actors [Rogers] is an old master. ”
– George Campbell Dixon, Daily Telegraph (UK), April 10, 1933 on State Fair
Will Sampson – Muscogee Nation
(Photo by Everett Collection)
Without a doubt, Will Sampson’s portrayal as Chief Bromden in One Flew Over the Cuckoo’s Nest alongside Jack Nicholson is one of the most widely acclaimed Native American acting roles in the history of film. In addition to his acting career, which included 25 films, Sampson was an avid rodeo competitor with a specialty in bronco riding. When Sampson was competing on the rodeo circuit, film producers Michael Douglas and Saul Zaentz saw the rugged and tall Sampson, who stood at 6 foot 7 inches tall, to be a perfect actor for the imposing figure Chief Bromden. Other film roles for Sampson included Tall Eagle in Firewalker and the medicine man Taylor in Poltergeist II: The Other Side.
“Will Sampson, who plays chief Bromden, is a wildlife artist, and is also acting for the first time. Sampson, who is not only physically right for the part (he stands 6-feet, 7-inches tall), has an expressive and sympathetic face. He is a joy to watch, and his final triumph is unforgettable.”
– Patrick Taggart, Austin American-Statesman, Feb. 4, 1976 on One Flew Over the Cuckoo’s Nest
Zahn McClarnon – Hunkpapa Lakota
(Photo by Shane Brown/©FX)
Growing up in Browning, Montana, Zahn McClarnon would often visit the Blackfeet Indian Reservation where his maternal grandparents lived. A former student at Omaha Central High School, McClarnon often cites his high school drama teacher Peggy Stommes as a voice of inspiration. In the 1990s, McClarnon worked in theater and even Historic Jamestown in Virginia before moving to Los Angeles. In 2005, he landed a role in Into the West on TNT and later worked with Jason Momoa, who is Native Hawaiian, on Sundance TV’s The Red Road. From 2012 to 2017, McClarnon portrayed Tribal Officer Mathias in Longmire and later Hanzee Dent in the second series of Fargo, as well as Akecheta in HBO’s series Westworld. McClarnon continues to portray significant roles in the industry, including Joe Leaphorn in Dark Winds, Officer Big in Reservation Dogs, and William Lopez in Disney’s Echo.
“In particular, I loved Zahn McClarnon’s turn as Officer Big, who seems only half-heartedly interested in doing his job. McClarnon is an actor with a wealth of experience, but he tends to play rather somber characters… He’s too rarely allowed to go comedic, and Reservation Dogs lets him be incredibly silly early and often.”
– Emily St. James, Vox, Sept. 21, 2021 on Reservation Dogs
Vincent Schilling, a certified Rotten Tomatoes critic, is Akwesasne Mohawk and the founder and editor of Native Viewpoint as well as the CEO and President of Schilling Media, Inc., a Native American and veteran-owned media corporation. He is a award-winning journalist and book author as well as a public speaker and social media influencer dedicated to bringing awareness to Indigenous people. You can follow him on X/Twitter at @VinceSchilling, on YouTube or on any of his other socials here.
Archival curation and research for this feature was led by Tim Ryan. Additional review curation by Rob Fowler and Dom.
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American film studio, subsidiary of Paramount Global
For the parent company, a mass media and entertainment conglomerate, see Paramount Global.
Paramount Pictures Corporation, commonly known as Paramount Pictures or simply Paramount, is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.[1]
In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo.[2] In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only.[3] The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California.[4]
Paramount Pictures is a member of the Motion Picture Association (MPA).[5]
History
Famous Players Film Company
Main article: Famous Players Film Company
The evolution of Paramount1886Westinghouse Electric Corporation is founded as Westinghouse Electric & Manufacturing Company1912Famous Players Film Company is founded1913Lasky Feature Play Company is founded1914Paramount Pictures is founded1916Famous Players and Lasky merge as Famous Players–Lasky and acquire Paramount1927Famous Players–Lasky renamed to Paramount Famous Lasky Corporation; CBS is founded with investment from Columbia Records1929Paramount acquires 49% of CBS1930Paramount Famous Lasky Corporation renamed to Paramount Publix Corporation1932Paramount sells back its shares of CBS1934Gulf+Western is founded as the Michigan Bumper Corporation1935Paramount Publix Corporation renamed to Paramount Pictures1936National Amusements is founded as Northeast Theater Corporation1938CBS acquires Columbia Records1950Desilu is founded and CBS distributes its television programs1952CBS creates the CBS Television Film Sales division1958CBS Television Film Sales renamed to CBS Films1966Gulf+Western acquires Paramount1967Gulf+Western acquires Desilu and renames it Paramount Television (now CBS Studios)1968CBS Films renamed to CBS Enterprises1970CBS Enterprises renamed to Viacom1971Viacom is spun off from CBS1987National Amusements acquires Viacom1988CBS sells Columbia Records to Sony1989Gulf+Western renamed to Paramount Communications1994Viacom acquires Paramount Communications1995Westinghouse acquires CBS1997Westinghouse renamed to CBS Corporation2000Viacom acquires UPN and CBS Corporation2005Viacom splits into second CBS Corporation and Viacom2006CBS Corporation shuts down UPN and replaces it with The CW2017CBS Corporation sells CBS Radio to Entercom (now Audacy)2019CBS Corporation and Viacom re-merge as ViacomCBS2022ViacomCBS renamed to Paramount Global2024Skydance Media and Paramount Global agree to merge
Paramount is the sixth oldest surviving film studio in the world; after Gaumont Film Company (1895), Pathé (1896), Titanus (1904), Nordisk Film (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles.[1]
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants.[6] With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn.[7] In 1914, their first feature film, The Squaw Man was released.
On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms.[8] On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films.[9] Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis, which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players–Lasky
Main article: Famous Players–Lasky
In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players–Lasky Corporation, although it continued to use the name "Paramount," as well. As a result, it became the largest film company at the time with a value of US$12.5 million (equivalent to $241.8 million in 2023).[10] The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players–Lasky and its "Paramount Pictures" soon dominated the business.[11] The fusion was finalized on November 7, 1916.[12]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.[13]
By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions.[14] On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for $1.0 million (equivalent to $13.8 million in 2023).[15] On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones.[16] On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations.
On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation.[17] In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films.[18][19] In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters
The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.[20]
On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation.[21][22]
1920s and 1931–40: Receivership and reorganization
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he was also tossed out. In 1931, to solve the financial problems of the company Zukor hired taxi/rental car magnate John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn.[23] However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed.[24] The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933,[25] and later filing bankruptcy on March 14, 1933.[26] On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company.[27][28] The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan.[29] On December 3, 1934, the reorganization plan was formally proposed.[30] After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act.[31][32]
On June 4, 1935, John E. Otterson[33] became president of the re-emerged and newly renamed Paramount Pictures Inc.[34] Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board.[35][36] On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and when the company was under Balaban's leadership, the studio was successfully relaunched.[37]
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them.[38] In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel.[39][40] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[41] Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[42] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[43]
1941–50: United States v. Paramount Pictures, Inc.
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years.[44] Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters.[45] This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two.[46] Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The foundation later acquired ownership of the Famous Players trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network.[47] Paramount also launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.[48]
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston.[49] The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused.[49] According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont.[50] Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.[51]
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC.[52] However, Paramount vetoed the offer due to antitrust concerns.[53] For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.[54]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[55] DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.[56]
1966–70: Early Gulf+Western era
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s.[57] Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy". Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf and Western Industries. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.[58]
Gulf and Western also bought the neighboring Desilu Productions television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.[59]
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.[60]
1971–80: CIC formation and high-concept era
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf and Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "High concept" pictures such as Saturday Night Fever and Grease hit big, hard, and fast all over the world,[61] while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden Corporation in 1979.[62] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s–1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label[63] and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.[64][65]
1980–94: Continual success
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as joining forces with Lucasfilm and Steven Spielberg to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
Around the end of 1981, Paramount Pictures took over fellow Gulf and Western subsidiary Sega from the company's manufacturing division in an effort to get into the video game business. Paramount would go on to sell Sega following the Video Game Crash of 1983, and the two companies would later work together on the live action/CGI Sonic the Hedgehog film series.[66]
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.[67][68]
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of Gulf and Western's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of Gulf and Western's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.[69]
In May 1985, Paramount decided to start its own talent department, an attempt to form a stable of exclusively-contracted film personnel (outside of Eddie Murphy); this effort proved unsuccessful and studio president Dawn Steel decided to shut down the department on July 30, 1986.[70] In 1987, Paramount Pictures, MGM/UA Communications Co. and Universal Pictures teamed up in order to market feature film and television product to China, a response to the 25-billion admission tickets that were clocked in the country in 1986. Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking.[71] That year, Paramount Pictures decided to consolidate its distribution operations, closing a number of branch offices that were designed for the studio and relocating staff and major activities in an effort to cut costs and provide for a more efficient centralization; this decision was made in response to a change in distribution practices that had occurred among the various major studios.[72] In August 1987, Paramount Overseas Productions declared that the subsidiary would be in service not just for the upcoming film Experts, which was shot on a budget of $12 million in Canada, but also for other films filmed there worldwide, including the United Kingdom and Canada.[73]
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.[74]
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year.[75] In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures.[76] In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Studios) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.[75]
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of Time Warner.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
1994–2005: Dolgen/Lansing and "old" Viacom era
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July.[77][78][79] At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house.[80] The deal had been planned as early as 1989, when the company was still known as Gulf and Western.[74] Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president.[81][82] During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period.[83] The most successful of these films, Titanic, co-produced with 20th Century Fox and Lightstorm Entertainment, became the highest-grossing film up to that time, grossing over $1.8 billion worldwide.[84] Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998, Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.[85][86]: 49–50, 54
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 2000 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS, as well.[87] During this period the studio acquired some 30 TV stations to support the UPN network, also acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Productions, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier, as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, and Green Day, as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the United States' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Fox, Sony Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology.[88] DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."[88] McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2005–2019: "New" Viacom era
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment."[89] While the agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year, Paramount became the distributor of DreamWorks Animation films from 2006 to 2012, 20th Century Fox would take over distribution beginning in 2013 to 2017, followed by Universal Pictures permanently following NBCUniversal's acquisition of the studio in 2016[90]
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two.[91] With that announcement, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman.[92][93] The Viacom board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks, as well as the Paramount movie studio".[94] The split was completed on December 31, 2005.[95] Paramount's home entertainment unit began using the CBS DVD brand for the Paramount Television library, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.[96]
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the United Kingdom, Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub.[97] In Italy, Paramount distributed through Universal.[98] With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there.[99] UIP president and chief operating officer Andrew Cripps[97] was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.[100]
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.[101]
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.[102]
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players".[103]
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages.[104] Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.[105]
In 2009, CBS Corporation stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each.[106] The first release was The Devil Inside, a movie with a budget of about US$1 million.[107] In March 2015, following waning box office returns, Paramount folded Insurge Pictures and its operations into the main studio.[108]
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions.[109] It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).[110]
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier)[111] gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films and will receive "financial participation" from any additional films.[112]
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount.[113] Sumner Redstone and his daughter Shari are reportedly opposed with the deal.[114] On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount.[115] The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."[116]
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey.[117] In June 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central.[118] In June 2017, Paramount Pictures signed a deal with 20th Century Fox for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures, a deal that dates back to the CIC era.[98]
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix.[119] Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million.[120] On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so.[121] A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.[122]
In April 2018, Paramount posted its first quarterly profit since 2015.[123] Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
2019–present: ViacomCBS/Paramount Global era
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to merge back into one company.[124] On December 12, the deal was called off.[125] On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019.[126] Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies.[127][128] CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion.[129] On August 2, 2019, the two companies agreed to remerge back into one entity,[130] which was named ViacomCBS; the deal was closed on December 4, 2019.[131]
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library, as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs.[132] The deal officially closed on April 3, 2020.[133] ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library, as well as that of CBS, MTV, Nickelodeon, and more.[134]
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.[135]
In January 2022, Paramount Pictures acquired the rights to Tomi Adeyemi's young adult fantasy novel Children of Blood and Bone from Lucasfilm and 20th Century Studios. As part of the acquisition, the film will have a guaranteed exclusive theatrical release while Adeyemi will write the screenplay and serve as executive producer. The film adaptation will also be produced by Temple Hill Entertainment and Sunswept Entertainment.[136][137]
On February 16, 2022, ViacomCBS changed its name to Paramount Global, after the studio.[138]
On March 8, 2022, Paramount Players' operations were folded into Paramount Pictures Motion Picture Group.[139] However, it will continue to operate as a label as it has several upcoming films on its slate.
On November 15, 2022, Paramount entered a multi-year exclusive deal with former president of DC Films Walter Hamada. Hamada will oversee the development of horror films beginning in 2023.[140]
Investments
DreamWorks Pictures
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million.[141] Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution).[142]
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Fox took over distribution for post-2012 titles beginning with The Croods (2013) and ending with Captain Underpants: The First Epic Movie (2017).[143] Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 1998–2012 DWA library would have expired 16 years after each film's initial theatrical release date,[144] but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.[145]
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the 2000 Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units
Divisions
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Pictures International
Paramount Players
Nickelodeon Movies
BET Films
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York City, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts[146]
Paramount Animation[109]
Paramount Music
Joint ventures
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine (co-owned with Amazon's Metro-Goldwyn Mayer, The Walt Disney Company's The Walt Disney Company Latin America, Grupo Globo's Canais Globo and Comcast's Universal Pictures)
Former divisions, subsidiaries, and joint ventures
Paramount Digital Entertainment (Dormant)
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of Nexstar/Paramount Global/Warner Bros. Discovery joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage[147] – Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010[148]
Go Fish Pictures – Arthouse/Independent film unit for used distributing DreamWorks Pictures foreign films; defunct in 2007 after parent company's sale
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015);[106] absorbed into Paramount itself
Republic Pictures
"Continental Café" – the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.[149]
Other interests
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."[150][151]
Logo
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju[152] is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn,[153] another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", the byline A Gulf+Western Company appeared on the bottom, and the number of stars being reduced to 22. In 1974, another redesign was made, with the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
A black and white logo with "A Paramount Picture" appeared in the 1980 live action film Popeye, resembling the one used on Paramount's classic Popeye cartoon shorts.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation (Studio Productions), Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo by Pittard Sullivan made its debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo made by PIC Collective debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.[citation needed]
On December 16, 2011, an updated logo[154][155][156] was introduced with animation done by Devastudios, using Terragen and Autodesk Maya.[157] The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
The word "Pictures" was restored to the bottom of the Paramount logo in 2022 after ViacomCBS took on the Paramount name and branding for its entire operation; this revised logo used for printed materials and merchandising, while still appearing as simply "Paramount" on-screen, no longer uses the byline.
Studio tours
Paramount Studios offers tours of their studios.[158] The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio.[158] The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York City locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.[158]
Film library
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Sunset Boulevard, Forrest Gump, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as the Godfather, Star Trek, and Mission: Impossible film series.
Film series
Title Release date No. Films Notes Sophie Lang 1934–37 3 Hopalong Cassidy 1935–41 41 Bulldog Drummond 1937–39 3 The Aldrich Family 1939–44 11 Road to ... 1940–52 6 The War of the Worlds 1953–2005 2 Love Story 1970–78 The Godfather 1972–90 3 Charlotte's Web 1973–2003; 2006 Bad News Bears 1976–2005 4 Peanuts 1977–80 2 Grease 1978–82 2 Star Trek 1979–present 13 Friday the 13th 1980–89; 2009 12 Co-production with Warner Bros. Pictures (1980–2009) and New Line Cinema (2009) Indiana Jones 1981–2023 5 Distribution only; Co-production with Lucasfilm. Studio credit only (2023) Beverly Hills Cop 1984–94 3 Footloose 1984–2011 2 Crocodile Dundee 1986–2001 3 Co-production with Hoyts Distribution (1986–88), 20th Century Fox (1986) and Universal Pictures (2001) Top Gun 1986–present 2 The Naked Gun 1988–present 4 Coming to America 1988–2021 2 Jack Ryan 1990–2014 5 The Addams Family 1991–93 2 co-production with Scott Rudin Productions, Columbia Pictures and Orion Pictures (both 1991) Mission: Impossible 1996–present 7 Rugrats 1998–2003 3 Co-production with Nickelodeon Movies and Klasky Csupo Lara Croft: Tomb Raider 2001–03 2 Jackass 2002–present 6 SpongeBob SquarePants 2004–present 3 Co-production with Nickelodeon Movies and United Plankton Pictures Inc. Mean Girls 2004–24 Shrek 2007–11 Distribution only; Co-production with DreamWorks Animation Transformers 2007–present 7 Co-production with DreamWorks Pictures (2007–09) and Hasbro Paranormal Activity Cloverfield 2008–present 3 Kung Fu Panda 2008–11 2 Distribution only; Co-production with DreamWorks Animation Madagascar 2008–12 Marvel Cinematic Universe 2008–13 6 Distribution only; Co-production with Marvel Entertainment and Marvel Studios (2008–11), Studio credit only (2012–13) Watchmen 2009–present 1 International distributor; co-production with Warner Bros. Pictures and DC Studios G.I. Joe 3 Teenage Mutant Ninja Turtles 2014–present Co-production with Nickelodeon Movies Terminator 2015–19 2 Co-production with Skydance (2015–19), 20th Century Fox and Tencent Pictures (both 2019) A Quiet Place 2018–present 3 Co-production with Platinum Dunes Dora the Explorer 2019–present 2 Co-production with Nickelodeon Movies, Walden Media and Media Rights Group Sonic the Hedgehog 2020–present Co-production with Sega Sammy Group PAW Patrol 2021–present Co-production with Nickelodeon Movies and Spin Master Entertainment Scream 2022–present
Highest-grossing films
‡ — Includes theatrical reissue(s)
Latino and Hispanic representation
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."[161][162][163]
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.[164]
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.[165]
See also
CBS Studios
Paramount Television Studios
List of Paramount executives
List of Paramount Global television programs
Notes
References
Further reading
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[
"Mary McNamara",
"Mary McNamara Culture Columnist",
"www.latimes.com",
"mary-mcnamara"
] |
2022-05-05T00:00:00
|
Better known for enigmatic intensity, Matthew Goode captures the manic joy of the Paramount chief in making-of-'The Godfather' drama 'The Offer.'
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/entertainment-arts/tv/story/2022-05-05/the-offer-paramount-cast-matthew-goode-robert-evans
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Even in the cocaine-and-creativity-fueled orgiastic landscape of Hollywood in the 1960s and ‘70s, Robert Evans stood out.
From behind an extensive selection of oversize glasses, the preternaturally tanned actor-turned-studio executive saw brilliance in scripts and actors where no one else did. In fewer than 10 years, he took the near-dead Paramount Pictures to No. 1 by launching a string of film classics, including “Rosemary’s Baby,” “Love Story,” “The Godfather” and “Chinatown,” all while maintaining a “This is Hollywood, baby” lifestyle that earned him the title “the playboy peacock of Paramount.”
He was, in a phrase, larger than life.
And nothing is tougher to play than “larger than life.”
Unless, perhaps, you are an actor better known for enigmatic subtlety than joyous scenery chewing.
In Paramount+’s “The Offer,” which chronicles the epic “almost didn’t happen” journey of “The Godfather” from book to screen, Matthew Goode takes on the role of Evans, who fought for (and sometimes against) Francis Ford Coppola’s iconic vision — and what seems to be a marriage of opposites turns out to be, as such marriages often are, a perfect match.
Goode has built a career on playing the less showy parts in very showy stories: the responsible if smitten bodyguard in “Chasing Liberty,” Charles Ryder in “Brideshead Revisited,” Colin Firth’s dead lover in “A Single Man,” Finn Polmar in “The Good Wife.” He has played more than one creepy villain but is cast more often in romantic roles. Paired with Vanessa Kirby’s Princess Margaret, Goode’s wildly seductive Tony Armstrong-Jones brought sex appeal to “The Crown” just as his Henry Talbot had, a couple of years earlier, taught Michelle Dockery’s Lady Mary to love again on “Downton Abbey.” (And to answer “Downton” fans’ most pressing Goode-related question, he does not appear in the upcoming “Downton Abbey: A New Era” and does not know if his character is alive or dead.)
But even when playing a brooding vampire in forbidden love with a witch, as he did in the recently concluded “A Discovery of Witches,” Goode tends to conjure his characters’ intensity from restraint. Few actors get more out of a beats-long stare or a quirked smile than Goode.
Evans was not a man known for restraint. With a singular presence and a deeply personal cadence, he preened and strode, quipped, opined, demanded and screamed into many, many telephones. While working with Evans, Dustin Hoffman gathered the material for a subgenre of Evans impersonations, from the bathtub drowning scene of “Marathon Man” to the Evans-inspired producer he played in “Wag the Dog.”
Not an obvious role for a soft-spoken Brit. And no one was more surprised than Goode when he was cast.
“Originally, they sent me scripts for another role,” he said during a recent interview, “and I thought, ‘Any day now they’ll be phoning for an audition or a meet for this role.’ And it just never materialized. I thought, ‘Well, I guess it’s going to be someone famous and someone really good and I’ll watch it anyway.’ Because,” he adds, laughing, “sometimes you don’t watch it because you feel really wounded.”
Then, one day, while he was supposed to be golfing but was instead waiting out a rainstorm in his car, his phone rang. It was a transatlantic call with all his agents. “I wondered, ‘What have I done? I’m in real trouble.’ And they said, ‘You’ve got the job, you’ve got Bob Evans.’ I was like, ‘What are you talking about? I haven’t met with anyone, haven’t talked to anyone.’ But my agent said, ‘We said yes on your behalf.’”
He is telling this story, complete with the name of the golf course near his home in Surrey, England, in part because he is an energetic storyteller — one trait he does share with Evans is the ability to speak in a string of perfectly structured paragraphs — but also to underscore how he felt when he got the role. “The fear of God,” he said.
It wasn’t until he spoke with director Dexter Fletcher that he actually believed he’d been cast. “[Producer] Nikki [Toscano] said I was the only one they had considered and I was like, ‘Yeah, yeah, which big star dropped out at the last minute,’ but I didn’t want to question it.”
This was well after the scandal-plagued Armie Hammer dropped out as “Godfather” producer Al Ruddy, to be replaced by Miles Teller.
But Goode had his own logistical obstacles to overcome. The pandemic had left him with free time but made getting a visa to work in Los Angeles, where “The Offer” was shot, almost impossible.
“I had to go to Budapest to get my visa; it was so busy in London that I would have lost the job.”
Then there was the prep.
“I did a lot of homework, went down a lot of wormholes on YouTube,” he said, including the Hoffman/bathtub scene. “I didn’t want to watch [2002 Evans documentary] ‘The Kid Stays in the Picture’’ again because that was when he was older and our rhythms change when we get older, but there’s amazing interviews from the 1970s and he’s incredibly candid and charming.”
Goode worked with Fletcher to make sure their ideas were in sync. “When I came to L.A., the costume fittings helped put the armor on, and then the final thing was, ‘Which pair of glasses do we use?’ They showed me a box and there were like 20 pairs and I said, ‘I’m going to use all of them.’”
When he slipped the glasses on, he said, it all came together. Still, it is not easy to step into a Hollywood icon’s loafers, even if said icon is no longer around to judge. (Evans died in 2019.)
“I never met him,” Goode said, “though I found out recently I’d been in the same room; he came to the AFI screening of ‘A Single Man.’ So there was a little less pressure on me than on Anthony [Ippolito], who plays Al Pacino.” Still, he was quite nervous, Goode said, until Fletcher put it in perspective: “Dexter said, ‘Well it could be worse. You could be playing Brando.’
“Which,” Goode adds seamlessly, “Justin [Chambers] did brilliantly.”
“The Offer” is based in large part on Ruddy’s memory of events and is told from his perspective; it will no doubt spark the sort of debate common to scripted retellings of famous recent events. Coppola, for example, had by many accounts a much more antagonistic relationship with Evans than the series portrays.
Goode says the series was thoroughly fact-checked, though “as Bob would say, there’s your version and my version and somewhere in between is the truth.”
Goode said he kept “bumping into people who knew Evans and they all described him the same way — charming, generous, funny, kind. You don’t need to like the character you are playing, but I was pleased to know that although he was Hollywood royalty, he didn’t have airs and graces. He could have a chat with anybody.”
Including Goode himself. During the seven months he was in Los Angeles, the actor had many conversations with the man he was playing.
“I don’t do Method, but I do during rehearsals, so I spent a lot of time in my role, sometimes having amusing conversations with myself as Robert. I’d be sitting there,” Goode said, leaning back and into character, “a libation in my hand and from sheer boredom, ‘I don’t agree with the casting, man,’” he said, in Evans’ voice. “‘You don’t know me’ [in Goode’s voice] ‘and that’s exactly my point’ [back to Evans]. Who the hell are you?’”
It’s an alarmingly believable and amusing interchange — “hours of fun,” Goode said — but it was also necessary.
“His timbre and cadence are incredibly idiosyncratic,” Goode said, “so if I don’t get that right, I’m really going to sink. And that’s one reason I’d joke around. You really need to get the voice, not just the lines in the script. You’re going to fail big time if you can’t be him on any subject.”
Evans was “definitely different than anything I’ve done,” he said, and coming from Goode that’s saying a lot. Since he starred in the swoony teen romance “Chasing Liberty,” Goode has done romance, mystery, fantasy, lots of period dramas and even the superhero genre — he played Ozymandias in the 2009 film “Watchmen” (again “sharing” a role with Jeremy Irons, who played Ozymandias in the 2020 HBO series and Charles Ryder in 1981). Caught somewhere between romantic lead and character actor, Goode has become one of those reliable, ubiquitous performers whose quiet force often allows others to shine more brightly.
His role in “Downton” came about while he was shooting “Self/Less,” a film in which he co-starred with Dockery. “She said, ‘Why don’t you come and play my husband,’” Goode said. “So I was cast by Michelle Dockery.”
He is not upset, by the way, that he is not in the new “Downton” movie. “I tend to end series rather than start them, and the ‘Downton’ family is very close. And there are so many actors that it seems impossible they were able to schedule the ones who are in it.”
Also, he had something else to do. It’s tough for even a terrific series to stand out in today’s wildly overpopulated television landscape, but given its subject matter, and the fact that it heralds the 50th anniversary of “The Godfather” “The Offer” has a better chance than most at getting the attention it deserves.
As does Goode, who, despite starring in films and series that have won many awards, has few of his own. With any luck, his portrayal of Evans will change that. Taking us through, as Goode says, the best and worst of the man, it captures the high-wire thrill of moviemaking. Goode’s Evans doesn’t just swing big, he swings big with confidence and joy. He is larger than life because he believes that movies make life larger than itself, and Goode makes us believe that too.
At the end of filming on “The Offer,” the real Ruddy gave each cast member an inscribed glass horse head. “That’s something I’ll be able to treasure,” Goode said. “My mantle isn’t too cluttered, so I should be able to fit that up there.”
Perhaps next year, it will be a little more cluttered than it was.
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https://people.com/if-movie-cast-everything-to-know-8649239
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Meet the Cast of IF: All the Stars Voicing Characters
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] |
[] |
[] |
[
""
] | null |
[
"Kelsie Gibson",
"Barrie Schneiderman",
"www.facebook.com"
] |
2024-05-17T09:00:00-04:00
|
John Krasinski's latest film 'IF,' starring Ryan Reynolds and Cailey Fleming, includes a star-studded voice cast as the imaginary characters. From Blake Lively to Steve Carell, here's a guide to the cast list.
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en
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/favicon.ico
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Peoplemag
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https://people.com/if-movie-cast-everything-to-know-8649239
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01 of 21
Ryan Reynolds as Cal
Ryan Reynolds, who returns as Deadpool in Deadpool & Wolverine this summer, stars in the film as Cal, Bea's neighbor who can see IFs. Together, they work together to reunite the IFs with their former kids. In addition to starring in the project, Reynolds also produced the film alongside Krasinski.
Reynolds spoke with PEOPLE about IF at the film’s premiere in New York City, noting that his children were super excited to tune in. During an appearance on the Today show, Reynolds added this his daughter Betty has imaginary friends of her own, noting that she had “a very vivid imagination.”
02 of 21
Cailey Fleming as Bea
Cailey Fleming, 17, stars in the movie as Bea, a young girl who gets the ability to see imaginary friends after going through a troubling experience. During the premiere, Reynolds praised his costar, joking that his children “worship” Fleming and she was easily their top choice to babysit them among the cast.
Before IF, Fleming got her breakout playing young Rey in Star Wars: The Force Awakens, a role she reprised in Star Wars: The Rise of Skywalker. Like Reynolds, she is no stranger to the MCU, having previously played a Young Sylvie in Disney+’s hit series Loki.
03 of 21
John Krasinski as Bea’s Dad / Marshmallow Man
John Krasinski is pulling quadruple duty for IF, as the director, writer, producer and one of the stars. In addition to playing Bea’s dad, he also voices the character Marshmallow Man.
Similar to how Krasinski penned A Quiet Place as a “love letter” to his daughters, the Office alumnus was inspired to write the upcoming children’s film because of his girls. "I made this movie for my kids," he told CBS Mornings noting that the story stemmed from watching his kids amid the COVID-19 pandemic.
"I saw their light starting to go out. And I saw that the world started to seep in, and that is the definition of growing up," Krasinski said. "I just called everyone up and said 'Listen, you have no reason to do this. It's a movie about imaginary friends. It's also helping kids cope with growing up and stuff like that.' And I said 'If you want to do it, great.' I've never had quicker yeses in my life."
04 of 21
Steve Carell as Blue
The new film features a sweet The Office reunion between Krasinski and Steve Carell, as the latter voices the character Blue, a creature who helps Cal and Bea with their quest. “Blue is played by Steve Carell who happens to be a dear friend,” Krasinksi said of his former costar in a behind-the-scenes clip.
"Oh my God, The Office reunion we've all been waiting for is in it," Krasinski told Entertainment Weekly of the film. "The truth is, Steve's one of the most talented people on the planet. So whether I had ever worked with him before or not, I would've been gunning for him because I just had his voice in my head when I was writing Blue."
05 of 21
Phoebe Waller-Bridge as Blossom
After making audiences laugh with her starring role on Fleabag, which she also created, Phoebe Waller-Bridge lends her voice to Blossom, a butterfly creature who was previously the imaginary friend of Bea’s grandmother.
06 of 21
Louis Gossett Jr. as Lewis
The late Hollywood legend Louis Gossett Jr. voices Lewis, an elderly teddy bear. The film marks one of his final roles following his death in March 2024 at age 87.
The actor had an illustrious career that spanned film, TV and Broadway. His most notable roles included Roots and An Officer and a Gentleman, the latter of which earned him an Academy Award for Best Supporting Actor — making him the first Black performer to win the Supporting Actor Oscar.
07 of 21
Emily Blunt as Unicorn
Krasinski turned IF into a family affair as his wife Emily Blunt voices the character Unicorn. Blunt recently showed her support for Krasinski as they stepped out for a date night at the film’s premiere. Similar to Reynolds sharing the screen with his wife Lively, Krasinski told PEOPLE that his children were excited to see Mom and Dad in a movie together. "For our kids to have their mom in the movie too was so massive. It was a family affair," Krasinski said.
While Blunt is well-known for her roles in The Devil Wears Prada, Mary Poppins Returns and recently Oppenheimer, this isn’t her first time sharing the screen with Krasinski. The two previously teamed up for A Quiet Place and its sequel A Quiet Place Part II, where they played a husband and wife raising their children in a post-apocalyptic world terrorized by aliens.
08 of 21
Matt Damon as Sunny
Matt Damon voices the character of Sunny, a pretty flower. Damon was also in attendance at the IF premiere, calling Krasinski a “very good friend” as he spoke with ScreenSlam. “This movie has got so much of him in it and it’s got such a beautiful message,” he added, saying it was a “pleasure” working with him.
While Damon is known for his action-packed films such as the Ocean's films and the Jason Bourne franchise, the father of four has taken on some light-hearted family films through the years, including We Bought a Zoo with Scarlett Johansson.
09 of 21
Maya Rudolph as Ally
Maya Rudolph voices a character named Ally, who is a pink alligator. During the film’s premiere, she spoke with The Hollywood Reporter, saying that she would personally love to have Phoebe Waller-Bridge voice her own imaginary friend.
As a Saturday Night Live alumna, Rudolph is no stranger to making our sides ache with her funny characters. In addition to all of her SNL sketches, she is well known for her roles in Bridesmaids and Grown Ups. Plus she is quite the pro when it comes to voice acting, lending her voice to projects such as The Angry Birds Movie, The Emoji Movie and Big Mouth.
10 of 21
Jon Stewart as Robot
Former Daily Show host Jon Stewart voices the character Robot. Cracking jokes should be no problem for Stewart, who got his start as a stand-up comedian before branching out to television as a host.
The long-running host of The Daily Show has received numerous accolades throughout his career including various Emmy Awards, Grammy Awards and Peabody Awards.
11 of 21
Sam Rockwell as Guardian Dog
Sam Rockwell voices the character Guardian Dog in the film. Though Rockwell is well known for his dramatic roles including Three Billboards Outside Ebbing, Missouri, Vice and Fosse/Verdon, he has also lent his voice to children’s films such as The Bad Guys and Trolls World Tour.
12 of 21
Sebastian Maniscalco as Magician Mouse
Sebastian Maniscalco voices the character Magician Mouse, who as the name would suggest is a mouse that poses as a magician. The stand-up comedian is notorious for his physical comedy but has taken on some dramatic roles in the past, including Green Book, The Irishman and About My Father, the latter of which he also wrote.
Like his costars, he is also no stranger to voice acting. Notably, he voiced the character of Foreman Spike in 2023’s The Super Mario Bros. Movie starring Chris Pratt.
13 of 21
Christopher Meloni as Cosmo
Christopher Meloni voices the character of Cosmo, who appears to be a private investigator of sorts based on the glimpses in the trailers. Obviously, Meloni is very familiar with playing a law-enforcing character, with his starring role on Law & Order: Special Victims Unit and now Law & Order: Organized Crime.
Meloni has also done voice acting in the past, including the animated Harley Quinn series and the video game Call of Duty: Black Ops III.
14 of 21
Richard Jenkins as Art Teacher
Richard Jenkins voices the imaginary friend dubbed the Art Teacher. Jenkins is well known for his role on the HBO series Six Feet Under as well as drama films like The Visitor, The Shape of Water and Dahmer – Monster: The Jeffrey Dahmer Story. However, he has taken on some lighter films in the past, such as the 1995 film The Indian in the Cupboard.
15 of 21
Awkwafina as Bubble
Awkwafina voices the character of Bubble in the movie. Awkwafina has made a name for herself with her various funny roles, including Ocean's 8, Crazy Rich Asians and Awkwafina Is Nora from Queens, which she co-created and wrote, though she has shown off her dramatic chops with films like The Farewell, which earned her a Golden Globe.
In addition to her long list of acting roles, Awkwafina has done a ton of voice work, including Raya and the Last Dragon, The Little Mermaid, Migration and Kung Fu Panda 4, just to name a few.
16 of 21
Blake Lively as Octopuss
Blake Lively joins her husband Reynolds on the screen as she voices Octopuss, who is shown to be a cat dressed up in an octopus costume. IF marks Lively and Reynolds’ first film together since they costarred in 2011’s Green Lantern.
17 of 21
George Clooney as Spaceman
George Clooney voices Spaceman, who as the name would suggest is an astronaut. Clooney has a decades-long career that spans drama and action films and has earned prestigious awards such as Golden Globe Awards and Academy Awards.
Though he is well known for his dramatic roles in the Ocean's film series, O Brother, Where Art Thou? and The Descendants, he has shown his comedic side with films like Hail, Caesar!, Ticket to Paradise and Spy Kids.
18 of 21
Matthew Rhys as Ghost
Matthew Rhys voices the character Ghost in the new movie. Rhys gained critical acclaim for his role in The Americans, which also starred his partner Keri Russell. Though he has been inclined to take on more dramatic roles, he has done a number of family-friendly projects, including A Beautiful Day in the Neighborhood and Mowgli: Legend of the Jungle.
19 of 21
Bradley Cooper as Ice
Bradley Cooper voices Ice, who is a glass of ice water. Like the rest of his costars, Cooper is known for his dramatic roles, such as Silver Linings Playbook, A Star Is Born and Maestro, but has some comedic chops as well.
After getting his start in comedy projects like Wet Hot American Summer and The Hangover, Cooper has notably voiced the character of Rocket in the Guardians of the Galaxy films.
20 of 21
Amy Schumer as Gummy Bear
Amy Schumer voices Gummy Bear in the film who is — you guessed it — a bright red gummy bear. Schumer is synonymous with comedy, having gotten her big break with the Comedy Central sketch comedy series Inside Amy Schumer.
Additionally, she has starred in a number of romantic comedies including Trainwreck with Bill Hader and I Feel Pretty. Currently, she stars on the Hulu comedy series Life & Beth, which she also created.
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Keegan-Michael Key as Slime
Keegan-Michael Key voices Slime, a green blob reminiscent of Flubber from the Robin Williams film. He notably got his big break with the sketch series Key & Peele, which he co-created and costarred in with Jordan Peele, and has taken on many comedic roles since.
Notably, he has done a ton of family-friendly films, including Wonka, Super Mario Bros. Movie, Migration as well as Disney's Toy Story 4 and the live-action remakes of The Lion King and Pinocchio.
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https://www.rogerebert.com/features/short-films-in-focus-the-2024-oscar-nominated-short-films
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Short Films in Focus: The 2024 Oscar-Nominated Short Films
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On this year's Oscar-nominated shorts.
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https://www.rogerebert.com/
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https://www.rogerebert.com/features/short-films-in-focus-the-2024-oscar-nominated-short-films
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The short film categories used to be the last vestige of true indie filmmaking represented at the Oscars. Over the years, that feeling has changed quite a bit, with Nexflix, The New Yorker, The Atlantic and other major studios and publications putting their names on the most high-profile films. This year, it’s quite possible Wes Anderson will win for Best Live Action Short, which takes away a major victory for a bright, new up-and-comer. Same with Jerusha and Jared Hess in the Best Animation category. Meanwhile, a big portion of the Best Documentary Short nominees feel made to accompany a TED Talk. Remember that mesmerizing short with the walruses last year? You really felt like you were taken to a part of the world you never dreamed existed. No such discoveries this year (“Island In Between” comes closest). There are admirable stories being told in all three categories, certainly, but everything feels sanitized for our protection. No “My Year of Dicks.” No boots-on-the-ground risk-taking. The indie spirit, for the most part, has been lacking over the years and I imagine it will continue to be that way for the foreseeable future.
DOCUMENTARY
“The ABCs Of Book Banning” - The film opens with the startling fact that 2,000 books in public school libraries across 37 states are banned. We then hear from grade school students in Florida who have read many of the banned books and what they think of them. Books by Amada Gorman, Judy Blume, the infamous picture book “And Tango Makes Three,” the graphic novel “Gender Queer” and books about Rosa Parks and Martin Luther King, Jr., among them. The kids are the stars of the film as they talk about the futility and stupidity of the Florida school boards’ policies. The movie means well, but it’s artless in its approach. It preaches to the choir for twenty-seven minutes, but never provides any answers on how students or parents at these schools can fight the policies or obtain copies of the banned books elsewhere. This is the kind of film you show on day one at a Library Science 101 class, a power-point, listicle version of “Kids Say the Darndest Things.” I agree with everything it’s saying, but as a documentary, it lacks power and substance. Directed by Sheila Nivens. (27 min. Available on Paramount+).
“The Barber of Little Rock” - From the New Yorker, a profile on Arlo Washington, who founded the Washington Barber College in 2008 as well as the People's Trust loan institution, the only Black-owned community development private institution in Arkansas, where 95% of its borrowers repay their loans on time. His sole purpose is to “Advance equity, build opportunities, build community.” Washington is a compelling figure and the film is at its best when it focuses on him interacting with his clients and students. The film’s most memorable scene comes when he has two of his students stare into each other’s eyes and see each other’s history. I wish the film had more scenes like that and a little less of the usual talking heads saying the obvious. It could also use a more narrowed focus with the people who come to the college and who borrow from the Trust. A feature-length version would probably be better suited to provide a more satisfying overview with narrative throughlines. We walk away hoping there are more Arlo Washingtons out there, but wanting to know more about the people he helps. Directed by John Hoffman and Christine Turner. (34 min. Available on YouTube)
“Island In Between” - The title refers to Kinmen, an island that connects China to Taiwan, just six miles away and the most vulnerable to any kind of military conflict should China decide to invade. Filmmaker S. Leo Chiang (“Our Time Machine”) returned to Taipei as an adult just before the pandemic and remained there during those three years, getting back in touch with this island that is rich in history, made evident by the stunning visual of a tank sinking into the sand on the beach, not far from where army recruits continue to test their armor, just in case. Chiang crams a lot of information and strands into this nineteen-minute piece that gives viewers a good overview of this island, one that warrants curiosity from anyone who has never heard of it (myself included), but the challenge comes in trying to figure out what the ultimate take-away should be here. It’s Chiang’s personal story, while also being another pandemic doc and basic history lesson. You get the feeling there’s a lot more he can do with this. Directed by S. Leo Chiang. (19 min.)
“The Last Repair Shop” - Since 1959, Los Angeles has provided newly repaired musical instruments to public school students. A dwindling number of repair people help maintain the program. Four of the people who fix these instruments share stories of their past and how they ended up here, what inspired them, how music saved them during times of personal turmoil and helped realize the American Dream was possible. In between, students who benefited from the program talk about how music helps them and what they hope to achieve from playing it. The film treads dangerously close to treacly sentiment, but these are interesting stories being told and we feel lucky to meet these people. I’d like to know more about how the program functions, who funds it and how long an average repair can take, but the filmmakers just want you to know that it exists and maybe that’s enough. It’s certainly a movie made with heart by people who feel close to the subject matter. DIrected by Ben Proudfoot and Kris Bowers, who also wrote the closing symphony performance. (40 min. Available on Disney+)
“Nǎi Nai and Wài Pó” - What’s not to love about spending time with two grandmothers who live together, dance together, watch movies together, drink together and put up with each other’s farting during bedtime? Nǎi Nai and Wài Pó are the grandmothers of filmmaker Sean Wang, who filmed them during lockdown and helped them get in touch with their younger selves again. We get a peak into their pasts and become more and more charmed by them as the film goes on. Many viewers will take to heart their view on how to spend the days of a life, either through pain or joy. Wang makes it clear he’s orchestrating a lot of these funny moments, but they’re having such a good time, whatever criticisms you might have of that device or manipulation will dissipate and you’ll wish you were in the room with them. I don’t know if these two are still alive or able to travel, but wouldn’t it be great to see them at the awards ceremony? Directed by Sean Wang. (17 min. Available on Disney+)
LIVE ACTION
“The After” - A man (David Oyelowo) grieves the sudden and violent death of his wife and child. One day, while on the job as a rideshare, he picks up a family that has a startling effect on him. That would be enough for any short film, but this one makes two lapses in judgment about what to show. The opening scene might elicit some unintended laughter once the shock dies down, since what happens plays out so outlandishly and unconvincingly, the viewer isn’t so much horrified by the violence so much as the screenwriter and director left it in in the first place. Subtlety is not this movie’s strong suit, despite a strong performance by Oyelowo at the center of it. His efforts are admirable and lift this movie up a notch, but the contrivances of the script are hard to ignore. Directed by Misan Harriman. (18 min. Available on Netflix)
“Invincible” - This French/Canadian film tells the story of Marc (Léokim Beaumier-Lépine), a young teenager who has just entered into a juvenile detention center and isn’t off to a promising start. The film is based on a true story, recounting the last 48 hours of this boy’s life. At first, we think the movie made an error in showing us the end of the film at the beginning, robbing it of suspense in the latter half, but that often overused device justifies itself in the film’s final moment. Beaumier-Lépine is often filmed in close-ups and brings just the right amount of intensity, desperation and sadness to the role, filling Marc’s journey with moments of joy that, tragically, won’t be enough to save him. A short film worthy of its 30-minute running time and nomination. Directed by Vincent René-Lortie. (30 min.)
“Knight of Fortune” - Another movie about grief, though far more refined, endearing and moving than “The After.” A man (Leif Andrée) visits a morgue to view his wife’s dead body, but looks for anything to distract him from the heartbreaking burden of opening the casket to say goodbye. A stranger (Jens Jørn Spottag) helps him out, but not before one slight misunderstanding takes place. Unpredictable, universal and unexpectedly funny, “Knight of Fortune” is certainly my favorite of the bunch as we witness a new friendship being formed out of a shared grief, one of the last vestiges of male bonding a man can have late in life. Acted to perfection by all involved and earning its tears, it’s too bad it won’t win anything, since this award only ever goes to English-speaking films. Directed by Lasse Lyskjær Noer. (25 min.)
“Red, White and Blue” - What starts out as a sensitive and well-acted portrayal of a single mother of two (Brittany Snow)--working as a waitress and in need of an abortion–quickly dissolves into a horrifically wrong-headed sermon on the issue in the United States. Snow is quite good, as is Juliet Donenfeld, the young actor playing her daughter, it’s such a shame to see these performances go to waste in a film that overstates the obvious, with a twist ending that will leave every viewer gobsmacked at the end instead of enlightened, angry or motivated to help make change. Roger Ebert famously said a movie isn’t what it’s about, it’s how it’s about it. The voters this year don’t seem to care about that latter part (have they ever?). Directed by Nazrin Choudhury. (23 min.)
“The Wonderful Story of Henry Sugar” - Your enjoyment of this will depend greatly on how much you love Wes Anderson’s work, particularly the last ten years or so when he and his co-writers overstuff the narratives. This is no exception. Told like an audiobook on 1.5 speed, every actor (Ralph Fiennes, Dev Patel, Benedict Cumberbatch, Ben Kingsley) tells Roald Dahl’s story directly to the camera, almost word for word, with the backgrounds playfully changing behind them via stagehands, mechanical levers, pulleys and rear projection. It’s all so very, very Wes Anderson and many will grow frustrated the longer it goes on, while his devotees will remain delighted at every turn. Personally, I used to be a fan, but I’ve grown tired of all of it over the years. I much preferred last year’s Oscar-nominated, Anderson-adjacent “Le Pupille” to this, but for those who feel the opposite, you can always refer to Glenn Kenny’s more favorable review on this site. Directed by Wes Anderson. (40 min. Available on Netflix)
ANIMATION
“Letter To A Pig” - An elderly Jewish man recounts his days hiding in a pig-infested barn for years during the Nazi occupation to a classroom full of bored high school students. As he becomes more impassioned about the aftermath and his need for revenge, the film shifts perspective and dissects the relationship between the past, present, how stories are interpreted and made more personal. Or maybe it was all just a dream. Either way, this is a gorgeously rendered piece that will likely confound many viewers, but still leave them moved and transfixed. Best to watch this either with headphones or with a state-of-the-art sound system. Directed by Tal Kantor. (16 min.)
“Ninety-Five Senses” - I confess I had no idea Tim Blake Nelson was the narrator of this one and I started off not liking the vocal delivery of whoever this was. Too broad. As the man’s story went on, though, I settled into it and forgave the big choices. His tale has a twist midway and becomes about how our senses trigger memories and the parts they play in our final moments. It’s hard not to be affected by this one as we see a man’s life play out, the mistakes he made and the life he could have lived, if only. Now I see that Nelson’s delivery is just the right thing to throw viewers off and, in the end, it works in the film’s favor. The animation varies between simple, retro 2-D (the past) and more detailed, expressionistic layers (the present), all working together seamlessly. Directed by Jerusha and Jared Hess (14 min.)
“Our Uniform” - This opens with a disclaimer that the film is not a criticism of anyone who wears the hijab in Iran. It is an examination of what it feels like to not have to wear one, as told by many anonymous women who share their perspectives on wearing different styles and fabrics and how it affects their lives. The tangible nature of the animation is really strong, with many fabrics, sewing tools and threads telling the stories in a charming, fast-paced style. Such subject matter often gets a much darker treatment, but this film isn't out to hit you over the head with stories of misery. It’s more about how where you were born can determine what you have to be versus what you are. It might not be deep, but it’s worth a watch. Directed by Yegane Moghaddam. (7 min.)
“Pachyderme” - A woman recounts her summer living with her grandparents in a rural area where, we gradually learn, a dark, sinister element is at work in her experience. The animation style has a lovely picture book quality to it where everything looks like a painting. We kinda know where the story is going, but the journey there is a subtle and quiet one and sticks with the essential elements of the story. Directed by Stéphanie Clément. (11 min.)
“WAR IS OVER! Inspired By the Music of John and Yoko” - Maybe I liked this more than others because it was the last one I watched and, for once, it wasn’t someone narrating a story about their past. And maybe because I’m a sap for the song. I get why people roll their eyes at the end, and I think I did at first, but I eventually found myself going along with its heartfelt sincerity, just like any Lennon/Ono song that wears its heart on its sleeve. The artists at WETA digital collaborated with Sean Lennon Ono on the piece and it tells a good story no matter how hamfisted the ending may be. I went into this thinking we’d be getting a music video treatment of the song, coupled with obvious present-day footage to make a point. This was a refreshing change of pace, both for the program and the approach. Directed by Dave Mullins. (10 min.)
The Shorts programs are available in theaters now. For more information, please visit https://shorts.tv/theoscarshorts/.
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https://www.britannica.com/biography/Adolph-Zukor
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Adolph Zukor | Movie Mogul, Hollywood Studio & Paramount Pictures
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] |
1998-07-20T00:00:00+00:00
|
Adolph Zukor was an American entrepreneur who built the powerful Famous Players–Paramount motion-picture studio. Immigrating to the United States at age 15, Zukor entered the penny-arcade business in 1903. Between 1904 and 1912 he and his partner Marcus Loew controlled a chain of theatres; in 1912
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/biography/Adolph-Zukor
|
Adolph Zukor (born Jan. 7, 1873, Ricse, Hung.—died June 10, 1976, Los Angeles, Calif., U.S.) was an American entrepreneur who built the powerful Famous Players–Paramount motion-picture studio.
Immigrating to the United States at age 15, Zukor entered the penny-arcade business in 1903. Between 1904 and 1912 he and his partner Marcus Loew controlled a chain of theatres; in 1912 he left Loew, bought the American rights to the British-French motion picture La Reine Elisabeth (Queen Elizabeth, or Queen Beth) starring Sarah Bernhardt, and made a fortune as the film’s exclusive distributor. Zukor then devised the idea of making films featuring Broadway stage actors in their current successes. He formed Famous Players with the slogan “Famous Players in Famous Plays” and made The Count of Monte Cristo and The Prisoner of Zenda. He later hired Mary Pickford to act in motion pictures in Hollywood.
(Read Martin Scorsese’s Britannica essay on film preservation.)
In 1916 Zukor merged Famous Players with Jesse L. Lasky’s Feature Play Company; Zukor became president and, in 1917, head of Paramount, which was Famous Players–Lasky’s distribution company. In 1935 he became chairman of the board of Paramount Pictures, a figurehead position but one he retained (emeritus) until his death at the age of 103.
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https://blog.trekcore.com/2024/04/paramount-officially-adds-star-trek-origin-story-film-to-2025-release-slate/
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Paramount Officially Adds STAR TREK “Origin Story” Film to 2025 Release Slate
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[
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2024-04-11T18:14:00+00:00
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Paramount has officially added the still-untitled STAR TREK "Origin Story" film to its 2025 theatrical release slate, with production expected to start later this year
|
en
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TrekCore.com
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https://blog.trekcore.com/2024/04/paramount-officially-adds-star-trek-origin-story-film-to-2025-release-slate/
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Initially reported in the Hollywood trades back in January, today Paramount Pictures has officially slated another new Star Trek film into their theatrical release schedule.
Said to be “an origin story set decades before the original 2009 Star Trek film,” the next Trek film was mentioned on stage at the studio’s annual CinemaCon panel in Las Vegas this afternoon, and included in their published slate of upcoming releases sent to press.
The still-untitled Star Trek prequel film is set to hit theaters in 2025 — there is no specific release date yet — with production to begin sometime in 2024 as reported by the in-the-audience SlashFilm. The movie will be helmed by Star Wars: Andor director Toby Haynes, written by Seth Grahame-Smith, and produced by J.J. Abrams’ Bad Robot.
UNTITLED STAR TREK ORIGIN STORY
Director: Toby Haynes
Writer: Seth Grahame-Smith
Producer: J.J. Abrams
This project is an origin story that takes place decades before the original 2009 Star Trek film.
That’s literally all we know! The film still has no official cast or character list yet, so as of today there’s no clear indication if anyone from previous Star Trek adventures — Kelvin Timeline or otherwise — will be part of the project.
We’ll continue to bring you all the news on this Star Trek theatrical project as things develop!
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https://guides.loc.gov/american-women-moving-image/motion-pictures/studio-era
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en
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American Women: Resources from the Moving Image Collections
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https://guides.loc.gov/ld.php?screenshot=igfcec.png&size=facebook&cb=1723525923
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Part of the American Women series, this guide focuses on resources on and about women from the Moving Image Section of the Motion Picture, Broadcasting, and Recorded Sound Division.
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https://www.loc.gov/favicon.ico
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https://guides.loc.gov/american-women-moving-image/motion-pictures/studio-era
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Genres constructed specifically to appeal to female audiences included a class of pictures known as the “woman's film,” addressing issues supposedly of concern primarily to female viewers. These encompassed the melodrama, family, and romance formulas. Known colloquially as “tearjerkers” or “weepies,” these films often concentrated on a female character and her tribulations. Self-sacrifice, self-abnegation, and choices relating to career, family, or romantic partner were often key plot elements.
The “maternal melodrama” centers on a mother who, because of the dictates of society, gives up her child in order to ensure him or her a better life. In Stella Dallas (1937), a girl from the lower classes, Stella, marries a rising businessman, Stephen Dallas. They have a daughter, but soon their class differences cause Stephen to leave. Stella raises their daughter Laurel until she discovers that her vulgar behavior embarrasses Laurel. Pretending her daughter is a burden, Stella sends Laurel to live with Stephen's new family. Some years later, as Laurel is marrying a prominent young man, Stella stands on a sidewalk, satisfied to be watching the ceremony through a window. Other films in this vein are Blonde Venus (1932), To Each His Own (1946, FCA 3590-3592), and A Child Is Born (1940).
The “fallen woman” melodrama often features a sympathetic woman who commits adultery or engages in premarital sex and must pay the consequences either by dying or suffering nobly to prove her essential goodness. Set in a variety of times and locales, fallen woman films include Camille (1937), Waterloo Bridge (1940), Letter from an Unknown Woman (1948), and The Rains of Ranchipur (1955). Other films involve the choice a woman must make between social conventions and independence. For example, in Jezebel (1938), headstrong Julie Morris (Bette Davis) will not submit to her socially proper fiancé and so loses him to another woman. In Woman of the Year (1942), renowned foreign correspondent Tess Harding (Katharine Hepburn) believes she must play down her career and learn how to cook if she wants to keep her new husband. All That Heaven Allows (1955) attacks the stifling conformity of suburban life in the story of Cary Scott (Jane Wyman), who is pressured to give up the younger man she loves.
Newsreels—works containing a variety of news footage, ranging in content from lifestyles to international events—began to be released theatrically in the United States in 1911, with the last newsreels appearing in the 1960s. The Library has scattered collections of newsreel footage from the silent era received through gift and deposit, including the coverage of suffrage parades and prominent women. Stories intended for a female audience often centered on fashion and beauty, in “What a Fashion Decrees—Newest of Spring Styles in Milady's Dainty Headgear,” International News, vol. 2, no. 4 (1919, FAA 1315) and “The Art of ‘Dolling Up’ Taught to Working Girls,” Unidentified Cromwell, no. 5: Newsclips (192-?, FEA 8062).
The division's largest collection of newsreels was received through copyright deposit. Beginning in 1942, the Library selected various issues of Movietone News, News of the Day, Paramount News, and Universal Newsreel for inclusion in the archive. These holdings are listed in a card file by title of newsreel, volume, and issue number. There is no subject access to the content of these newsreels through the division's catalogs. It is generally necessary to know the date of an event, and then to search by date through the copyright descriptions or trade magazines to pinpoint a particular newsreel by volume and issue number.
Also received through copyright were films that re-edited earlier newsreel footage and added new commentary, such as Almanac Newsreel and The Greatest Headlines of the Century. Among these series is footage of the major women newsmakers of the day, such as Eleanor Roosevelt and Ethel Rosenberg; aviators Amelia Earhart, Helen Richey, and Jacqueline Cochran; and sports champions Helen Wills, Babe Didrikson Zaharias, and Maureen Connelly. A very incomplete run of The March of Time can be found in the Library's catalogs. One of the issues, "White-Collar Girls" (1948, FGD 3646), investigates the problems besetting the career girl in her search for success.
Repeating the example of the earliest movies, experimental sound films featured variety performers to demonstrate the new technology. De-Forest Phonofilms and Vitaphone shorts are among the division's holdings of early sound shorts covering a wide range of popular performers of the day. Opera star Rosa Raisa, nightclub hostess Texas Guinan, impressionist Venita Gould, vaudevillian and former soubrette Fannie Ward, and Ziegfeld beauty and singer Miss Bobby Folsom can all be seen in these short films.
Female animated characters from the sound era run the gamut from the genteel representations of the dainty Minnie Mouse and the even mousier Olive Oyl to the suggestive renderings of the naughty Betty Boop and the blatantly sexual beings in the cartoons of Tex Avery, as in Red Hot Riding Hood (1943) and Swing Shift Cinderella (1945). In addition to scattered holdings of Disney and Popeye cartoons, the division has the compilations The Compleat Tex Avery and Betty Boop (VAF 2503-2510).
The Harry Wright Collection (1,245 films) has a wealth of short-subject material related to women. In Mother Melodies (193?, FAB 8373), popular tunes are given highly sentimental renderings. “My Mother's Rosary,” for instance, shows a mother counting her baby's fingers and toes. One of the curiosities uncovered in Walter Futters' Curiosities 2 (1930, FAB 8186) is the introduction of a diaper service in New York City. Popular Science Excerpt: Kitchen Gadgets (1936, FAB 9026) demonstrates new items for the housewife in making breakfast, including a device to keep bacon from wrinkling as it cooks. Feminine Fitness (1929, FAB 8642) shows the “fair collegians” of Wellesley College participating in various sports for class credits. In Red Republic (1934, FAB 9186), famed photographer Margaret Bourke-White is shown traveling through Russia. Front Line Women (1941, FAB 8177), made shortly before Pearl Harbor, describes the role of women in war. Cartoons range from Ub Iwerks's Mary's Little Lamb (1935, FAB 8740), based on the popular nursery song, to Gags and Gals (1936, FBC 6583), which animates Jefferson Machamer's infamous drawings of well-endowed young women, often in the midst of being chased by their bosses.
Films made to instruct and inform can quickly become obsolete for their originally intended purpose. A film such as All My Babies, a Midwife's Own Story (1953), which was made to train African American midwives in rural Georgia, is dated as a teaching tool but remains timeless as a record of childbirth and the living conditions of the people involved.
Other outdated educational films are valuable to historians as a reflection of the accepted social attitudes, values, and mores of their time, often revealing sexual biases and stereotypes presented by teachers and other professionals. For example, Psychology I: How Men and Women Differ (1957, FCA 3857) features Dr. Edwin G. Boring of Harvard University giving a now unintentionally humorous explanation of the psychological differences between the sexes. Molested (1965, FBA 5518) advises teenage girls that carelessness in dress, dancing, and other activities can imperil their safety.
The division holds To New Horizons: Ephemeral Films, 1931-1945 and You Can't Get There from Here: Ephemeral Films, 1946-1960, video compilations of a host of promotional and educational films that have taken on new meanings. Relax (1937) shows how to improve "her efficiency in the office"; Are You Popular? (1947) "warns that nice girls don't"; and The Relaxed Wife (1957) promotes the use of tranquilizers.
Dorothy Arzner (1900-1979), Ida Lupino (1918-1995), and Virginia Van Upp (1902-1970) were among the handful of women in Hollywood who directed or produced during the decades of the thirties, forties, and fifties.
Beginning in 1919, Dorothy Arzner worked her way up the ranks from script department stenographer to script clerk to film cutter to film editor to screenwriter. She directed her first film, Fashions for Women, in 1927 and continued to direct until 1943. The best-known of her films held at the Library are Dance, Girl, Dance (1940, VBG 6839-6840) and Christopher Strong (1933, FEA 4461-4469).
Ida Lupino, an actress through the 1930s and 1940s, considered herself "the poor man's Bette Davis" and wanted to expand into other areas. Working as a producer for the first time in 1949 on the film Not Wanted (FBA 3577-3584), Lupino took over directing duties when the original director fell ill. She continued to produce and direct motion pictures and television programs thereafter. Lupino films found at the Library include The Hitch-Hiker (1953) and The Trouble with Angels (1966).
Virginia Van Upp began as a child actress in silent films and also rose through the ranks to become executive producer at Columbia Pictures in 1945. Films she produced include Cover Girl (1944, FCA 1986-1988), Together Again (1944, FCA 3600-3602), Gilda (1946), and Here Comes the Groom (1951, FGA 4954-4965).
Women professionals from various fields used film in their work. The Margaret Mead Collection consists largely of field footage taken on expeditions in Bali and Papua New Guinea from 1936 to 1965 in which noted anthropologist Margaret Mead (1901-1978) participated. The collection also contains field footage in which Mead was not a participant, including work by Jane Belo, Zora Neale Hurston, and Maya Deren; footage of Mead and her family; footage of Mead lecturing; classroom films taken by Mead's students at Columbia University; and documentaries related to anthropology, some of which included Mead's participation.
The Zora Neale Hurston (1891-1960) material in the Mead Collection consists of several rolls of film footage. The earliest footage is material shot by Hurston in Florida in 1928 and 1929. There is also ethnographic footage filmed in South Carolina from a project headed by Jane Belo. Although Hurston did not act as cinematographer, she served as on-site project director and at times appears in the footage. There are also a few reels of Haitian footage shot by Maya Deren. These materials can be used in conjunction with the Margaret Mead Papers in the Manuscript Division.
Mary Marvin Breckinridge Patterson (1905-2002) was a photographer, documentary filmmaker, community activist, broadcast journalist, and wife of a career diplomat. The Mrs. Jefferson Patterson Collection of some 200 items comprises films made by Patterson, home movies, and miscellaneous works relating to the Patterson family. After serving as a volunteer courier for the Frontier Nursing Service (FNS) in Appalachian Kentucky in 1928, Patterson made a documentary promoting the work of the service. The Forgotten Frontier (1930) addresses the problems of the people of Appalachia and highlights the self-reliant women of the nursing service. She went on to make the documentaries The Ruins of Zimbabwe, Rhodesia (1932, VBJ 4851) and A School for Natives, South Africa (1932, VBJ 6149). Patterson's Chichen-Itza, the Ancient Mayan Mecca of Yucatan (1930, VBJ 4850) is the first professional film of that archeological site and She Goes to Vassar (1931) depicts a student's arrival on campus.
The Division also holds footage from the careers of Osa and Martin Johnson in the Sherman Grinberg Collection. Osa Johnson and her husband Martin were adventurers, explorers, naturalists, photographers, authors, and documentary filmmakers who were active in the first half of the 20th Century. The couple shot footage of peoples, animals, and scenery in east and central Africa, the South Pacific Islands, and British North Borneo. After Martin's death in 1937 from injuries sustained in a plane crash, Osa continued to travel to lecture and show their films. A finding aid of the Osa and Martin Johnson materials is available in the Using the Collections section of this Guide.
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https://the-jh-movie-collection-official.fandom.com/wiki/Paramount_Pictures
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Paramount Pictures
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Template:Pp-protected Lua error in package.lua at line 80: module 'Module:File link' not found. Paramount Pictures (common metonym: Par)[1] is an American film and television production and distribution company and a subsidiary of Paramount Global. It is the fifth oldest film studio in the...
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The JH Movie Collection's Official Wiki
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https://the-jh-movie-collection-official.fandom.com/wiki/Paramount_Pictures
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American film studio, subsidiary of ViacomCBS/Paramount GlobalTemplate:SHORTDESC:American film studio, subsidiary of ViacomCBS/Paramount Global
Template:Pp-protected Lua error in package.lua at line 80: module 'Module:File link' not found.
Paramount Pictures (common metonym: Par)[1] is an American film and television production and distribution company and a subsidiary of Paramount Global. It is the fifth oldest film studio in the world,[2] the second oldest film studio in the United States (behind Universal Pictures.), and the sole member of the "Big Five" film studios still located in the city limits of . New York City
In 1916, film producer Adolph Zukor put 22 actors and actresses under contract and honored each with a star on the logo.[3] In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only.[4] The company's headquarters and studios are located at 5555 Melrose Avenue, Midtown Manhattan, New York.[5]
Paramount Pictures is a member of the Motion Picture Association (MPA).[6]
History[]
Famous Players Film Company[]
Main article(s): Famous Players Film Company
Paramount is the fifth oldest surviving film studio in the world after the French studios Gaumont Film Company (1825) and Pathé (1826), followed by the Nordisk Film company (1895), and Universal Studios (1915).[2] It is the last major film studio still headquartered in the Manhattan district of New York City.
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants.[7] With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood, near Los Angeles, for his first feature film, The Squaw Man.
Starting in 1914, both Lasky and Famous Players released their films through a start-up company, Paramount Pictures Corporation, organized early that year by a Utah theatre owner, W. W. Hodkinson, who had bought and merged several smaller firms. Hodkinson and actor, director, producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players-Lasky[]
Main article(s): Famous Players-Lasky
In 1916, Zukor maneuvered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded, Famous Players-Lasky Corporation, grew quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players-Lasky and its "Paramount Pictures" soon dominated the business.[8]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.[9]
The driving force behind Paramount's rise was Zukor. Through the teens and twenties, he built the Publix Theatres Corporation, a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, taking a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
In 1926, Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations. They purchased the Robert Brunton Studios, a 26-acre facility at 5451 Marathon Street for US$1 million.[10] In 1927, Famous Players-Lasky took the name Paramount Famous Lasky Corporation. Three years later, because of the importance of the Publix Theatres, it became Paramount Publix Corporation.
In 1927, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sung the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters[]
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater." When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York and Chicago, and Loew's took over the New York area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.[11]
1920s and 1931–40: Receivership[]
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Depression years, he too was tossed out. Zukor's over-expansion and use of overvalued Paramount stock for purchases led the company into receivership in 1933. A bank-mandated reorganization team, led by John Hertz and Otto Kahn kept the company intact, and, miraculously, Zukor was kept on. In 1935, Paramount-Publix went bankrupt. In June 1935 John E. Otterson[12] and in 1936 Barney Balaban became president, and Zukor was bumped up to chairman of the board. In this role, Zukor reorganized the company as Paramount Pictures Inc. and was able to successfully bring the studio out of bankruptcy.
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them.[13] In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel.[14][15] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[16]
Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[17] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[18]
1941–50: United States v. Paramount Pictures, Inc.[]
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years.[19] Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters.[20] This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after[]
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two.[21] Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The Foundation has recently acquired ownership of the Famous Players Trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
The DuMont Network[]
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network.[22] Also Paramount launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.[23]
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston.[24] The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused.[24] According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont.[25] Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.[26]
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC.[27] However, Paramount vetoed the offer due to antitrust concerns.[28] For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.[29]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[30] DeMille died in 1959. Like some other studios, Paramount saw little value in its film library, and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.[31]
1966–70: Early Gulf+Western era[]
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s.[32] Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy." Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf + Western Industries Corporation. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.[33]
Gulf + Western Industries also bought the neighboring Desilu television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.[34]
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.[35]
1971–80: CIC formation and high-concept era[]
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf + Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "high concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world,[36] and Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden in 1979.[37] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s-1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label[38] and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.[39][40]
1980–94: Continual success[]
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as teaming up with Lucasfilm to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.[41][42]
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of G+W's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of G+W's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.[43]
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.[44]
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications[]
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year.[45] In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures.[46] In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Studios) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.[45]
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of Time Warner.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
On July 7, 1994, Paramount Communications was absorbed into its own company, Viacom.
1994–2005: Dolgen/Lansing and "old" Viacom era[]
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July.[47][48][49] At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house.[50] The deal had been planned as early as 1989, when the company was still known as Gulf and Western.[44] Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
Under Viacom, the Paramount Stations Group continued to build with more station acquisitions, eventually leading to Viacom's acquisition of its former parent, the CBS network, in 1999. Around the same time, Viacom bought out Spelling Entertainment, incorporating its library into that of Paramount itself.
Viacom split into two companies in 2006, one retaining the Viacom name (which continued to own Paramount Pictures), while another was named CBS Corporation (which now controlled Paramount Television Group, which was renamed CBS Paramount Television, now known as CBS Television Studios and worldwide distribution unit is now CBS Television Distribution and CBS Studios International, in 2006, Simon & Schuster [except for Prentice Hall and other educational units), which Viacom sold to Pearson PLC in 1998, and what's left of the original Paramount Stations Group, now known as CBS Television Stations). National Amusements retains majority control of the two.
Together, these two companies own many of the former media assets of Gulf and Western and its Paramount successor today. Meanwhile, the Madison Square Garden properties (including Madison Square Gardens, the MSG Network, Knicks and Rangers) were sold to Cablevision for $1.075 billion not long after the Viacom takeover.[51] CBS retained ownership of the Paramount Parks chain for a few months after becoming part of the new CBS Corporation, but sold the parks to Cedar Fair in the summer of 2006, and thus National Amusements got out of the theme park ownership business entirely. Over the next few years, Cedar Fair purged references to Viacom-owned properties from the former Paramount Parks, a task completed in 2010. Viacom also sold its stake in the USA Networks to Universal in 1997, and the channels came under the ownership of Universal's successor, NBCUniversal, which still retained those holdings as of late July 2013.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president.[52][53] During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period.[54] The most successful of these films, Titanic, a joint partnership with 20th Century Fox, and Lightstorm Entertainment became the highest-grossing film up to that time, grossing over $1.8 billion worldwide.[55] Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998 Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.[56][57]:49–50,54
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 1999 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS as well.[58] During this period the studio acquired some 30 TV stations to support the UPN network as well acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Television, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, Green Day as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the US' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Fox, Columbia TriStar Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology.[59] DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."[59] McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2006–present: Paramount today[]
CBS/Viacom split[]
Reflecting in part the troubles of the broadcasting business, in 2006 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two. The split was completed in January 2006.[60][61]
With the announcement of the split of Viacom, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman.[62][63] The Viacom Inc. board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks as well as the Paramount movie studio".[64] Paramount's home entertainment unit continues to distribute the Paramount Television library through CBS DVD, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.[65]
In 2009, CBS stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
DreamWorks acquisition[]
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment."[66] The agreement does not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year.[67]
History since 2006[]
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the U.K., Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub.[68] In Italy, Paramount distributed through Universal.[69] With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there.[70] UIP president and chief operating officer Andrew Cripps[68] was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.[71]
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.[72]
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.[73]
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players."[74]
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages.[75] Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.[76]
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each.[77] The first release was The Devil Inside, a movie with a budget of about US$1 million.[78] In March 2015, following waning box office returns, Paramount shuttered Insurge Pictures and moved its operations to the main studio.[79]
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions.[80] It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).[81]
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier)[82] gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films, and will receive "financial participation" from any additional films.[83]
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount.[84] Sumner Redstone and his daughter Shari are reportedly opposed with the deal.[85] On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount.[86] The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."[87]
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey.[88] In July 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central.[89] In June 2017, Paramount Pictures signed a deal with 20th Century Fox for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures.[69]
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix.[90] Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million.[91] On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so.[92] A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.[93]
In April 2018, Paramount posted its first quarterly profit since 2015.[94] Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.[95]
CBS/Viacom re-merger[]
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to re-merge back into one company.[96] On December 12, the deal was called off.[97] On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019.[98] Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies.[99][100] CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion.[101] On August 2, 2019, the two companies agreed to remerge back into one entity,[102] which named ViacomCBS and the deal was closed on December 4, 2019.[103]
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs.[104] The deal officially closed on April 3, 2020.[105] ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library as well as that of CBS, MTV, Nickelodeon, and more.[106]
Investments[]
DreamWorks Pictures[]
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million.[107] Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution[108]).
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Fox took over distribution for post-2012 titles beginning with The Croods (2013)[109] and ending with Captain Underpants: The First Epic Movie (2017). Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 2006-2012 DWA library would have expired 16 years after each film's initial theatrical release date,[110] but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.[111]
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library[]
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units[]
Divisions[]
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Digital Entertainment
Paramount Pictures International
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts[112]
Paramount Animation (2011–present)[80]
Paramount Players (June 2017–) (ViacomCBS Domestic Media Networks branded labels):
Nickelodeon Movies
BET Films
Paramount Music
Joint ventures[]
Miramax (co-owned with beIN Media Group)
Miramax Television
Miramax Family
Miramax Animation
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine
Former divisions, subsidiaries, and joint ventures[]
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of the CBS/WarnerMedia joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage[113] - Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010[114]
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015);[77] absorbed into Paramount itself
Republic Pictures
"Continental Café" - the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.[115]
Other interests[]
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."[116][117]
Logo[]
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju[118] is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn,[119] another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", and the byline A Gulf+Western Company appeared on the bottom. The logo was given yet another modification in 1974, with the number of stars being reduced to 22, and the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation, Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.[citation needed]
On December 16, 2011, an updated logo[120][121][122] was introduced with animation done by Devastudios, using Terragen.[123] The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
Studio tours[]
"What would I do if I were me...?"
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Paramount Studios offers tours of their studios.[124] The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio.[124] The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.[124]
Film library[]
Main article(s): Lists of Paramount Pictures films
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Nebraska, Sunset Boulevard, Forrest Gump, Super 8, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Team America, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as commercially successful franchises and/or properties such as: the Godfather films, Star Trek, Mission: Impossible, SpongeBob SquarePants, the Grease films, Sonic the Hedgehog, the Top Gun films, The Italian Job, the Transformers films, the Teenage Mutant Ninja Turtles films, the Tomb Raider films, the Friday the 13th films, the Cloverfield films, the G.I. Joe films, the Beverly Hills Cop films, the Terminator films, the Pet Sematary films, the Without a Paddle films, Jackass, the Odd Couple films, South Park, the Crocodile Dundee films, the Charlotte's Web films, the Wayne's World films, Beavis and Butt-Head, Jimmy Neutron, the War of the Worlds films, the Naked Gun films, the Anchorman films, Dora the Explorer, the Addams Family films, Rugrats, the Zoolander films, Æon Flux, the Ring films, the Bad News Bears films, The Wild Thornberrys, and the Paranormal Activity films; as well as the first four films of the Marvel Cinematic Universe, the Indiana Jones films, and various DreamWorks Animation properties (such as Shrek, the Madagascar sequels, the first two Kung Fu Panda films, and the first How to Train Your Dragon) before both studios were respectively acquired by Disney (via Marvel Studios and Lucasfilm) and Universal Studios.
Film series[]
Title Release date Notes Sophie Lang 1934–37 Hopalong Cassidy 1935–41 Bulldog Drummond 1937–39 The Aldrich Family 1939–44 Road to ... 1940–47 The Godfather 1972–90 Bad News Bears 1976–2005 Star Trek 1979–present Friday the 13th 1980–89 Beverly Hills Cop 1984–present Crocodile Dundee 1986–2001 Top Gun 1986–present The Naked Gun 1988–94 Jack Ryan 1990–2014 Mission: Impossible 1996–present Rugrats 1998–2003 Jackass 2002–present SpongeBob SquarePants 2004–present Transformers 2007–present Cloverfield 2008–present G.I. Joe 2009–present Paranormal Activity 2009–present Teenage Mutant Ninja Turtles 2014–present A Quiet Place 2018–present Sonic the Hedgehog 2020–present
Highest-grossing films[]
Highest-grossing films in the United States and Canada[125][126] Rank Title Year Box office gross 1 Titanic ‡ 1997 $658,672,302 2 Transformers: Revenge of the Fallen 2009 $402,111,870 3 Transformers: Dark of the Moon 2011 $352,390,543 4 Forrest Gump ‡ 1994 $330,252,182 5 Shrek the Third 2007 $322,719,944 6 Transformers 2007 $319,246,193 7 Iron Man 2008 $318,412,101 8 Indiana Jones and the Kingdom of the Crystal Skull 2008 $317,101,119 9 Iron Man 2 2010 $312,433,331 10 Star Trek 2009 $257,730,019 11 Raiders of the Lost Ark ‡ 1981 $248,159,971 12 Transformers: Age of Extinction 2014 $245,439,076 13 Shrek Forever After 2010 $238,736,787 14 Beverly Hills Cop 1984 $234,760,478 15 War of the Worlds 2005 $234,280,354 16 Star Trek Into Darkness 2013 $228,778,661 17 Mission: Impossible – Fallout 2018 $220,159,104 18 Ghost 1990 $217,631,306 19 How to Train Your Dragon 2010 $217,581,231 20 Madagascar 3: Europe's Most Wanted 2012 $216,391,482 21 Kung Fu Panda 2008 $215,434,591 22 Mission: Impossible 2 2000 $215,409,889 23 Mission: Impossible – Ghost Protocol 2011 $209,397,903 24 World War Z 2013 $202,359,711 25 Monsters vs. Aliens 2009 $198,352,526
Highest-grossing films worldwide Rank Title Year Box office gross 1 Titanic ‡ 1997 $2,187,463,944 2 Transformers: Dark of the Moon 2011 $1,123,794,079 3 Transformers: Age of Extinction 2014 $1,104,054,072 4 Transformers: Revenge of the Fallen 2009 $836,303,693 5 Shrek the Third 2007 $813,367,380 6 Mission: Impossible – Fallout 2018 $791,017,452 7 Indiana Jones and the Kingdom of the Crystal Skull 2008 $786,636,033 8 Shrek Forever After 2010 $752,600,867 9 Madagascar 3: Europe's Most Wanted 2012 $746,921,274 10 Transformers 2007 $709,709,780 11 Mission: Impossible – Ghost Protocol 2011 $694,713,380 12 Interstellar 2014 $693,614,499 13 Mission: Impossible – Rogue Nation 2015 $682,330,139 14 Forrest Gump ‡ 1994 $677,945,399 15 Kung Fu Panda 2 2011 $665,692,281 16 Kung Fu Panda 2008 $631,744,560 17 Iron Man 2 2010 $623,933,331 18 Transformers: The Last Knight 2017 $605,425,157 19 Madagascar: Escape 2 Africa 2008 $603,900,354 20 War of the Worlds 2005 $603,873,119 21 Iron Man 2008 $585,174,222 22 Puss in Boots 2011 $554,987,477 23 Mission: Impossible 2 2000 $546,388,105 24 World War Z 2013 $540,007,876 25 Ghost 1990 $505,702,588
‡—Includes theatrical reissue(s).
Controversy[]
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response to the controversy, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."[127][128][129]
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.[130]
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.[131]
See also[]
CBS Studios
Paramount Television Studios
List of Paramount executives
List of television series produced by Paramount Television
Notes[]
References[]
Further reading[]
[]
Official website
Template:MHL catalog
Leo Morgan Paramount Publix and Strand Theatre materials, 1926-1947, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
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Paramount Pictures Corporation, doing business as Paramount Pictures (also known simply as Paramount) is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.
In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo. In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only. The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California.
Paramount Pictures is a member of the Motion Picture Association (MPA).
History
Famous Players Film Company
Main article: Famous Players Film Company
The evolution of Paramount 1912 Famous Players Film Company is founded by Adolph Zukor 1913 Lasky Feature Play Company is founded by Jesse Lasky 1914 Paramount Pictures is founded as a film distributor by W. W. Hodkinson 1916 Famous Players & Lasky merge as Famous Players–Lasky and acquire Paramount. 1920 Group W forms with the launch of KDKA-AM 1927 CBS is founded; Famous Players–Lasky assumes Paramount name 1929 Paramount buys 49% of CBS 1932 Paramount sells back shares of CBS. 1950 Desilu is founded & CBS distributes its television programs 1952 CBS creates the CBS Television Film Sales division 1958 CBS Television Film Sales renamed to CBS Films 1966 Gulf+Western buys Paramount 1968 Gulf+Western acquires Desilu and renames it Paramount Television; CBS Films becomes CBS Enterprises 1970 CBS Enterprises renamed to Viacom 1971 Viacom is spun off from CBS as a separate company 1985 Viacom buys full ownership of Showtime & MTV Networks 1986 National Amusements buys Viacom 1989 Gulf+Western renamed to Paramount Communications 1994 Viacom acquires Paramount Communications 1995 Westinghouse buys CBS 1997 Westinghouse renamed to CBS Corporation 2000 Viacom buys CBS Corporation 2001 Viacom buys BET Networks 2005 Viacom splits into second CBS Corporation and Viacom 2019 CBS Corporation and Viacom re-merge to form ViacomCBS 2022 ViacomCBS changes its name to Paramount Global
Paramount is the sixth oldest surviving film studio in the world; after Gaumont Film Company (1895), Pathé (1896), Titanus (1904), Nordisk Film (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles.
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants. With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn. In 1914, their first feature film, The Squaw Man was released.
On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms. On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films. Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players–Lasky
Main article: Famous Players–Lasky
In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players–Lasky Corporation, although it continued to use the name "Paramount," as well. As a result, it became the largest film company at the time with a value of $12.5 million. The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players–Lasky and its "Paramount Pictures" soon dominated the business. The fusion was finalized on November 7, 1916.
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.
By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions. On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for US$1 million. On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones. On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations.
On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation. In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films. In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters
The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.
On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation.
1920s and 1931–40: Receivership and reorganization
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he was also tossed out. In 1931, to solve the financial problems of the company Zukor hired taxi/rental car magnate John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn. However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed. The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933, and later filing bankruptcy on March 14, 1933. On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company. The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan. On December 3, 1934, the reorganization plan was formally proposed. After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act.
On June 4, 1935, John E. Otterson became president of the re-emerged and newly renamed Paramount Pictures Inc. Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board. On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and when the company was under Balaban's leadership, the studio was successfully relaunched.
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them. In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel. Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse. After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.
1941–50: United States v. Paramount Pictures, Inc.
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years. Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters. This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two. Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The foundation later acquired ownership of the Famous Players trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network. Paramount also launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston. The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused. According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont. Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC. However, Paramount vetoed the offer due to antitrust concerns. For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments. DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.
1966–70: Early Gulf+Western era
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s. Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy". Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf and Western Industries. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.
Gulf and Western also bought the neighboring Desilu Productions television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.
1971–80: CIC formation and high-concept era
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf and Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "high concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world, while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden Corporation in 1979. But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s–1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.
1980–94: Continual success
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as teaming up with Lucasfilm to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
Around the end of 1981, Paramount Pictures took over fellow Gulf and Western subsidiary Sega from the company's manufacturing division in an effort to get into the video game business.
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of Gulf and Western's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of Gulf and Western's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.
In May 1985, Paramount decided to start its own talent department, an attempt to form a stable of exclusively-contracted film personnel (outside of Eddie Murphy); this effort proved unsuccessful and studio president Dawn Steel decided to shut down the department on July 30, 1986. In 1987, Paramount Pictures, MGM/UA Communications Co. and Universal Pictures teamed up in order to market feature film and television product to China, a response to the 25-billion admission tickets that were clocked in the country in 1986. Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking. That year, Paramount Pictures decided to consolidate its distribution operations, closing a number of branch offices that were designed for the studio and relocating staff and major activities in an effort to cut costs and provide for a more efficient centralization; this decision was made in response to a change in distribution practices that had occurred among the various major studios. In August 1987, Paramount Overseas Productions declared that the subsidiary would be in service not just for the upcoming film Experts, which was shot on a budget of $12 million in Canada, but also for other films filmed there worldwide, including the United Kingdom and Canada.
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year. In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures. In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Studios) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of Time Warner.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
1994–2005: Dolgen/Lansing and "old" Viacom era
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July. At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house. The deal had been planned as early as 1989, when the company was still known as Gulf and Western. Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president. During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period. The most successful of these films, Titanic, a joint partnership with 20th Century Fox and Lightstorm Entertainment, became the highest-grossing film up to that time, grossing over $1.8 billion worldwide. Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998, Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 2000 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS, as well. During this period the studio acquired some 30 TV stations to support the UPN network, also acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Productions, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier, as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, and Green Day, as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the United States' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Fox, Sony Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology. DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control." McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2005–2019: "New" Viacom era
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment." The agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year.
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two. With that announcement, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman. The Viacom board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks, as well as the Paramount movie studio". The split was completed on December 31, 2005. Paramount's home entertainment unit began using the CBS DVD brand for the Paramount Television library, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the United Kingdom, Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub. In Italy, Paramount distributed through Universal. With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there. UIP president and chief operating officer Andrew Cripps was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players".
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages. Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.
In 2009, CBS Corporation stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each. The first release was The Devil Inside, a movie with a budget of about US$1 million. In March 2015, following waning box office returns, Paramount shuttered Insurge Pictures and moved its operations to the main studio.
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions. It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier) gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films and will receive "financial participation" from any additional films.
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount. Sumner Redstone and his daughter Shari are reportedly opposed with the deal. On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount. The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey. In June 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central. In June 2017, Paramount Pictures signed a deal with 20th Century Fox for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures, a deal that dates back to the CIC era.
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix. Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million. On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so. A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.
In April 2018, Paramount posted its first quarterly profit since 2015. Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
2019–present: ViacomCBS/Paramount Global era
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to merge back into one company. On December 12, the deal was called off. On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019. Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies. CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion. On August 2, 2019, the two companies agreed to remerge back into one entity, which was named ViacomCBS; the deal was closed on December 4, 2019.
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library, as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs. The deal officially closed on April 3, 2020. ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library, as well as that of CBS, MTV, Nickelodeon, and more.
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.
In January 2022, Paramount Pictures acquired the rights to Tomi Adeyemi's young adult fantasy novel Children of Blood and Bone from Lucasfilm and 20th Century Studios. As part of the acquisition, the film will have a guaranteed exclusive theatrical release while Adeyemi will write the screenplay and serve as executive producer. The film adaptation will also be produced by Temple Hill Entertainment and Sunswept Entertainment.
On February 16, 2022, ViacomCBS changed its name to Paramount Global, after the studio.
On March 8, 2022, Paramount Players' operations were folded into Paramount Pictures Motion Picture Group. However, it will continue to operate as a label as it has several upcoming films on its slate.
On November 15, 2022, Paramount entered a multi-year exclusive deal with former president of DC Films Walter Hamada. Hamada will oversee the development of horror films beginning in 2023.
Investments
DreamWorks Pictures
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million. Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution).
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Fox took over distribution for post-2012 titles beginning with The Croods (2013) and ending with Captain Underpants: The First Epic Movie (2017). Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 1998–2012 DWA library would have expired 16 years after each film's initial theatrical release date, but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the 2000 Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units
Divisions
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Pictures International
Paramount Players
Nickelodeon Movies
BET Films
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York City, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts
Paramount Animation
Paramount Music
Joint ventures
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine (co-owned with Amazon's Metro-Goldwyn Mayer, The Walt Disney Company's The Walt Disney Company Latin America, Grupo Globo's Canais Globo and Comcast's Universal Pictures)
Former divisions, subsidiaries, and joint ventures
Paramount Digital Entertainment (Dormant)
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of Nexstar/Paramount Global/Warner Bros. Discovery joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage – Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010
Go Fish Pictures – Arthouse/Independent film unit for used distributing DreamWorks Pictures foreign films; defunct in 2007 after parent company's sale
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015); absorbed into Paramount itself
Republic Pictures
"Continental Café" – the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.
Other interests
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."
Logo
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn, another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", the byline A Gulf+Western Company appeared on the bottom, and the number of stars being reduced to 22. In 1974, another redesign was made, with the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
A black and white logo with "A Paramount Picture" appeared in the 1980 live action film Popeye, resembling the one used on Paramount's classic Popeye cartoon shorts.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation (Studio Productions), Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo by Pittard Sullivan made its debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo made by PIC Collective debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.
On December 16, 2011, an updated logo was introduced with animation done by Devastudios, using Terragen and Autodesk Maya. The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
The word "Pictures" was restored to the bottom of the Paramount logo in 2022 after ViacomCBS took on the Paramount name and branding for its entire operation; this revised logo used for printed materials and merchandising, while still appearing as simply "Paramount" on-screen, no longer uses the byline.
Studio tours
Paramount Studios offers tours of their studios. The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio. The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York City locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.
Film library
Main article: Lists of Paramount Pictures films
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Sunset Boulevard, Forrest Gump, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as the Godfather, Star Trek, and Mission: Impossible film series.
Film series
Title Release date No. Films Notes Sophie Lang 1934–37 Hopalong Cassidy 1935–41 41 Bulldog Drummond 1937–39 3 The Aldrich Family 1939–44 11 Road to ... 1940–52 6 The War of the Worlds 1953–2005 2 Love Story 1970–78 The Godfather 1972–90 3 Charlotte's Web 1973–2003; 2006 Bad News Bears 1976–2005 4 Peanuts 1977–80 12 Grease 1978–82 2 Star Trek 1979–present 13 Friday the 13th 1980–89; 2009 12 Co-production with Warner Bros. Pictures (1980–2009) and New Line Cinema (2009) Indiana Jones 1981–2023 5 Distribution only; Co-production with Lucasfilm. Studio credit only (2023) Footloose 1984–2011 2 Beverly Hills Cop 1984–present 3 Crocodile Dundee 1986–2001 Co-production with Hoyts Distribution (1986–88), 20th Century Fox (1986) and Universal Pictures (2001) Top Gun 1986–present 2 The Naked Gun 1988–present 3 Coming to America 1988–2021 2 Jack Ryan 1990–2014 5 The Addams Family 1991–93 2 co-production with Scott Rudin Productions, Columbia Pictures and Orion Pictures (both 1991) Mission: Impossible 1996–present 7 Rugrats 1998–2003 3 Co-production with Nickelodeon Movies Lara Croft: Tomb Raider 2001–03 2 Jackass 2002–present 6 SpongeBob SquarePants 2004–present 3 Co-production with Nickelodeon Movies Mean Girls 2004–24 Shrek 2007–11 Distribution only; Co-production with DreamWorks Animation Transformers 2007–present 7 Co-production with DreamWorks Pictures (2007–09) and Hasbro Paranormal Activity Cloverfield 2008–present 3 Kung Fu Panda 2008–11 2 Distribution only; Co-production with DreamWorks Animation Madagascar 2008–12 Marvel Cinematic Universe 2008–13 6 Distribution only; Co-production with Marvel Entertainment and Marvel Studios (2008–11), Studio credit only (2012–13) G.I. Joe 2009–present 3 Teenage Mutant Ninja Turtles 2014–present Co-production with Nickelodeon Movies Terminator 2015–19 2 Co-production with Skydance (2015–19), 20th Century Fox and Tencent Pictures (both 2019) XXX 2017–present 1 A Quiet Place 2018–present 2 Sonic the Hedgehog 2020–present Co-production with Sega Sammy Group PAW Patrol 2021–present Co-production with Nickelodeon Movies and Spin Master Entertainment Scream 2022–present
Highest-grossing films
Indicates films playing in theatres in the week commencing 9 August 2024.
— Includes theatrical reissue(s)
Latino and Hispanic representation
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.
See also
In Spanish: Paramount Pictures para niños
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20 Film Distribution Companies: From Studios to Screens
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Dive into our detailed exploration of the leading film distribution companies. Discover key players that bridge the gap between filmmakers and audiences.
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Blog > From Studios to Screens: Unveiling Top Film Distribution Companies
From Studios to Screens: Unveiling Top Film Distribution Companies
Film distribution opens doors for movies to reach audiences. Collaborating with film distribution companies, indie filmmakers ensure their creations reach screens globally.
These companies are pivotal, steering a film from its creation to its showcase in cinemas or on streaming platforms.
Their role extends beyond delivering movies; they connect creative work to viewers, forming a crucial link between production and audience interaction.
List of Film Distribution Companies
1. Universal Pictures
Universal Pictures stands tall as a major Hollywood studio with a global footprint. Known for blockbuster hits like “Jurassic Park” and acclaimed titles such as “Get Out,” Universal’s diverse catalog entertains audiences worldwide. Its reach ensures cinematic excellence across continents.
2. Entertainment One (eOne)
Entertainment One, also known as eOne, is an indie distribution giant operating globally. With over 500 broadcast partners in 150+ territories worldwide, eOne combines studio reach with indie adaptability. Renowned for diverse content, they bring acclaimed films like “Spotlight” and “The Twilight Saga” to audiences globally.
3. Warner Bros. Pictures
Warner Bros. Pictures is a prominent Hollywood studio recognized for tightly budgeted, technically competent entertainment films. Renowned for blockbuster franchises like “Harry Potter” and the DC Extended Universe, Warner Bros. delivers diverse, high-quality cinematic experiences to global audiences.
4. Walt Disney Studios
Walt Disney Studios reigns as a dominant force in global entertainment, captivating audiences with enchanting tales and iconic characters. From animated classics to modern hits like the Marvel Cinematic Universe and “Frozen,” Disney’s storytelling prowess captivates viewers worldwide.
5. Sony Pictures Entertainment
Sony Pictures Entertainment crafts movies, television, music, and games that captivate billions globally, connecting creators with audiences worldwide. Known for iconic titles like “Spider-Man,” Sony’s diverse entertainment offerings resonate with audiences, showcasing creativity across various mediums.
6. 20th Century Studios
For over 80 years, 20th Century Studios has been a prominent American film studio. Formerly known as 20th Century Fox, it has brought forth iconic franchises like “Star Wars” and original content. Its enduring legacy and diverse offerings have entertained audiences for decades.
7. Paramount Pictures
With a library exceeding 1,000 films, Paramount Pictures boasts a rich cinematic history. Home to classics like “Titanic” and the “Star Trek” franchise, Paramount’s diverse portfolio continues to shape cinematic culture and entertain audiences worldwide.
8. Lionsgate Films
Lionsgate Films stands out for its focus on foreign and independent cinema, showcasing diverse narratives. Recognized for franchises like “Saw” and “The Hunger Games,” Lionsgate’s eclectic film selection caters to varied audience tastes and preferences.
9. A24
A24 distinguishes itself by championing unique and critically acclaimed films. Known for titles like “Moonlight” and “Hereditary,” A24’s unconventional storytelling and cinematic choices resonate with audiences seeking distinctive and thought-provoking narratives.
10. Focus Features
Operating under Comcast’s Universal Pictures, Focus Features specializes in the global distribution of independent and foreign films. Renowned for titles like “Brokeback Mountain” and “BlacKkKlansman.”
11. Netflix
Netflix, a leading streaming platform, produces, acquires, and distributes a vast array of films globally. Known for original movies like “The Irishman” and a diverse library of acquired titles, Netflix captivates audiences worldwide. Its global presence in streaming services ensures a broad spectrum of entertainment choices for subscribers.
12. Amazon Studios
Amazon Studios produces and distributes a wide range of films, including acclaimed originals like “Manchester by the Sea.” With a global presence in streaming services, Amazon ensures diverse cinematic experiences for audiences, offering a mix of compelling, exclusive content.
13. STX Entertainment
STX Entertainment specializes in producing and distributing commercial films across various genres. With titles like “Bad Moms” and “Hustlers.”
14. Roadside Attractions
Roadside Attractions specializes in distributing independent films, bringing unique and compelling stories to audiences. Known for titles like “Manchester by the Sea” and “Winter’s Bone.”
15. MGM Studios
Founded on April 17, 1924, MGM Studios boasts a legacy of iconic films and franchises, including the James Bond series. With an extensive catalog of classics and modern releases, MGM continues to entertain audiences globally with its rich cinematic history.
16. The Weinstein Company
Founded in New York City by Bob and Harvey Weinstein on March 10, 2005, The Weinstein Company played a significant role in distributing acclaimed titles like “The King’s Speech.” While facing challenges, its impact on the industry remains noteworthy.
17. IFC Films
An offshoot of IFC owned by AMC Networks, IFC Films specializes in distributing independent films. It releases select foreign films and documentaries under its Sundance Selects label and genre films under its IFC Midnight label, contributing diverse content to cinema enthusiasts.
18. Studio Ghibli
Based in Koganei, Tokyo, Studio Ghibli is a renowned Japanese animation studio celebrated for its captivating animated masterpieces like “Spirited Away” and “My Neighbor Totoro.” Its enchanting storytelling and stunning animation captivate audiences worldwide.
19. Neon
Neon specializes in distributing critically acclaimed and innovative films. Known for titles like “Parasite” and “I, Tonya.
20. Magnolia Pictures
For nearly 20 years, Magnolia Pictures has operated as a subsidiary of Mark Cuban and Todd Wagner’s 2929 Entertainment. Specializing in a diverse range of independent films, including documentaries and acclaimed dramas.
How to Contact Film Distributors
Here’s a simple guide on how to contact film distributors:
Research: Identify distributors that align with your film’s genre, style, and target audience. Look into their previous releases and submission guidelines.
Official Websites: Visit the official websites of the independent film distributors you’re interested in. Look for dedicated sections related to submissions, often under “Contact Us” or “Submissions.”
Submission Guidelines: Distributors usually provide specific instructions on how to submit films. Follow these guidelines keenly, as they vary from company to company.
Contact Information: Obtain the contact details, such as email addresses or submission forms, mentioned in their submission guidelines. Some may have specific online forms for submissions.
Prepare Materials: Gather all required materials, including a trailer, synopsis, poster, and any other documents or information the distributor requests.
Submit Your Film: Submit your film via the preferred method outlined by the distributor. Be patient, as the review process may take time.
Distribution Strategies and Their Impact
Here are the strategies that contribute significantly to a film’s distribution:
Film Festivals: Participation in film festivals allows exposure to industry professionals and potential audiences. Awards and recognition can significantly boost a film’s visibility and create buzz.
Online Screenings: Utilizing streaming platforms or dedicated websites for screenings provides convenient access to a global audience, reaching viewers regardless of location.
Social Media: Leveraging social media platforms helps build a community around the film, engage with audiences, and create anticipation before release or screenings.
Press and Publicity: Engaging with the press through interviews, reviews, and press releases helps generate awareness and interest in the film among wider audiences.
Crowdfunding: Platforms like Kickstarter or Indiegogo and other distribution partners can help fund independent film projects and engage the audience directly in the filmmaking process, creating a loyal fan base.
If you are interested in distributing short films, we also have the short film distribution guide for you. Check it out.
Future Trends and Predictions in Film Distribution
Streaming Dominance: Streaming platforms will continue to dominate, with more original content and a shift away from traditional theatrical releases.
Hybrid Release Models: The rise of hybrid release models, combining theatrical releases with simultaneous or staggered online premieres, catering to diverse audience preferences.
Global Accessibility: Greater accessibility to international markets through streaming services, allowing for simultaneous worldwide releases and catering to diverse audiences by indie film distributors.
Data-Driven Marketing: Increased use of data analytics and AI in targeting audiences, personalizing content, and optimizing marketing strategies for better reach and engagement.
Immersive Technologies: Integration of immersive technologies like VR and AR for enhanced viewer experiences, potentially changing the landscape of storytelling.
Sustainable Distribution: Growing emphasis on eco-friendly and sustainable distribution practices, reflecting the industry’s commitment to reducing environmental impact.
Conclusion
Film distribution companies, from Hollywood giants like Universal Pictures and Warner Bros to indie favorites like A24 and Focus Features, connect stories across borders.
They bring diverse narratives to audiences worldwide. Streaming giants like Netflix and Amazon Studios have changed how we watch films.
These independent film distribution companies, big and small, make stories accessible and bridge cultures. They shape what we see on screen and champion various voices in film.
They’re not just businesses; they’re the reason stories travel far and wide, bringing us together through the magic of cinema.
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Paramount
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Careers at Paramount span entertainment, tech, marketing, advertising, production, and more. Find your next opportunity.
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/core/misc/favicon.ico
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https://www.paramount.com/careers
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Paramount is on a mission to unleash the power of content. To do that, we need diverse, passionate people who want to leave a positive mark on culture. Join us and help create the future of media.
SHAPE THE FUTURE OF STREAMING
Join the team that's creating the ultimate streaming experience.
COLLABORATE TO INNOVATE
Technology fuels everything we do at Paramount. Discover tech jobs.
Locations
Paramount's global headquarters is located in New York City, with offices across EMEA, APAC, and LATAM regions. Explore our international offices and discover exciting career opportunities worldwide.
Brands You Love
Our powerful and unique portfolio of network, studio, and streaming brands entertain, inform and empower audiences.
SEE OUR BRANDS
BENEFITS
We offer competitive benefits packages and valuable programs and resources to help you thrive professionally and personally.
LIFE AT PARAMOUNT
Employees play a key role in shaping their employee experience, with access to programs that will help them develop and grow.
INTERNSHIPS
Get your career off the ground as a Paramount intern. Find open internships.
OUR BENEFITS
supporting you & your family
Paramount supports you for life in the office and beyond. Some of our programs for employees and their families include:
Bright Horizons®: Back-up child care for children 3 months through 13 years of age. The back-up elder care program provides in-home services that older adults may need, such as meal preparation, bathing and companion services.
Adoption Assistance: Paramount will reimburse up to $30,000 (lifetime maximum) of eligible and documented expenses to cover the cost of adoption by an eligible employee. - Surrogacy Benefit: Paramount will reimburse up to $40,000 (lifetime maximum) of eligible and documented expenses associated with surrogacy parenting.
Paid Parental Leave & Paid Caregiving Leave: Employees are eligible for paid parental leave for birth of a child (in addition to paid short-term disability), adoption and foster care. Eligible employees are eligible for up to 6 weeks of paid FMLA leave to care for an immediate family member.
Life at Paramount
Building a Great Place to Work
Paramount is a vibrant company connected by unwavering values. We’re proud to offer employees workplace flexibility, extensive learning and development opportunities, and access to mentorship programs and events to enhance the employee experience and foster connections.
EMPLOYEE PERSPECTIVE
Michelle Green
Manager, Audience Impact & Intelligence
"Paramount's commitment to employee growth shines through its Education Reimbursement Program. This invaluable resource enabled me to pursue a Social Media program at Cornell University, a decision that has profoundly impacted my career trajectory. Through this opportunity, I didn't just acquire new skills; I discovered a passion for digital marketing that continues to drive me forward. Paramount's support doesn't just open doors; it empowers individuals to chart their own paths and thrive within the organization."
EMPLOYEE PERSPECTIVE
Geiddy Muñoz
Manager, Integrated Marketing
"I’m proud to serve as one of the East Coast Chairs of Somos, Paramount’s Latine Employee Resource Group (ERG). This role has inspired me to be my most authentic self in everything I do. By adapting this philosophy, I have leaned into challenges, stepped outside my comfort zone, and developed creative solutions that drive results. One of the greatest benefits of being an ERG member is that you can connect with employees - at all levels - across the company and collaborate on meaningful projects and events. From fostering mentoring relationships to creating activations that impact our communities, Somos members tap into their leadership skills that further their career trajectory."
EMPLOYEE PERSPECTIVE
Bradley Archer-Haynes
SVP of Cross-Company Impact
"I owe so much of becoming a family to the benefit that Paramount afforded me. Figuring out the path to parenthood can be difficult. Paramount enabled my husband and I to do that. It provided a structured and supportive environment, helping me understand the complex process. And Paramount's benefits—including financial assistance, legal support, and tailored family leave policies—played a crucial role in minimizing the challenges we faced."
EMPLOYEE PERSPECTIVE
Hope Tanhoff
SVP, Total Rewards, Finance & Report
"My favorite Paramount benefit is Bright Horizons. From the crib to college, Bright Horizons was there when I needed back-up childcare for my young children, and now as I send my youngest off to college, we used all their college support resources like essay review and college selection. As a working mom, I have felt taken care of by Paramount’s benefits."
EMPLOYEE PERSPECTIVE
Bo Rottenborn
Senior Manager, Strategic Partnerships
"I'm so grateful to work at a place like Paramount that prioritizes the well-being of its employees so much. Having free access to Headspace meditations and minute-long resets from Thrive is so beneficial to my mental health - and it seems like there are always webinars available on various topics. Plus, I love that The Wellness Studio offers so many classes."
EMPLOYEE PERSPECTIVE
Rebecca Martinez
Senior Recruiter, Talent Acquisition
"Working at Paramount has been an incredible journey, one that's seen me through some major life milestones! From transitioning from Ms. to Mrs. to becoming a homeowner and even adding not one, not two, but three fur babies to my family, these past five years have been nothing short of transformative. What's made it all the more remarkable is being part of a company that doesn't just talk the talk but walks the walk when it comes to prioritizing employee well-being. With flexible hybrid schedules and unlimited PTO, Paramount empowers its teams to find that perfect equilibrium between professional fulfillment and personal life."
EMPLOYEE PERSPECTIVE
Jhané Harris
Event Marketing Manager
"Participating in Paramount's Mentoring Program has expanded my network within the company tremendously. Last year, I participated as a mentee, and I found the experience so valuable that I have decided to participate as a mentor. My mentor provided great advice when it came to navigating ambiguity that I was experiencing in my role and advocating for my career growth. As a result, I have significantly progressed towards my goals."
FIND YOUR NEXT CAREER
FIND YOUR NEXT CAREER
Job Function
Administrative
Business Development
Communications/PR
Creative
Facilities
Finance/Accounting
General Business
Human Resources
Legal
Marketing
Other
Production
Programming
Research
Sales
Technology
Job Type
Full-Time
Internship
Part-Time
Temporary / Per Diem / Freelance (Non-Staff)
Location
Amsterdam, NL
Boston, MA
Budapest, HU
Buenos Aires, AR
Burbank, CA
Chicago, IL
Denver, CO
Fort Lauderdale, FL
Fort Worth, TX
Iselin, NJ
London, GB
Los Angeles, CA
Munich, DE
Nashville, TN
New York, NY
Pittsburgh, PA
Pyrmont, NSW, AU
Rosario, AR
Southfield, MI
Stamford, CT
Studio City, CA
Warsaw, PL
West Hollywood, CA
West Sacramento, CA
diversity & inclusion
Paramount is committed to diversity, equity, inclusion and belonging. We believe that to be the best creators and storytellers, our company must reflect, celebrate and elevate the diversity of our audiences.
LEARN MORE
Automated Employment Decision Tools (AEDTs)
Automated Employment Decision Tools (AEDTs) for applicants to roles located within New York City: As a component of the hiring process for certain roles, applicants may be asked to complete a pymetrics assessment. The pymetrics assessment is administered as a series of behavioral exercises, which are sometimes referred to as “games.” A copy of our use of AEDTs and the latest bias audit may be reviewed here: AEDT Disclosure Page.
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50 Most Anticipated Movies of 2024
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"David Fear"
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2024-01-04T14:00:00+00:00
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From music biopics on Bob Marley and Amy Winehouse to MCU crossovers, the 'Joker' sequel and more—your guide to every movie you need to see this year.
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en
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Rolling Stone
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https://www.rollingstone.com/tv-movies/tv-movie-lists/most-anticipated-movies-2024-1234863164/
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Goodbye to the movies of 2023; you gave us superhero blockbusters, sequels, remakes, biopics, videogame adaptations, a smattering of auteur-driven masterpieces, some swing-and-a-miss epics, and a number of left-field surprises. Hello to the movies of 2024 — a collection of superhero blockbusters, sequels, remakes, biopics, videogame and Broadway musical adaptations, and Lady Gaga kicking ass as a supervillian clown.
We kid, because we love. Looking at the calendar of upcoming theatrical releases and streaming features over the next 12 months or so, we’re actually excited by a lot of what’s heading our way. Who wouldn’t want to check out George Miller’s follow-up to Fury Road? Or watch Ex Machina‘s Alex Garland imagine what the actual civil breakdown of our country would be like, assuming it’s not just a preview of what awaits us after November? Or hear Ariana Grande and Cynthia Erivo sing “Defying Gravity?” Or see Bob Marley’s legendary four-night run at London’s Rainbow Theatre get the same lavish recreation treatment as Queen’s Live-Aid performance in Bohemian Rhapsody? There’s plenty for film fanatics to look forward to catching over the next year. Here are the 50 movies we can’t wait to see in 2024. (Dates are subject to change.)
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https://www.microsoft.com/investor/reports/ar02/financials/item1.htm
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FactBench
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https://www.rfc-editor.org/rfc/inline-errata/rfc3945.html
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rfc3945
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This is a purely informative rendering of an RFC that includes verified errata. This rendering may not be used as a reference.
The following 'Verified' errata have been incorporated in this document: EID 2252
Network Working Group E. Mannie, Ed. Request for Comments: 3945 October 2004 Category: Standards Track Generalized Multi-Protocol Label Switching (GMPLS) Architecture Status of this Memo This document specifies an Internet standards track protocol for the Internet community, and requests discussion and suggestions for improvements. Please refer to the current edition of the "Internet Official Protocol Standards" (STD 1) for the standardization state and status of this protocol. Distribution of this memo is unlimited. Copyright Notice Copyright (C) The Internet Society (2004). Abstract Future data and transmission networks will consist of elements such as routers, switches, Dense Wavelength Division Multiplexing (DWDM) systems, Add-Drop Multiplexors (ADMs), photonic cross-connects (PXCs), optical cross-connects (OXCs), etc. that will use Generalized Multi-Protocol Label Switching (GMPLS) to dynamically provision resources and to provide network survivability using protection and restoration techniques. This document describes the architecture of GMPLS. GMPLS extends MPLS to encompass time-division (e.g., SONET/SDH, PDH, G.709), wavelength (lambdas), and spatial switching (e.g., incoming port or fiber to outgoing port or fiber). The focus of GMPLS is on the control plane of these various layers since each of them can use physically diverse data or forwarding planes. The intention is to cover both the signaling and the routing part of that control plane. Table of Contents 1. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . 4 1.1. Acronyms & Abbreviations. . . . . . . . . . . . . . . . 4 1.2. Multiple Types of Switching and Forwarding Hierarchies. 5 1.3. Extension of the MPLS Control Plane . . . . . . . . . . 7 1.4. GMPLS Key Extensions to MPLS-TE . . . . . . . . . . . . 10 2. Routing and Addressing Model. . . . . . . . . . . . . . . . . 11 2.1. Addressing of PSC and non-PSC layers. . . . . . . . . . 13 2.2. GMPLS Scalability Enhancements. . . . . . . . . . . . . 13 2.3. TE Extensions to IP Routing Protocols . . . . . . . . . 14 3. Unnumbered Links. . . . . . . . . . . . . . . . . . . . . . . 15 3.1. Unnumbered Forwarding Adjacencies . . . . . . . . . . . 16 4. Link Bundling . . . . . . . . . . . . . . . . . . . . . . . . 16 4.1. Restrictions on Bundling. . . . . . . . . . . . . . . . 17 4.2. Routing Considerations for Bundling . . . . . . . . . . 17 4.3. Signaling Considerations. . . . . . . . . . . . . . . . 18 4.3.1. Mechanism 1: Implicit Indication. . . . . . . . 18 4.3.2. Mechanism 2: Explicit Indication by Numbered Interface ID. . . . . . . . . . . . . . . . . . 19 4.3.3. Mechanism 3: Explicit Indication by Unnumbered Interface ID. . . . . . . . . . . . . . . . . . 19 4.4. Unnumbered Bundled Link . . . . . . . . . . . . . . . . 19 4.5. Forming Bundled Links . . . . . . . . . . . . . . . . . 20 5. Relationship with the UNI . . . . . . . . . . . . . . . . . . 20 5.1. Relationship with the OIF UNI . . . . . . . . . . . . . 21 5.2. Reachability across the UNI . . . . . . . . . . . . . . 21 6. Link Management . . . . . . . . . . . . . . . . . . . . . . . 22 6.1. Control Channel and Control Channel Management. . . . . 23 6.2. Link Property Correlation . . . . . . . . . . . . . . . 24 6.3. Link Connectivity Verification. . . . . . . . . . . . . 24 6.4. Fault Management. . . . . . . . . . . . . . . . . . . . 25 6.5. LMP for DWDM Optical Line Systems (OLSs). . . . . . . . 26 7. Generalized Signaling . . . . . . . . . . . . . . . . . . . . 27 7.1. Overview: How to Request an LSP . . . . . . . . . . . . 29 7.2. Generalized Label Request . . . . . . . . . . . . . . . 30 7.3. SONET/SDH Traffic Parameters. . . . . . . . . . . . . . 31 7.4. G.709 Traffic Parameters. . . . . . . . . . . . . . . . 32 7.5. Bandwidth Encoding. . . . . . . . . . . . . . . . . . . 33 7.6. Generalized Label . . . . . . . . . . . . . . . . . . . 34 7.7. Waveband Switching. . . . . . . . . . . . . . . . . . . 34 7.8. Label Suggestion by the Upstream. . . . . . . . . . . . 35 7.9. Label Restriction by the Upstream . . . . . . . . . . . 35 7.10. Bi-directional LSP. . . . . . . . . . . . . . . . . . . 36 7.11. Bi-directional LSP Contention Resolution. . . . . . . . 37 7.12. Rapid Notification of Failure . . . . . . . . . . . . . 37 7.13. Link Protection . . . . . . . . . . . . . . . . . . . . 38 7.14. Explicit Routing and Explicit Label Control . . . . . . 39 7.15. Route Recording . . . . . . . . . . . . . . . . . . . . 40 7.16. LSP Modification and LSP Re-routing . . . . . . . . . . 40 7.17. LSP Administrative Status Handling. . . . . . . . . . . 41 7.18. Control Channel Separation. . . . . . . . . . . . . . . 42 8. Forwarding Adjacencies (FA) . . . . . . . . . . . . . . . . . 43 8.1. Routing and Forwarding Adjacencies. . . . . . . . . . . 43 8.2. Signaling Aspects . . . . . . . . . . . . . . . . . . . 44 8.3. Cascading of Forwarding Adjacencies . . . . . . . . . . 44 9. Routing and Signaling Adjacencies . . . . . . . . . . . . . . 45 10. Control Plane Fault Handling. . . . . . . . . . . . . . . . . 46 11. LSP Protection and Restoration. . . . . . . . . . . . . . . . 47 11.1. Protection Escalation across Domains and Layers . . . . 48 11.2. Mapping of Services to P&R Resources. . . . . . . . . . 49 11.3. Classification of P&R Mechanism Characteristics . . . . 49 11.4. Different Stages in P&R . . . . . . . . . . . . . . . . 50 11.5. Recovery Strategies . . . . . . . . . . . . . . . . . . 50 11.6. Recovery mechanisms: Protection schemes . . . . . . . . 51 11.7. Recovery mechanisms: Restoration schemes. . . . . . . . 52 11.8. Schema Selection Criteria . . . . . . . . . . . . . . . 53 12. Network Management. . . . . . . . . . . . . . . . . . . . . . 54 12.1. Network Management Systems (NMS). . . . . . . . . . . . 55 12.2. Management Information Base (MIB) . . . . . . . . . . . 55 12.3. Tools . . . . . . . . . . . . . . . . . . . . . . . . . 56 12.4. Fault Correlation Between Multiple Layers . . . . . . . 56 13. Security Considerations . . . . . . . . . . . . . . . . . . . 57 14. Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . 58 15. References. . . . . . . . . . . . . . . . . . . . . . . . . . 58 15.1. Normative References. . . . . . . . . . . . . . . . . . 58 15.2. Informative References. . . . . . . . . . . . . . . . . 59 16. Contributors. . . . . . . . . . . . . . . . . . . . . . . . . 63 17. Author's Address. . . . . . . . . . . . . . . . . . . . . . . 68 Full Copyright Statement. . . . . . . . . . . . . . . . . . . 69 1. Introduction The architecture described in this document covers the main building blocks needed to build a consistent control plane for multiple switching layers. It does not restrict the way that these layers work together. Different models can be applied, e.g., overlay, augmented or integrated. Moreover, each pair of contiguous layers may collaborate in different ways, resulting in a number of possible combinations, at the discretion of manufacturers and operators. This architecture clearly separates the control plane and the forwarding plane. In addition, it also clearly separates the control plane in two parts, the signaling plane containing the signaling protocols and the routing plane containing the routing protocols. This document is a generalization of the Multi-Protocol Label Switching (MPLS) architecture [RFC3031], and in some cases may differ slightly from that architecture since non packet-based forwarding planes are now considered. It is not the intention of this document to describe concepts already described in the current MPLS architecture. The goal is to describe specific concepts of Generalized MPLS (GMPLS). However, some of the concepts explained hereafter are not part of the current MPLS architecture and are applicable to both MPLS and GMPLS (i.e., link bundling, unnumbered links, and LSP hierarchy). Since these concepts were introduced together with GMPLS and since they are of paramount importance for an operational GMPLS network, they will be discussed here. The organization of the remainder of this document is as follows. We begin with an introduction of GMPLS. We then present the specific GMPLS building blocks and explain how they can be combined together to build an operational GMPLS network. Specific details of the separate building blocks can be found in the corresponding documents. 1.1. Acronyms & Abbreviations AS Autonomous System BGP Border Gateway Protocol CR-LDP Constraint-based Routing LDP CSPF Constraint-based Shortest Path First DWDM Dense Wavelength Division Multiplexing FA Forwarding Adjacency GMPLS Generalized Multi-Protocol Label Switching IGP Interior Gateway Protocol LDP Label Distribution Protocol LMP Link Management Protocol LSA Link State Advertisement LSR Label Switching Router LSP Label Switched Path MIB Management Information Base MPLS Multi-Protocol Label Switching NMS Network Management System OXC Optical Cross-Connect PXC Photonic Cross-Connect RSVP ReSource reserVation Protocol SDH Synchronous Digital Hierarchy SONET Synchronous Optical Networks STM(-N) Synchronous Transport Module (-N) STS(-N) Synchronous Transport Signal-Level N (SONET) TDM Time Division Multiplexing TE Traffic Engineering 1.2. Multiple Types of Switching and Forwarding Hierarchies Generalized MPLS (GMPLS) differs from traditional MPLS in that it supports multiple types of switching, i.e., the addition of support for TDM, lambda, and fiber (port) switching. The support for the additional types of switching has driven GMPLS to extend certain base functions of traditional MPLS and, in some cases, to add functionality. These changes and additions impact basic LSP properties: how labels are requested and communicated, the unidirectional nature of LSPs, how errors are propagated, and information provided for synchronizing the ingress and egress LSRs. The MPLS architecture [RFC3031] was defined to support the forwarding of data based on a label. In this architecture, Label Switching Routers (LSRs) were assumed to have a forwarding plane that is capable of (a) recognizing either packet or cell boundaries, and (b) being able to process either packet headers (for LSRs capable of recognizing packet boundaries) or cell headers (for LSRs capable of recognizing cell boundaries). The original MPLS architecture is here being extended to include LSRs whose forwarding plane recognizes neither packet, nor cell boundaries, and therefore, cannot forward data based on the information carried in either packet or cell headers. Specifically, such LSRs include devices where the switching decision is based on time slots, wavelengths, or physical ports. So, the new set of LSRs, or more precisely interfaces on these LSRs, can be subdivided into the following classes: 1. Packet Switch Capable (PSC) interfaces: Interfaces that recognize packet boundaries and can forward data based on the content of the packet header. Examples include interfaces on routers that forward data based on the content of the IP header and interfaces on routers that switch data based on the content of the MPLS "shim" header. 2. Layer-2 Switch Capable (L2SC) interfaces: Interfaces that recognize frame/cell boundaries and can switch data based on the content of the frame/cell header. Examples include interfaces on Ethernet bridges that switch data based on the content of the MAC header and interfaces on ATM-LSRs that forward data based on the ATM VPI/VCI. 3. Time-Division Multiplex Capable (TDM) interfaces: Interfaces that switch data based on the data's time slot in a repeating cycle. An example of such an interface is that of a SONET/SDH Cross-Connect (XC), Terminal Multiplexer (TM), or Add- Drop Multiplexer (ADM). Other examples include interfaces providing G.709 TDM capabilities (the "digital wrapper") and PDH interfaces. 4. Lambda Switch Capable (LSC) interfaces: Interfaces that switch data based on the wavelength on which the data is received. An example of such an interface is that of a Photonic Cross-Connect (PXC) or Optical Cross-Connect (OXC) that can operate at the level of an individual wavelength. Additional examples include PXC interfaces that can operate at the level of a group of wavelengths, i.e., a waveband and G.709 interfaces providing optical capabilities. 5. Fiber-Switch Capable (FSC) interfaces: Interfaces that switch data based on a position of the data in the (real world) physical spaces. An example of such an interface is that of a PXC or OXC that can operate at the level of a single or multiple fibers. A circuit can be established only between, or through, interfaces of the same type. Depending on the particular technology being used for each interface, different circuit names can be used, e.g., SDH circuit, optical trail, light-path, etc. In the context of GMPLS, all these circuits are referenced by a common name: Label Switched Path (LSP). The concept of nested LSP (LSP within LSP), already available in the traditional MPLS, facilitates building a forwarding hierarchy, i.e., a hierarchy of LSPs. This hierarchy of LSPs can occur on the same interface, or between different interfaces. For example, a hierarchy can be built if an interface is capable of multiplexing several LSPs from the same technology (layer), e.g., a lower order SONET/SDH LSP (e.g., VT2/VC-12) nested in a higher order SONET/SDH LSP (e.g., STS-3c/VC-4). Several levels of signal (LSP) nesting are defined in the SONET/SDH multiplexing hierarchy. The nesting can also occur between interface types. At the top of the hierarchy are FSC interfaces, followed by LSC interfaces, followed by TDM interfaces, followed by L2SC, and followed by PSC interfaces. This way, an LSP that starts and ends on a PSC interface can be nested (together with other LSPs) into an LSP that starts and ends on a L2SC interface. This LSP, in turn, can be nested (together with other LSPs) into an LSP that starts and ends on a TDM interface. In turn, this LSP can be nested (together with other LSPs) into an LSP that starts and ends on a LSC interface, which in turn can be nested (together with other LSPs) into an LSP that starts and ends on a FSC interface. 1.3. Extension of the MPLS Control Plane The establishment of LSPs that span only Packet Switch Capable (PSC) or Layer-2 Switch Capable (L2SC) interfaces is defined for the original MPLS and/or MPLS-TE control planes. GMPLS extends these control planes to support each of the five classes of interfaces (i.e., layers) defined in the previous section. Note that the GMPLS control plane supports an overlay model, an augmented model, and a peer (integrated) model. In the near term, GMPLS appears to be very suitable for controlling each layer independently. This elegant approach will facilitate the future deployment of other models. The GMPLS control plane is made of several building blocks as described in more details in the following sections. These building blocks are based on well-known signaling and routing protocols that have been extended and/or modified to support GMPLS. They use IPv4 and/or IPv6 addresses. Only one new specialized protocol is required to support the operations of GMPLS, a signaling protocol for link management [LMP]. GMPLS is indeed based on the Traffic Engineering (TE) extensions to MPLS, a.k.a. MPLS-TE [RFC2702]. This, because most of the technologies that can be used below the PSC level requires some traffic engineering. The placement of LSPs at these levels needs in general to consider several constraints (such as framing, bandwidth, protection capability, etc) and to bypass the legacy Shortest-Path First (SPF) algorithm. Note, however, that this is not mandatory and that in some cases SPF routing can be applied. In order to facilitate constrained-based SPF routing of LSPs, nodes that perform LSP establishment need more information about the links in the network than standard intra-domain routing protocols provide. These TE attributes are distributed using the transport mechanisms already available in IGPs (e.g., flooding) and taken into consideration by the LSP routing algorithm. Optimization of the LSP routes may also require some external simulations using heuristics that serve as input for the actual path calculation and LSP establishment process. By definition, a TE link is a representation in the IS-IS/OSPF Link State advertisements and in the link state database of certain physical resources, and their properties, between two GMPLS nodes. TE Links are used by the GMPLS control plane (routing and signaling) for establishing LSPs. Extensions to traditional routing protocols and algorithms are needed to uniformly encode and carry TE link information, and explicit routes (e.g., source routes) are required in the signaling. In addition, the signaling must now be capable of transporting the required circuit (LSP) parameters such as the bandwidth, the type of signal, the desired protection and/or restoration, the position in a particular multiplex, etc. Most of these extensions have already been defined for PSC and L2SC traffic engineering with MPLS. GMPLS primarily defines additional extensions for TDM, LSC, and FSC traffic engineering. A very few elements are technology specific. Thus, GMPLS extends the two signaling protocols defined for MPLS-TE signaling, i.e., RSVP-TE [RFC3209] and CR-LDP [RFC3212]. However, GMPLS does not specify which one of these two signaling protocols must be used. It is the role of manufacturers and operators to evaluate the two possible solutions for their own interest. Since GMPLS signaling is based on RSVP-TE and CR-LDP, it mandates a downstream-on-demand label allocation and distribution, with ingress initiated ordered control. Liberal label retention is normally used, but conservative label retention mode could also be used. Furthermore, there is no restriction on the label allocation strategy, it can be request/signaling driven (obvious for circuit switching technologies), traffic/data driven, or even topology driven. There is also no restriction on the route selection; explicit routing is normally used (strict or loose) but hop-by-hop routing could be used as well. GMPLS also extends two traditional intra-domain link-state routing protocols already extended for TE purposes, i.e., OSPF-TE [OSPF-TE] and IS-IS-TE [ISIS-TE]. However, if explicit (source) routing is used, the routing algorithms used by these protocols no longer need to be standardized. Extensions for inter-domain routing (e.g., BGP) are for further study. The use of technologies like DWDM (Dense Wavelength Division Multiplexing) implies that we can now have a very large number of parallel links between two directly adjacent nodes (hundreds of wavelengths, or even thousands of wavelengths if multiple fibers are used). Such a large number of links was not originally considered for an IP or MPLS control plane, although it could be done. Some slight adaptations of that control plane are thus required if we want to better reuse it in the GMPLS context. For instance, the traditional IP routing model assumes the establishment of a routing adjacency over each link connecting two adjacent nodes. Having such a large number of adjacencies does not scale well. Each node needs to maintain each of its adjacencies one by one, and link state routing information must be flooded throughout the network. To solve this issue the concept of link bundling was introduced. Moreover, the manual configuration and control of these links, even if they are unnumbered, becomes impractical. The Link Management Protocol (LMP) was specified to solve these issues. LMP runs between data plane adjacent nodes and is used to manage TE links. Specifically, LMP provides mechanisms to maintain control channel connectivity (IP Control Channel Maintenance), verify the physical connectivity of the data-bearing links (Link Verification), correlate the link property information (Link Property Correlation), and manage link failures (Fault Localization and Fault Notification). A unique feature of LMP is that it is able to localize faults in both opaque and transparent networks (i.e., independent of the encoding scheme and bit rate used for the data). LMP is defined in the context of GMPLS, but is specified independently of the GMPLS signaling specification since it is a local protocol running between data-plane adjacent nodes. Consequently, LMP can be used in other contexts with non-GMPLS signaling protocols. MPLS signaling and routing protocols require at least one bi- directional control channel to communicate even if two adjacent nodes are connected by unidirectional links. Several control channels can be used. LMP can be used to establish, maintain and manage these control channels. GMPLS does not specify how these control channels must be implemented, but GMPLS requires IP to transport the signaling and routing protocols over them. Control channels can be either in-band or out-of-band, and several solutions can be used to carry IP. Note also that one type of LMP message (the Test message) is used in-band in the data plane and may not be transported over IP, but this is a particular case, needed to verify connectivity in the data plane. 1.4. GMPLS Key Extensions to MPLS-TE Some key extensions brought by GMPLS to MPLS-TE are highlighted in the following. Some of them are key advantages of GMPLS to control TDM, LSC and FSC layers. - In MPLS-TE, links traversed by an LSP can include an intermix of links with heterogeneous label encoding (e.g., links between routers, links between routers and ATM-LSRs, and links between ATM-LSRs. GMPLS extends this by including links where the label is encoded as a time slot, or a wavelength, or a position in the (real world) physical space. - In MPLS-TE, an LSP that carries IP has to start and end on a router. GMPLS extends this by requiring an LSP to start and end on similar type of interfaces. - The type of a payload that can be carried in GMPLS by an LSP is extended to allow such payloads as SONET/SDH, G.709, 1Gb or 10Gb Ethernet, etc. - The use of Forwarding Adjacencies (FA) provides a mechanism that can improve bandwidth utilization, when bandwidth allocation can be performed only in discrete units. It offers also a mechanism to aggregate forwarding state, thus allowing the number of required labels to be reduced. - GMPLS allows suggesting a label by an upstream node to reduce the setup latency. This suggestion may be overridden by a downstream node but in some cases, at the cost of higher LSP setup time. - GMPLS extends on the notion of restricting the range of labels that may be selected by a downstream node. In GMPLS, an upstream node may restrict the labels for an LSP along either a single hop or the entire LSP path. This feature is useful in photonic networks where wavelength conversion may not be available. - While traditional TE-based (and even LDP-based) LSPs are unidirectional, GMPLS supports the establishment of bi-directional LSPs. - GMPLS supports the termination of an LSP on a specific egress port, i.e., the port selection at the destination side. - GMPLS with RSVP-TE supports an RSVP specific mechanism for rapid failure notification. Note also some other key differences between MPLS-TE and GMPLS: - For TDM, LSC and FSC interfaces, bandwidth allocation for an LSP can be performed only in discrete units. - It is expected to have (much) fewer labels on TDM, LSC or FSC links than on PSC or L2SC links, because the former are physical labels instead of logical labels. 2. Routing and Addressing Model GMPLS is based on the IP routing and addressing models. This assumes that IPv4 and/or IPv6 addresses are used to identify interfaces but also that traditional (distributed) IP routing protocols are reused. Indeed, the discovery of the topology and the resource state of all links in a routing domain is achieved via these routing protocols. Since control and data planes are de-coupled in GMPLS, control-plane neighbors (i.e., IGP-learnt neighbors) may not be data-plane neighbors. Hence, mechanisms like LMP are needed to associate TE links with neighboring nodes. IP addresses are not used only to identify interfaces of IP hosts and routers, but more generally to identify any PSC and non-PSC interfaces. Similarly, IP routing protocols are used to find routes for IP datagrams with a SPF algorithm; they are also used to find routes for non-PSC circuits by using a CSPF algorithm. However, some additional mechanisms are needed to increase the scalability of these models and to deal with specific traffic engineering requirements of non-PSC layers. These mechanisms will be introduced in the following. Re-using existing IP routing protocols allows for non-PSC layers taking advantage of all the valuable developments that took place since years for IP routing, in particular, in the context of intra- domain routing (link-state routing) and inter-domain routing (policy routing). In an overlay model, each particular non-PSC layer can be seen as a set of Autonomous Systems (ASs) interconnected in an arbitrary way. Similarly to the traditional IP routing, each AS is managed by a single administrative authority. For instance, an AS can be an SONET/SDH network operated by a given carrier. The set of interconnected ASs can be viewed as SONET/SDH internetworks. Exchange of routing information between ASs can be done via an inter-domain routing protocol like BGP-4. There is obviously a huge value of re-using well-known policy routing facilities provided by BGP in a non-PSC context. Extensions for BGP traffic engineering (BGP-TE) in the context of non-PSC layers are left for further study. Each AS can be sub-divided in different routing domains, and each can run a different intra-domain routing protocol. In turn, each routing-domain can be divided in areas. A routing domain is made of GMPLS enabled nodes (i.e., a network device including a GMPLS entity). These nodes can be either edge nodes (i.e., hosts, ingress LSRs or egress LSRs), or internal LSRs. An example of non-PSC host is an SONET/SDH Terminal Multiplexer (TM). Another example is an SONET/SDH interface card within an IP router or ATM switch. Note that traffic engineering in the intra-domain requires the use of link-state routing protocols like OSPF or IS-IS. GMPLS defines extensions to these protocols. These extensions are needed to disseminate specific TDM, LSC and FSC static and dynamic characteristics related to nodes and links. The current focus is on intra-area traffic engineering. However, inter-area traffic engineering is also under investigation. 2.1. Addressing of PSC and non-PSC Layers The fact that IPv4 and/or IPv6 addresses are used does not imply at all that they should be allocated in the same addressing space than public IPv4 and/or IPv6 addresses used for the Internet. Private IP addresses can be used if they do not require to be exchanged with any other operator; public IP addresses are otherwise required. Of course, if an integrated model is used, two layers could share the same addressing space. Finally, TE links may be "unnumbered" i.e., not have any IP addresses, in case IP addresses are not available, or the overhead of managing them is considered too high. Note that there is a benefit of using public IPv4 and/or IPv6 Internet addresses for non-PSC layers if an integrated model with the IP layer is foreseen. If we consider the scalability enhancements proposed in the next section, the IPv4 (32 bits) and the IPv6 (128 bits) addressing spaces are both more than sufficient to accommodate any non-PSC layer. We can reasonably expect to have much less non-PSC devices (e.g., SONET/SDH nodes) than we have today IP hosts and routers. 2.2. GMPLS Scalability Enhancements TDM, LSC and FSC layers introduce new constraints on the IP addressing and routing models since several hundreds of parallel physical links (e.g., wavelengths) can now connect two nodes. Most of the carriers already have today several tens of wavelengths per fiber between two nodes. New generation of DWDM systems will allow several hundreds of wavelengths per fiber. It becomes rather impractical to associate an IP address with each end of each physical link, to represent each link as a separate routing adjacency, and to advertise and to maintain link states for each of these links. For that purpose, GMPLS enhances the MPLS routing and addressing models to increase their scalability. Two optional mechanisms can be used to increase the scalability of the addressing and the routing: unnumbered links and link bundling. These two mechanisms can also be combined. They require extensions to signaling (RSVP-TE and CR-LDP) and routing (OSPF-TE and IS-IS-TE) protocols. 2.3. TE Extensions to IP Routing Protocols Traditionally, a TE link is advertised as an adjunct to a "regular" OSPF or IS-IS link, i.e., an adjacency is brought up on the link. When the link is up, both the regular IGP properties of the link (basically, the SPF metric) and the TE properties of the link are then advertised. However, GMPLS challenges this notion in three ways: - First, links that are non-PSC may yet have TE properties; however, an OSPF adjacency could not be brought up directly on such links. - Second, an LSP can be advertised as a point-to-point TE link in the routing protocol, i.e., as a Forwarding Adjacency (FA); thus, an advertised TE link need no longer be between two OSPF direct neighbors. Forwarding Adjacencies (FA) are further described in Section 8. - Third, a number of links may be advertised as a single TE link (e.g., for improved scalability), so again, there is no longer a one-to-one association of a regular adjacency and a TE link. Thus, we have a more general notion of a TE link. A TE link is a logical link that has TE properties. Some of these properties may be configured on the advertising LSR, others may be obtained from other LSRs by means of some protocol, and yet others may be deduced from the component(s) of the TE link. An important TE property of a TE link is related to the bandwidth accounting for that link. GMPLS will define different accounting rules for different non-PSC layers. Generic bandwidth attributes are however defined by the TE routing extensions and by GMPLS, such as the unreserved bandwidth, the maximum reservable bandwidth and the maximum LSP bandwidth. It is expected in a dynamic environment to have frequent changes of bandwidth accounting information. A flexible policy for triggering link state updates based on bandwidth thresholds and link-dampening mechanism can be implemented. TE properties associated with a link should also capture protection and restoration related characteristics. For instance, shared protection can be elegantly combined with bundling. Protection and restoration are mainly generic mechanisms also applicable to MPLS. It is expected that they will first be developed for MPLS and later on generalized to GMPLS. A TE link between a pair of LSRs does not imply the existence of an IGP adjacency between these LSRs. A TE link must also have some means by which the advertising LSR can know of its liveness (e.g., by using LMP hellos). When an LSR knows that a TE link is up, and can determine the TE link's TE properties, the LSR may then advertise that link to its GMPLS enhanced OSPF or IS-IS neighbors using the TE objects/TLVs. We call the interfaces over which GMPLS enhanced OSPF or IS-IS adjacencies are established "control channels". 3. Unnumbered Links Unnumbered links (or interfaces) are links (or interfaces) that do not have IP addresses. Using such links involves two capabilities: the ability to specify unnumbered links in MPLS TE signaling, and the ability to carry (TE) information about unnumbered links in IGP TE extensions of IS-IS-TE and OSPF-TE. A. The ability to specify unnumbered links in MPLS TE signaling requires extensions to RSVP-TE [RFC3477] and CR-LDP [RFC3480]. The MPLS-TE signaling does not provide support for unnumbered links, because it does not provide a way to indicate an unnumbered link in its Explicit Route Object/TLV and in its Record Route Object (there is no such TLV for CR-LDP). GMPLS defines simple extensions to indicate an unnumbered link in these two Objects/TLVs, using a new Unnumbered Interface ID sub-object/sub- TLV. Since unnumbered links are not identified by an IP address, then for the purpose of MPLS TE each end need some other identifier, local to the LSR to which the link belongs. LSRs at the two end- points of an unnumbered link exchange with each other the identifiers they assign to the link. Exchanging the identifiers may be accomplished by configuration, by means of a protocol such as LMP ([LMP]), by means of RSVP-TE/CR-LDP (especially in the case where a link is a Forwarding Adjacency, see below), or by means of IS-IS or OSPF extensions ([ISIS-TE-GMPLS], [OSPF-TE-GMPLS]). Consider an (unnumbered) link between LSRs A and B. LSR A chooses an identifier for that link. So does LSR B. From A's perspective we refer to the identifier that A assigned to the link as the "link local identifier" (or just "local identifier"), and to the identifier that B assigned to the link as the "link remote identifier" (or just "remote identifier"). Likewise, from B's perspective the identifier that B assigned to the link is the local identifier, and the identifier that A assigned to the link is the remote identifier. The new Unnumbered Interface ID sub-object/sub-TLV for the ER Object/TLV contains the Router ID of the LSR at the upstream end of the unnumbered link and the link local identifier with respect to that upstream LSR. The new Unnumbered Interface ID sub-object for the RR Object contains the link local identifier with respect to the LSR that adds it in the RR Object. B. The ability to carry (TE) information about unnumbered links in IGP TE extensions requires new sub-TLVs for the extended IS reachability TLV defined in IS-IS-TE and for the TE LSA (which is an opaque LSA) defined in OSPF-TE. A Link Local Identifier sub- TLV and a Link Remote Identifier sub-TLV are defined. 3.1. Unnumbered Forwarding Adjacencies If an LSR that originates an LSP advertises this LSP as an unnumbered FA in IS-IS or OSPF, or the LSR uses this FA as an unnumbered component link of a bundled link, the LSR must allocate an Interface ID to that FA. If the LSP is bi-directional, the tail end does the same and allocates an Interface ID to the reverse FA. Signaling has been enhanced to carry the Interface ID of a FA in the new LSP Tunnel Interface ID object/TLV. This object/TLV contains the Router ID (of the LSR that generates it) and the Interface ID. It is called the Forward Interface ID when it appears in a Path/REQUEST message, and it is called the Reverse Interface ID when it appears in the Resv/MAPPING message. 4. Link Bundling The concept of link bundling is essential in certain networks employing the GMPLS control plane as is defined in [BUNDLE]. A typical example is an optical meshed network where adjacent optical cross-connects (LSRs) are connected by several hundreds of parallel wavelengths. In this network, consider the application of link state routing protocols, like OSPF or IS-IS, with suitable extensions for resource discovery and dynamic route computation. Each wavelength must be advertised separately to be used, except if link bundling is used. When a pair of LSRs is connected by multiple links, it is possible to advertise several (or all) of these links as a single link into OSPF and/or IS-IS. This process is called link bundling, or just bundling. The resulting logical link is called a bundled link as its physical links are called component links (and are identified by interface indexes). The result is that a combination of three identifiers ((bundled) link identifier, component link identifier, label) is sufficient to unambiguously identify the appropriate resources used by an LSP. The purpose of link bundling is to improve routing scalability by reducing the amount of information that has to be handled by OSPF and/or IS-IS. This reduction is accomplished by performing information aggregation/abstraction. As with any other information aggregation/abstraction, this results in losing some of the information. To limit the amount of losses one need to restrict the type of the information that can be aggregated/abstracted. 4.1. Restrictions on Bundling The following restrictions are required for bundling links. All component links in a bundle must begin and end on the same pair of LSRs; and share some common characteristics or properties defined in [OSPF-TE] and [ISIS-TE], i.e., they must have the same: - Link Type (i.e., point-to-point or multi-access), - TE Metric (i.e., an administrative cost), - Set of Resource Classes at each end of the links (i.e., colors). Note that a FA may also be a component link. In fact, a bundle can consist of a mix of point-to-point links and FAs, but all sharing some common properties. 4.2. Routing Considerations for Bundling A bundled link is just another kind of TE link such as those defined by [GMPLS-ROUTING]. The liveness of the bundled link is determined by the liveness of each its component links. A bundled link is alive when at least one of its component links is alive. The liveness of a component link can be determined by any of several means: IS-IS or OSPF hellos over the component link, or RSVP Hello (hop local), or LMP hellos (link local), or from layer 1 or layer 2 indications. Note that (according to the RSVP-TE specification [RFC3209]) the RSVP Hello mechanism is intended to be used when notification of link layer failures is not available and unnumbered links are not used, or when the failure detection mechanisms provided by the link layer are not sufficient for timely node failure detection. Once a bundled link is determined to be alive, it can be advertised as a TE link and the TE information can be flooded. If IS-IS/OSPF hellos are run over the component links, IS-IS/OSPF flooding can be restricted to just one of the component links. Note that advertising a (bundled) TE link between a pair of LSRs does not imply that there is an IGP adjacency between these LSRs that is associated with just that link. In fact, in certain cases a TE link between a pair of LSRs could be advertised even if there is no IGP adjacency at all between the LSR (e.g., when the TE link is an FA). Forming a bundled link consist in aggregating the identical TE parameters of each individual component link to produce aggregated TE parameters. A TE link as defined by [GMPLS-ROUTING] has many parameters; adequate aggregation rules must be defined for each one. Some parameters can be sums of component characteristics such as the unreserved bandwidth and the maximum reservable bandwidth. Bandwidth information is an important part of a bundle advertisement and it must be clearly defined since an abstraction is done. A GMPLS node with bundled links must apply admission control on a per-component link basis. 4.3. Signaling Considerations Typically, an LSP's explicit route (e.g., contained in an explicit route Object/TLV) will choose the bundled link to be used for the LSP, but not the component link(s). This because information about the bundled link is flooded but information about the component links is not. The choice of the component link to use is always made by an upstream node. If the LSP is bi-directional, the upstream node chooses a component link in each direction. Three mechanisms for indicating this choice to the downstream node are possible. 4.3.1. Mechanism 1: Implicit Indication This mechanism requires that each component link has a dedicated signaling channel (e.g., the link is a Sonet/SDH link using the DCC for in-band signaling). The upstream node tells the receiver which component link to use by sending the message over the chosen component link's dedicated signaling channel. Note that this signaling channel can be in-band or out-of-band. In this last case, the association between the signaling channel and that component link need to be explicitly configured. 4.3.2. Mechanism 2: Explicit Indication by Numbered Interface ID This mechanism requires that the component link has a unique remote IP address. The upstream node indicates the choice of the component link by including a new IF_ID RSVP_HOP object/IF_ID TLV carrying either an IPv4 or an IPv6 address in the Path/Label Request message (see [RFC3473]/[RFC3472], respectively). For a bi-directional LSP, a component link is provided for each direction by the upstream node. This mechanism does not require each component link to have its own control channel. In fact, it does not even require the whole (bundled) link to have its own control channel. 4.3.3. Mechanism 3: Explicit Indication by Unnumbered Interface ID With this mechanism, each component link that is unnumbered is assigned a unique Interface Identifier (32 bits value). The upstream node indicates the choice of the component link by including a new IF_ID RSVP_HOP object/IF_ID TLV in the Path/Label Request message (see [RFC3473]/[RFC3472], respectively). This object/TLV carries the component interface ID in the downstream direction for a unidirectional LSP, and in addition, the component interface ID in the upstream direction for a bi-directional LSP. The two LSRs at each end of the bundled link exchange these identifiers. Exchanging the identifiers may be accomplished by configuration, by means of a protocol such as LMP (preferred solution), by means of RSVP-TE/CR-LDP (especially in the case where a component link is a Forwarding Adjacency), or by means of IS-IS or OSPF extensions. This mechanism does not require each component link to have its own control channel. In fact, it does not even require the whole (bundled) link to have its own control channel. 4.4. Unnumbered Bundled Link A bundled link may itself be numbered or unnumbered independent of whether the component links are numbered or not. This affects how the bundled link is advertised in IS-IS/OSPF and the format of LSP EROs that traverse the bundled link. Furthermore, unnumbered Interface Identifiers for all unnumbered outgoing links of a given LSR (whether component links, Forwarding Adjacencies or bundled links) must be unique in the context of that LSR. 4.5. Forming Bundled Links The generic rule for bundling component links is to place those links that are correlated in some manner in the same bundle. If links may be correlated based on multiple properties then the bundling may be applied sequentially based on these properties. For instance, links may be first grouped based on the first property. Each of these groups may be then divided into smaller groups based on the second property and so on. The main principle followed in this process is that the properties of the resulting bundles should be concisely summarizable. Link bundling may be done automatically or by configuration. Automatic link bundling can apply bundling rules sequentially to produce bundles. For instance, the first property on which component links may be correlated could be the Interface Switching Capability [GMPLS-ROUTING], the second property could be the Encoding [GMPLS-ROUTING], the third property could be the Administrative Weight (cost), the fourth property could be the Resource Classes and finally links may be correlated based on other metrics such as SRLG (Shared Risk Link Groups). When routing an alternate path for protection purposes, the general principle followed is that the alternate path is not routed over any link belonging to an SRLG that belongs to some link of the primary path. Thus, the rule to be followed is to group links belonging to exactly the same set of SRLGs. This type of sequential sub-division may result in a number of bundles between two adjacent nodes. In practice, however, the link properties may not be very heterogeneous among component links between two adjacent nodes. Thus, the number of bundles in practice may not be large. 5. Relationship with the UNI The interface between an edge GMPLS node and a GMPLS LSR on the network side may be referred to as a User to Network Interface (UNI), while the interface between two-network side LSRs may be referred to as a Network to Network Interface (NNI). GMPLS does not specify separately a UNI and an NNI. Edge nodes are connected to LSRs on the network side, and these LSRs are in turn connected between them. Of course, the behavior of an edge node is not exactly the same as the behavior of an LSR on the network side. Note also, that an edge node may run a routing protocol, however it is expected that in most of the cases it will not (see also section 5.2 and the section about signaling with an explicit route). Conceptually, a difference between UNI and NNI make sense either if both interface uses completely different protocols, or if they use the same protocols but with some outstanding differences. In the first case, separate protocols are often defined successively, with more or less success. The GMPLS approach consisted in building a consistent model from day one, considering both the UNI and NNI interfaces at the same time [GMPLS-OVERLAY]. For that purpose, a very few specific UNI particularities have been ignored in a first time. GMPLS has been enhanced to support such particularities at the UNI by some other standardization bodies (see hereafter). 5.1. Relationship with the OIF UNI This section is only given for reference to the OIF work related to GMPLS. The current OIF UNI specification [OIF-UNI] defines an interface between a client SONET/SDH equipment and an SONET/SDH network, each belonging to a distinct administrative authority. It is designed for an overlay model. The OIF UNI defines additional mechanisms on the top of GMPLS for the UNI. For instance, the OIF service discovery procedure is a precursor to obtaining UNI services. Service discovery allows a client to determine the static parameters of the interconnection with the network, including the UNI signaling protocol, the type of concatenation, the transparency level as well as the type of diversity (node, link, SRLG) supported by the network. Since the current OIF UNI interface does not cover photonic networks, G.709 Digital Wrapper, etc, it is from that perspective a subset of the GMPLS Architecture at the UNI. 5.2. Reachability across the UNI This section discusses the selection of an explicit route by an edge node. The selection of the first LSR by an edge node connected to multiple LSRs is part of that problem. An edge node (host or LSR) can participate more or less deeply in the GMPLS routing. Four different routing models can be supported at the UNI: configuration based, partial peering, silent listening and full peering. - Configuration based: this routing model requires the manual or automatic configuration of an edge node with a list of neighbor LSRs sorted by preference order. Automatic configuration can be achieved using DHCP for instance. No routing information is exchanged at the UNI, except maybe the ordered list of LSRs. The only routing information used by the edge node is that list. The edge node sends by default an LSP request to the preferred LSR. ICMP redirects could be send by this LSR to redirect some LSP requests to another LSR connected to the edge node. GMPLS does not preclude that model. - Partial peering: limited routing information (mainly reachability) can be exchanged across the UNI using some extensions in the signaling plane. The reachability information exchanged at the UNI may be used to initiate edge node specific routing decision over the network. GMPLS does not have any capability to support this model today. - Silent listening: the edge node can silently listen to routing protocols and take routing decisions based on the information obtained. An edge node receives the full routing information, including traffic engineering extensions. One LSR should forward transparently all routing PDUs to the edge node. An edge node can now compute a complete explicit route taking into consideration all the end-to-end routing information. GMPLS does not preclude this model. - Full peering: in addition to silent listening, the edge node participates within the routing, establish adjacencies with its neighbors and advertises LSAs. This is useful only if there are benefits for edge nodes to advertise themselves traffic engineering information. GMPLS does not preclude this model. 6. Link Management In the context of GMPLS, a pair of nodes (e.g., a photonic switch) may be connected by tens of fibers, and each fiber may be used to transmit hundreds of wavelengths if DWDM is used. Multiple fibers and/or multiple wavelengths may also be combined into one or more bundled links for routing purposes. Furthermore, to enable communication between nodes for routing, signaling, and link management, control channels must be established between a node pair. Link management is a collection of useful procedures between adjacent nodes that provide local services such as control channel management, link connectivity verification, link property correlation, and fault management. The Link Management Protocol (LMP) [LMP] has been defined to fulfill these operations. LMP has been initiated in the context of GMPLS but is a generic toolbox that can be also used in other contexts. In GMPLS, the control channels between two adjacent nodes are no longer required to use the same physical medium as the data links between those nodes. Moreover, the control channels that are used to exchange the GMPLS control-plane information exist independently of the links they manage. Hence, LMP was designed to manage the data links, independently of the termination capabilities of those data links. Control channel management and link property correlation procedures are mandatory per LMP. Link connectivity verification and fault management procedures are optional. 6.1. Control Channel and Control Channel Management LMP control channel management is used to establish and maintain control channels between nodes. Control channels exist independently of TE links, and can be used to exchange MPLS control-plane information such as signaling, routing, and link management information. An "LMP adjacency" is formed between two nodes that support the same LMP capabilities. Multiple control channels may be active simultaneously for each adjacency. A control channel can be either explicitly configured or automatically selected, however, LMP currently assume that control channels are explicitly configured while the configuration of the control channel capabilities can be dynamically negotiated. For the purposes of LMP, the exact implementation of the control channel is left unspecified. The control channel(s) between two adjacent nodes is no longer required to use the same physical medium as the data-bearing links between those nodes. For example, a control channel could use a separate wavelength or fiber, an Ethernet link, or an IP tunnel through a separate management network. A consequence of allowing the control channel(s) between two nodes to be physically diverse from the associated data-bearing links is that the health of a control channel does not necessarily correlate to the health of the data-bearing links, and vice-versa. Therefore, new mechanisms have been developed in LMP to manage links, both in terms of link provisioning and fault isolation. LMP does not specify the signaling transport mechanism used in the control channel, however it states that messages transported over a control channel must be IP encoded. Furthermore, since the messages are IP encoded, the link level encoding is not part of LMP. A 32-bit non-zero integer Control Channel Identifier (CCId) is assigned to each direction of a control channel. Each control channel individually negotiates its control channel parameters and maintains connectivity using a fast Hello protocol. The latter is required if lower-level mechanisms are not available to detect link failures. The Hello protocol of LMP is intended to be a lightweight keep-alive mechanism that will react to control channel failures rapidly so that IGP Hellos are not lost and the associated link-state adjacencies are not removed uselessly. The Hello protocol consists of two phases: a negotiation phase and a keep-alive phase. The negotiation phase allows negotiation of some basic Hello protocol parameters, like the Hello frequency. The keep-alive phase consists of a fast lightweight bi-directional Hello message exchange. If a group of control channels share a common node pair and support the same LMP capabilities, then LMP control channel messages (except Configuration messages, and Hello's) may be transmitted over any of the active control channels without coordination between the local and remote nodes. For LMP, it is essential that at least one control channel is always available. In case of control channel failure, it may be possible to use an alternate active control channel without coordination. 6.2. Link Property Correlation As part of LMP, a link property correlation exchange is defined. The exchange is used to aggregate multiple data-bearing links (i.e., component links) into a bundled link and exchange, correlate, or change TE link parameters. The link property correlation exchange may be done at any time a link is up and not in the Verification process (see next section). It allows, for instance, the addition of component links to a link bundle, change of a link's minimum/maximum reservable bandwidth, change of port identifiers, or change of component identifiers in a bundle. This mechanism is supported by an exchange of link summary messages. 6.3. Link Connectivity Verification Link connectivity verification is an optional procedure that may be used to verify the physical connectivity of data-bearing links as well as to exchange the link identifiers that are used in the GMPLS signaling. This procedure should be performed initially when a data-bearing link is first established, and subsequently, on a periodic basis for all unallocated (free) data-bearing links. The verification procedure consists of sending Test messages in-band over the data-bearing links. This requires that the unallocated links must be opaque; however, multiple degrees of opaqueness (e.g., examining overhead bytes, terminating the payload, etc.), and hence different mechanisms to transport the Test messages, are specified. Note that the Test message is the only LMP message that is transmitted over the data-bearing link, and that Hello messages continue to be exchanged over the control channel during the link verification process. Data-bearing links are tested in the transmit direction as they are unidirectional. As such, it is possible for LMP neighboring nodes to exchange the Test messages simultaneously in both directions. To initiate the link verification procedure, a node must first notify the adjacent node that it will begin sending Test messages over a particular data-bearing link, or over the component links of a particular bundled link. The node must also indicate the number of data-bearing links that are to be verified; the interval at which the test messages will be sent; the encoding scheme, the transport mechanisms that are supported, the data rate for Test messages; and, in the case where the data-bearing links correspond to fibers, the wavelength over which the Test messages will be transmitted. Furthermore, the local and remote bundled link identifiers are transmitted at this time to perform the component link association with the bundled link identifiers. 6.4. Fault Management Fault management is an important requirement from the operational point of view. Fault management includes usually: fault detection, fault localization and fault notification. When a failure occurs and is detected (fault detection), an operator needs to know exactly where it happened (fault localization) and a source node may need to be notified in order to take some actions (fault notification). Note that fault localization can also be used to support some specific (local) protection/restoration mechanisms. In new technologies such as transparent photonic switching currently no method is defined to locate a fault, and the mechanism by which the fault information is propagated must be sent "out of band" (via the control plane). LMP provides a fault localization procedure that can be used to rapidly localize link failures, by notifying a fault up to the node upstream of that fault (i.e., through a fault notification procedure). A downstream LMP neighbor that detects data link failures will send an LMP message to its upstream neighbor notifying it of the failure. When an upstream node receives a failure notification, it can correlate the failure with the corresponding input ports to determine if the failure is between the two nodes. Once the failure has been localized, the signaling protocols can be used to initiate link or path protection/restoration procedures. 6.5. LMP for DWDM Optical Line Systems (OLSs) In an all-optical environment, LMP focuses on peer communications (e.g., OXC-to-OXC). A great deal of information about a link between two OXCs is known by the OLS (Optical Line System or WDM Terminal multiplexer). Exposing this information to the control plane can improve network usability by further reducing required manual configuration, and by greatly enhancing fault detection and recovery. LMP-WDM [LMP-WDM] defines extensions to LMP for use between an OXC and an OLS. These extensions are intended to satisfy the Optical Link Interface Requirements described in [OLI-REQ]. Fault detection is particularly an issue when the network is using all-optical photonic switches (PXC). Once a connection is established, PXCs have only limited visibility into the health of the connection. Although the PXC is all-optical, long-haul OLSs typically terminate channels electrically and regenerate them optically. This provides an opportunity to monitor the health of a channel between PXCs. LMP-WDM can then be used by the OLS to provide this information to the PXC. In addition to the link information known to the OLS that is exchanged through LMP-WDM, some information known to the OXC may also be exchanged with the OLS through LMP-WDM. This information is useful for alarm management and link monitoring (e.g., trace monitoring). Alarm management is important because the administrative state of a connection, known to the OXC (e.g., this information may be learned through the Admin Status object of GMPLS signaling [RFC3471]), can be used to suppress spurious alarms. For example, the OXC may know that a connection is "up", "down", in a "testing" mode, or being deleted ("deletion-in-progress"). The OXC can use this information to inhibit alarm reporting from the OLS when a connection is "down", "testing", or being deleted. It is important to note that an OXC may peer with one or more OLSs and an OLS may peer with one or more OXCs. Although there are many similarities between an OXC-OXC LMP session and an OXC-OLS LMP session, particularly for control management and link verification, there are some differences as well. These differences can primarily be attributed to the nature of an OXC-OLS link, and the purpose of OXC-OLS LMP sessions. The OXC-OXC links can be used to provide the basis for GMPLS signaling and routing at the optical layer. The information exchanged over LMP-WDM sessions is used to augment knowledge about the links between OXCs. In order for the information exchanged over the OXC-OLS LMP sessions to be used by the OXC-OXC session, the information must be coordinated by the OXC. However, the OXC-OXC and OXC-OLS LMP sessions are run independently and must be maintained separately. One critical requirement when running an OXC-OLS LMP session is the ability of the OLS to make a data link transparent when not doing the verification procedure. This is because the same data link may be verified between OXC-OLS and between OXC-OXC. The verification procedure of LMP is used to coordinate the Test procedure (and hence the transparency/opaqueness of the data links). To maintain independence between the sessions, it must be possible for the LMP sessions to come up in any order. In particular, it must be possible for an OXC-OXC LMP session to come up without an OXC-OLS LMP session being brought up, and vice-versa. 7. Generalized Signaling The GMPLS signaling extends certain base functions of the RSVP-TE and CR-LDP signaling and, in some cases, adds functionality. These changes and additions impact basic LSP properties: how labels are requested and communicated, the unidirectional nature of LSPs, how errors are propagated, and information provided for synchronizing the ingress and egress. The core GMPLS signaling specification is available in three parts: 1. A signaling functional description [RFC3471]. 2. RSVP-TE extensions [RFC3473]. 3. CR-LDP extensions [RFC3472]. In addition, independent parts are available per technology: 1. GMPLS extensions for SONET and SDH control [RFC3946]. 2. GMPLS extensions for G.709 control [GMPLS-G709]. The following MPLS profile expressed in terms of MPLS features [RFC3031] applies to GMPLS: - Downstream-on-demand label allocation and distribution. - Ingress initiated ordered control. - Liberal (typical), or conservative (could) label retention mode. - Request, traffic/data, or topology driven label allocation strategy. - Explicit routing (typical), or hop-by-hop routing. The GMPLS signaling defines the following new building blocks on the top of MPLS-TE: 1. A new generic label request format. 2. Labels for TDM, LSC and FSC interfaces, generically known as Generalized Label. 3. Waveband switching support. 4. Label suggestion by the upstream for optimization purposes (e.g., latency). 5. Label restriction by the upstream to support some optical constraints. 6. Bi-directional LSP establishment with contention resolution. 7. Rapid failure notification extensions. 8. Protection information currently focusing on link protection, plus primary and secondary LSP indication. 9. Explicit routing with explicit label control for a fine degree of control. 10. Specific traffic parameters per technology. 11. LSP administrative status handling. 12. Control channel separation. These building blocks will be described in more details in the following. A complete specification can be found in the corresponding documents. Note that GMPLS is highly generic and has many options. Only building blocks 1, 2 and 10 are mandatory, and only within the specific format that is needed. Typically, building blocks 6 and 9 should be implemented. Building blocks 3, 4, 5, 7, 8, 11 and 12 are optional. A typical SONET/SDH switching network would implement building blocks: 1, 2 (the SONET/SDH label), 6, 9, 10 and 11. Building blocks 7 and 8 are optional since the protection can be achieved using SONET/SDH overhead bytes. A typical wavelength switching network would implement building blocks: 1, 2 (the generic format), 4, 5, 6, 7, 8, 9 and 11. Building block 3 is only needed in the particular case of waveband switching. A typical fiber switching network would implement building blocks: 1, 2 (the generic format), 6, 7, 8, 9 and 11. A typical MPLS-IP network would not implement any of these building blocks, since the absence of building block 1 would indicate regular MPLS-IP. Note however that building block 1 and 8 can be used to signal MPLS-IP as well. In that case, the MPLS-IP network can benefit from the link protection type (not available in CR-LDP, some very basic form being available in RSVP-TE). Building block 2 is here a regular MPLS label and no new label format is required. GMPLS does not specify any profile for RSVP-TE and CR-LDP implementations that have to support GMPLS - except for what is directly related to GMPLS procedures. It is to the manufacturer to decide which are the optional elements and procedures of RSVP-TE and CR-LDP that need to be implemented. Some optional MPLS-TE elements can be useful for TDM, LSC and FSC layers, for instance the setup and holding priorities that are inherited from MPLS-TE. 7.1. Overview: How to Request an LSP A TDM, LSC or FSC LSP is established by sending a PATH/Label Request message downstream to the destination. This message contains a Generalized Label Request with the type of LSP (i.e., the layer concerned), and its payload type. An Explicit Route Object (ERO) is also normally added to the message, but this can be added and/or completed by the first/default LSR. The requested bandwidth is encoded in the RSVP-TE SENDER_TSPEC object, or in the CR-LDP Traffic Parameters TLV. Specific parameters for a given technology are given in these traffic parameters, such as the type of signal, concatenation and/or transparency for a SONET/SDH LSP. For some other technology there be could just one bandwidth parameter indicating the bandwidth as a floating-point value. The requested local protection per link may be requested using the Protection Information Object/TLV. The end-to-end LSP protection is for further study and is introduced LSP protection/restoration section (see after). If the LSP is a bi-directional LSP, an Upstream Label is also specified in the Path/Label Request message. This label will be the one to use in the upstream direction. Additionally, a Suggested Label, a Label Set and a Waveband Label can also be included in the message. Other operations are defined in MPLS-TE. The downstream node will send back a Resv/Label Mapping message including one Generalized Label object/TLV that can contain several Generalized Labels. For instance, if a concatenated SONET/SDH signal is requested, several labels can be returned. In case of SONET/SDH virtual concatenation, a list of labels is returned. Each label identifying one element of the virtual concatenated signal. This limits virtual concatenation to remain within a single (component) link. In case of any type of SONET/SDH contiguous concatenation, only one label is returned. That label is the lowest signal of the contiguous concatenated signal (given an order specified in [RFC3946]). In case of SONET/SDH "multiplication", i.e., co-routing of circuits of the same type but without concatenation but all belonging to the same LSP, the explicit ordered list of all signals that take part in the LSP is returned. 7.2. Generalized Label Request The Generalized Label Request is a new object/TLV to be added in an RSVP-TE Path message instead of the regular Label Request, or in a CR-LDP Request message in addition to the already existing TLVs. Only one label request can be used per message, so a single LSP can be requested at a time per signaling message. The Generalized Label Request gives three major characteristics (parameters) required to support the LSP being requested: the LSP Encoding Type, the Switching Type that must be used and the LSP payload type called Generalized PID (G-PID). The LSP Encoding Type indicates the encoding type that will be used with the data associated with the LSP, i.e., the type of technology being considered. For instance, it can be SDH, SONET, Ethernet, ANSI PDH, etc. It represents the nature of the LSP, and not the nature of the links that the LSP traverses. This is used hop-by-hop by each node. A link may support a set of encoding formats, where support means that a link is able to carry and switch a signal of one or more of these encoding formats. The Switching Type indicates then the type of switching that should be performed on a particular link for that LSP. This information is needed for links that advertise more than one type of switching capability. Nodes must verify that the type indicated in the Switching Type is supported on the corresponding incoming interface; otherwise, the node must generate a notification message with a "Routing problem/Switching Type" indication. The LSP payload type (G-PID) identifies the payload carried by the LSP, i.e., an identifier of the client layer of that LSP. For some technologies, it also indicates the mapping used by the client layer, e.g., byte synchronous mapping of E1. This must be interpreted according to the LSP encoding type and is used by the nodes at the endpoints of the LSP to know to which client layer a request is destined, and in some cases by the penultimate hop. Other technology specific parameters are not transported in the Generalized Label Request but in technology specific traffic parameters as explained hereafter. Currently, two set of traffic parameters are defined, one for SONET/SDH and one for G.709. Note that it is expected than specific traffic parameters will be defined in the future for photonic (all optical) switching. 7.3. SONET/SDH Traffic Parameters The GMPLS SONET/SDH traffic parameters [RFC3946] specify a powerful set of capabilities for SONET [ANSI-T1.105] and SDH [ITUT-G.707]. The first traffic parameter specifies the type of the elementary SONET/SDH signal that comprises the requested LSP, e.g., VC-11, VT6, VC-4, STS-3c, etc. Several transforms can then be applied successively on the elementary Signal to build the final signal being actually requested for the LSP. These transforms are the contiguous concatenation, the virtual concatenation, the transparency and the multiplication. Each one is optional. They must be applied strictly in the following order: - First, contiguous concatenation can be optionally applied on the Elementary Signal, resulting in a contiguously concatenated signal. - Second, virtual concatenation can be optionally applied either directly on the elementary Signal, or on the contiguously concatenated signal obtained from the previous phase. - Third, some transparency can be optionally specified when requesting a frame as signal rather than a container. Several transparency packages are defined. - Fourth, a multiplication can be optionally applied either directly on the elementary Signal, or on the contiguously concatenated signal obtained from the first phase, or on the virtually concatenated signal obtained from the second phase, or on these signals combined with some transparency. For RSVP-TE, the SONET/SDH traffic parameters are carried in a new SENDER_TSPEC and FLOWSPEC. The same format is used for both. There is no Adspec associated with the SENDER_TSPEC, it is omitted or a default value is used. The content of the FLOWSPEC object received in a Resv message should be identical to the content of the SENDER_TSPEC of the corresponding Path message. In other words, the receiver is normally not allowed to change the values of the traffic parameters. However, some level of negotiation may be achieved as explained in [RFC3946]. For CR-LDP, the SONET/SDH traffic parameters are simply carried in a new TLV. Note that a general discussion on SONET/SDH and GMPLS can be found in [SONET-SDH-GMPLS-FRM]. 7.4. G.709 Traffic Parameters Simply said, an [ITUT-G.709] based network is decomposed in two major layers: an optical layer (i.e., made of wavelengths) and a digital layer. These two layers are divided into sub-layers and switching occurs at two specific sub-layers: at the OCh (Optical Channel) optical layer and at the ODU (Optical channel Data Unit) electrical layer. The ODUk notation is used to denote ODUs at different bandwidths. The GMPLS G.709 traffic parameters [GMPLS-G709] specify a powerful set of capabilities for ITU-T G.709 networks. The first traffic parameter specifies the type of the elementary G.709 signal that comprises the requested LSP, e.g., ODU1, OCh at 40 Gbps, etc. Several transforms can then be applied successively on the elementary Signal to build the final signal being actually requested for the LSP. These transforms are the virtual concatenation and the multiplication. Each one of these transforms is optional. They must be applied strictly in the following order: - First, virtual concatenation can be optionally applied directly on the elementary Signal, - Second, a multiplication can be optionally applied, either directly on the elementary Signal, or on the virtually concatenated signal obtained from the first phase. Additional ODUk Multiplexing traffic parameters allow indicating an ODUk mapping (ODUj into ODUk) for an ODUk multiplexing LSP request. G.709 supports the following multiplexing capabilities: ODUj into ODUk (k > j) and ODU1 with ODU2 multiplexing into ODU3. For RSVP-TE, the G.709 traffic parameters are carried in a new SENDER-TSPEC and FLOWSPEC. The same format is used for both. There is no Adspec associated with the SENDER_TSPEC, it is omitted or a default value is used. The content of the FLOWSPEC object received in a Resv message should be identical to the content of the SENDER_TSPEC of the corresponding Path message. For CR-LDP, the G.709 traffic parameters are simply carried in a new TLV. 7.5. Bandwidth Encoding Some technologies that do not have (yet) specific traffic parameters just require a bandwidth encoding transported in a generic form. Bandwidth is carried in 32-bit number in IEEE floating-point format (the unit is bytes per second). Values are carried in a per protocol specific manner. For non-packet LSPs, it is useful to define discrete values to identify the bandwidth of the LSP. It should be noted that this bandwidth encoding do not apply to SONET/SDH and G.709, for which the traffic parameters fully define the requested SONET/SDH or G.709 signal. The bandwidth is coded in the Peak Data Rate field of Int-Serv objects for RSVP-TE in the SENDER_TSPEC and FLOWSPEC objects and in the Peak and Committed Data Rate fields of the CR-LDP Traffic Parameters TLV. 7.6. Generalized Label The Generalized Label extends the traditional MPLS label by allowing the representation of not only labels that travel in-band with associated data packets, but also (virtual) labels that identify time-slots, wavelengths, or space division multiplexed positions. For example, the Generalized Label may identify (a) a single fiber in a bundle, (b) a single waveband within fiber, (c) a single wavelength within a waveband (or fiber), or (d) a set of time-slots within a wavelength (or fiber). It may also be a generic MPLS label, a Frame Relay label, or an ATM label (VCI/VPI). The format of a label can be as simple as an integer value such as a wavelength label or can be more elaborated such as an SONET/SDH or a G.709 label. SDH and SONET define each a multiplexing structure. These multiplexing structures will be used as naming trees to create unique labels. Such a label will identify the exact position (times-lot(s)) of a signal in a multiplexing structure. Since the SONET multiplexing structure may be seen as a subset of the SDH multiplexing structure, the same format of label is used for SDH and SONET. A similar concept is applied to build a label at the G.709 ODU layer. Since the nodes sending and receiving the Generalized Label know what kinds of link they are using, the Generalized Label does not identify its type. Instead, the nodes are expected to know from the context what type of label to expect. A Generalized Label only carries a single level of label i.e., it is non-hierarchical. When multiple levels of labels (LSPs within LSPs) are required, each LSP must be established separately. 7.7. Waveband Switching A special case of wavelength switching is waveband switching. A waveband represents a set of contiguous wavelengths, which can be switched together to a new waveband. For optimization reasons, it may be desirable for a photonic cross-connect to optically switch multiple wavelengths as a unit. This may reduce the distortion on the individual wavelengths and may allow tighter separation of the individual wavelengths. A Waveband label is defined to support this special case. Waveband switching naturally introduces another level of label hierarchy and as such the waveband is treated the same way, all other upper layer labels are treated. As far as the MPLS protocols are concerned, there is little difference between a waveband label and a wavelength label. Exception is that semantically the waveband can be subdivided into wavelengths whereas the wavelength can only be subdivided into time or statistically multiplexed labels. In the context of waveband switching, the generalized label used to indicate a waveband contains three fields, a waveband ID, a Start Label and an End Label. The Start and End Labels are channel identifiers from the sender perspective that identify respectively, the lowest value wavelength and the highest value wavelength making up the waveband. 7.8. Label Suggestion by the Upstream GMPLS allows for a label to be optionally suggested by an upstream node. This suggestion may be overridden by a downstream node but in some cases, at the cost of higher LSP setup time. The suggested label is valuable when establishing LSPs through certain kinds of optical equipment where there may be a lengthy (in electrical terms) delay in configuring the switching fabric. For example, micro mirrors may have to be elevated or moved, and this physical motion and subsequent damping takes time. If the labels and hence switching fabric are configured in the reverse direction (the norm), the Resv/MAPPING message may need to be delayed by 10's of milliseconds per hop in order to establish a usable forwarding path. It can be important for restoration purposes where alternate LSPs may need to be rapidly established as a result of network failures. 7.9. Label Restriction by the Upstream An upstream node can optionally restrict (limit) the choice of label of a downstream node to a set of acceptable labels. Giving lists and/or ranges of inclusive (acceptable) or exclusive (unacceptable) labels in a Label Set provides this restriction. If not applied, all labels from the valid label range may be used. There are at least four cases where a label restriction is useful in the "optical" domain. Case 1: the end equipment is only capable of transmitting and receiving on a small specific set of wavelengths/wavebands. Case 2: there is a sequence of interfaces, which cannot support wavelength conversion and require the same wavelength be used end-to-end over a sequence of hops, or even an entire path. Case 3: it is desirable to limit the amount of wavelength conversion being performed to reduce the distortion on the optical signals. Case 4: two ends of a link support different sets of wavelengths. The receiver of a Label Set must restrict its choice of labels to one that is in the Label Set. A Label Set may be present across multiple hops. In this case, each node generates its own outgoing Label Set, possibly based on the incoming Label Set and the node's hardware capabilities. This case is expected to be the norm for nodes with conversion incapable interfaces. 7.10. Bi-directional LSP GMPLS allows establishment of bi-directional symmetric LSPs (not of asymmetric LSPs). A symmetric bi-directional LSP has the same traffic engineering requirements including fate sharing, protection and restoration, LSRs, and resource requirements (e.g., latency and jitter) in each direction. In the remainder of this section, the term "initiator" is used to refer to a node that starts the establishment of an LSP; the term "terminator" is used to refer to the node that is the target of the LSP. For a bi-directional LSPs, there is only one initiator and one terminator. Normally to establish a bi-directional LSP when using RSVP-TE [RFC3209] or CR-LDP [RFC3212] two unidirectional paths must be independently established. This approach has the following disadvantages: 1. The latency to establish the bi-directional LSP is equal to one round trip signaling time plus one initiator-terminator signaling transit delay. This not only extends the setup latency for successful LSP establishment, but it extends the worst-case latency for discovering an unsuccessful LSP to as much as two times the initiator-terminator transit delay. These delays are particularly significant for LSPs that are established for restoration purposes. 2. The control overhead is twice that of a unidirectional LSP. This is because separate control messages (e.g., Path and Resv) must be generated for both segments of the bi-directional LSP. 3. Because the resources are established in separate segments, route selection is complicated. There is also additional potential race for conditions in assignment of resources, which decreases the overall probability of successfully establishing the bi- directional connection. 4. It is more difficult to provide a clean interface for SONET/SDH equipment that may rely on bi-directional hop-by-hop paths for protection switching. Note that existing SONET/SDH equipment transmits the control information in-band with the data. 5. Bi-directional optical LSPs (or lightpaths) are seen as a requirement for many optical networking service providers. With bi-directional LSPs both the downstream and upstream data paths, i.e., from initiator to terminator and terminator to initiator, are established using a single set of signaling messages. This reduces the setup latency to essentially one initiator-terminator round trip time plus processing time, and limits the control overhead to the same number of messages as a unidirectional LSP. For bi-directional LSPs, two labels must be allocated. Bi- directional LSP setup is indicated by the presence of an Upstream Label in the appropriate signaling message. 7.11. Bi-directional LSP Contention Resolution Contention for labels may occur between two bi-directional LSP setup requests traveling in opposite directions. This contention occurs when both sides allocate the same resources (ports) at effectively the same time. GMPLS signaling defines a procedure to resolve that contention: the node with the higher node ID will win the contention. To reduce the probability of contention, some mechanisms are also suggested. 7.12. Rapid Notification of Failure GMPLS defines several signaling extensions that enable expedited notification of failures and other events to nodes responsible for restoring failed LSPs, and error handling. 1. Acceptable Label Set for notification on Label Error: There are cases in traditional MPLS and in GMPLS that result in an error message containing an "Unacceptable label value" indication. When these cases occur, it can useful for the node generating the error message to indicate which labels would be acceptable. To cover this case, GMPLS introduces the ability to convey such information via the "Acceptable Label Set". An Acceptable Label Set is carried in appropriate protocol specific error messages. The format of an Acceptable Label Set is identical to a Label Set. 2. Expedited notification: Extensions to RSVP-TE enable expedited notification of failures and other events to determined nodes. For CR-LDP, there is not currently a similar mechanism. The first extension identifies where event notifications are to be sent. The second provides for general expedited event notification with a Notify message. Such extensions can be used by fast restoration mechanisms. Notifications may be requested in both the upstream and downstream directions. The Notify message is a generalized notification mechanism that differs from the currently defined error messages in that it can be "targeted" to a node other than the immediate upstream or downstream neighbor. The Notify message does not replace existing error messages. The Notify message may be sent either (a) normally, where non-target nodes just forward the Notify message to the target node, similar to ResvConf processing in [RFC2205]; or (b) encapsulated in a new IP header whose destination is equal to the target IP address. 3. Faster removal of intermediate states: A specific RSVP optimization allowing in some cases the faster removal of intermediate states. This extension is used to deal with specific RSVP mechanisms. 7.13. Link Protection Protection information is carried in the new optional Protection Information Object/TLV. It currently indicates the desired link protection for each link of an LSP. If a particular protection type, i.e., 1+1, or 1:N, is requested, then a connection request is processed only if the desired protection type can be honored. Note that GMPLS advertises the protection capabilities of a link in the routing protocols. Path computation algorithms may consider this information when computing paths for setting up LSPs. Protection information also indicates if the LSP is a primary or secondary LSP. A secondary LSP is a backup to a primary LSP. The resources of a secondary LSP are normally not used until the primary LSP fails, but they may be used by other LSPs until the primary LSP fails over the secondary LSP. At that point, any LSP that is using the resources for the secondary LSP must be preempted. Six link protection types are currently defined as individual flags and can be combined: enhanced, dedicated 1+1, dedicated 1:1, shared, unprotected, extra traffic. See [RFC3471] section 7.1 for a precise definition of each. 7.14. Explicit Routing and Explicit Label Control By using an explicit route, the path taken by an LSP can be controlled more or less precisely. Typically, the node at the head- end of an LSP finds an explicit route and builds an Explicit Route Object (ERO)/ Explicit Route (ER) TLV that contains that route. Possibly, the edge node does not build any explicit route, and just transmit a signaling request to a default neighbor LSR (as IP/MPLS hosts would). For instance, an explicit route could be added to a signaling message by the first switching node, on behalf of the edge node. Note also that an explicit route is altered by intermediate LSRs during its progression towards the destination. The explicit route is originally defined by MPLS-TE as a list of abstract nodes (i.e., groups of nodes) along the explicit route. Each abstract node can be an IPv4 address prefix, an IPv6 address prefix, or an AS number. This capability allows the generator of the explicit route to have incomplete information about the details of the path. In the simplest case, an abstract node can be a full IP address (32 bits) that identifies a specific node (called a simple abstract node). MPLS-TE allows strict and loose abstract nodes. The path between a strict node and its preceding node must include only network nodes from the strict node and its preceding abstract node. The path between a loose node and its preceding abstract node may include other network nodes that are not part of the loose node or its preceding abstract node. This explicit route was extended to include interface numbers as abstract nodes to support unnumbered interfaces; and further extended by GMPLS to include labels as abstract nodes. Having labels in an explicit route is an important feature that allows controlling the placement of an LSP with a very fine granularity. This is more likely to be used for TDM, LSC and FSC links. In particular, the explicit label control in the explicit route allows terminating an LSP on a particular outgoing port of an egress node. Indeed, a label sub-object/TLV must follow a sub-object/TLV containing the IP address, or the interface identifier (in case of unnumbered interface), associated with the link on which it is to be used. This can also be used when it is desirable to "splice" two LSPs together, i.e., where the tail of the first LSP would be "spliced" into the head of the second LSP. When used together with an optimization algorithm, it can provide very detailed explicit routes, including the label (timeslot) to use on a link, in order to minimize the fragmentation of the SONET/SDH multiplex on the corresponding interface. 7.15. Route Recording In order to improve the reliability and the manageability of the LSP being established, the concept of the route recording was introduced in RSVP-TE to function as: - First, a loop detection mechanism to discover L3 routing loops, or loops inherent in the explicit route (this mechanism is strictly exclusive with the use of explicit routing objects). - Second, a route recording mechanism collects up-to-date detailed path information on a hop-by-hop basis during the LSP setup process. This mechanism provides valuable information to the source and destination nodes. Any intermediate routing change at setup time, in case of loose explicit routing, will be reported. - Third, a recorded route can be used as input for an explicit route. This is useful if a source node receives the recorded route from a destination node and applies it as an explicit route in order to "pin down the path". Within the GMPLS architecture, only the second and third functions are mainly applicable for TDM, LSC and FSC layers. 7.16. LSP Modification and LSP Re-routing LSP modification and re-routing are two features already available in MPLS-TE. GMPLS does not add anything new. Elegant re-routing is possible with the concept of "make-before-break" whereby an old path is still used while a new path is set up by avoiding double reservation of resources. Then, the node performing the re-routing can swap on the new path and close the old path. This feature is supported with RSVP-TE (using shared explicit filters) and CR-LDP (using the action indicator flag). LSP modification consists in changing some LSP parameters, but normally without changing the route. It is supported using the same mechanism as re-routing. However, the semantic of LSP modification will differ from one technology to the other. For instance, further studies are required to understand the impact of dynamically changing some SONET/SDH circuit characteristics such as the bandwidth, the protection type, the transparency, the concatenation, etc. 7.17. LSP Administrative Status Handling GMPLS provides the optional capability to indicate the administrative status of an LSP by using a new Admin Status object/TLV. Administrative Status information is currently used in two ways. In the first usage, the Admin Status object/TLV is carried in a Path/Label Request or Resv/Label Mapping message to indicate the administrative state of an LSP. In this usage, Administrative Status information indicates the state of the LSP, which include "up" or "down", if it in a "testing" mode, and if deletion is in progress. Based on that administrative status, a node can take local decisions, like inhibit alarm reporting when an LSP is in "down" or "testing" states, or report alarms associated with the connection at a priority equal to or less than "Non service affecting". It is possible that some nodes along an LSP will not support the Admin Status Object/TLV. In the case of a non-supporting transit node, the object will pass through the node unmodified and normal processing can continue. In some circumstances, particularly optical networks, it is useful to set the administrative status of an LSP to "being deleted" before tearing it down in order to avoid non-useful generation of alarms. The ingress LSR precedes an LSP deletion by inserting an appropriate Admin Status Object/TLV in a Path/Label Request (with the modification action indicator flag set to modify) message. Transit LSRs process the Admin Status Object/TLV and forward it. The egress LSR answers in a Resv/Label Mapping (with the modification action indicator flag set to modify) message with the Admin Status object. Upon receiving this message and object, the ingress node sends a PathTear/Release message downstream to remove the LSP and normal RSVP-TE/CR-LDP processing takes place. In the second usage, the Admin Status object/TLV is carried in a Notification/Label Mapping (with the modification action indicator flag set to modify) message to request that the ingress node change the administrative state of an LSP. This allows intermediate and egress nodes triggering the setting of administrative status. In particular, this allows intermediate or egress LSRs requesting a release of an LSP initiated by the ingress node. 7.18. Control Channel Separation In GMPLS, a control channel be separated from the data channel. Indeed, the control channel can be implemented completely out-of- band for various reason, e.g., when the data channel cannot carry in-band control information. This issue was even originally introduced to MPLS in the context of link bundling. In traditional MPLS, there is an implicit one-to-one association of a control channel to a data channel. When such an association is present, no additional or special information is required to associate a particular LSP setup transaction with a particular data channel. Otherwise, it is necessary to convey additional information in signaling to identify the particular data channel being controlled. GMPLS supports explicit data channel identification by providing interface identification information. GMPLS allows the use of a number of interface identification schemes including IPv4 or IPv6 addresses, interface indexes (for unnumbered interfaces) and component interfaces (for bundled interfaces), unnumbered bundled interfaces are also supported. The choice of the data interface to use is always made by the sender of the Path/Label Request message, and indicated by including the data channel's interface identifier in the message using a new RSVP_HOP object sub-type/Interface TLV. For bi-directional LSPs, the sender chooses the data interface in each direction. In all cases but bundling, the upstream interface is implied by the downstream interface. For bundling, the Path/Label Request sender explicitly identifies the component interface used in each direction. The new object/TLV is used in Resv/Label Mapping message to indicate the downstream node's usage of the indicated interface(s). The new object/TLV can contain a list of embedded TLVs, each embedded TLV can be an IPv4 address, and IPv6 address, an interface index, a downstream component interface ID or an upstream component interface ID. In the last three cases, the embedded TLV contains itself an IP address plus an Interface ID, the IP address being used to identify the interface ID (it can be the router ID for instance). There are cases where it is useful to indicate a specific interface associated with an error. To support these cases the IF_ID ERROR_SPEC RSVP Objects are defined. 8. Forwarding Adjacencies (FA) To improve scalability of MPLS TE (and thus GMPLS) it may be useful to aggregate multiple TE LSPs inside a bigger TE LSP. Intermediate nodes see the external LSP only. They do not have to maintain forwarding states for each internal LSP, less signaling messages need to be exchanged and the external LSP can be somehow protected instead (or in addition) to the internal LSPs. This can considerably increase the scalability of the signaling. The aggregation is accomplished by (a) an LSR creating a TE LSP, (b) the LSR forming a forwarding adjacency out of that LSP (advertising this LSP as a Traffic Engineering (TE) link into IS-IS/OSPF), (c) allowing other LSRs to use forwarding adjacencies for their path computation, and (d) nesting of LSPs originated by other LSRs into that LSP (e.g., by using the label stack construct in the case of IP). ISIS/OSPF floods the information about "Forwarding Adjacencies" FAs just as it floods the information about any other links. Consequently to this flooding, an LSR has in its TE link state database the information about not just conventional links, but FAs as well. An LSR, when performing path computation, uses not just conventional links, but FAs as well. Once a path is computed, the LSR uses RSVP- TE/CR-LDP for establishing label binding along the path. FAs need simple extensions to signaling and routing protocols. 8.1. Routing and Forwarding Adjacencies Forwarding adjacencies may be represented as either unnumbered or numbered links. A FA can also be a bundle of LSPs between two nodes. FAs are advertised as GMPLS TE links such as defined in [HIERARCHY]. GMPLS TE links are advertised in OSPF and IS-IS such as defined in [OSPF-TE-GMPLS] and [ISIS-TE-GMPLS]. These last two specifications enhance [OSPF-TE] and [ISIS-TE] that defines a base TE link. When a FA is created dynamically, its TE attributes are inherited from the FA-LSP that induced its creation. [HIERARCHY] specifies how each TE parameter of the FA is inherited from the FA-LSP. Note that the bandwidth of the FA must be at least as big as the FA-LSP that induced it, but may be bigger if only discrete bandwidths are available for the FA-LSP. In general, for dynamically provisioned forwarding adjacencies, a policy-based mechanism may be needed to associate attributes to forwarding adjacencies. A FA advertisement could contain the information about the path taken by the FA-LSP associated with that FA. Other LSRs may use this information for path computation. This information is carried in a new OSPF and IS-IS TLV called the Path TLV. It is possible that the underlying path information might change over time, via configuration updates, or dynamic route modifications, resulting in the change of that TLV. If forwarding adjacencies are bundled (via link bundling), and if the resulting bundled link carries a Path TLV, the underlying path followed by each of the FA-LSPs that form the component links must be the same. It is expected that forwarding adjacencies will not be used for establishing IS-IS/OSPF peering relation between the routers at the ends of the adjacency. LSP hierarchy could exist both with the peer and with the overlay models. With the peer model, the LSP hierarchy is realized via FAs and an LSP is both created and used as a TE link by exactly the same instance of the control plane. Creating LSP hierarchies with overlays does not involve the concept of FA. With the overlay model an LSP created (and maintained) by one instance of the GMPLS control plane is used as a TE link by another instance of the GMPLS control plane. Moreover, the nodes using a TE link are expected to have a routing and signaling adjacency. 8.2. Signaling Aspects For the purpose of processing the explicit route in a Path/Request message of an LSP that is to be tunneled over a forwarding adjacency, an LSR at the head-end of the FA-LSP views the LSR at the tail of that FA-LSP as adjacent (one IP hop away). 8.3. Cascading of Forwarding Adjacencies With an integrated model, several layers are controlled using the same routing and signaling protocols. A network may then have links with different multiplexing/demultiplexing capabilities. For example, a node may be able to multiplex/demultiplex individual packets on a given link, and may be able to multiplex/demultiplex channels within a SONET payload on other links. A new OSPF and IS-IS sub-TLV has been defined to advertise the multiplexing capability of each interface: PSC, L2SC, TDM, LSC or FSC. This sub-TLV is called the Interface Switching Capability Descriptor sub-TLV, which complements the sub-TLVs defined in [OSPF-TE-GMPLS] and [ISIS-TE-GMPLS]. The information carried in this sub-TLV is used to construct LSP regions, and determine region's boundaries. Path computation may take into account region boundaries when computing a path for an LSP. For example, path computation may restrict the path taken by an LSP to only the links whose multiplexing/demultiplexing capability is PSC. When an LSP need to cross a region boundary, it can trigger the establishment of an FA at the underlying layer (i.e., the L2SC layer). This can trigger a cascading of FAs between layers with the following obvious order: L2SC, then TDM, then LSC, and then finally FSC. 9. Routing and Signaling Adjacencies By definition, two nodes have a routing (IS-IS/OSP
|
||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 80 |
https://www.academia.edu/21669887/Management_PDF
|
en
|
Âráśhjôt Šhärmâ - Academia.edu
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
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[
""
] | null |
[
"Âráśhjôt Šhärmâ",
"independent.academia.edu"
] |
2016-02-07T00:00:00
|
Management PDF
|
https://www.academia.edu/21669887/Management_PDF
|
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|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 77 |
https://thedeezone.com/about/
|
en
|
About
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[] |
[] |
[
""
] | null |
[] |
2007-11-27T04:13:56+00:00
|
Waiting for The Force Awakens Big Guy and I are a couple of city kids adjusting to small town life in the Texas Hill country. My first blog started in 1996 as a class project, only it wasn't called a blog back then. Over the past 20+ years. The Dee Zone has been around in…
|
en
|
https://secure.gravatar.com/blavatar/dc465390630f80e52304291de36503b6f0ec03d8a3811f41b457730d4c6ba74b?s=32
|
The Dee Zone
|
https://thedeezone.com/about/
| |||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 81 |
https://www.ibiblio.org/pub/Linux/docs/LDP/mail_archives/ldp-discuss/msg00799.html
|
en
|
Let's trade links!
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null |
To: [email protected]
Subject: Let's trade links!
From: Maia <[email protected]>
Date: Mon, 29 Nov 1999 19:09:35 -0500 (EST)
Resent-cc: recipient list not shown: ;
Resent-date: 30 Nov 1999 00:08:25 -0000
Resent-from: [email protected]
Resent-message-id: <XXZtJC.A.N7E.4VxQ4@murphy>
Resent-sender: [email protected]
I visited your web site and thought it was great. Our web site's themes match enough for us to be Link Partners. Please visit and let's trade reciprocal links. Email me and let me know what you decide. Our Link Partners receive preferential treatment with a listing at the TOP of each Theme page, a Link Partner graphic, bold print, etc. They also receive a lot more traffic than our regular listings. As of today, we have over 1,800 specific links in over 200 theme categories. Our link directory is growing quickly, and our hit count is growing by over 10% per week! When you visit our page, you'll see some sites which have already decided to join us as Link Partners. You are now listed as a regular listing but I hope you decide to be a Link Partner. Your web site address: http://metalab.unc.edu Your listing in my Link Directory is here: http://www.BreakRecords.com/links/themeindex.html I have your site listed in the COMPUTER RESOURCES theme. 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Thanks, Maia http://www.BreakRecords.com/ # Word 47069 INFORMATION 45637 WEB 44099 INTERNET 39586 SITE 29834 HOME 29186 SOFTWARE 28984 SEARCH 27836 SERVICES 26417 BUSINESS 24557 SERVICE 23046 FREE 22755 INC 21199 SUPPORT 20685 PRODUCTS 20621 ONLINE 20387 NETWORK 18918 CABLEMODEM 17845 COMPANY 17733 EMAIL 16904 SYSTEMS 16319 TECHNOLOGY 16160 SERVER 16118 LIST 15945 HELP 15547 DATA 15483 ACCESS 14957 OMWARE 14427 SYSTEM 14355 COMPUTER 14229 COPYRIGHT 14213 PRODUCT 13700 WINDOWS 13517 CLICK 12724 MANAGEMENT 12178 FIND 11750 LINKS 11662 SITES 11489 AIRTOUCH 11263 MARKET 11074 RIGHTS 11065 PROGRAM 10511 SOLUTIONS 10447 RESEARCH 10324 TCPIP 10258 WORLD 10111 PAGES 10052 MAIL 10038 FILE 10003 DESIGN 9968 USER 9739 SALES 9642 USERS 9601 RELEASES 9568 RESOURCES 9495 DEVELOPMENT 9437 WORK 9327 INFO 9131 MEDIA 9104 CUSTOMER 9051 RESERVED 9043 COMMUNICATIONS 9016 ORDER 9002 GROUP 8991 QUESTIONS 8979 INTERNATIONAL 8962 VERSION 8951 REAL 8883 DE 8820 EST 8593 PEOPLE 8501 CUSTOMERS 8499 COMPANIES 8482 SOLARIS 8453 FAX 8440 MARKETING 8439 INCLUDING 8419 FORM 8142 MICROSOFT 8025 DOWNLOAD 7926 RATIO 7909 CONTENT 7896 TECHNICAL 7850 UNIVERSITY 7803 APPLICATIONS 7802 OFFICE 7743 INSTEAD 7695 GO 7676 ACQUIRING 7675 PRICE 7673 NEWSFILES 7667 DIRECTORY 7639 TENDS 7613 ASP 7588 SECURITY 7554 INDUSTRY 7507 PHONE 7461 HEADLINE 7386 MESSAGE 7383 PC 7341 LOGIC 7279 FINANCIAL 7180 MODULES 7148 PROCESSORS 7139 TOOLS 7102 CALL 7026 HP 7006 LINK 6973 PENTIUMIII 6939 HTML 6923 SHIPPING 6868 PUBLIC 6858 BYTES 6807 BITS 6770 ARCHITECTURES 6716 YOUTH 6697 MOTHERBOARD 6687 ACCOUNT 6684 CONTROLLERS 6670 EQUIPPED 6660 STOCK 6594 COMBINATIONS 6580 CODE 6531 PARITY 6521 PRESUMABLY 6506 POWERMAC 6488 APPLICATION 6478 HYPERSPARC 6478 SUPERCACHE 6474 INTERLUDE 6449 GENERAL 6447 FILES 6399 CORPORATE 6387 COMMENTS 6341 PRINTERDRIVERS 6297 BROWSER 6265 PRIVACY 6242 CORPORATION 6205 JAVA 6169 DIGITAL 6161 NETWORKS 6156 PREPARE 6127 PERFORMANCE 6118 PROGRAMS 5995 RANKED 5953 TRUSTED 5923 COMMUNICATION 5912 YAHOO 5903 MEMBERS 5891 ADVERTISING 5868 ESTABLISHES 5862 VIDEO 5818 READ 5807 DELIVERS 5794 LINE 5783 TECHNOLOGIES 5744 INDEX 5692 ENTER 5669 SUN 5653 HARDWARE 5645 COMMUNITY 5553 EXPANSION 5525 SHIPPED 5506 EVENTS 5503 EXPERIENCE 5502 OFFERS 5488 IMAGES 5488 BROWSE 5432 POLICY 5412 INVESTMENT 5381 PST 5381 AR 5368 DATABASE 5341 WEBSITE 5316 TEXT 5313 GOOD 5277 EXCHANGE 5270 PRODUCTS 5265 HIGH 5252 FEEDBACK 5251 TODAY 5229 NATIONAL 5211 BELOW 5202 MAGAZINE 5151 NT 5114 IP 5072 LEGAL 5043 SPECIAL 5020 CREATE 5015 WORLDWIDEWEB 5006 RETURN 4991 SOLUTION 4980 PRESIDENT 4978 ADD 4960 CONTROL 4957 NET 4951 ESTATE 4929 RELEASE 4916 ISSUES 4897 PROJECT 4895 CITY 4850 CONNECTION 4840 COMPUTING 4827 TYPE 4793 MAP 4782 MESSAGES 4782 GREAT 4778 CALIFORNIA 4763 ELECTRONIC 4729 TERMS 4719 MANAGER 4707 FEEDBACK 4696 GRAPHICS 4693 MONEY 4683 ADVANCED 4672 OPTIONS 4670 STOCKOPTION 4658 WIDE 4653 ENTERPRISE 4650 SERVERS 4631 SECTION 4625 PROCESS 4601 GAMES 4585 ISDN 4583 STORE 4575 ASSOCIATION 4552 CREATES 4551 RESULTS 4550 QUALITY 4529 VISIT 4520 PARTNERS 4497 SPECTRUM 4480 GALAXY 4445 REPORTS 4443 NETWORKING 4441 TOUCH 4428 POWER 4414 HYPE 4379 SOURCE 4368 DISCLAIMER 4367 RELATED 4362 FAQ 4361 LINUX 4351 VIA 4337 DEPARTMENT 4313 SOUND 4311 TRAINING 4306 MENTORPOINT 4300 POST 4291 WEBSERVER 4276 WORKING 4266 CARDS 4265 SELECT 4260 NETSCAPE 4253 COMPLEXITY 4250 EDITOR 4243 DENSITY 4239 CA 4228 ISP 4206 UNIX 4178 FORUM 4178 AGIS 4171 PASSWORD 4170 ENGINEERING 4156 PROFESSIONAL 4142 UPDATED 4125 STREET 4118 HUMAN 4108 FINANCE 4106 LINES 4103 GLOBAL 4082 SEMANTICS 4051 MEMORY 4047 LIBRARY 4042 SCIENCE 4029 LEADING 4017 TIPS 4015 STANDARD 4012 SATISFYING 4008 IMAGE 4006 KEY 3993 CREDIT 3988 DOMAIN 3965 REQUEST 3960 TRADING 3950 REGISTER 3938 INTACT 3936 UNITED 3931 FUTURE 3930 FILING 3928 TELEPHONE 3927 RESOURCE 3908 PROGRAMMING 3900 STATES 3898 ISSUE 3895 HEALTH 3865 BUILT 3849 INTEREST 3848 MAIN 3845 VIRTUAL 3837 COMPUTERS 3817 PURCHASE 3817 TECH 3814 STATEMENT 3811 DESIGNED 3806 LONG 3802 TH 3798 PACKAGES 3788 ANALYSIS 3783 STOCKS 3751 STORAGE 3749 TEAM 3745 DOCUMENT 3730 WIRELESS 3724 OPERATING 3721 PROFESSION 3720 INTERACTIVE 3694 TRADE 3692 MULTIMEDIA 3691 CLIENT 3684 HOMES 3678 START 3676 TEST 3655 PROVIDERS 3653 REVIEW 3651 MILLION 3650 CONFERENCE 3649 DISCUSSION 3641 SIGN 3640 PLAN 3619 URL 3607 PRICES 3585 PROVIDER 3576 DIRECT 3571 LEARN 3570 DEVICE 3564 REGISTRATION 3555 INVESTOR 3549 NECESSARY 3537 INTRODUCTION 3524 CONFIGURATION 3520 PRACTICE 3490 LAW 3489 DIRECTOR 3489 INTERFACE 3484 MAJOR 3474 OPPORTUNITIES 3465 LEVEL 3434 POWERFUL 3433 CELLPHONE 3431 DOWNLOADS 3406 AMERICA 3402 SHOW 3402 BIGGEST 3389 ARTICLES 3383 GOVERNMENT 3379 EDGAR 3370 MARKETS 3358 MERCHANT 3352 TELECOMMUNICATIONS 3349 EDT 3342 VOICE 3337 ARCHIVE 3334 TRAFFIC 3328 MUSIC 3325 DOCUMENTS 3323 THINK 3321 DOWN 3316 HOSTING 3311 AWARD 3308 SUNOS 3296 UNDERWRITERS 3275 INSTANTLY 3232 COMMERCE 3229 GUARANTEES 3223 ERROR 3223 UPDATE 3215 REGISTERED 3204 ITEM 3202 CLIENTS 3193 INDIVIDUAL 3182 PM 3179 STARTED 3172 MBPS 3167 MULTIPLE 3165 FASTEST 3149 WORLDWIDE 3148 SCHOOLS 3144 PROVIDING 3140 QUESTION 3134 ARCHIVES 3126 TOTAL 3120 COPY 3112 SECURE 3100 CENTRAL 3098 KNOWLEDGE 3091 DETAILS 3087 POINT 3081 CONSUMER 3075 BUILD 3071 PRIVATE 3065 AUDIO 3060 CORP 3053 STANDARDS 3051 INTERNAL 3046 MHZ 3041 PROPERTY 3039 CHAT 3034 DROPS 3029 MANUFACTURER 3017 PRO 3015 AMERICAN 3009 EXECUTIVE 3007 PROPOSITION 3002 USENET 3001 SUITE 2994 WITNESS 2987 MEMBERSHIP 2983 SELL 2980 EQUIPMENT 2978 IMPLEMENT 2973 KB 2973 RENAMING 2962 DEVELOPER 2955 PENCHANT 2950 HISTORY 2948 RETROACTIVELY 2938 EXPRESS 2936 SALE 2934 PUBLISHING 2931 CONTENTS 2928 SHARE 2920 CONSULTING 2915 SAVE 2909 TRADEMARKS 2908 FUND 2901 CHANGES 2897 ENGINE 2894 LISTING 2893 AGENCY 2893 BENEFITS 2890 FORMAT 2881 SECURITIES 2874 USA 2872 INTELLIGENT 2870 CART 2868 ALPHA 2862 GROUPS 2862 NEWSGROUPS 2847 INVOLVED 2846 BUTTON 2840 COLOR 2840 EDITED 2839 OPERATIONS 2836 FTP 2833 ACCOUNTING 2832 SPORTS 2826 PAYS 2824 AD 2818 COMMERCIAL 2816 LANGUAGE 2813 ACCESSORIES 2813 SIZE 2811 OPTION 2811 LA 2810 LIVE 2810 REMOTE 2798 ORGANIZATION 2793 WORKS 2790 AUSTRALIA 2787 REVIEWS 2787 CABLE 2781 DEVELOP 2778 AGENT 2776 BASIC 2774 PROFILES 2771 BUSINESSES 2750 IBM 2748 INSURANCE 2746 TOOL 2744 TAX 2742 DISTRIBUTION 2735 CAMPUS 2733 ADDITION 2728 MACHINES 2721 CE 2719 SIDE 2706 PRINT 2699 DUAL 2698 PRINTING 2698 FEATURE 2695 RELATIONS 2689 OVERVIEW 2683 ARCHITECT 2683 UPDATES 2682 CONSULTINGSENIOR 2681 COSTS 2679 ACHIEVE 2677 FRAME 2661 GROWTH 2659 DEVELOPERS 2655 SOUNDS 2653 CATEGORY 2651 FEDERAL 2646 LISTED 2638 CHILDREN 2637 LOCATION 2635 ABILITY 2635 WEBMASTER 2635 MATERIALS 2635 INTELLIGENCE 2626 DATES 2623 PROTECTED 2607 WIN 2601 RATE 2598 HEADQUARTERS 2598 SUCCESS 2596 MEETING 2595 DEDICATED 2592 MODULE 2587 PARTNER 2586 CAPABLE 2577 ART 2571 PORTS 2559 RUNNING 2556 SERIAL 2551 FIXED 2550 DISK 2548 COMPREHENSIVE 2546 DESKTOP 2543 INTEL 2543 CYCLE 2534 LICENSE 2533 PRICING 2533 CAREER 2532 AFFILIATE 2527 INTEGRATED 2522 SHOP 2515 MODEL 2506 PROTOCOL 2499 EXISTING 2498 REFERENCE 2496 SERIES 2492 LIKELY 2485 REASONABLE 2483 BANK 2482 FORMS 2477 SPEED 2475 FIELD 2471 SCREEN 2470 PUBLICATIONS 2458 MANAGING 2455 UPGRADES 2453 HOMEPAGE 2452 INVESTING 2451 MICROPROCESSORS 2450 HOT 2446 PLANS 2445 CONTROLLER 2444 PREVIOUS 2444 GIS 2442 PRIVACY 2440 SPORT 2437 MAC 2430 WORKSTATION 2427 TURBOSPARC 2426 ADS 2424 INFINITELY 2422 CREATED 2416 ORGANIZATIONS 2410 CO 2407 PARCEL 2405 SUNHELP 2395 LUCKY 2390 MICROELECTRONICS 2390 HOST 2388 UK 2387 PALM 2386 LEARNING 2385 ANNOUNCING 2384 PLATFORM 2384 TRAVELING 2382 DISPLAY 2378 ACTIVE 2375 MUTUAL 2367 ENTERTAINMENT 2364 PLANNING 2360 BUFFER 2360 AMOUNTS 2358 TV 2353 PROFESSIONALS 2348 POSITION 2341 COUNTERS 2338 SAVERS 2336 MEDICINE 2334 COLLECTION 2326 CONTACTS 2324 OFFERING 2321 CISC 2320 DEVELOPS 2316 GUITARS 2314 INCIDENTALLY 2313 CHIEF 2312 PRINCIPLES 2306 MANUFACTURED 2305 COMPILATION 2300 PRIOR 2295 WEST 2294 FPU 2293 PROCESSING 2290 DATASHEETS 2287 FACTORY 2286 MMU 2285 VISITS 2281 ROBUST 2279 STATUS 2273 TOPICS 2273 PORTFOLIO 2272 RATES 2270 MENU 2269 DISTRIBUTED 2268 SKILLS 2266 FUNDS 2259 TESTING 2259 INTRANET 2258 DATASHEET 2257 ET 2256 PDF 2256 CHANNEL 2255 INQUIRY 2253 PROJECTS 2251 ITEMS 2251 SENIOR 2248 II 2242 SUCCESSFUL 2239 COUNTRY 2238 OS 2238 AUTOMATICALLY 2237 BLOCKS 2236 PAY 2227 SIGNATURE 2224 CALIF 2222 MISSION 2220 BOOT 2218 ADVERTISERS 2215 FLEXIBILITY 2214 WRITING 2210 ARCHITECTURE 2210 SLOT 2208 CONNECTED 2205 VENDORS 2202 COMPONENTS 2201 INCREASE 2201 CONDITIONS 2197 RULES 2192 PERCENT 2191 LINKING 2188 DEBATING 2185 CATALOG 2184 LTD 2182 SLOTS 2179 CONSTRUCTION 2178 POWERUP 2177 PLATFORMS 2176 XDBUS 2176 DES 2172 QUICK 2168 MATH 2165 NOTES 2165 DELIVERING 2161 BREAK 2158 ORIGINAL 2154 LISTINGS 2149 LOG 2148 PREMIUM 2148 ACTION 2146 JAVASCRIPT 2143 TRACK 2138 MANAGERS 2135 TIED 2134 ACCOUNTS 2130 FRAMES 2130 FEEDBACK 2127 BUNCH 2119 PLASTIC 2118 ELECTRONICS 2118 DEBUT 2117 NASDAQ 2110 TABLE 2109 GATEWAY 2108 INCLUDED 2103 OFFICIALLY 2102 STATEMENT 2098 VARIETY 2093 CEO 2091 KIT 2089 PORTION 2086 DESIGNING 2084 RESUME 2081 OPPORTUNITY 2079 YIELDS 2078 SLOWER 2076 AGENTS 2073 RADIO 2073 NETBSD 2067 RENAMED 2067 VISITORS 2059 LEGAL 2056 BOOTS 2051 PROBABLY 2051 WWW 2049 SMP 2048 UNIQUE 2047 MANAGE 2047 ALLTEL 2046 ADJACENT 2045 HAT 2045 TRANSACTIONS 2043 EDUCATIONAL 2042 ORDERS 2042 EXEMPT 2041 MBUS 2039 EXTEND 2039 AUTHOR 2035 ADVERTISE 2035 SPARCSTATION 2035 HS 2034 CONDITION 2032 ACT 2032 COMMITTEE 2032 PACKAGE 2022 BRAND 2020 DR 2017 BATTERY 2016 ASSESSED 2015 LX 2013 SELECTED 2013 LOW 2012 SBUS 2008 SUNS 2008 MACHINE 2007 FILINGS 2004 PRINTER 2002 INVESTORS 2002 VOYAGER 1998 BROKERS 1996 SPARCSTATIONS 1994 MASTER 1991 SIMILAR 1991 SOCIETY 1987 PRINTED 1986 UPGRADABLE 1982 DRAWING 1981 FIXME 1980 ANNOUNCED 1980 AUTHENTICATION 1976 OPENBSD 1974 TRANSFER 1973 SPARCCLASSIC 1972 MERRILLLYNCH 1971 CAPABILITIES 1970 ENGINEERFULLTIMECARY 1970 PARTICIPANT 1969 EDITION 1969 PROGRAMMERCONTRACT 1964 WEEKLY 1962 PURDUE 1960 FREQUENTLY 1959 TRADEMARK 1957 ID 1956 CHALLENGE 1955 INNUMERABLE 1954 DISCRETE 1949 PASTE 1948 COM 1945 SPECIALTY 1944 PERSONALIZATION 1941 SUPPORTS 1928 INSTALLATION 1926 CREDITCARD 1925 ADVANTAGE 1925 VISUAL 1924 PUBLISHED 1922 BACKGROUND 1922 REPRODUCTION 1918 OBSERVATIONS 1917 CONNECTIONS 1916 UPGRADE 1913 COMMISSION 1913 ADMINISTRATION 1910 PAYEE 1910 BUYING 1910 APPARENTLY 1909 LOADS 1907 OPERATION 1902 EVERYTIME 1901 EUROPE 1895 RETRIEVAL 1894 INTEGRATION 1890 CALCULUS 1888 AFFAIRS 1885 MATHLAB 1883 SEMESTERS 1882 PRODUCE 1880 BLENDED 1877 ZIP 1877 OFFICES 1877 WEIGHTS 1877 DOCUMENTATION 1874 GROW 1872 FIRM 1870 COMPAQ 1869 SELLING 1868 NEGOTIABLE 1867 ADVERTISEMENT 1865 XML 1863 DISTRIBUTOR 1862 COMBINED 1857 STRATEGY 1855 CONTRACT 1852 FILTERING 1852 BANDWIDTH 1850 INCOME 1848 RECORD 1846 STYLE 1846 VERSIONS 1844 SHOWS 1843 RANKING 1841 AUTOMATIC 1840 CONTINUE 1839 WATCHDOG 1837 POPULAR 1837 TRADINGAN 1836 PAYMENT 1834 AVAILABILITY 1832 CD 1828 FAQS 1825 TRUSTMARKS 1819 ORDERING 1819 LIMITS 1812 CGI 1809 ACTIVITIES 1808 SGI 1801 WINDOW 1799 BELIEVE 1797 MAINTENANCE 1792 RECOMMENDATIONS 1792 COMMAND 1790 WONDERFUL 1788 CONTINUES 1788 MONITOR 1784 COMMANDS 1782 FACT 1782 JAPAN 1777 BROKERMLS 1773 RESPONSE 1771 EFFECTIVELY 1771 EXPLORER 1770 DIRECTORIES 1769 RESPONSES 1769 IMPLEMENTATION 1769 IDEAS 1767 STRATEGIC 1767 ORACLE 1765 ENGINES 1764 ROCKIN 1763 HOTLINKS 1761 FOLLOW 1760 SHORT 1757 INSTALL 1755 TRANSACTION 1755 VPN 1753 MORTGAGE 1753 COMPLIANCE 1751 RISK 1751 PLANTS 1751 MS 1751 EFFECTIVE 1749 LEAD 1748 POTENTIAL 1747 ENSURE 1745 NECESSITY 1745 COMPETITIVE 1745 AOL 1743 EDIT 1741 CREATING 1739 SMART 1738 REALTORS 1732 AUCTIONS 1731 ISPS 1730 SQUARE 1726 LIBRARIES 1724 WOMEN 1722 MODERATED 1720 INSTALLED 1719 EDO 1719 CONFIDENTIAL 1718 DYNAMIC 1718 SHAREWARE 1718 CYGENT 1717 LIVING 1716 SELECTION 1716 READING 1716 CENTERS 1715 ARTS 1712 SPECIFY 1712 ASSIGNING 1712 SPECIFICATION 1710 MICROSYSTEMS 1709 INCORPORATES 1708 CIRCUITRY 1707 REVENUE 1707 FUNCTIONS 1705 DATAWAREHOUSE 1705 PENTIUMII 1704 INDEPENDENT 1703 MAX 1700 BASE 1700 COURSES 1699 PROFILE 1697 SPOTTING 1696 CATEGORIES 1695 ADDING 1695 HOLIDAY 1695 LOCATIONS 1692 CONCLUSION 1690 CONDOMINIUM 1689 ISR 1688 METHOD 1686 AGE 1685 BANKING 1684 MESSAGING 1684 SI 1684 EDITORS 1684 NATURALLY 1682 TELECOM 1682 STOCKTRACKER 1681 FUN 1681 ENCRYPTION 1678 FAVORITE 1676 FIX 1674 QUARTER 1670 WAREHOUSES 1669 HIGHER 1668 OBJECTIVES 1667 REGIONAL 1666 ADSL 1666 FOCUS 1665 OBJECT 1664 REPLY 1663 MODIFIED 1662 TRANSLATOR 1660 PURCHASING 1659 FACULTY 1655 PROTOCOLS 1655 MANSIONS 1653 SCRIPT 1652 MACINTOSH 1646 SPARC 1646 FOOTHILLS 1643 NEEDED 1643 MEDICAL 1642 IRON 1642 AUTOMATES 1640 GENERATION 1639 REPORTING 1639 PERFECT 1638 SYMBOL 1636 INTERVIEWEE 1635 MANAGEABLE 1635 GREATER 1635 BUDGETS 1633 CASH 1632 LOANS 1630 TOWNHOUSE 1629 MR 1627 RESIDENTIAL 1623 TRENDS 1623 STRONG 1622 HIGHLIGHT 1617 RETIREMENT 1614 ASPECTS 1612 FUNCTION 1611 GAMING 1611 UNLIMITED 1609 ASIA 1608 PROMOTION 1606 IMPACT 1604 VINTAGE 1603 PROPERTIES 1603 ENABLE 1601 WON 1597 FOOTPRINT 1595 SPONSOR 1590 SPARCSERVER 1589 DEFAULT 1580 SPARCCENTER 1579 BASIS 1576 BIT 1576 EMPIRE 1571 INTERFACES 1570 IDEA 1569 STATISTICS 1569 COOKIES 1568 GOOGLES 1568 LEADERS 1567 BROWSERS 1565 SOURCES 1563 TRANSPORTATION 1561 LEADER 1561 BUS 1552 INVESTMENTS 1551 AMOUNT 1551 PLEASANT 1551 GEOGRAPHIC 1550 PATCHES 1549 THANKS 1548 WEALTH 1547 SEARCHING 1547 EXCELLENT 1546 POP 1546 CHIP 1544 SHAPE 1543 HEFTY 1543 FEE 1542 SUGGESTIONS 1542 DEVELOPING 1541 DEAL 1538 ODBC 1538 TECHNIQUES 1536 CACHING 1536 REQUESTED 1535 DIRECTORS 1535 MINOR 1534 ENGINEER 1533 ANSWERS 1531 CLIMATE 1528 INDUSTRIES 1527 ENABLES 1526 ND 1524 DRIVING 1524 LOST 1522 EXPECTS 1522 CONSUMERS 1522 FUTURES 1521 VILLAGE 1520 STARTING 1520 JESUS 1516 APPROACH 1516 SNAPPIER 1514 PACIFIC 1512 UTILITIES 1509 WALL 1508 INT 1507 ASSETS 1503 APPROXIMATELY 1500 OFFICER 1499 STRATEGIES 1498 PORT 1498 HIT 1497 RECOMMENDED 1494 PERL 1493 EQUITY 1491 SYNCHRONOUS 1491 FLASH 1491 PRACTICES 1491 LB 1489 WONDER 1486 REPRINTS 1486 TROUBLESHOOTING 1484 OFFICIAL 1483 BROKER 1480 INDIVIDUALS 1480 DOWNLINK 1480 SWIMSUIT 1477 APACHE 1473 ENHANCEMENT 1473 CAPACITY 1469 RESIDENT 1465 VIEWED 1462 DRIVERS 1462 NEWSLETTERS 1461 PARTS 1460 SANTA 1460 CURRICULUM 1456 GENERATING 1455 AGRICULTURAL 1455 TERM 1453 METHODS 1449 BEYOND 1448 XEROX 1448 EXPERT 1446 UNIT 1446 ENHANCED 1445 ETHERNET 1445 FLOW 1444 POSTING 1443 PROTECTION 1440 PHOTO 1440 CLASSES 1439 DOUBLE 1434 GNOME 1434 INLAND 1432 NEWLY 1427 SEMINAR 1426 BROKERAGE 1422 ECONOMY 1419 GUIDES 1419 NOTICES 1418 DPI 1418 INFLUENCE 1418 PROPRIETARY 1417 DESCRIBE 1415 FREEWARE 1415 LONDON 1412 TOYOTA 1411 CORE 1408 EUROPEAN 1406 CHICAGO 1404 PCMCIA 1402 ASSOCIATED 1397 CHINA 1395 REQUESTS 1391 HOME 1389 FORECLOSURES 1388 PURPOSE 1388 FORUMS 1387 OTHERWISE 1387 APPLE 1387 LETTER 1386 WHOLE 1386 TOUR 1385 CHUCKLED 1385 ALLIANCE 1384 PUBLICATION 1384 REPO 1384 PORTAL 1383 PROSPECTUS 1383 COMPLIANT 1381 DRIVER 1381 RFC 1380 RESELLERS 1379 PERMISSION 1378 THOUSANDS 1378 DISTINGUISHED 1378 STRUCTURE 1376 DATABASES 1375 POSITIONS 1369 DSL 1369 CHASSIS 1368 RESEARCHER 1365 OUTPUT 1364 NV 1362 ECONOMIC 1361 ASSISTANCE 1360 AVERAGE 1360 GIFT 1358 FLOOR 1358 PREEMPT 1356 INNOVATIVE 1356 VENDOR 1356 GEOGRAPHICAL 1356 CAMERAS 1354 DESIGNS 1353 EXPECTED 1353 TUTORIALS 1352 CISCO 1351 FREELY 1350 QUOTE 1349 STATIC 1348 FIXER 1348 ARCADIA 1345 ANGELES 1345 REDHAT 1343 ADOBE 1342 STUDY 1341 SHARING 1339 FUNCTIONALITY 1339 MARKETMAKERS 1339 USAGE 1337 AURORA 1336 SHIP 1335 COMPLETED 1335 FORMATTING 1334 REO 1333 SUPPLIES 1333 TRUSTEE 1332 RECOGNITION 1331 SUPPORTED 1330 JOURNALIST 1330 BENEFIT 1330 SETS 1326 SCIENTIFIC 1324 NEGOTIATE 1324 DECISION 1323 VENTURE 1321 RISES 1321 BILLING 1320 TRICKS 1316 QUERIES 1315 FONTS 1315 CENTURY 1314 EXCITE 1314 CHARGES 1314 FORWARD 1313 VISUALBASIC 1313 LIMITATION 1312 FACE 1311 ANNOUNCES 1308 CERTIFIED 1306 FEES 1306 ONGOING 1302 ACCEPT 1295 BUG 1293 CYBER 1293 TUTORIAL 1293 SSL 1292 RECRUITS 1291 RESELLER 1290 PLANNED 1289 SQL 1287 FOUNDED 1287 CRISPER 1283 ENTRY 1282 MANUAL 1282 LIGHT 1279 LECTURER 1279 READER 1278 AGREE 1278 IMMEDIATE 1278 INITIAL 1276 LASER 1275 HEADLINES 1273 FOOTAGE 1272 SESSION 1270 CREATIVE 1269 IETF 1268 BANKRUPTS 1268 WORKPLACE 1266 RECORDS 1264 PRESENTATION 1264 ACRES 1263 PARTICIPATES 1262 INCREASED 1262 NIGHT 1262 MOVIE 1260 BATHROOMS 1259 ZDNET 1259 HIRING 1253 GRAPHIC 1253 GOLD 1252 STREAMING 1252 LOAN 1251 WORTH 1251 SWITCH 1250 SMTP 1248 QUERY 1247 SERVICES 1247 GOOGLE 1246 TRANSFERS 1246 WOODLAND 1245 IIS 1245 RESPECTIVE 1244 RECOVERY 1239 INDICATION 1239 SUPPORT 1237 OPINION 1236 ASSOCIATES 1236 KEYWORDS 1236 ENGINEERFULLTIMENEW 1235 LLCSYSTEM 1235 MARKETPLACE 1235 PROCESSOR 1235 WORKSHOP 1233 LLCJAVA 1233 SECTIONS 1229 COMPETITION 1227 VARIETIES 1227 EXPERTS 1227 ACCEPTED 1227 WINSOCK 1226 FACILITY 1225 LATIN 1225 WESTLAKE 1224 ENHANCE 1221 ADMINISTRATOR 1220 EXPERTISE 1218 COMMENT 1218 PINES 1216 COUNT 1214 PRODUCTS 1212 ALTERNATIVELY 1209 LAWYERS 1209 RELATIONSHIP 1208 THREAD 1207 COMPATIBLE 1206 IMPROVISE 1205 EARNINGS 1202 PRODUCT 1201 BOND 1199 SERVE 1199 PATH 1198 CREATION 1197 DOWNLOAD 1197 LOOKS 1196 SPECIFICATIONS 1196 HELPED 1194 PARTNERS 1192 SOLD 1192 ENJOYS 1191 PROGRAMMER 1191 ACTUAL 1191 TIME 1191 SILICON 1190 CORPORATIONSENIOR 1189 REMOVE 1187 AUCTIONEERS 1186 SCALABILITY 1185 RELEVANT 1184 HIGHWAY 1182 HANDLE 1181 PROMOTE 1179 MAINTAINED 1178 MULTI 1176 STORE 1176 INPUT 1176 TRAINING 1174 CONSULTANT 1173 TRUST 1173 NEWSPAPER 1171 REALTOR 1171 NOVELL 1171 SEALS 1170 RESORT 1170 ROLE 1170 QUALCOMM 1170 INITIATIVE 1168 PARKS 1168 ASSUME 1167 BUYERS 1166 REPRESENTATIVE 1165 UNMODIFIED 1165 AQUIRE 1164 EFFORTS 1163 ASSOCIATE 1163 COLUMN 1162 KEYWORD 1161 UTILITY 1159 CT 1157 MILLENNIUM 1155 OCC 1155 TARGET 1154 EXPLORE 1154 CACHE 1154 DUTIES 1153 RESOLUTION 1153 VP 1151 PLACEMENT 1150 GUIDELINES 1150 RESPECTED 1149 SCHEMES 1149 EXTERNAL 1149 HIGHLIGHTS 1146 FACILITATOR 1146 PARTNERSHIP 1144 GAVE 1143 UNDERSTANDING 1142 REGION 1142 EXTENSIVE 1141 DB 1140 UPLINK 1139 INTERESTING 1139 ATTENTION 1138 COLUMBIA 1138 LAWS 1138 MODELS 1137 MIND 1136 COMMUNITIES 1135 MEDIUM 1134 NOKIA 1134 NAVIGATION 1133 SCENIC 1132 PUBLISHER 1132 RELIABLE 1128 RAM 1128 PREPARING 1127 LAND 1126 FINE 1126 HOPE 1126 LEADERSHIP 1125 MATCH 1123 WEBSITES 1122 SCRIPTS 1121 ROUTE 1121 AMERICASOFTWARE 1120 PAID 1118 INTRODUCING 1116 INDUSTRIAL 1115 CONFERENCES 1115 SETTING 1115 EMPLOYER 1113 RICH 1113 BEGIN 1110 REPLIED 1110 INTENDED 1108 LABEL 1107 RESIDENCE 1107 PERSONALIZED 1106 RAW 1104 TRACKING 1104 ROUTING 1104 APPLET 1102 MALL 1102 SEC 1102 IDENTIFY 1102 EXECUTIVES 1102 VS 1101 DIGEST 1100 DHCP 1099 FIRMS 1099 ALGORITHMS 1097 GLANCE 1097 COMPILED 1096 PICTURE 1096 TCP 1095 CONSULTANTS 1095 DVD 1094 MANAGED 1093 HOPPED 1093 HERITAGE 1092 PARTIAL 1088 PROSPECTS 1087 CONNECTING 1086 DRIVES 1086 DETAIL 1085 CONSISTENCY 1085 FEATURED 1085 OPTIONAL 1082 SPECIFIED 1081 LIMIT 1080 CLEANER 1079 PROPOSAL 1078 TAXFREE 1078 DEPARTMENTS 1077 LEASING 1076 CONNECTIVITY 1076 CHARTS 1073 GARAGE 1072 EFFICIENT 1072 EARLIEST 1071 DEMAND 1070 ITS 1069 THRIVE 1068 BROADBAND 1067 EVALUATION 1067 LOAD 1067 ACADEMIC 1067 SLIDES 1066 APP 1065 PRACTICAL 1064 DISTANCE 1063 MERCHANTS 1063 HTTP 1061 GENERATE 1061 RETURNED 1057 INTERACTION 1057 MILESTONES 1054 PLUGIN 1052 REDUCE 1052 BONDS 1050 CHART 1049 DESKTRACKER 1048 SAFE 1045 BIZARRE 1045 STORMTRACKER 1045 MAXIMUM 1045 GOAL 1044 CES 1044 SAVINGS 1044 SETTINGS 1043 OLDER 1043 MOVIES 1043 GUEST 1042 ANIMATION 1041 LAS 1040 MP 1039 ECOMMERCE 1039 DISCLOSURE 1038 PRINCIPALS 1036 ENTERPRISES 1032 RECEIVING 1032 GERMANY 1032 NATURAL 1030 SEPARATE 1029 DNS 1027 COMPARE 1027 INSTANT 1026 SCOPE 1025 PURCHASED 1024 BOLD 1024 SEMINARS 1024 AFRICA 1022 HOUSES 1022 ECLIPSE 1020 CLOSING 1018 BARNESANDNOBLE 1018 ACA 1018 CONSIDERED 1017 STOCKTON 1016 PR 1016 LLC 1014 NAVIGATOR 1014 AUTOMATED 1013 INVEST 1012 MOSAIC 1011 QUICKTIME 1010 POSTAL 1007 JDK 1007 ULTIMATE 1006 FRIENDLY 1005 DISCUSSIONS 1005 WATER 1005 VIEWING 1004 DEFINE 1004 IPX 1004 CASINO 1002 INCORPORATED 1001 PALM 1001 COMPARED 1000 EBAY 999 FITNESS 998 SKI 995 DROP 994 TASK 994 URGENT 993 SUBMITTED 993 MODE 992 GUI 992 CANADIAN 991 NAMED 990 SLOW 990 WAREHOUSE 990 JONES 989 ENDORSE 988 PERSONALLY 988 ISLAND 987 LICENSING 986 GALLERY 985 SHIPMENTS 983 EXCLUSIVE 983 ARCADE 982 EFFECT 981 CUSTOMIZED 981 KEYS 980 COPIES 980 CHARGED 979 DOLLARS 978 ULTRA 978 AUTHORIZED 978 SCALABLE 977 CONDO 977 LENDERS 977 MINING 976 PREMIER 974 GOODS 974 SHARED 973 ADDS 973 BEACH 972 RUSSIAN 972 GENERALLY 967 KEYBOARDS 965 PARAMETER 965 ATHLON 964 AFFORDABLE 964 PARALEGAL 960 OUTLOOK 960 FOCUSED 960 GUARANTEE 959 DISPLAYED 958 UPS 958 WARRANTIES 957 PROFOUND 957 ASSIST 957 HOMESEEKERS 956 GROUPINTERNET 955 ASSOCIATESJAVA 954 SHOCKWAVE 954 ADVERTISED 952 RELATIONSHIPS 950 FOUNDER 947 EXPOSING 946 FEET 946 PHOTOS 946 PROCEDURES 945 REGULARLY 945 HANDLING 945 STAPLES 942 CLICKING 942 EXTENDS 938 BRANDED 936 POWERED 935 EXCEPTION 934 UNITS 934 HIGHEST 933 EXPANDS 931 ARCHITECTURAL 931 COMMODITIES 930 ASTRAWARE 930 COMMITTED 928 REGULATIONS 927 IDEAL 927 APPLIED 927 AUTHORS 926 COUPLE 923 MAUI 923 ENDORSEMENT 923 SEATTLE 923 BAR 923 IANA 922 FIGURE 922 COPYRIGHT 921 ADVERTISER 920 PROPERLY 918 CONFIGURATIONS 917 GIF 917 BACKUP 916 CENTS 915 RENTALS 914 LICENSED 914 COPYING 913 ELEMENTS 913 SPECIFICALLY 913 REPRESENTING 911 TEACHING 911 IPC 910 CHANNELS 910 LODGING 910 STATED 910 SUGGEST 909 SPENDING 908 NAVIGATING 908 ASTEROIDS 907 ASTRASOFT 907 ANDREW 906 WEBSPHERE 905 CHECKING 905 FINDERS 905 REALITY 904 COMMITMENT 904 LISTEN 904 COORDINATE 904 CMOS 902 CONVERSION 902 LYCOS 902 DUPLEXES 899 DOWNLOADABLE 899 EXPATRIATE 898 EXCITING 898 FOURPLEXES 897 PERCENTAGE 897 GLOSSARY 896 ALONGSIDE 895 ASSURANCE 895 ANALYST 894 DA 894 DEVELOPER TAMPA 892 SCIENCES 892 DEVELOPERS ATLANTA 892 GROUPSENIOR 891 SCSI 891 BID 889 OCEAN 889 MEDIAWIRELESS 889 MEDIASENIOR 888 SERVING 888 MEDIAJUNIOR 887 VIRTUALLY 887 LINK 886 DEVELOPER LOUISVILLE 886 HOSTS 885 CONSULTINGJAVA 885 ARCHITECTCONTRACT 885 TRANSPORT 884 EXCHANGING 884 INSUREMARKET 883 DIFFERENCE 883 TRANSACT 883 ENGINEER 882 STRATEGIST 882 TECHNOLOGYDISTRIBUTED 882 DEVELOPER 881 OBJECTS 881 DOW 881 DEVELOPER PORTLAND 881 CORPORATIONJAVA 880 CULTURE 880 DISTANT 879 OVERSOLD 879 QUALIFIED 877 JUNCTION 876 RELOCATION 875 WORLDWIDEJAVA 875 PROCESSES 874 RAID 874 INVOLVING 874 PLACES 872 LICENSEE 872 HITS 872 ENGLAND 871 CREDIBILITY 871 CONFIGURE 869 MOUSE 869 EXCLUSIVELY 869 WHOLESALER 867 PRODUCERS 864 ADC 863 CHARACTERS 863 TITLES 862 VIEWS 862 SUBSIDIARY 861 CLICKS 861 APPLICATION 861 PPI 861 CC 860 CONTESTS 860 SECTOR 860 BOOKMARK 859 FINANCING 858 JOIN 858 MARKETPLACE 856 CHARTING 855 MONITORS 855 INFORMING 855 RESTRICTIONS 854 REVENUES 854 ALTERNATIVE 854 CS 851 EXPERIENCED 851 MAINSOFT 851 SELLER 851 HISTORICAL 850 FIT 848 CRITERIA 847 TELEPHONY 847 CHECKS 847 TRADERS 846 PROFESSORS 845 TAXES 845 STABILITY 845 INTERVIEW 845 TRUSTMARK 843 FRAMEWORK 842 WRITERS 841 TUSCANY 841 FOLDER 841 FORMALLY 841 CLICKSHARE 840 IE 840 MARKER 840 CHARTERED 839 EXTRANET 838 PC 838 SEARCHES 838 CRASHES 838 ENFORCEMENT 837 FINISH 834 CODES 834 MEN 834 DEPENDING 834 RATING 834 STREAM 832 ANNOUNCE 831 HAWAII 831 TRAVELED 831 NEARLY 831 SPARCSYSTEM 830 ALLEVIATES 827 INO 826 DISPLAYS 826 IPO 825 ACTIONS 825 ADMINISTRATIVE 825 ERASE 824 INTRODUCED 824 CLOSELY 824 GENERATED 823 EXPRESSLY 822 HELPING 822 OWNED 822 EXPAND 821 ENTERED 821 JUDGE 820 CRISIS 820 SIGNED 820 PENTIUM 819 DISTRIBUTORS 819 AMERICAS 819 VENDING 818 BEOS 817 FORMER 817 PHONES 816 PANEL 816 PRESENTATIONS 815 RIO 814 JEEVES 813 TICKETING 812 CPU 811 REGISTRY 811 DEFINITION 810 OVERSEAS 809 INCREASING 807 SCRIPTING 807 PLAYERS 806 COMPATIBILITY 805 SRAM 805 EARN 805 FIRE 804 DOWNLOADING 804 SCHEDULED 804 PALM 804 OPTIMIZED 803 REFERENCES 802 INTERVIEWING 801 BIOS 800 ZAP 799 CONDUCT 799 CORPORATIONS 799 SHOWINGS 799 TIMETABLE 797 ATARI 797 PRIVILEGES 797 CONNECTOR 797 EXTENSION 796 DESKTRACKER 795 STORMTRACKER 794 UNIVERSAL 794 RISKS 794 EDUCATE 794 CHARACTER 794 VEGAS 793 COMPLICATED 793 ADAPTER 792 EXPENSIVE 792 APPROVED 792 CONCEPTS 792 IMPORTANCE 791 CONTINUED 791 PROMOTIONS 790 INDEPENDENCE 790 VOTE 790 CHEAP 790 PHOTOGRAPHS 789 BLOCK 789 FRONTPAGE 789 ADVISOR 788 HERO 788 CLOCK 788 DESIGNER 787 CONCEPT 785 AUTHORITY 784 DECISIONS 784 MATEO 784 PROMOTING 783 SETTLEMENT 783 MINDSPRING 783 QWEST 782 ASSIGNED 781 SERIALIZATION 781 POLITE 779 AFFILIATES 779 RESTAURANTS 778 LINKEXCHANGE 778 HOSPITAL 778 ACCURATE 778 ISSUED 777 CUSTOMIZE 776 BUREAU 776 EMPLOYEE 776 SESSIONS 776 DESIGNERS 775 REPORTED 775 MULTIPROCESSOR 775 IMPROVED 774 PRETTY 774 ADVISORS 773 REALTY 773 RFCS 772 BEAUTIFUL 772 BEDROOMS 771 LOCATE 770 COMMUNICATE 767 DEALING 765 ALTAVISTA 765 TRULY 764 PERMITS 764 SUPPLIER 763 COMPILING 763 PROGRESS 762 RECOGNIZED 760 REFER 759 PAPERBACK 759 COMBINATION 758 OPERATORS 756 COMMUNICATOR 755 UPLOADING 755 COMPACT 754 REPRESENTATIVES 754 NYSE 753 JAPANESE 753 AGREEMENTS 753 PRODIGY 753 DEVELOPMENTS 752 CONTRACTS 751 PERSPECTIVES 749 RESPECT 748 PUBLISH 748 WIDTH 748 INFORMATIONAL 748 MODERATORS 748 IRELAND 747 SEEK 747 ARTISTS 744 DC 744 JSP 743 EXEC 743 TELNET 741 RECEPTION 739 SORT 739 KERNEL 739 ANTITRUST 739 PRECIOUS 738 FORMATS 738 BROWSING 737 TOOLKIT 737 FUJITSU 737 FILM 737 INNOVATIONS 735 LIAISONS 734 OPERATOR 733 DEPOT 732 CARTRIDGES 731 NUMERICS 731 CONTRIBUTION 730 VB 730 UPCOMING 729 EMAILS 729 SERVICES 728 LAUNCHES 728 ASPECT 728 CANDIDATES 727 EASTERN 727 ENGAGING 726 PROTRACKER 726 METALS 725 NETWARE 725 TOOLBOXES 724 NOISETRACKER 723 PORTABLE 723 BATHROOM 723 OFPROCESSORS 723 SOUNDTRACKER 723 EXCHANGES 722 VIEWS 722 SUPERSPARCSERIES 721 INITIATIVES 720 CORRECTIONS 720 CAP 720 OUTSOURCE 719 TIMELY 719 POSITIVE 718 SEEMINGLY 718 DICTIONARY 717 PREFERRED 716 ACQUIRED 716 SPEAKING 715 KEYBOARD 713 PROSPECTIVE 713 NEWSGROUP 713 ANTICIPATES 712 HOSTED 712 ENGINEERCONTRACT 711 PILOT 711 INCORPORATEDSOFTWARE 711 LAYOUT 711 MIME 711 CARIBBEAN 710 BOOTABLE 710 ATTRACTIVE 710 ACTIVEX 710 EXPIRATION 710 EXCEL 710 SOLAR 709 RANDOM 709 DSN 709 HEADQUARTERED 709 LEADER 707 FA 707 REPRESENTS 706 ELECTRICAL 706 CONVENIENCE 706 PROPOSED 705 NEWS 705 CURRENCY 703 MAP 702 FOCUSING 701 STUDIO 701 ADVENTURE 701 RETRIEVE 700 SONY 700 ESTABLISH 699 TAGS 698 HOTBOT 698 ESSAYS 697 TRIALWARE 697 AUTHORITIES 696 VALID 696 DELAY 696 LATENCY 695 MILLIONS 694 REPLACED 694 PREVIEW 693 SCREAMIN 693 REMAIN 693 ADVANCE 693 COMMENTARY 692 ISLANDS 692 CLOSEST 692 GATE 690 FLAGSHIP 690 HOLDING 689 ORANGE 689 OPINIONS 689 APPROVAL 688 OWNERSHIP 687 WINNERS 687 POLLS 687 PARTNERSHIPS 686 INTERCONNECTED 685 DESTINATION 685 PROFITS 684 BYTE 684 LICENSEES 684 EXPENSES 683 TABLES 683 CELL 683 MALLS 682 ADVANCES 681 FLIGHT 680 ENG 680 PROGRAMATICALLY 680 CUTS 678 HTTPS 678 PREPARED 677 COMMANDS 677 BALANCING 675 ACREAGE 675 TICKER 674 SPECIALIST 674 TONER 674 LOBBY 674 IMMIGRATION 673 LITE 673 TYPICALLY 673 ACCURACY 673 GAP 672 ASSURED 672 CONVENIENT 672 ADDITIONALLY 672 FINALIZE 671 LIVES 671 LOSERS 671 PAGER 671 REVISED 670 QUANTITY 668 CMGI 668 ROUTED 668 PUSH 667 INFORMED 667 WITHDRAWN 666 ARRIVE 666 SPANISH 666 TAG 666 RELOCATING 666 RUSSIA 665 FUNDING 665 ACQUIRE 665 SE 664 CUTTING 664 FOXPRO 664 PGP 664 TYPICAL 663 EXPECTATIONS 663 RALLIES 663 CIRCUIT 662 LINKED 662 INTERMEDIA 662 VENTURA 662 RUMOR 661 TEMPLATE 661 ERP 660 SERVLET 660 SHOWCASE 660 INDEXED 660 JAVACONTRACT 659 LEE 659 COMPUTED 659 GRAND 659 TOWN 658 POSTPONED 658 RELOCATE 658 ARTWORK 658 VIDEOS 657 DISTRIBUTE 656 DREAM 656 NECX 655 POSTINGS 654 NOTED 654 MOCHA 653 WORKSTATIONS 653 EXCELLENCE 652 ECONOMICS 652 MULTIPLY 652 DIRECTION 652 PROCEDURE 651 PROXIMITY 651 NOTIFY 651 TREAT 651 RAISE 650 IMPRESSIVE 650 WILLING 649 SPEAK 648 SUCCESSFULLY 648 CLIMB 648 EXTENSIONS 648 STYLUS 647 ARRAY 647 SERVICESNEWS 647 HUMOR 646 BASICS 646 GRASSLAND 646 REVISION 646 NAMING 645 ADAPTERS 645 URLS 645 RESEARCHERS 645 ADVERTISEMENTS 645 ICQ 645 PACKS 643 PUTS 643 PARAMETERS 643 BUILDER 643 DEF 642 INSTRUMENTS 642 NIGHTLY 641 LAUNCHED 641 NOTIFICATION 640 IDENTIFICATION 640 LEGASPI 639 NATIONWIDE 639 UNCONVENTIONAL 639 DOTCOM 639 FACTS 639 FIXES 638 OPTIMIZATION 638 HTTPSERVLET 638 WEBMASTERS 637 DOOR 637 SITUATION 637 PRESUME 635 LUCRATIVE 634 DURATION 633 SUNSHINE 633 BECAME 633 LEGISLATIVE 633 SIGHTS 632 SEA 632 ROOMS 631 LOGGING 630 TEAMED 629 CASUAL 629 ADVANTAGES 627 PORTLAND 626 CONSIDERABLY 626 DEFINITIVE 624 SEX 621 DEALERS 621 OBJECTIVE 621 PRODUCER 621 BESIDES 621 DIALOG 620 DELICIOUS 620 CBS 620 EMBEDDING 619 RAFAEL 619 RECOGNIZE 619 INVENTORY 619 ENFORCE 619 CONSIDERATIONS 619 BROOKSIDE 618 GOVERNMENTS 617 SATISFIED 617 BUYER 617 ONLINEACCESS 617 PROGRAMMER 617 RANKS 616 REFLECT 615 RIGOROUS 615 LUIS 614 JRUN 614 RAVE 613 NANDO 613 SALT 612 CITIES 612 CONTEMPO 612 DISKS 611 BUYS 611 LIGHTWEIGHTS 610 EVOLUTION 610 COCKTAIL 609 AFTERWARDS 609 ACCESSIBLE 608 SUBJECTS 607 MAINBOARD 607 OPERATE 607 MEANING 606 PEACE 606 IMPROVISATION 606 NORTEL 604 DIALUP 604 DETERMINED 604 ELEVATION 603 DART 603 FORMERLY 602 DOMAINS 601 VIEWERS 601 DOLLAR 601 AUTOMOBILE 600 DRAWN 600 ENABLED 600 PERM 599 APPRECIATED 598 DISCOUNTS 597 WWDTS 597 ALAMITOS 597 INSIDER 596 RECRUITING 595 DEVELOPERPERMANENTSAN 595 PDA 595 MIAMI 595 CONTACTING 594 ESSENTIALLY 594 SYSTEMSJAVA 594 CROSS 594 PERSONS 594 SATISFACTION 593 DEV 593 LOGICAL 593 PANELS 593 RENTAL 592 MERGER 592 DEFENSE 592 EXPOSURE 592 NULLSOFT 591 PIZZA 591 NYC 591 ACCEPTANCE 591 TECHNOLOGYAPPLICATION 591 MISCELLANEOUS 590 VSTR 590 DEVELOPERPERMANENT 589 UVT 589 DEVELOPER PALM 589 VISIBILITY 589 HOUSED 588 SA 588 ENGINEER SAN 588 HEADERS 588 INTERVIEWER 587 EXPLICIT 587 PROGRAMMERPERMANENTBAY 586 REPRINTING 586 CLASSIC 586 ENGINEERPERMANENTBAY 585 AIMED 585 MPW 585 SANJOSE 585 SELLERS 584 BRITAIN 583 ENABLING 583 ACCESSED 583 LAGUNA 583 REPRESENTATION 582 FRENCH 582 GRAPHS 582 MYTRACK 582 IMPLEMENTED 581 COMPUSERVE 581 APPEARS 580 REMAINING 579 REBINDING 579 SUCCEED 579 UC 577 SALARY 577 CHINESE 576 COMPARABLE 575 AMAZON 575 PRECISELY 575 REPUTATION 572 FUNCTIONAL 572 REFERENCED 571 DHTML 571 PERIODIC 570 SEPARATING 569 ONLINEUNIVERSITY 569 EXPLAINS 568 PACIFICVIRTUAL 567 DIGITS 567 IMAGINE 566 GRANT 566 CONVERT 566 AUTOMOTIVE 565 CREATOR 565 POOL 565 HR 564 MT 564 AWARDED 563 GAINS 562 IMPOSED 562 SEARCHABLE 562 CRM 561 CLOROX 560 INTEGRATE 559 NON 559 BINARY 558 POWERHOUSE 558 ADDITIONS 557 ANALYZE 556 BOUNDS 555 RESET 555 IAB 555 MAKER 555 SCHEDULES 554 POPE 554 DOWNTOWN 554 EQUIVALENT 553 GULF 553 NNTP 553 REPORTER 553 OFFSHORE 552 OBISPO 552 SNAPSHOT 552 LENDER 552 BRANDS 552 CATEGORIZE 551 EQUAL 551 WIDELY 551 NUMERIC 550 PRESTIGIOUS 550 EASE 550 GENESIS 549 CONFIRMED 549 SPECIALIZES 548 MAPPING 548 BARBADOS 548 RICO 547 LOCKUP 547 RATINGS 547 APPRECIATE 547 FINISHED 545 ODP 545 BREAKING 545 CLARITY 545 ASSOCIATIONS 545 HOUSEHUNTING 543 EXACT 543 CONFIDENCE 543 ACCEPTABLE 542 COMPANYLEARN 542 NULL 542 SECRETS 542 MODERN 542 ADOPTION 541 PHYSICALLY 541 CONVENTION 541 AGGREGATION 540 HELSINKI 539 GREATEST 539 CAPTURING 538 ERA 538 ABROAD 538 SPECIALIZING 537 HONOLULU 537 TURNING 537 INDEXES 537 INFOSEEK 536 CHARACTERISTICS 536 ALERTS 535 THINKING 534 INTERVIEWS 533 GENERATES 533 USB 533 REMIND 532 MANUFACTURE 531 SELECTIONS 531 REPRESENTED 531 CUTE 531 AUTHORING 530 CONTEXT 530 SOPHISTICATED 530 EVALUATED 530 WDVL 529 FAMOUS 529 GUY 529 OTHER 529 DEEMED 529 MLS 529 CONNECTS 528 DEVELOPERFULLTIME 528 SOLVING 528 LBS 526 DELAYED 525 ROCK 525 COMPETITORS 524 BINDS 524 CONVINCED 524 VOIP 523 CREDITS 523 DOWNLOADED 522 NS 522 DISABLED 521 WINS 521 CAPTURE 521 IDE 521 TAGGED 519 CONSTRAINS 518 PROGRAMMERS 518 RELATION 518 SYNC 517 WIZARDS 517 ARUBA 517 EXPANDED 517 MAKERS 516 OPERATES 515 CONSOLES 513 SCENE 513 UPGRADING 512 KOOTENAY 511 STREAMS 510 STANFORD 509 ENDED 509 FILTERS 509 RPM 508 HUNDRED 506 BRIEFING 506 CONSISTENT 505 PARAMETRIC 505 META 505 COORDINATOR 504 TRAVELS 504 NEGOTIATING 504 DURABLE 503 ENUMERATE 503 JAPANDEVELOPERS 503 PUERTO 503 RESERVES 502 INSTITUTION 502 SOLICITATIONS 501 COMPLY 501 WORKFORCE 500 ORGANIZE 500 INFORMAL 500 REFERRALS 499 NEWEST 499 FORECLOSED 499 STRENGTH 498 INFINITY 498 ORLANDO 497 IMAGELOCK 497 TRACKER 497 MOTHERBOARDS 497 SWAP 495 LISTENERS 494 CLEARING 494 REPLACE 494 CULTURAL 494 OPTIMIZE 493 BEAR 493 LOSANGELES 492 BROADVISION 492 IMPRESSED 492 TRAVELERS 491 GLOSSARY 491 FOLDERS 489 SEEING 488 MASSIVE 488 ATTACHMENTS 488 SMAB 486 ADVENTURES 486 COUNTIES 486 ARCHIVED 485 PREMIERING 485 PATIENCE 485 QUALIFY 485 MODULENAME 483 WELCOMES 483 WAKE 483 DISTRIBUTING 482 CERENT 482 EXHIBITORS 482 PHILOSOPHY 481 WARS 481 MICROSYSTEMSJAVA 481 ESTATES 481 INVALID 481 SDSL 480 WORLDS 479 BREAKROOM 479 HOMEPAGES 479 CRAY 479 MECHANICAL 478 CLIP 478 CALCULATOR 477 OAHU 477 LAKES 477 CDS 476 QUIET 474 INNOVATION 472 SOUTHWEST 472 PERFORMING 471 POSITIONED 470 BERMUDA 470 ADAPTEC 470 DIALING 470 CONSTRAIN 470 FREELANCE 468 ADIRONDACKS 468 SPREAD 467 HELPDESK 467 FIGURES 466 EXPENDABLE 466 SITEMAP 466 REFERS 466 MANSION 466 PUBLISHES 465 BUENOS 465 REPLACEMENT 465 INSERT 465 RELIABLY 464 UNIVERSE 463 EVALUATE 463 AIRES 461 ENCLOSURES 460 INTRODUCTORY 460 ORLEANS 458 SUGGESTION 458 ASA 458 ARCHITECT 458 BENCHMARK 458 IDS 458 MSN 457 ANDY 457 TELEWEST 457 AMASSING 456 UPGRADED 456 TOT 456 XX 456 PD 455 DIMENSIONS 455 CATALOGS 454 PLUG 454 GUESS 454 STUNNING 454 BAHAMAS 454 DYNAMICS 454 COMPARATIVE 453 SPEAKER 453 DARE 453 LEASE 453 IDENTITY 453 MULTILINGUAL 453 FORAY 453 PLC 453 PENINSULA 453 WESTWOOD 452 INBOX 452 FLAT 451 CNN 451 CONTRIBUTED 450 SECTORS 450 SEARCHJAVA 449 FACTOR 449 DISC 449 ESTIMATES 449 POWERPOINT 449 PROGRAMMER LAS 449 PAYING 448 URBAN 447 PASSPORT 447 FIGHT 447 AMSTERDAM 447 DELL 446 NAVIGATE 446 DOT 445 VISUAL 445 BOOLEAN 444 SUSPENSION 444 PURE 444 TM 444 PRESSURE 444 RETAILERS 443 NODE 443 NEAT 443 TRADESHOWS 442 BUILDINGS 442 HTML 441 ROE 441 NEWER 441 NAMELY 440 REFERRED 440 ECONOMISTS 439 LEVERAGE 439 PURCHASES 439 PREFERENCE 438 INCORPORATION 438 ACADEMY 438 SAVED 438 GENESYS 438 ULTIMATELY 437 HEAT 437 ACHIEVED 437 PERIODS 437 EQUITIES 437 APARTMENTS 435 NOTEBOOK 435 RANCHO 434 PRIZE 434 EASIEST 434 INTERNIC 433 REVOLVING 433 ROCKY 433 ANNUALLY 433 DEMOGRAPHICS 432 STRICTLY 432 SHIFT 431 DEPTH 430 GENERALIZATION 430 EXCEEDED 429 CANCUN 429 VAST 428 POSTS 428 HEIGHT 427 INSTITUTIONAL 427 APPEARANCE 427 CONFIRMATION 426 PCQUOTE 426 ZACKS 426 INTRANETS 425 KNOWLEDGEABLE 425 MYTH 424 METACRAWLER 424 THRU 424 TECHNOTES 424 JAMAICA 424 ENTERTAINED 424 SUBMISSIONS 424 SUNNY 423 JUDICIARY 423 DRAM 423 ACAPULCO 423 DOME 423 ACCREDITATION 422 CALCULATORS 421 TRANSITION 421 SDK 421 SUPERPOWER 421 SUBMITTING 421 DESTINATIONS 421 COASTAL 420 DECADE 420 NETGUIDE 420 POSTURE 420 EDINBURGH 419 GENESTAR 419 ALAMEDA 418 BURLINGTON 417 REVERSE 417 MOUNTAINS 417 PRUDENTIAL 417 PERIPHERALS 416 REGIONS 416 KISS 416 DUBLIN 416 MBA 415 SPLIT 415 REVISIONS 415 IESG 414 RARE 413 FILED 413 RESTRICT 412 BARCELONA 412 SPACES 411 ARRANGEMENT 411 CAYMAN 411 NOTIFIED 411 LIENS 411 ADPT 410 PLACER 410 REALTICK 410 COMPASS 410 OFFLINE 409 OBLIGATION 409 MEDI 409 VIRUSES 409 INBOUND 408 SOLICITATION 407 INITIATED 407 AFM 406 APQ 406 ADBE 405 AEQ 404 SMOOTHLY 404 DISCUSSED 404 SFA 404 AMFM 403 USPS 403 LRCX 403 REVOLUTION 403 WEBMASTERING 403 INDICES 403 PRINTABLE 403 RECEIPT 402 MEDIMMUNE 402 NOTEBOOKS 402 ORIENTED 402 FINA 402 BOTS 401 COUPLED 401 VOICESTREAM 401 WIND 400 SELECTS 400 CME 400 LMQ 400 MEQ 399 AGREES 399 CLAIMED 399 PDG 399 TURBO 399 BLOOMBERGBLOOMBERG 399 APPROVE 399 SNAP 399 REMOTEACCESS 398 AGGRESSIVE 398 PARADISE 398 BANFF 397 CONTACTED 397 TRANSIENT 397 STOCKHOUSE 396 JOSHUA 396 DEADLINE 395 SLE 395 APPOINTMENT 394 PRICERONLINE 394 CENTER 394 YOHO 393 GIRLS 393 TRANSOCEAN 392 JAVALOBBY 392 FE 392 COMPLETION 392 PROFITABLE 392 COMMISSIONS 391 CROSSPOST 391 CLEAN 390 RETAIN 390 INTEGRAL 390 SPELL 389 ESCORT 389 APPLAUDED 389 CONTRA 388 SUNMICROSYSTEMS 388 FLOPPY 387 RES 387 ORIGIN 387 SCREENS 387 INFOSPACE 387 PRONOUNCE 386 CALCULATE 386 QUICKEST 386 LAPTOP 386 SOLELY 385 CONCRETE 385 NETWORKED 385 BUDDY 384 SYMBOLS 384 ISDEX 384 TESTIFIES 384 INDICATED 383 DIRECTX 383 INKTOMI 383 ISLE 383 CONSULTED 383 SHUTTLE 382 WARE 381 COMPUTERS 380 DIVERSE 380 HYPERTEXT 379 HONOR 379 AGENDA 379 MANHATTAN 379 STRIKE 379 NEGOTIATIONS 379 REGULATION 379 SHIPMENT 378 TI 377 REVIEWER 377 MORTGAGES 377 CAPISTRANO 377 CODING 375 RELOCATIONS 374 STAKE 374 MARINO 374 RAINIER 374 PRODUCING 374 ASSIGNMENT 373 DICTATE 373 ATTACHED 373 COURTESY 372 BACKED 372 COPENHAGEN 371 ASCII 371 REGISTRAR 371 GROUNDBREAKING 371 FUNDAMENTALS 371 ASSIGN 370 CRS 370 CAMPAIGNS 370 DEPEND 370 ACQUISITIONS 370 INSURES 369 MICROSPARC 369 ELITE 368 POPPING 368 VRML 368 IMPLEMENTATIONS 368 BUDAPEST 368 SCROLL 368 CAD 368 ORGANISE 367 PALMPILOT 367 SPECIALISTS 367 MAZE 367 CLIPBOARD 367 TIGHT 366 FLORENCE 366 DEFAULT 366 STANDARDIZED 365 GENERATOR 365 RESERVOIR 365 LOCATION 365 OBSERVE 365 PORTALS 364 HOSTNAME 364 PRICED 364 PRICE 363 WEBHOSTING 362 DBC 362 EXPLORING 362 RECIPROCAL 361 DESIRABLE 359 GATES 359 SHORTCUTS 359 UNDERGROUND 359 SUITABLE 358 ATMOSPHERE 358 GLOBE 358 FERTILE 358 TYPING 358 ENCODING 358 ROYALE 358 FRANCHISES 357 LOGONS 357 RECOMMENDATION 356 RETIRE 356 SPELLCHECKER 355 PROCESSED 355 NOTIFICATIONS 354 PASSAGES 354 ANAHEIM 354 DICTIONARIES 354 VALLARTA 354 FACILITATES 354 HANDY 352 BEIJING 352 DRUID 351 TESTIMONIALS 350 RECREATIONAL 349 DISCLAIMERS 348 CONDOMINIUMS 346 INTEGRATES 346 DIST 346 SIERRA 346 COMPETING 346 HANDLED 346 PTY 346 AIDED 346 ALTERED 346 COLD 346 EXPLORATION 345 REDWOOD 344 WARRANT 344 PATENTS 343 DRIVEWAY 342 NOISE 342 HANDLES 342 SHASTA 341 DISCOVERED 341 GX 341 ABSENCE 341 ENTITY 340 AFFLIATEPROGRAMS 340 SCANNING 340 SCREENSAVERS 339 NU 339 CONVERTED 339 TAHOE 338 AFFILIATEPROGRAMS 337 ENCLOSURE 337 LINKSHARE 337 UTILES 336 VODKAS 336 SHOPPERS 336 DANCE 335 PROOF 335 BOOST 335 REPUBLISHED 335 IMPERATIVE 334 FORTUNATELY 334 LAM 333 MNEMONICS 333 QUANTUM 333 VISIBLE 333 METAL 332 ESTIMATE 331 CENSUS 331 RECRUITER 331 LIMO 331 TELECOMMUNICATION 330 STRUCTURES 329 PROJECTED 329 PROMINENT 329 BVSN 329 IMPLICITLY 329 TÉLÉCHARGEMENTBOÎTES 329 ACCENT 328 CONTEXTS 328 INTERMEDIATE 328 BULLETINS 327 NEWPORT 327 SPAN 327 GRAMMAR 326 BANKER 326 REFUND 326 INTERVAL 326 EMPHASIS 325 DIALED 325 OFC 325 EXPRESSIONS 324 ATTEMPTING 324 BATTERIES 323 FREQUENT 322 ALLIANCES 321 EXPLAINED 321 DEADLINES 321 ENCYCLOPEDIA 321 GNP 321 LUXURY 320 GOTO 320 DOC 319 LOCATOR 319 TECHNOLOGICAL 319 CONVERSANT 318 DIFFICULTY 317 BOYS 317 KR 316 SUMMATION 315 STRATEGISTINFORMATIVE 315 WEBOBJECTS 314 REMAX 314 COMPILER 314 GATED 314 MOUNTING 314 MARKETCNN 314 SKYSCRAPERS 313 TOOLBAR 313 PERTAINING 312 RETREAT 312 COOPERATIVE 311 BANKRUPTCY 311 COLUMNISTS 311 EXPIRATIONS 310 PENDING 310 ACCELERATING 309 GUIDEBOOKS 309 OFFENDER 309 QVB 309 REVEAL 309 STRUCTURED 309 EASDAQ 308 HARDWORKING 308 SALARIED 308 RENEWED 307 EURO 307 DISPLAYING 307 FITS 306 SHANGHAI 306 TENS 306 HONORED 306 EXPLAINING 305 DETERMINING 305 MATHEMATICAL 305 USABLE 304 WITHDRAWALS 304 PROTECTING 304 WEBCRAWLER 304 COMPLEXES 304 SPA 304 PROFESSIONALISM 303 MULTIPROCESSING 303 EXTRACTOR 303 CITYLIFE 303 REGISTRANT 303 HOUSEHUNT 302 FAULT 302 FILERS 302 JOURNALISTS 301 FUNNY 301 SPLS 300 KNOWINGLY 300 CUSTOMS 300 AVERAGES 300 ECONOMIST 299 CPM 299 GUIDING 299 JAZZ 299 PADS 299 GUARDED 299 COUNSELING 298 BANKS 298 KMB 298 COLDWELL 298 PRINTS 297 INTENTION 297 KROGER 297 HIGHLIGHTED 297 PRICINGS 297 FUNK 297 PRIVATELY 296 SCREW 296 OKAY 296 FLUID 296 SNOW 295 GENERIC 295 EXPONENTIAL 295 PLQ 295 STOCKPOINT 294 QUICKEN 294 DOTS 293 ALPHABETICAL 293 INVOLVE 292 PHARMACEUTICALS 292 SUBSEQUENT 291 MONICA 291 DISTINCTIVE 291 THREADING 291 XEON 291 ACKNOWLEDGE 291 COPIED 290 PROFOUNDLY 290 INS 290 TOWNHOMES 290 THESTREET 289 REPLACING 289 EVALUATING 289 LEGENDARY 289 PARSED 289 MOTIVATED 288 ISPCON 288 CYBERHOMES 288 QUALITIES 288 BOF 288 ASSOCIATEPROGRAMS 288 INSPIRE 287 JPEG 287 REPRESENTATIONS 287 BROADEST 287 INTERNALLY 287 SURPRISED 286 GUITAR 286 FLEX 285 LASALLE 285 ADAPT 285 PRESIDENTIAL 285 FENCED 284 ASSISTED 284 ISOC 284 GROWS 283 TLD 283 SX 282 GIGABYTE 282 INTERACTIONS 282 BAYS 281 ROUNDING 281 BANGKOK 281 CONCERT 280 INTERNALS 280 EDGES 279 INTELLISEEK 279 INTERNETNEWS 279 FAME 278 SWIMMING 278 BRAINSTORMING 277 SCORES 277 FUSION 277 WELCOMED 276 HONESTY 275 INCORPORATE 275 STANDARDIZED 275 FREEPHONE 275 VODAFONE 274 APPROXIMATE 274 CLARIFICATIONS 273 PARADYNE 273 ARRANGING 272 EMPOWERED 271 DERIVATIVES 271 HILTON 271 CBOE 270 BULL 270 GRID 270 PMQ 270 WGS 270 GRAVITY 269 CATERING 269 DEFERRED 269 DAYTIME 268 REASONING 268 TOWNHOUSES 268 AIRWAYS 267 TERMINOLOGY 266 REPRINT 266 SIFT 265 ATTACHMENT 265 SP 265 CTI 265 WEBOPEDIA 265 FERNANDO 264 SMALLBUSINESS 264 SPONSORS 263 HOMES 263 WEBTRENDS 263 ADDICTION 263 ROTATING 262 COLLECTIVE 262 MARKETWATCHTHE 262 CDR 261 ENDURING 261 REFLECTS 261 APARTMENT 260 CITIZENSHIP 259 GRANADA 259 SRS 258 TRANSFORM 258 SOCKETED 258 ACCREDITED 258 ZURICH 257 BROKERAGES 257 HIDE 257 SAO 257 VENUE 257 RETIRING 256 SLOPE 256 REMARKS 256 FOOT 256 REGISTRANTS 256 DAILYGRAPHS 255 ROCKIES 255 GE 255 NSI 254 KYOTO 253 DEPENDENCIES 253 DWELLING 252 CHOOSES 252 HIDING 252 CLUES 250 SDRAM 250 AWT 250 PROPANE 249 PRICER 249 INTER 249 MATRIXVB 249 ACKNOWLEDGED 249 USD 249 SEARCHED 249 ACKNOWLEDGMENT 248 BLUES 248 RETENTION 248 DYNAMICALLY 248 WANG 248 NEWSCNNFN 248 CONFIDENT 247 SUMMARIES 247 FILTERCORP 247 FEND 247 SPECULATION 247 RESIDE 246 UCL 246 STRINGS 246 EXPEDITE 246 BALI 246 HONESTY 246 SKATEAGENCY 245 MEDITATION 245 NETFIND 245 REPEAT 245 ANTICIPATED 245 DELUXE 245 LOOKUPS 245 GPM 245 SANTIAGO 245 OCLI 245 ARTISTIC 244 LIBRARIE 244 INDEPENDENTLY 243 MERC 243 HTML 243 LOOKSMART 242 AOL 241 NOW 241 DELETED 241 CLEARINGHOUSE 241 AA 241 COMPRENANT 240 PRIVILEGE 240 TEXT 240 INTERPRÉTATEUR 239 DESKJET 239 INTRADAY 239 TAOS 239 ACRE 238 DETECTING 238 GLACIER 238 FORECLOSURE 238 MENUS 237 ROLLOVER 237 ADVISED 236 PREPAY 236 MAILINGS 236 SERIALIZE 236 USV 236 HOTTEST 236 PRODUCTIVE 235 SCROLLING 235 SCHOLAR 234 MARKETERS 234 DEJA 234 RUSSELL 233 SUNSET 233 WHITEWATER 233 CONSTRUCT 233 NIC 233 OUTLINE 232 COMMENTARIES 232 ONLINEFREE 231 CDROM 231 CALIFORNIANS 231 NEUTRAL 230 DISPUTES 230 NASDAQDAIL 230 TECHNICALLY 230 CONTINUALLY 229 FEELING 229 QUOTATION 229 VSIMM 228 JURISDICTION 228 MARKETWAVE 227 APPEALS 227 CLICKABLE 227 BRIEFS 227 OUTBOUND 226 SAVVY 226 CONSIDERABLE 226 JANEIRO 226 RARELY 225 ORIENTATION 225 DLL 225 BOOKMAN 225 FREDDIE 224 WEBOPAEDIA 224 MATRICES 222 HUNTINGTON 222 DATEK 222 STOCKMASTERINTRADAY 221 POWER 221 EXPRESSION 221 REFRESH 221 PAOLO 221 FUTURESFROM 221 POOLS 220 NETCENTER 220 TETON 220 OPTIONSFROM 220 HONEST 220 JOSÉ 220 PASADENA 220 MYTRACKTHIS 219 WAREHOUSING 218 PMTC 218 INITIATE 217 LAPTOPS 217 SELECTIVE 217 SEARCH SEARCH 217 LATES 217 DEFER 217 COMPOSITION 217 LEAPS 216 PEDIATRIX 216 CAPITALIZATION 216 HIERARCHY 216 CONTRACTOR 216 DETECT 214 SUPERSPARC 214 AVERAGESGIVES 214 HOLLYWOOD 214 EDITS 214 CONTINENTAL 213 COUNTRYWIDE 213 SARA 213 ESSENCE 212 YARD 211 QUALIFICATION 211 PREVENTED 211 LUMINARIES 210 FORTÉ 210 VERIFIED 210 ACCOUNTANTS 210 NEWSWEEK 209 FRE 209 FONCTIONS 209 FREEACCESS 209 AMERICAS 209 CEASE 208 AIRPORTS 208 CONTRIBUTOR 208 FN 208 SUPERCACHES 208 CELEBRATE 207 PROTOTYPE 206 MICROPORTAL 206 DIMENSION 206 MALIBU 206 REALVIDEO 206 LOGISTICS 206 DDK 206 PROBATE 206 ENERGETIC 206 SPX 205 DEVOTES 205 POSTMASTER 204 GABLE 204 RENEWAL 203 COMSAT 203 NEWSREADERS 203 REALESTATE 203 RELEVANCE 203 ACRONYMS 203 REBOL 202 OEX 202 CORDIAL 202 STOCKTRIGGERRECEIVE 202 PATHS 201 AC 201 ONSALE 201 IPOS 201 AVID 201 INDEMNIFY 201 REALNAMES 200 BUSES 200 APLINVESTMENT 200 MATHÉMATIQUES 199 SONICNET 199 TRADINGCNN 199 JAM 198 CONSTRUED 198 QUOTED 197 IMPORTED 197 VARIATIONS 197 REDONDO 196 OBLIGE 196 ANALOGUE 196 UNINSTALL 196 MENUWELCOME 196 EQUALLY 195 NORTHERNLIGHT 195 OLYMPUS 195 BR 195 ABCS 195 PERPETUAL 194 GIFTED 194 TSC 194 GOVERNED 194 FREEWAY 193 LOCALIZED 192 GEOMETRIC 192 TOOLBOX 192 CQ 192 HEDGE 191 THREADS 191 SEQUENCES 191 CYBERATLAS 191 AMENDED 190 GILEAD 190 WINTUNE 189 ACCUMULATION 189 IMAC 188 MOTELS 188 LIKEWISE 188 RIG 188 BRENTWOOD 186 TECHMARK 185 DJX 185 RAP 185 UTILIZES 185 SLEEP 185 UNCHANGED 185 EMPLOYS 185 CNBCTHE 184 CLX 184 GILD 184 REFINANCING 184 STRIP 184 SUPERSEDES 183 TOWNS 183 GDQ 183 COOPERATE 182 IDEC 181 VENUES 181 GLX 181 HLT 181 IDPH 180 PALISADES 179 IDQ 179 EXTENSIVELY 179 CWSAPPS 178 ICIX 178 IMMUNEX 178 COMPETITOR 178 ONLINEFEATURES 178 MASSE 178 FOLK 178 SECURELY 177 ROBOTS 177 HERMOSA 177 LIBRARYFINANCE 177 AUTHORITATIVE 177 VOLATILITY 177 PROS 177 SEARCH 176 BERNARDINO 176 QIX 176 INTUIT 176 LISTENING 175 DEBUGGED 175 SIMMS 174 PMCS 174 PDX 174 QLGC 174 BIGCHARTS 173 HARDDRIVE 173 SPECULATIVE 173 TECHNOLOGICALLY 173 QLC 173 QLOGIC 173 TASKED 173 MONOCHROME 172 BURBANK 172 NETHELP 172 LUCKILY 172 CENTERPOINT 171 UNOCAL 171 DIESEL 171 EARTHLINK 170 REEBOK 170 PRIVATEPROFESSIONAL 168 XA 168 PROFILER 168 SPAS 167 SYNDICATION 166 THRILLER 166 SPINNER 166 DISCONTINUE 166 NORCOM 165 BROWSERWATCH 165 REGISTRATIONS 165 RAMBUS 165 XOR 164 BITWISE 164 TOC 164 CITED 164 IMNX 163 IUQ 162 TESTIFY 162 HUMANITIES 162 ADIDAS 162 BIND 162 SANDIEGO 161 PROMPTS 161 CALABASAS 160 FUNCTIONING 160 ECL 159 TODAYDAILY 159 MSFT 159 DESIGNATION 159 MOVIEFONE 158 FSBO 158 MATLAB 158 OPTIMIZING 157 PROTECTIVE 157 ORG 157 HEXADECIMAL 157 MADRID 156 EZINES 156 PLAYA 156 EC 156 MARATHON 155 EXCEPTIONS 154 SOCAL 153 DREAMS 153 RESEARCHING 153 OZWEEGOS 152 PEERS 152 EXPIRE 152 INDIVIDUALISM 151 TIMELINE 151 BOARDWATCH 151 EQT 151 BEVERLYWOOD 150 ROOSTS 149 REWRITES 149 ONLINEPROVIDE 148 TRANSLATES 147 BINARIES 147 FORTE 147 LIABILITIES 147 PROMISING 146 SERIALIZED 146 SIGNIFICANCE 146 UNCOMMON 145 DECIDING 145 INFLUENTIAL 144 EXPANSE 142 OVERSEE 142 UPCLOSE 141 VENDO 141 ERNST 140 MATHEMATICIAN 140 SERVERWATCH 140 INTERWEST 140 NOTATION 139 PICKING 139 ADANTE 138 JOURNALSTOCKHOUSE 138 VERIFYING 136 WORLDNET 136 INNOVATOR 136 UNICODE 136 WINNT 135 IDENTIFIER 132 WATERMARK 132 MOSCOW 131 CODER 131 GADGET 131 JONESSEARCH 131 PROGRAMMES 130 PROLIANT 130 TECHNO 130 UNDERSTANDINGS 130 IMMENSE 130 INCENTIVE 129 JOBOPTIONS 129 CPI 129 CORONA 128 POSTPONEMENTS 128 COPERNIC 128 VIEWPOINTS 128 ZIPPED 128 PORTABLES 127 ICANN 127 INTERNET 126 SCRIPTSEARCH 126 RENAME 126 PLATE 126 BYLINES 125 IFS 125 WIDER 124 ZEROES 124 HONDA 124 LITERALS 124 GOOGOL 124 ACKNOWLEDGING 124 RADAR 123 ARCHIVAL 123 COMMITTING 123 HTM 122 RESPONDS 122 MANUSCRIPTS 121 WINDOWSNT 120 ALGEBRAIC 120 INCOMPLETE 119 JARGON 119 NETFINITY 119 WARRANTS 119 HOMESCOUT 118 LATITUDE 118 PRECEDING 117 PLEAS 117 BACKLINKS 117 FOREGOING 117 INSPIRATION 117 ALLOCATING 116 OPS 116 PROGRESSION 115 INFRASTRUCTURES 114 WAIVED 114 BOOKMARKLET 114 DISCO 113 TALENTS 112 DIMMS 111 REGGAE 111 CHANNELLING 111 THEMATICALLY 111 STREAMLAND 111 PERKS 110 ALLNETRESEARCH 109 JAMMING 108 MEADOW 108 REGISTRARS 107 ADVERTISES 106 ATARI 106 STRIKES 106 FREAKS 106 RENEWALS 106 VAULT 106 TOGGLE 105 BOTSPOT 105 PIONEERED 105 OTSBH 104 AMBIENT 104 WEBSITESTRANSPORTATION 102 CHATROOM 102 SITELAB 102 RAMIFICATIONS 101 DIAMONDS 101 GROUPED 100 EMERGED 100 UNIDEN 100 PREVAILING 99 MARINA 98 AFICIONADOS 98 GTLDS 95 NEWSRC 95 COMPLIMENT 95 VARIES 94 INF 94 PAXSON 92 LAWSUITS 89 PROTEGE 89 WEBDEVELOPER 89 IDENTITIES 89 FREELANCERS 88 ORBIT 88 TRIPLEXES 86 WINPLANET 86 SWAPPING 85 FOOTNOTE 85 PROFILE 85 EXPLODING 85 AFFILIATE PROGRAM 85 EXE 85 RECRUITED 85 EDUCATOR 84 GCTI 84 SAIL 83 LINUXPLANET 81 TSV 81 PARTNERS 81 PORTEGE 79 WET 79 WEBREFERENCE 76 MILAN 76 MINIDISC 75 HUNTERS 75 PROOFREAD 75 NDX 75 REFOCUSED 75 DENOTES 74 PROLINEA 74 ZSHOPS 74 WEB 74 SKA 74 INTERNETSTOCKS 74 EQUIVALENTS 73 AGENDAS 73 CHRONOLOGICAL 73 TERMS OF SERVICE 72 TESTBED 72 SPELLCHECK 72 ZOOMING 72 PRIVACY STATEMENT 72 EDU 71 TESTBED 71 MIDEVA 70 PHASE 70 BIWEEKLY 69 COSMOPOLITAN 69 POWERTRADERPROVIDE 68 HARDCORE 68 ACD 67 ROME 67 MSDN 67 TRANCE 66 REC 66 FILEFARM 66 SELLER 65 VIRTUALDR 65 DWELLINGS 65 BANK 65 SUBMITTAL 64 ATTRACTS 64 FIREPLACE 64 WORKAROUNDS 64 HARDWARECENTRAL 63 NEOPLANET 63 IMPRESS 62 GLITTERING 62 SEARCHENGINEWATCH 60 RTG 59 LEXUS 59 REGISTRIES 59 PREPAYMENT 59 INTERNETDAY 58 LOGICIEL 58 DETECTORS 57 MFILE 57 NEGOTIATES 56 CRAWLER 55 INTERNETSHOPPER 55 TIRELESSLY 55 WEBREF 55 OUTILS 54 CLOAKING 53 NEWSONLINE 53 EYEBALLS 53 COUNSELORS 53 JAVABOUTIQUE 53 RESIDUALS 52 TRADEMARKED 51 MATCOM 51 DOWNLOADS 50 CNNFN 50 ALPHABETICALLY 50 SANDS 47 ADVERTISING 47 BOOKMARKLETS 47 PLAY 46 VERS 46 MATHTOOLS 46 INTERNATIONAL 45 VENICE 44 CALCULATORMORTGAGE 44 CYBERCASTS 44 OUTIL 43 ADRESOURCES 42 SUBMIT 42 ALLNETDEVICES 42 INTERNETWORLD 41 GRATUIT 41 UNBELIEVABLE 41 ADJUDICATES 41 INTERNETPRODUCTWATCH 41 PARTICULARS 40 WFM 40 LLPAUTHOR 39 IDM 39 SOFTWARE 38 DONE 38 QUICK 38 VIX 38 SUFFIXES 37 STREAMINGMEDIAWORLD 37 EXPERT 37 REGISTER 37 INODE 36 WEBSERVERCOMPARE 36 WBMP 35 HYPHEN 35 FORTÉS 35 INTERNET TECHNOLOGY 35 ASTERISKS 34 EXCLAMATION 34 VENTURE 33 INTERNETCASINOLIST 33 COMPUTER 32 INTERNETRADIOLIST 32 SLOPES 32 TECH 31 BUILD 31 REQUEST 30 RELIEVED 30 CORPORATE 30 POWERSEARCH 30 ISP 29 VANITY 29 PRESS 29 ENCINO 28 MODIFIES 28 REPORT 28 CRAWLS 28 HACIENDA 26 CONTENT 24 SCIENTIFIQUE 22 UTILISER 22 TARZANA 21 INTERNET MARKETING 20 MAP 20 RAPIDES 19 WEBMSTR 19 CCTLD 19 INODES 18 INTERNET RESOURCES 18 PROGRAMMATIONS 17 SELL 17 LINÉAIRE 16 QUADRATIQUE 16 DEBOGEUR 16 COMPILATEUR 16 BANKING 15 EDITEUR 15 MATHÉMATIQUE 14 OPTIMISEUR 14 BOÎTES 13 DÉVELOPMENT 12 VSPACE 12 HSPACE 12 COREBUILDER 12 CONVERTIR 11 ENGLISH 10 MULTILAYER 9 JAPANESE 9 WUUG 9 POLICY TERMS 8 MARGINWIDTH 8 CONDITIONS 8 FRAMEBORDER 7 CALREALTOR 7 MARGINHEIGHT 6 UNREVISED 3 MEMBER ID 3 TRANSFEREES 2 NET 1 SITEPLAN 1 HOLLISTERPROPERTIES 1 QUALIFICATIONPROGRAMS WIRELESSDATA WELLSFARGO 401K PRICEDECLINE HEWLETTPACKARD GIBSONGUITARS INVESTORSBUSINESSDAILY EXTREMELYSUCCESSFULINVESTOR RAPIDGROWTH KARLJUNG WEBAPPLIANCE WIRELESSDATATRANSFER JDSUNIPHASE CHINACOM WIRELESSBROWSER WIN2000 SUCCESSFULSMALLBUSINESS EXTRAORDINARYAPPRECIATION WINDOWS95 INTERNETAFFILIATE SMALLBUSINESSADMINISTRATION WINDOWS98 WINDOWS2000 THEMASTERBUILDER WINDOWSNT5 VISUALINTERDEV EATINGDISORDER PRICEAPPRECIATION BERKSHIREHATHAWAY HOMESAVINGS CAPITALONE POSITIVEATTITUDE ZENMEDITATION CHASEBANK STOCKCHART LONGUPTRENDS HIGHNETWORTH RELATIVEPRICESTRENGTH MICROSOFTWINDOWS2000 SUPERIORSTOCKPERFORMANCE TOPPERFORMERS EDGARDATABASE 3COM SONOMANATIONALBANK POSITIVEINDICATOR LONGUPTREND COMPUTERPROGRAMMER HIGHESTAPPRECIATION WORLDMUSIC NETSCAPECOMMUNICATOR ROCKNROLL HIGHGROWTH TREMENDOUSGROWTH T3 T1 KDEGUI DUALPROCESSOR CDRW COMPUTERPROGRAMMING APPLEIMAC LOWINTERESTCREDITCARD NETBUI DECEMBER SILVER PRECIOUS METALS GOLD AND SILVER FUTURES TECHNOLOGY IS PROPRIETARY SENSITIVE EXPORTS MILITARY-RELATED TECHNOLOGY U.S. SECURITY TECHNICAL MILITARY ADVICE INTERNETSPECIALIST VISUALJ++ REMOVABLESTORAGE DESKTOPCONFERENCING STOCKMARKETRALLY FENDERGUITARS MARTINGUITARS GIBSONMANDOLIN GROSSNATIONALPRODUCT SUCCESSFULIPO HIGHSPEEDDATAKLINK HIGHSPEEDDATA FITSPIRITUALCONDITION SPIRITUALMAINTENANCE SERVERFARM EXPORT LICENSING DISTANCELEARNING STOCKMARKETDECLINE CONSTRUCTIONMANAGMENT CONSTRUCTIONACCOUNTING TOP10MUTUALFUNDS PARALEGALSERVICES TOP10PERFORMERS CHILDRENOFALCOHOLICS ALCOHOLADDICTION DRUGADDICTION TAMBURICA GUARANTEEDCREDIT LOWINTERESTCREDITCARDS DAILYPRAYER GUARANTEEDAPPROVAL TAXDEFERREDINCOME TAXDEFERRED TAXFREEINCOME NOLOADMUTUALFUND NOLOADFUND POTENTIALEARNINGSGROWTH GROWTHSTOCKS NOFEECREDITCARDS REGISTEREDPROGRAMS UNLIMITEDCAPITAL UNLIMITEDCREDIT CREDITCARDS SUPERIORRETURNONEQUITY SUPERIOREARNINGSGROWTH VALUESTOCKS VISUALFOXPRO LIVINGTRUST DREAMHOME REALESTATEBROKERS CALIFORNIAREALESTATEBROKERS CALIFORNIAREALTORS REALESTATENEEDS CALIFORNIAREALESTATENEEDS LUXURYHOME LUXURYHOMES SECTION125 CALIFORNIALUXURYHOMES SECTION125MEDICALPLAN DREAMHOMES CALIFORNIADREAMHOME CALIFORNIADREAMHOMES FLASHMEMORY REGISTEREDINVESTMENTADVISOR REGISTEREDINVESTMENTADVISER GROWTHSTOCK CALIFORNIALUXURYHOME LANDSALES MULTIPLELISTINGSERVICE MULTIPLELISTING ADVANCEDCHIPDESIGN HOMESALES RESIDENTIALSALES UNDEVELOPEDPROPERTY VALUESTOCK LOTSFORSALE INVESTMENTPROPERTY HOUSING STARTS HOUSINGDATA MICROSOFTACCESS MICROSOFTEXCEL MICROSOFTWORD DOLLARCOSTAVERAGING HYPERTEXTTRANSFERPROTOCOL LOTSALES PRODUCERSPRICEINDEX SOLIDEARNINGSGROWTH EXCELLENTRETURNONEQUITY RETURNONEQUITY STRUCTUREDQUERYLANGUAGE CONSUMERREPORTS UNEMPLOYMENTDATA UNEMPLOYMENTINDEX MULTIPLELISTINGSERVICES CONSUMERPRICEINDEX APARTMENTBUILDING COMMERCIALPROPERTIES COMMERCIALPROERTY OFFICEBUILDINGS OFFICEBUILDING CONDOMINIUMSFORSALE CONDOFORSALE CALIFORNIAHOUSESFORSALE DISTRIBUTEDPROCESSING MERCEDCHIP TOPRATEDMUTUALFUND MUTUALFUNDS CONVERTIBLEBONDS INVESTMENTADVISER INVESTMENTADVISOR PROCESSINGSPEED CALIFORNIABROKERMLS GIGABYTEOFMEMORY SUPERIOREARNINGSPERSHARE DATABASEOFSTOCKS FREEREALTIMEQUOTES HIGHRELATIVESTRENGTH RELATIVESTRENGTH HIGHEARNINGSPERSHARE EARNINGSPERSHARE CALIFORNIAREALESTATE 7200RPMHARDDRIVE COMPUTERSCIENCE DEEPBREATHING LOWBODYFAT STRENGTHTRAINING AEROBICEXERCISE HIGHFIBERDIET EXCELLENTHEALTH HIGHVOLUMEACCUMULATION LOWDEBT MARKETMAKER SUPERIOREPS HIGHPERFORMANCE HIGHVOLUME INSTITUTIONALINVESTORS 64BIT MOTHERBOUARD SUPERIORRELATIVESTRENGTH HIGHRETURNONEQUITY MARKETLEADER ESEARCHHOMES HIGHPROFITMARGIN MARINCOUNTYREALESTATE MONTEREYCOUNTYREALESTATE VENTURACOUNTYREALESTATE RIVERSIDECOUNTYREALESTATE SIERRAREALESTATE KERNCOUNTYREALESTATE SANTACLARACOUNTYREALESTATE SEARCHHOMES SILICONVALLEYREALESTATE SANDIEGOCOUNTYREALESTATE LOSANGELESCOUNTYREALESTATE REALESTATEHOUSEHUNT REALESTATEWEBSITES HOMESFORSALE CALIFORNIAHOMESFORSALE LINKPARTNER KERNCOUNTYREALESTATEFORSALE C++ BUYORSELLREALESTATE VERYLUCRATIVE INTERNETMORTGAGE MORTGAGEBROKER ETHICALCONDUCT EXCLUSIVELISTING REALESTATEBROKER SANFRANCISCOREALESTATE CDBURNER HIGHMARGIN VISUALC++ INTERNET AFFILIATE J++ WWW3 ARPNET NAPAVALLEYREALESTATE NAPAVALLEYREALESTATEFORSALE REALESTATEAGENT Keywords compliments of Zeus 16800. - http://www.cyber-robotics.com -- To UNSUBSCRIBE, email to [email protected] with a subject of "unsubscribe". Trouble? Contact [email protected]
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wrong_mix_range_subsidiary_00017
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FactBench
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1
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https://slashdot.org/story/00/09/27/038248/did-rehnquist-compromise-ethics-on-microsoft-case
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en
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Did Rehnquist Compromise Ethics On Microsoft Case?
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Several folks noted a blurb running over at ZD about
Supreme Court Justice Rehnquist's questionable position on Microsoft. Apparently his son is representing Microsoft in antitrust matters. Here's a longer story with a bit more information. Since
they decided not to advance the case directly to t...
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en
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/favicon.ico
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https://slashdot.org/story/00/09/27/038248/did-rehnquist-compromise-ethics-on-microsoft-case
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wrong_mix_range_subsidiary_00017
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FactBench
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1
| 96 |
https://archive.org/stream/computerworld3045unse/computerworld3045unse_djvu.txt
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en
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Full text of "Computerworld"
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en
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https://archive.org/details/computerworld3045unse
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See other formats
The Newsweekly for Information Technology Leaders November 4, 1996, Vol. 30, No. 45, 166 Pages, $3/Copy, $48/Year COMPUTERWORLD - - .. . - i^^News updates, features, forums: www.computerworld.com: - - - - Network confusers Sun, Microsoft enter crowded field By April Jacobs Will the real network computer please stand up? That’s what users are asking now that Sun Microsystems, Inc. and Oracle Corp. have entered the net¬ work computer market with compet¬ ing products designed to cut the cost of PC ownership. Reacting to the threat, PC chip and operating system leaders Intel Corp. and Microsoft Corp., along with PC hardware kingpin Compaq Computer Corp., announced their British Telecom’s Terry Carlin says /ze Sun, Microsoft, page 1 6 hopes network computers cut PC costs Oracle show to highlight its NC By Craig Stedman Network computers. Desktop app¬ lets. Web-oriented development tools. Object buses. Oh, and some database stuff, too. That will be the order of priority at this week’s Oracle OpenWorld con¬ ference in San Francisco. Secure for now in its database dominance, Oracle Corp. is using the event to debut technologies that will play key roles in its expanding Oracle, page 15 Taking on Microsoft Oracle will announce these and other products at this week’s Oracle OpenWorld Product I 1 Key features I 1 Availability Network Computer Pentium-based thin clients Mid-1997 HatTrick java-based word processor, spreadsheet and presentation graphics Qi 1997 as part of Interoffice 4.1 groupware Webserver 2.1 Interoperates with Netscape and Microsoft Web servers Now Low bandwidth could threaten intranet plans By Bob Wallace If you’re thinking about layering an intranet onto your corporate data network, you had better make sure you have the necessary network bandwidth, security tools and management skills. Intranet fever is spreading like wildfire, but pio¬ neering information systems managers are find¬ ing that creating an intranet is a gargantuan task that strains IS staffs and the infrastructure they Intranet plans, page 155 Xerox’s Bob Monastero says it took three years to devise an equitable salary review system for teams Pay inequities sap team spirit By Julia King Corporate America loves teams, but most compa¬ nies haven’t yet figured out how to pay people for working well with others. The problem for information systems depart¬ ments and others is how to isolate the perfor¬ mance of a particular team member. Both stellar and lackluster work may be hidden in team set¬ tings, according to a study by The Hay Group, a management consulting firm in Philadelphia. As a result, workers are increasingly dis¬ satisfied, and team- based productivity is on the wane. This is es¬ pecially true at compa¬ nies where teams have been in place for two years or longer. Teams, page 155 Win 95/NT users demand answers By Laura DiDio and April Jacobs tions won’t run on 32-bit Windows LONG BEACH, CALIF. NT Until ncxt year’s release of Win- dows NT 5.0, Microsoft Chairman Users hoping for a quick fix for the and CEO Bill Gates said at a Site incompatibility between — ; - ; Builder’s Conference last Microsoft Corp.’s Win- Migration week in San Jose, Calif, dows 95 and Windows NT iSSUOS Attendees at this week’s applications won’t get any - Microsoft Professional relief until sometime next year. Developer’s Conference said they Some 16-bit Windows 95 applica- Win 95/NT, page 155 Users such as Tribune Co.’s Jeff Scherb fear sabotage and distrust vendors — but that doesn’t keep them from doing business online. IN DEPTH, page 121 News Apple chief fuels OS confusion Letter to Mom Dear Mom, Remember how we were talking a few weeks ago, and I suggested you get a PC with an America Online connec¬ tion so you could cruise the horticulture forums? Bad idea. Mom. Let me tell you a story. A few days after we talked, Lori called me at work. (She sends her love, by the way) . Seems she couldn’t save any of her Word documents. So I find she’s got something called the Concept macro virus. It’s like when 1 used to get the flu. So I get this little program off the Internet and spend about two hours getting rid of the virus. Thought 1 was in the clear. Then the next day, the PC can’t see the CD-ROM drive. (They call it read-only memory, but it’s really a disk. Don’t ask me why). So I try to send an E-mail to the support line, and the modem isn’t working. (A modem turns digits into sounds and then back to digits. Don’t ask) . Finally I figure out I’ve got another 'nvns. So I go to CompUSA and buy an anti¬ virus program (it costs $60 and makes your PC do what it’s supposed to do al¬ ready) and go home and install it. Turns out. I’ve got a lot of vi¬ ruses, Mom. We’re talking digital petri dish here. Since some of them are boot-sector viruses — you don’t start a computer. Mom, you boot it — the software can’t fix them all. So I have to reinstall Windows 95. Then I have to rebuild my desktop. That kitchen remodeling is simple by comparison. Then my screen is showing only 16 colors because it turns out I’ve got two display drivers installed. That is what they call plug- and-play. That took me a few days to unravel. The funny thing is. Mom, a lot of people in the computer indus¬ try are disappointed that only 35% of American homes have PCs. They want to get that to 60%. E you ask me, they should be happy they’ve gotten this far. Forget about the PC, Mom. I wouldn’t want to inflict the pain on you. Not to mention Dad. Paul Gillin, Editor Internet: paul_gillin@cw. com The 5th Wave by Rich Tennant " We puliecL tvom sevaal ouL^. ae services to buM our c/5 aixM&hire-Utroec^t, Andersen Consult-ingf, tne 1111 peacekeeping, fiorces..." By Lisa Picarille Apple Computer, Inc. was put on the defensive last week when in¬ formal comments by CEO Gilbert F. Amelio were interpreted to mean that Apple will abandon the Mac OS in 1998 in favor of a com¬ pletely new operating system. Apple officials claimed that Amelio’s comments were taken out of context and that the CEO was simply talking generally about the future of operating sys¬ tems. “He was simply making general statements about what an operat¬ ing system in 1998 should have,” said Russell Brady, a spokesman for the Cupertino, CalE.-based computer maker. “We are not abandoning the Mac OS and re¬ main committed to the PowerPC platform.” Brady said Apple plans to un¬ veil its operating systems strategy early next year. In the meantime, faithful Mac¬ intosh users seeking any good news to cling to in the wake of de¬ clining market share have been left to draw their own conclusions. “You hear a lot of things about Apple, [such as] they are going to buy the BEOS to replace the Mac OS. Then you hear that’s not true. Then there are ru¬ mors that, going for¬ ward, a new Mac OS will not be back¬ ward-compatible. Then someone else says that’s not true,” said an IS manager at a West Coast aerospace company, who requested anonymity. “It’s hard to figure out what is true, and Apple isn’t saying much about future strategy. So you just cling to what you hear and pray that it will all work out,” the IS manager said. Copland troubles Industry watchers said Apple’s trouble getting its message out is more than a lack of communica¬ tion. After three years of develop¬ ment and delays, Apple finally pulled the plug on the multipro¬ cessing, multithreading, micro¬ kernel architecture of Copland, which was pegged as the next-generation Macintosh operat¬ ing system. Instead, the com¬ pany announced at Macworld Expo in August that Copland — Mac OS 8 — wouldn’t be released as planned and in¬ stead Copland fea¬ tures would be delivered in incre¬ mental releases every six months. “Apple’s problem is that it hasn’t been able to deliver on its promises,” said Tom Rhinelander, an analyst at Forrester Research, Inc. in Cambridge, Mass. “They keep promising the world and missing. Apple has set its sights on creating a more ro¬ bust operating system, but that is now more than a year away. In the meantime, market share contin¬ ues to slip, and unit shipments for the last quarter are down. Users are not going to wait forever, and right now [Apple] can’t afford to alienate users,” he said. Taking a bite Third-quarterfigures from Dataquestin San Jose, Calif., show Apple’s share of the overall PC market is 5.4%, down 27.5% from the 8.7% market share Apple had in the same period last year. Oracle, Netscape in deal Oracle Corp. and Netscape Communications Corp. have signed a deal to bundle Net¬ scape’s Navigator browser with Pentium-based network comput¬ ers that Oracle plans to ship in the first half of next year. Oracle said its own PowerBrowser software will be embedded in the compa¬ ny’s Interoffice groupware suite. AOL adopts flat pricing America Online, Inc, last week announced a flat rate of $19.95 per month for unlimited access to its service. The Dulles, Va., company has had high customer turnover partly because its basic rate of $9.95 per month for five hours of access prompted complaints from heavy users. AT&T wins contract United HealthCare Corp. has entered a long-term outsourcing contract with AT&T Corp. that analysts said could be worth as much as $800 million. AT&T will deploy advanced call-center tech¬ nologies and build and operate the Minnetonka, Minn.-based health care provider’s communi¬ cations platform, including voice mail, voice response and more than 100 private branch exchange systems. Boost for BackOffice Microsoft Corp. has bought its way in to the online analytical pro¬ cessing market by acquiring multidimensional database tech¬ nology from Panorama Soft¬ ware Systems in Israel. Micro¬ soft plans to add the Panorama technology to its BackOffice suite of server software. Lotus broadcasts point Lotus Development Corp. and PointCast, Inc. have teamed up to offer intranet broadcasting services to corporate users. Called Lotus Domino.Broadcast for PointCast, the product com¬ bines Lotus’ Domino server, Domino.Action Web site creation software and PointCast’s I-Server. The offering is due early next year. Pricing wasn’t announced. Tandem does Web Tandem Computers, Inc. last week unveiled a new line of Win¬ dows NT-based servers and a new direction toward Internet transac¬ tion processing. The products will ship in stages over the next year [CW,Oct.21]. Microsoft aims at ATM In a move designed to boost use of Asynchronous Transfer Mode (ATM) technology in corporate networks, Microsoft last week said it will include key ATM- enabling software in future ver¬ sions of its Windows operating system products. SHORT TAKES Microsoft’s Ex¬ change Server E-mail system has been approved by the Depart¬ ment of Defense for use as a De¬ fense Messaging System _ Uni¬ sys Corp.’s Federal Systems division has been awarded the networking equipment portion of a $200 million NASA contract. . . . Apple Computer, Inc. is slash¬ ing prices by as much as 30% on most of its Power Macintosh com¬ puters. . . . Citicorp has appointed Stanley M. Welland as director of global technology infi'astructure. COMPUTERWORLD NOVEMBER 4, 1996 (www.computerwortd.com) NO BACKUP BOTTLENECKS Frustrated by slow Back up UNIX and backups and restores? Then look what you can do with our Backup Express'^'^: Windows NT® with a single catalog. Attach backup devices to one machine, or several, each with a different operating system. Run backups and restores twice as fast, while eliminating network traffic and those nasty bottlenecks. And administer with ease — centrally or from any point on your network. So call or e-mail us to arrange a free trial. Tel (201) 930-8200 dept. B6CWB Fax (201) 930-8290 dept. B6CWB http://www.syncsort.com e-mail: [email protected] 01996 Syncsort Incorporated. Ail trademarks are property of their respective owners. Inside Computerwdrtd A Pimi.lCATION Of- Class act In Is Issue Nov. 4, 1996 News NEWS Falling partners Microsoft launches online commerce effort, but early ally Wal-Mart skips the party. Matching pipes Teleport rolls out service that lets IS match LAN speeds with fast WAN links. Cheaper frame Falling frame-relay prices have users smilingand shoppingaround. Qj Developing security RSA introduces kit for roll-your-own se¬ cure Internet commerce applications. OPINION Q| Full speed in reverse Microsoft’s pursuit of every new thing shows weak commitment to enterprise customers, Kevin Fogarty charges. buyout ofthe company. 1^ SNA access Users are buying more SNA gateways; vendors respond with more features. THE INTERNET Bank without walls Atlanta Internet Bank exists only on the Web. Beyond browsers Netscape and Microsoft move beyond browsers, heat up suites competition. CORPORATE STRATEGIES Moonlighting ASAP managerhandles applications dur¬ ing the week, NFL stats on Sundays. Fed response A new government agency tracks comput¬ er security risks. Features Unexpected impact Don’t overlook the potential organiza¬ tional changes new applications cause, Michael Schrage says. MANAGING Warehouse worries You can prepare yourself forthe most common data warehouse pitfalls. Technical Sections SERVERS & PCs IQ NCornotNC IS likes network computers’ cost-contain¬ ment, but will end users take to them? IQ What is equality? Leilani Allen explores the issue of equal treatment in IS based on race. IN DEPTH 0^ What security? Business plunges online despite fears. CAREERS Mac attack Users hoped clones would solve the Mac¬ intosh availability problem, but at least one clone maker is swamped. SOFTWARE Q| Data carehouse PacifiCare’s data warehouse helps to keep down health care costs. Ready, not willing Oracle users want Internet features even though many won’t use them yet. THE ENTERPRISE NETWORK Bl Tivoli road map Users like Tivoli’s progress since IBM’s Stage set for NT? Novell’s NetWare still holds its own in customer satisfaction, but Microsoft’s WindowsNT casts its shadow over the network operating system market. Page 101 gna Top guns The industry’s most sought-after trouble¬ shooters. MARKETPLACE Choosing firewalls The NSCA helpsyou determine howto select a firewall. Etc. Company index Editorial/Letters ^4. ^6 How to contact CW Inside Lines i«;8 Stock Ticker 151 ACE-certified courses offered by Learning Tree International _ Course Time to complete College CREDIT Introduction to Client/Server Computing 4 days 2 credits j Computer Network Architectures and Protocols 4 days 2 credits | NetWare 3.x Administration 3 days 1 credit I IS can save big on college tuition By Julia King Trying to stretch your training bud¬ get? A little-known program allows information systems workers to earn college credit for technical classes that cost much less than col¬ lege courses. The program can save millions of dollars in college tuition reimburse¬ ment costs and gives workers new skills in a short time. The catch is that the training must be certified under the American Council on Education’s (ACE) Program on Non-Collegiate Sponsored Instruc¬ tion to earn college credits. The Washington-based ACE last week added 22 computer training classes from Productivity Point In¬ ternational in Hinsdale, Ill., to its growing list of qualified courses. Other computer training compa¬ nies that offer ACE-certified cours¬ es are ExecuTrain Corp., Learning Tree International and Command- Train, Inc. “In the past two years, we’ve seen a flurry of activity in the computer area,” said Jo Ann Robinson, deputy director of the ACE program. In addition, several dozen compa¬ nies from all industries have won ACE certification for in-house courses that cover topics such as communication skills and strategic planning. The certification “saves the stu¬ dent a bundle of time and us a bun¬ dle of money,” said Bob Elkins, manager of training performance improvement at Union Pacific Corp. in Omaha. “We’re looking at be¬ tween $3,000 and $3,600 per person in savings per semester that we would have spent on tuition reim¬ bursement.” Meanwhile, employees earn an average of two college credits for a short course in LANs or Unix that would take a semester to com¬ plete in a university classroom. “The IS folks [working toward a technical degree] see this as a godsend because it enables them to skip past electives and focus on the programming stuff,” Elkins said. IS workers who complete non-IS training in, say, financial planning, also earn college credits. At Dana University, the training arm of $7 billion Dana Corp., an automotive parts manufacturer in Toledo, Ohio, an IS employee can earn three college credits for com¬ pleting a 3y2-day finance course. As the company migrates to Mi¬ crosoft Corp.’s Windows 95 and Of¬ fice software, end users also will earn one college credit for every two days of software training, which Dana has outsourced to Pro¬ ductivity Point. Training COME VISIT OURWEBSITC ©COliraiEBINQBIO Internet insecurity Wondering what to do about keeping your organization secure while ex¬ panding your presence on the Inter¬ net? Check out the recommendations from our panel of experts. www.computerwortd.com | Top guns Learn who some of the top troubleshooters in the industry are and hear our interview with Harvard University’s Richard Nolan. www.computerwortd.com What's your server? Read the Buyer’s Cuide, then take part in our QuickPoll. How satisfied are you with your network operating system? www.computerwortd.com COMPUTERWORLD NOVEMBER 4, 1996 (www.computerwortd.com) As you can see, we’re more than a little excited about the prospect of teaming up with our good friends at Cheyenne. jFwrjV^Tr' Working together, we’ll be able to offer you ^ ii JL 1 ill In N jC more advanced and integrated solutions, a higher level of service and support and all the resources of a $3.5 billion software leader. And not only do our product lines perfectly complement each other — but our people do, too. With headquarters just 1 5 miles apart, it’s no coincidence that we share the same work ethic, the same talent pool and a single philosophy that always puts our clients first. Alt of us at CA and Cheyenne believe that this will be a winning combination. And the biggest winner of all will be you. 2q- Qomputer " Associates Software superior by design. ©1996 Computer Associates International. Inc.. Islandia. NY 1 1788-7000. AU other product names referenced herein are trademarks of Bieir respective companies. News Wal-Mart (www.wal-mart.com) doesn’t use Merchant Server Wal-Mart asks for a return Conspicuously absent from Microsoft’s Mer¬ chant Server announce¬ ment last week was Wal-Mart Stores, Inc. Earlier this year, Microsoft and Wal-Mart executives held a flashy press conference to announce they would work to¬ gether to develop technology for online commerce. Since then, the two firms have gone their separate ways. Why? Because Microsoft wasn’t moving fast enough, said Phil Martz, director of Wal-Mart Online. Wal-Mart wanted to put up its World Wide Web site faster than Microsoft could get its Mer¬ chant Server ready. The Wal- Mart site went live this sum¬ mer. Martz said Wal-Mart will evaluate Merchant Server for future purchase. But there is a major obstacle: Merchant Server lacks tools to import data and applications from a pre-existing site, and Wal-Mart doesn’t want to lose the work it has already done. Wal-Mart’s goal was to en¬ sure that user-interface stan¬ dards were developed so visi¬ tors in different stores would have similar means of brows¬ ing and arranging payment. Martz said the vendors and users writing online sales soft¬ ware seem to be moving in that direction. — Mitch Wagner Microsoft WOOS webmasters with online mall software By Mitch Wagner SAN JOSE, CALIF. Just in time for holiday shopping, Microsoft Corp. last week an¬ nounced the immediate availabil¬ ity of its Merchant Server soft¬ ware package for setting up Internet storefronts. The product lets companies build online stores with displays of merchandise, including photos and multimedia clips. It automates payment process¬ ing and shipping arrangements, and provides links to back-office databases and systems. “The product area that Mer¬ chant Server is involved in today is very small, but we believe it will see explosive growth,” said Microsoft Chairman and CEO Bill Gates. Microsoft expects the number of consumers on the In¬ ternet to grow from 15 million to¬ day to 48 million by 2000. Small-company support Merchant Server has won early support fi'om users; there are about 40 companies hosting sites with the software. Most of the companies are small, but some of the larger participating retailers include Tower Records and the boutique chain Crabtree & Evelyn Canada. Virgin Entertainment Group in Los Angeles is evaluating the product as a possible foundation for an online Virgin Superstore, which is expected to sell CD- ROMs, videos and other media next year. Virgin webmaster Brian Regan called Merchant Server “a phe¬ nomenal piece of software. . . . It’s far superior to anything out there.” Regan praised the data¬ base connectivity, the user inter¬ face for designing sites and the components for automatically computing sales tax. He also expressed enthusiasm for components that let web¬ masters set up special promotions — for instance, buy-one-get-one- free offers — and tailor them to certain visitors, based on profiles filled out at registration. But Microsoft faces stiff compe¬ tition. Netscape Communications Corp. has its own Merchant Sys¬ tem. IBM earlier this fall an¬ nounced a line of merchant serv¬ ers and an online mall. World Avenue, which is due to open this year. Oracle Corp. last month an¬ nounced Apollo, its merchant server. Apollo is due next year. Plenty of smaller companies also offer merchant systems. They include Open Market, Inc., ICat Corp., BroadVision, Inc. and Evergreen Internet, Inc. And many companies are custom¬ building their online stores in- house or with consultants. Price points At its press conference, Microsoft touted the low price of Merchant Server as a virtue. But David Strom, an indepen¬ dent analyst in Port Washington, N.Y., questioned that claim. He said the $18,000 cost of the software license isn’t cheap and doesn’t include a Windows NT software license or server hard¬ ware. “It’s going to run you $20 grand. That’s a lot of money. This is hardly Filene’s Basement,” Strom said. The ICat server fi'om Seattle- based ICat offers similar function¬ ality but costs about $1,500. ©Netscape, Microsoft shift at¬ tention to back-end Web software. See page 67. Vendors announce more competition for Visual Basic By Sharon Gaudin IBM and Oracle Corp. are taking aim at the lucrative and growing Visual Basic market with Basic By Mitch Wagner and Kim S. Nash SAN J OSE, CALIF. Microsoft Corp. last week an¬ nounced a set of tools designed to allow IS managers and business managers to work together on building sophisticated commerce sites on the World Wide Web. The company unveiled Internet Studio, a graphical tool that devel¬ opers can use to integrate text for¬ matted in Hypertext Markup limguage (HTML), database con¬ nections and programs written in Microsoft’s Visual Basic, Perl and other common programming lan¬ guages. programming tools of their own. In separate announcements last week, IBM added the Basic lan¬ guage to its Visual Age family, and Oracle enhanced its Oracle Power Microsoft also unveiled Front- Page 97, a tool that will allow busi¬ ness managers and consumers to graphically integrate HTML- formatted text, graphics and third-party programming ele¬ ments. Terra Cotta The firm also displayed a proto¬ type of a more sophisticated end- user tool. Terra Cotta, which was designed to allow nonprogram¬ mers to build Web sites with so¬ phisticated application back ends. JTie software would let users drag and drop a set of tiles togeth¬ er. Each tile represents a separate application that Terra Cotta would Objects development tool. But Microsoft Corp. isn’t stand¬ ing around waiting for someone to take away its market share. The company has made several an¬ then integrate to work together. For instance, one tile might repre¬ sent a database query tool. The tiles would function as wizards, with step-by-step, fill-in-the-blank dialog boxes that would let end users create parameters and vari¬ ables for the underlying pro¬ grams. The Microsoft development tools were designed to be tightly integrated with users’ existing business tools. Frontpage 97 is part of Micro¬ soft’s Office 97 suite and has a common user interface to other Office applications. Internet Stu¬ dio shares a similar look and feel to Visual Basic. nouncements that position its up¬ coming Visual Basic 5.0 toward the Internet. “Oh, people definitely want a piece of that market,” said David Kelly, an analyst at Hurwitz Group, Inc. in New¬ ton, Mass. “IBM and Oracle see that Mi¬ crosoft is fulfilling an important need in corporations, and they’re trying to capture some of that market,” Kelly said. IBM is trying to lure Visual Ba¬ sic developers by giving them the ability to write Basic applications for the server, as well as for multi¬ ple platforms. Visual Basic is limited to the Windows platform. I>ate to the party? But the efforts of IBM and Oracle may be too little, too late, said Bill Fisher, president of Summit Soft¬ ware Co., a Syracuse, N.Y.-based development company that uses Visual Basic. “Microsoft has already built the industry-standard Basic tool. The technology in Visual 5.0 is just heads and shoulders above what IBM can create by itself or what Oracle can create by licensing a third party,” Fisher said. Fisher said Visual Basic 5.0 also will let developers write server applications. And Fisher said he doesn’t care about platforms other than Windows. Jean-Pierre Cabanie, computer support manager at Philips Mi¬ crowave Limeil, a division of the French Research Laboratory in France, disagreed. “On server platforms. Visual Age for Basic gives us an option to move our database server to a more powerful platform,” said Cabanie, who uses IBM’s new software to access information on his database server. Visual Age for Basic supports OS/2, Windows NT and IBM AK 6000 servers. It supports OS/2, Windows 95 and Windows NT on the client side. Tools allow for Web site integration Programming tools COMPUTERWORLD NOVEMBER A, 1996 (www.computerworld.com) Oracle? #1 For Data Warehousing #1 Readers' Choice Databased Advisor names Oracle? #1 for data warehousing. #1 Customer Choice IDC names Oracle #1 in the worldwide data warehousing market. Oracle IBM Sybase Informix Top Four Vendors Oracle? has more features for data warehousing than any other RDBMS: parallel query, index and load; bit-mapped indexes; star queries; OLAP integration; and scalability across a range of SMP and MPP systems. It’s no wonder that more organizations rely on Oracle, from their largest data warehouses to their smallest data marts. And, it’s why more application developers build their data warehouse solutions on Oracle?. So, if fast, accurate decisions are important to your compa¬ ny’s performance, call Oracle at 1-800-633-10?!, ext. 10345, or find us on the Web at http://www.oracle.com Enabling the Information Age ©1996 Oracle Corporation. Oracle is a rejtistered trademark, and Oracle? and Enabling the Infbnmtjon Age are trademarks of Oracle Corporation. All rights reserved. All other comjxmy and product names arc the trademarks of their respective owners. Databased Advisor. July 1996. Source: IDC, 1996. News Teleport taekles WAN bottleneck Lower costs spur move to more telecommuting By Bob Wallace Local carrier Teleport Communi¬ cations Group last week launched a service that will let information systems managers in 55 cities link dispersed campus Fast Ethernet LANs. Teleport’s lOOM bit/sec. Fast Ethernet LAN Inter¬ connection Service can help exasperated users break the bottle¬ neck they encounter when they try to link high-speed campus LANs by using slower wide-area network links. While IS managers often run campus LANs at lOOM bit/sec. or faster, telephone companies typi¬ cally offer T1 WAN links that run at 1.54M bit/sec. or T3 links that run at 45M bit/sec. That creates the bottleneck. Robert Amiral is one of many users to encounter this fast-grow¬ ing problem. “We’re looking to connect two locations that are only two and a half miles away, but they’re in By Kim Girard Tom Rowan’s smile grows wider as the frame-relay price war esca¬ lates. Rowan, network operations manager at Blood Systems, Inc., one of the nation’s largest blood banks, is looking to save big as he gears up to ink a two-year voice and data contract. “We know the prices have gone one way, and that’s down,” Rowan said. “I’m shopping. No question about it.” Rowan is considering rehiring LDDS World¬ Com, Inc., the carrier he now pays $195 per month per port. That price includes a volume discount for 56K bit/ sec. frame-relay service at 43 sites. But he is also check¬ ing out AT&T Corp. and Sprint Corp. Both com¬ panies in the past week reduced their prices for frame relay, a wide-area packet-switching tech¬ nology used predomi¬ nantly for data traffic. MCI Communications Corp. also recently cut usage-based prices. AT&T lowered prices downtown San Francisco, and the city wouldn’t let us dig and install our own fiber,” said Amiral, net¬ work operations manager at law firm Morrison & Foerster. “That put us in a big jam.” Amiral said he is excited about Teleport’s Fast Ethernet LAN In¬ terconnection Service because the carrier already has the fiber in place. Tele¬ port also provides the routers needed to con¬ nect the sites and around-the- clock monitoring of the entire package. “ [Teleport] essentially be¬ comes an extension of the end users’ corporate MIS staff, re¬ sponsible for maintenance and management of the WAN,” said Liza Henderson, a broadband net¬ working consultant at Tele- Choice, Inc. in Verona, N.J. With Teleport’s new service, users won’t have to pay for a full¬ time private line. It is priced based on usage, which means users save on WAN charges. “Users may only need 35M to on its InterSpan Frame Relay ser¬ vice by an aggressive 7% while hiking its private-line rates slight¬ ly. Sprint’s price cuts range from 5% to 20%, depending upon a cus¬ tomer’s network configuration. Analysts have predicted prices would come down as frame relay’s popularity grows and larger carri¬ ers spar for data customers. “I do think the price will contin¬ ue to go down,” said Scott Mey¬ ers, network operations manager 40M bits on the lOOM-bit line and shouldn’t have to pay for the full bandwidth,” said Dev Ittycheria, a data services product manager at Teleport. The company will price the service on a customer-by- customer basis. Cost variables include the num¬ ber of ports used on the router and the number of connections between sites. Teleport can link sites using point-to-point links or in a mesh configuration. Teleport said it expects to offer the service over its metropolitan fiber networks but may need to use twisted-pair wire to reach sites in outlying areas. The Fast Ethernet LAN Inter¬ connection Service takes an aver¬ age of 22 business days to set up, but Teleport can shorten that in¬ terval to meet users’ needs, Itty¬ cheria said. The service is available in ma¬ jor cities, including San Francis¬ co, Dallas, New York, Chicago, Los Angeles, Houston, Pitts¬ burgh, St. Louis, San Diego and Indianapolis. at Cargill, Inc. in Minneapolis. “[Frame-relay] use has exploded in the industry [as] the reliability has improved.” The differences in pricing among vendors have narrowed since last October, when the Fed¬ eral Communications Commis¬ sion began requiring carriers to list their rates. Nonetheless, it remains a difficult task to deter¬ mine which carrier’s rates are the lowest, said Tom Jenkins, broad¬ band consultant at Tele- Choice, Inc., a consul¬ tancy in Verona, N.J. “Ifs next to impossi¬ ble to tell who’s lowest” because some carriers charge widely differing rates for variables such as ports, permanent vir¬ tual circuits (PVC) and usage, he said. AT&T s price cuts will apply to most users who aren’t locked in to a vol¬ ume discount or term contract but are commit¬ ted to a contract that re¬ flects tariff changes. Sprint’s new rates affect its Burst Express Zero committed information rate (CIR) service and Burst Express Plus CIR service. By Mindy Blodgett PHOENIX Reducing real estate costs is a pri¬ mary driver behind the growing number of telecommuting proj¬ ects around the country. But less tangible benefits, such as employee retention, also figure in the movement to send workers home. “We are in a severe growth mode right now, and we are really feeling the pressure on our facili¬ ties,” said Barbara Reeves, man¬ ager of engineering and scientific programs at Boeing Commercial Airplane Co. in Seattle, who at¬ tended last week’s Telecommut¬ ing ’96 conference here. Space and beyond ‘Trying to cut down on space costs is one of the main reasons we are interested in telecommut¬ ing,” Reeves said. But tracking the true costs vs. the benefits can be difficult, in¬ dustry observers told attendees. “You just can’t put a dollar value on a lot of the benefits of tele¬ commuting,” said Gil Gordon, an analyst and president of Gil Gor¬ don Associates, Inc. in Monmouth Junction, N.J. “Employees are starting to see telecommuting policies as a benefit, and com¬ panies offering it will be more competitive.” Bob Moore, manager of office services at Compaq Computer Corp. in Houston, told attendees that the costs of a telecommuting rollout at his company came to about $13,000 per user during the first year, which included new computers and training. But in the second year — after eliminating third-party outsourc¬ ing of help desk support and one¬ time start-up costs — per-user spending was cut to about $4,000. Reeves said it was space cost savings that persuaded managers to sanction a telecommuting proj¬ ect with about 60 workers. But keeping employees is another prime driver. ‘We have high attrition and training costs because we are in a competitive field,” Reeves said. “If we can retain more employees, that is a benefit both for the com¬ pany and the workers.” Tips for telecommuting ■ Form a telecommuting team that includes technical experts, upper managers and human resources staff, and assign a telework coordinator ■ Contact other companies to learn from their experiences ■ Train participants and supervisors ■ Monitor the program through surveys before and after a pilot Measuring productivity gains, another claim by telecommuting advocates, is difficult, according to users and industry observers. Aegon Insurance Group’s Ad¬ vanced Financial Services Divi¬ sion in Largo, Fla., is pleased with the success of a 2-year-old tele¬ commuting project, said Kim McGonegle, a telecommuting co¬ ordinator. But “one of our goals is to quantify productivity,” she said. AT&T’s monthly frame-relay charges Port speed Old rate New rate 56/64K bit/sec. $275 $225 256K bit/sec. $830 $770 Two-way PVC prices 56/64K bit/sec. $94 to $101 256K bit/sec. $429 to $461 Sprint’s monthly frame-relay charges* Port prices I PVC prices 56/64K bit/sec. $204 56K bit/sec. $210 256K bit/sec, $495 256K bit/sec. $810 Burst Express 56K bit/sec. port and PVCs Starting at $319 per month 'Users can expect a to 20% price reduction that primarily will affect the cost of the PVC Networking Frame-relay price war escalates COMPUTERWORLD NOVEMBER 4, 1996 (www.computerwortd.com) Users Award Oracle 7 Gold Medals •SK.; Not a single gold for Sybase or Informix databases. Database Server DBMS MAGAZINE #1 READERS' ^ CHOICE Parallel Query DBMS i DBMS MAGAZINE I #1 READERS’ Oracle Media Server CHOICE DBMS MAGAZINE #1 READERS' Multimedia/ Document Management ■ Data xV.. Replication is ■ DBMS MAGAZINE #1 READERS' DBMS Connectivity DBMS MAGAZINE #1 READERS' Software Support SOFTWARE MAGAZINE SENTRY MARKET RESEARCH Database Accounting The readers of DBMS Magazine and Software Magazine voted for their favorite client/server database products and support services. In every major category, Oracle’s products were the runaway winners. For award winning databases, tools, applica¬ tions, and support, call Oracle at 1-800-633-1071, ext. 10165. ORACLG* Enabling the Information Age ™ ©1996 Oratlc O>fporation. Onulc. Omilr Media Server, SQL Net and Oracle Financials are registered trademarks, and Oracle?, Oracle 7.1 and Enabling the Information Age are trademarks of Oracle Corporation. All rights reserved. All other company and product names are trademarks of their respective owners. News Bringing order to ordering process By Thomas Hoffman This week, NECX Direct joins a growing number of Internet-based computer prod¬ ucts distributors with a World Wide Web- based service designed to put information technology purchasing decisions back in the hands of information systems manag¬ ers. NECX Direct, a division of Peabody, Mass.-based NECX, is introducing the En¬ terprise Purchasing Network (EPN) through its Web site (www.necx.com). The service — slated to go live early next month — allows IT purchasing managers with user IDs and passwords to set up a credit line, set spend¬ ing limits and decide who in their organiza¬ tions can place orders for Mi¬ crosoft Corp. software or oth¬ er goods. The service and others like it are a boon for IS managers, who have been be¬ deviled by runaway distributed computing costs and had difficulty in forcing users to adhere to company hardware and software standards. But it isn’t clear whether services such as EPN will stop wildcat technology pur¬ chases by rogue users. Staten Island University Hospital in New York, for example, plans to use a Notes-based electronic IT ordering service fi'om Compucom Systems in Dallas for those very rea¬ sons, said Pat¬ rick Carney, vice president and chief informa¬ tion officer at the hospital. “One of the cons is that it puts IS in the order-placement business, so we will probably let our purchasing department han¬ dle that,” Carney said. He plans to start us¬ ing the Compucom system in the first quar¬ ter of next year. The upside is that the service will streamline order processing and allow the hospital to keep electronic records of its orders, Carney said. Money talks Brian Marley, general manager of direct channels at NECX, points to a Fortune 10 customer who, prior to using his company’s service, spent $36 million last year to order products — money added to the cost of the items received. Marley said volume dis¬ counts will initially be negotiated off-line with an NECX Direct account manager. The idea of cost savings has sparked the interest of J. Benjamin Moore, manager of corporate information at North Carolina Electric Membership Corp., a Raleigh, N.C., electricity wholesaler. Moore said he is considering a Web-based service fi'om Stream International to save money and control what sometimes is an influx of de¬ livered products. Users “are always complaining about what hardware we let them order,” Moore said. “It would be nice to be able to stage or¬ ders, because I have a problem storing 100 desktops at one time." Companies find hurdles to ’net-related ^ customer service. See page 77. Computerworlds Industry Journals Special magazine supplements, specific to four major business industries: financial services, retail, healthcare and telecommunications. The Computervvorld Journals are written for IS and business management working together to deploy distributed computing for the enterprise. Each journal gives you pertinent coverage on critical technology trends and products, implementation challenges and management issues — all in the context of what impact this infor¬ mation has for your organization and the indtrstry you work in. T For editorial information contact: . Alan Alper • ■ Editori Comp.u.tervyorld journals (508) 820-8115 ; alanTalper^cw.com ' ^ '■ For advertising information contact: :^:i;pdri Calamaf o , Meager, ^ompvjterworld Journals !^*Jj^&cf:()Sf0) 446-5372 don_calamaro@*cw.com (itaijjarngitiim feY'Vf'- ' ' l-f.uleii COMPUnitWORLD Financial Services Journal For technology and business management at banking and financial institutions. COMPUTERVVORLD Retail Journal For technology and business management at retail organizations. The Changing ' Face of POS SHtll SHOPS LEARN ABOUT CUSTOMERS AT THE POINT OF SALE COMPUTERWORLD PROTECTING TiIe Groton Jewels •PEA -2: W^Pj^!!'^*^'***** ■' . -A Telecom Journal For technology and business management at telecommunications or telecom-related organizations. COMPUTERWORLD Healthcare Journal For technology and business management at hospitals and healthcare related companies. Living in the ^ MATERIAL Staten Island Univer¬ sity Hospital CIO Patrick Carney: We’ve got to move to electronic purchasing’ The usual, sir? NECX Direct Enterprise Purchasing Network users can use standard Web browsers to “bookmark” frequently purchased products, such as Hewlett-Packard Co. printer cartridges. COMPUTERWORLD NOVEMBER 4, 1996 (www.computerworld.com) ©1996 Micro Focus Ltd. Micro Focus is a registered trademark. r Meet your Century Date Change problem head-on with Micro Focus Revolve/2000 single package that lowers your risk and addresses every step in the process. First, Revolve/2000 ’s Assessment and Analysis facilities help you quickly identify every date occurrence in your applications and automatically locate the source code that needs modification. You’ll see precisely which parts need to be changed and get an estimate of the cost and effort required to do it. That way, you’ll be in a better position to decide what internal or external resources are needed to get the job done. Next, its Implementation facilities let you either automatically convert two-digit date fields to four-digit fields or efficiently make source code modifi¬ cations with its integrated editor. Then use Revolve/2000 ’s built-in syntax checker to find errors and help ensure clean compiles before testing, either on the mainframe or, more cost- effectively, on a PC with other Micro Focus application development tools. Nobody else offers anything like Revolve/2000. That’s because we’re the 20-year leader in tools and services for developing and maintaining legacy sys¬ tems. We know how to help you avoid stepping in someone else’s mistakes. See For Yourself. Calf Micro Focus / and order your Revolve/2000 c™ demo disk today. You’ll see why ^ ' it’s the only solution you need. £ a Dial 1-800-632-6265 or visit at http://www.microfocus.com. A lot of software vendors are charging into the market with Year 2000 “solutions’,' but look closely — you’ll find many are proprietary, incomplete, or make claims you know are too good to be true. With our experience, we know better. Micro Focus Revolve/2000, gives you tangi¬ ble, comprehensive technology in a RevolveHOOO can work with other Micro Focus tools to provide seamless access to host files from the PC. IV1IERO FOCUS B ASSESS, ANALYZE, AND IMPLEMENT ^m^AND WHILE YOU’RE AT njjj ■ WATCH OUT EOR THE BULL. 2 News Baby Bells ring out Say rising ’net use bringing telephone network to a halt By Kim Girard As the Baby Bells wage a battle to squeeze more money out of Internet users accused of over¬ loading the telephone system, it is business as usual online for many IS managers. Regional Bell operating com¬ panies (RBOC) have recently re¬ leased a spate of studies and statements that contend that es¬ calating Internet use is bringing the telephone network close to gridlock. That means more busy signals or dead lines for callers. “I don't buy it,” said Eric Mills, network operator at Fox Sports Direct in Irving, Texas, a compa¬ ny that encrypts satellite signals for sports networks. “I think [the RBOCs] are looking for govern¬ ment subsidies so they can upgrade their own [telephone] systems.” On the flip side The other side of the argument is that RBOCs deserve that extra cash, said Matthew Cutler, presi¬ dent of the Webmasters Guild. “People don’t pay for what they use,” he said. “[Internet providers] fund those who stay online forever. I think we will see some price changes within 12 to 24 months.” Mills said news of Internet problems hasn’t stopped his plan to provide dedicated access to half of the 100 employees in his office. He said he is confident that online rates will remain low, de¬ spite talk that Internet service providers, if charged more by the RBOCs, will pass increases along to business customers. The RBOCs have asked the Federal Communications Com¬ mission to make Internet provid¬ ers pay more than the average $30-per-month rate for a tele¬ phone line, arguing that Internet users tax the network by staying online five times longer than telephone users. “Everyone is entitled to fair and reasonable profit,” said Paul Maszczak, corporate director of information technology at CR Bard, Inc., a medical equipment maker in Murray Hill, N.J. If In¬ ternet providers raise prices, “it will be just be a temporary fix anyway,” Maszczak said. “As the capacity catches up, the prices will go back down.” Mitchell Porche, MIS manag¬ er at Jack White & Co. in San Diego, said he has heard little about the problem. He said he is more concerned about keeping Swamped A Pacific Telesis Group study of some of ils switches found: • The average Internet connection is 20.8 minutes long, compared with a 3.8- minute average telephone call • 10% of Internet calls are six hours or longer • The peak hour for phone systems is 10 p.m., due to increased Internet use the network secure when 30 of the company’s 300 employees are on the World Wide Web. “The question is, are the phone companies crying wolf?” Porche said. “It’s a tough call.” But he said the telephone com¬ panies are at fault for taking on more traffic than their network can handle without investing in new switches. Although IS is affected by In¬ ternet problems, the problems are beyond their control, said Bob Metcalfe, vice president of technology at International Data Group, the parent company of Computerworld. “If s a big problem, like social¬ ized medicine,” he said. But In¬ ternet providers are “in a dream world when it comes to econom¬ ics and should no longer be sub¬ sidized,” he said, meaning there shouldn’t be $19.95-per-month unlimited access rates for users. Randy Weston contributed to this story. Data access shortcut Caught in the middleware To simplify Web access to legacy transaction systems, three vendors have developed pieces of a new tool kit: Vendor I 1 Pieces IBM CICS and MQSeries clients, CICS and MQSeries servers, CICS Gateway for java Sun java development software PlanetWorks Interspace software simplifies the development of Web-enabled middleware applications Kit links applets to middleware apps By Tim Ouellette An agreement made last week may give users who run World Wide Web browsers access to transaction data found in IBM’s middleware applications. As a result, application develop¬ ers can avoid the complex process and security hurdles required to give users access to widespread legacy business systems through CICS, MQSeries and Encina transaction middleware. IBM, Sun Microsystems, Inc. and integrator Planetworks, a sub¬ sidiary of Tangent International in New York, announced plans for a tool kit that lets Java developers use Java applets to pull data from existing transaction systems. 'ITie tool kit, called Interspace, will cost $4,995 for a two-user li¬ cense and will ship by year’s end. Interspace will run on AIX, Win¬ dows NT and Sun’s Solaris plat¬ forms. It uses technology from Planet Works to link Java applets to IBM’s middleware (see chart). CICS, MQSeries and hincina are middleware packages that make it easier to move complex data across different computer platforms and applications. Mid¬ dleware removes much of the complexity in the secure passing of data in the proper format among different systems. “We are hoping to see a brows¬ er be able to create a Java applet that talks with MQSeries and ac¬ cesses whatever data you want on the back end,” said Jim Cantin, a systems architect at Eastman Ko¬ dak Co. in Amherst, N.Y. Secure data By using MQSeries or CICS as a delivery mechanism, legacy data is securely available for Internet access rather than residing on less-secure PC servers or Web servers, analysts said. But users shouldn’t rush to give everyone access to legacy transaction applications. “CICS applications are usually designed for only internal users,” said Ed Acly, an analyst at Inter¬ national Data Corp. in Framing¬ ham, Mass. “So users may have to totally redesign the applica¬ tions anyway for a general Inter¬ net audience.” And Internet users are more of¬ ten interested in data access rath¬ er than production/transaction CICS applications, Acly said. But Sue Eustice, an analyst at Wintergreen Research, Inc. in Lexington, Mass., said getting middleware to the Internet is im¬ portant to improving business over the Web. And a recent report by D. H. Andrews Group, Inc. in Cheshire, Conn., said, “There is an opportu¬ nity for IBM’s middleware to be¬ come a de facto standard for com¬ mercial transactions on the Internet.” Java is like a sports car — ^ bound for a cliff. See page 59. RSA offers kit for secure credit-card transactions By Gary H. Anthes RSA Data Security, Inc. will an¬ nounce today a tool kit for devel¬ oping secure applications that support credit-card transactions on the Internet. The tool kit, called S/Pay, sup¬ ports developers’ use of the Secure Electronic Transactions (SET) pro¬ tocol developed by Visa International, Inc. and MasterCard International, Inc. SET uses RSA encryption to en¬ sure confidentiality and data in¬ tegrity during transactions. Ob¬ servers said it is emerging as the de facto standard for Internet- based credit-card applications. SET solution SET can be used for any kind of credit-card transaction sent over a public network, such as consum¬ ers shopping on the World Wide Web, or for business-to-business transactions on the Internet. “SET will be the solution of choice for credit-card payments,” said James Galvin, program man¬ ager for security and payments at CommerceNet, Inc., a nonprofit group of vendors and user compa¬ nies in Menlo Park, Calif. “By the end of the year, there will be many announcements of SIT-enabled products.” Some CommerceNet members will offer credit-card services built around SET, Galvin said. SET tool kits such as S/Pay are essential for the broad deploy¬ ment of electronic commerce us¬ ing credit cards, Galvin added. S/Pay comes in three versions, one each for applica¬ tions used by cardhold¬ ers, merchants and banks. Any application software that handles credit-card data needs to be made SET-compliant via S/Pay or some other mechanism. Other SET tool kits already ex¬ ist. For example, IBM offers one for application developers. The RSA kit was designed to trim the time it takes to develop SET-compliant applications. It al¬ so will reduce the chance that er¬ rors in implementing the SET standard will leave security holes in users’ applications, said Gary Kinghorn, product marketing di¬ rector at RSA (www.rsa.com). That isn’t an unlikely possibility when software vendors imple¬ ment their own cryptography, said John Pescatore, a senior con¬ sultant at Trusted Information Systems, Inc. in Rockville, Md. ©The federal government sets up a computer emergency response team. See page 78. Electronic commerce Computerworld November 4, 1996 (www.computerwortd.com) r To reach thousands of new customers, MCr began witii one call. To Sybase: Sybase IQ ” How do you gain a competitive advantage? By being first to market with products and services customers want. Ask MCI, whose ability to satisfy customers is turning the tables in telecom marketing. Thanks to Sybase IQ, MCI’s Small Business Unit rapidly implemented a distributed datamart to transform mountains of available data into targeted market segment campaigns. As a result, MQ launches their campaigns into the market with lightning speed while their competitors are still retrieving data. “Sybase IQ’s phenomenally quick response time lets us implement new ideas in days instead of weeks,” says Scott Barnes, “with precision and flexibility we’d never come close to before’.’ Speed and agility are merely part of tlie edge Technology /. •7- Sybase offers businesses today. To take the first step in exploring tlie possibilities, visit ww\v.sybase.com/mci. Or dial 1-800-8-SYBASE. That’s how it all begins. www. Sybase, com 019% Sybase, Inc. All rights reserved. Sybase, the Sybase logo and Sybase IQ are U’adeniarks of Sybase. Inc. Outside the U.S.. call N508-287-2591. CODE 49946. MCI and the MCI logo arc registered uademarks of MCI Corporation in the United Slates and other countries and are used with pennission. News Summit to focus on management tools By Patrick Dryden Nearly 2,000 administrators of networks, systems and applica¬ tions this week will seek help with an ongoing problem: how to make individual management tools work — and someday work to¬ gether — to control complex envi¬ ronments. That’s the basic need that will draw information systems troops out of the trenches to Santa Clara, Calif., for the Enterprise Management Sum¬ mit ’96 conference, show organiz¬ ers said. The management group is based in San Francisco. Besides catching up on the lat¬ est advances from key vendors, users can collect tips and tools for their integration efforts. Users can learn more aboutthe En¬ terprise Management Summit at www.summit.microuse.com “We’re starting with a clean sheet to build our own structure that can integrate management tools,” said Darrell Epps, commu¬ nications engineer at Chevron In¬ formation Technology Co. in San Ramon, Calif. Vendors won’t compete in the traditional shoot-out, a much- watched event during which ven¬ dors apply their products to solve hoary problems that managers face daily. Reality has struck: The vendors now complain that those scenarios required too much time, money and expertise. To avoid embarrassment, ven¬ dors in noncompetitive demon¬ strations will address 15 prede¬ fined problems such as perfor¬ mance management and software distribution. In that showcase, Platinum Technolof^, Inc. plans to dem¬ onstrate the integration of its vari¬ ous point products. ITie Oak- brook Terrace, III, vendor will tackle the real-world scenarios us¬ ing its newly coordinated tools. BMC Software, Inc. in Hous¬ ton will introduce Version 3.1 of its Patrol management suite. Pa¬ trol’s new console interface and reports can help administrators watch the logical relations among applications and the physical con¬ nections, for example, among da¬ tabase servers. And to help moni¬ tor service quality, InfoVista, Inc, in Paris will demonstrate a tool that can help track performance of networked applica¬ tions to the depart¬ ment level in large organizations. New and expanded alliances will turn up this week, showing once again that no vendor can provide all management pieces. Digital Equipment Corp. will continue its string of reseller agreements by announcing a part¬ nership to sell Patrol manage¬ ment tools from BMC Software. Same side Even competing products will gain common support to help har¬ ried managers responsible for heterogeneous networks. Look for a demonstration of network performance modeling by Cisco Systems, Inc. that in¬ cludes routers from rival Bay Networks, Inc. Cisco next week plans to deliver a tool that tracks end-to-end traffic through both router brands, using technology from its recent acquisition of Net- Sys Technologies, Inc. Seagate Software will launch a version of its event-correlation software for Windows NT servers and network devices. Like its Unix-based predecessor, Nerve- Center NT filters multiple alerts and events throughout a network, identifies the problem and takes corrective action, such as paging an operator or invoking a Win¬ dows NT command. It will ship next month, starting at $1,650. Hewlett-Packard Co. will in¬ troduce a version of its Unbc- based OmniBack backup and re¬ store software for NT servers. But all attendees’ dreams won’t come true, of course. HP, for ex¬ ample, remains behind schedule for delivering a version of its OpenView Network Node Manag¬ er that runs on Windows NT. HP demonstrated the Unbc al¬ ternative to the OpenView Forum user group in June and promised delivery by now. But HP officials said they don’t expect to beta-test that version until year’s end. Show preview Tivoli seeks ‘open’ crown Conference hopes to ease tool integration with TME 10 Tivoli’s busy year Published road map for delivering TME lo, one month after merger with IBM. Introduced flexible pricing model for distributed management products. Formed management working groups with vendor partners; defined open interfaces for TME lo. Delivered Tivoli Manager for Applications package for deploying Powersoft’s client/server programs. iJlFcHUJ Formed lo/Plus Association. Its goal is to allow tools from any partner to work together on TME 10 framework. EHHTfm Announced Management Gateway Broker to link TME 10 with workgroup managers from other vendors. Shipped NetView on Windows NT. Introduced Global Enterprise Manager, a TME 10 application interface. Flosted 200 tools vendors at a developer’s conference to define integration standards. By Patrick Dryden AUSTIN , TEXAS Efforts by Tivoli Systems, Inc. to build multivendor support for its enterprise management platform may give the IBM subsidiary an edge over rival Computer Asso¬ ciates International, Inc., accord¬ ing to some users and industry observers. At last week’s Tivoli develop¬ er’s conference here, program¬ mers and marketers from 200 management software vendors started to make their tools work together to control complex net¬ works, systems and application processes. Analysts deemed the turnout significant. And they said the for¬ mation of 10 working groups — which will define how any tool can fit Tivoli’s management frame¬ work — is unique for a fragment¬ ed industry. Less work for users If Tivoli and its partners succeed in delivering on this interoper¬ ability promise next year, users will be spared the chore of inte¬ grating favorite tools themselves. That would allow compatible man¬ agement applications to share alerts, status information and pro¬ cesses directly via the TME 10 platform. Tivoli’s Management Working Groups could make a big differ¬ ence in integrating and automat¬ ing tools more quickly, said Peter Martin, vice president of enter¬ prise automation at Wells Fargo & Co. in San Francisco. Both CA and Tivoli allow users a choice in selecting the compo¬ nents of their overall enterprise management platform. But Tivoli seems more proactive, while CA remains reactive, said Chip Glied- man, an analyst at Giga Informa¬ tion Group in Cambridge, Mass. ‘Tivoli is taking the lead to make its TME 10 platform an open standard, while CA leaves it up to vendors to tie in to Unicen¬ ter,” Gliedman said. “Vendors will have to support both platforms, but Tivoli’s approach may be the swing factor for deals over the next year.” Tivoli’s approach of “letting us select best-of-breed products” was very important in choosing TME 10 over CA’s Unicenter, said David Bowman, director of mid¬ range systems engineering at Ameritech, Inc. in Chicago. The pro-Tivoli comments were just a product of attendee excite¬ ment, CA officials said. They claimed that users and analysts deem Unicenter equally open — or more so. Vendors wisely back both platforms, CA officials said, noting that more than 100 use CA’s kit to integrate their tools with Unicenter. CA’s moves CA is shifting from a suite accessi¬ ble through a software develop¬ er’s kit to a more open platform, said Paul Mason, an analyst at In¬ ternational Data Corp. in Fra¬ mingham, Mass. But Tivoli leads in easing tool integration, he said. “Unicenter is like a picture book. You can change some pages if you line up the illustrations and insert them carefully,” Mason said. ‘TME 10 is more like a bind¬ er equipped with some needed pages. You can insert any page that lines up its punch holes.” Users pleased so far with ^ Tivoli underlBM. Seepage6i. Stamped with approval ots must happen before users can rely on Tivoli’s TME 10 to integrate their favorite vendors’ management tools. Tivoli and its partners must complete the definition of 10 interfaces for TME 10 and implement that support in their products. In the meantime, oth¬ er help is on the way. I^st week, Tivoli certified 19 products as ready to run with TME 10. All will ship before the end of the year. Four database management tools from vendors such as Informix Corp. and Sybase, Inc. run on the TME 10 platform. Tivoli provides modules that link existing tools to TME 10 so that operators can exchange alerts and launch various con¬ soles. Those include tools such as a workload manager from Platinum Technology, Inc., an output manager from Dazel Corp., storage managers from IBM and Legato Systems, Inc., four security managers, a IAN manager from Compaq Com¬ puter Corp. and five help desk systems. New TME 10 providers in¬ clude the systems integration arm of Sun Microsystems, Inc. Digital Equipment Corp. an¬ nounced plans to adopt TME 10 NetView network management software, and an official said the agreement could extend to the entire TME 10 line. — Patrick Dryden COMPUTERWORLD NOVEMBER 4, 1996 (www.computerworld.coni) News liJBCfctL' PafaBOT Coat Factory Warehouse Corp. in Burling¬ ton, N.J. “But as long as the ubiquitous computing platform is Windows, Oracle can’t go head- to-head with Microsoft, no matter how good its applets are.” ©Informix unveils distributed manage¬ ment, replication tools. See page 53. Oracle show highlights NC CONTINUED FROM PAGE 1 effort to bust up Microsoft Corp.’s hegemo¬ ny over the desktop. But Oracle has some convincing to do — even among its loyal customer base. In theory, Microsoft’s brand-name ad¬ vantage should be diluted in network com¬ puting environments that hide ever5d:hing under the covers of the World Wide Web, said Robert Rubin, chief information officer at Elf Atochem North America, Inc., a _ chemicals man- point, it’s more of a novelty item for me right now,” he said. “It’s not even on the radar scope for us to look at. ” That’s because of the immaturity of tech¬ nologies such as Java and concerns about Network computing network bandwidth, Hawkins said. “There could be a tremendous infrastructure im- _ pact here if you’re talking about everything coming over the net¬ work.” Products such as HatTrick and Developer/2000 for the Web “look pretty damn good,” said Michael Prince, MIS director at Burlington Elf Atochem CIO Robert Rubin says Microsoft’s brand-name advantage is expected to be diluted in network computing environments ufacturer in Philadelphia. “When I talk to somebody on the Internet, I don’t even know what they’re us¬ ing on the other end,” he said. But the rub for Oracle is that the useful¬ ness of network computers “is not totally estab¬ lished,” Rubin said. ‘There cer¬ tainly will be a place for them. But the question is, ‘Will it be a dominant place?’ ” Several other users also were doubtful that the Windows-centric world view would change any time soon. Paul Hoedeman, CIO at AlliedSignal Aerospace in Torrance, Calif., said a recent decision that requires AlliedSignal end users to get information systems approval before installing PC software “was very un¬ popular.” Getting his users to accept net¬ work computers would take “some very heavy selling,” he said. Even if network computers do catch on in a big way, Oracle “wouldn’t leap out in my mind as the obvious candidate to capi¬ talize on this,” Hoedeman said. “I just don’t think of them as being that nimble.” The arsenal Oracle this week will detail the following battering rams for its anti-Microsoft cru¬ sade: • A line of Intel Corp. Pentium-based net¬ work computers that should appear in the first half of next year. Oracle will announce a software environment and a reference hardware design for the boxes. • A set of Java-based desktop applets, code- named HatTrick, that sources said are ex¬ pected to be thin-client alternatives to Mi¬ crosoft Office. • Development tools for moving applica¬ tions from Windows desktops to intranet- based servers. • More specific plans for products that sup¬ port Oracle’s object-based Network Com¬ puting Architecture. Ron Hawkins, director of information technology at Millipore Corp. in Bedford, Mass., said the network computing concept sounds great. “But from a practical stand- Attention Visual Basic developers:! Take me te your leader. NEW ERivin 2.e features full database synch! Visual Database Design and - Model-Driven Development-^ Database- Ready Fori^^ Construction » *» ^eam Devefopment * and Reusability Scalable Multi-User Applications Fdifure Internet Intranet pepibyment , ' - Introducing DataBOT. Now it’s insanely easy to design, build and maintain high-performance Visual Basic applications. It's inhuman what Visual Basic teams have to go through to create high- perfomiance database applica¬ tions. Writing thousands of The Logic Works Enterprise Developers' Suite for Visual Basic lines of mind-numbing data access code. Months of boring, repetitive tasks. But now you can give your grunge work to DataBOT"— a software "robot" that speeds application constmction and nin-time data access. And integrates with ERw/>;*— the #1 database design tool— to provide a tme model- driven development environ¬ ment from start to finish. Grade Visual Basic Sybase' ^CL Sa DataBOT and ERwin generate both your database and database-ready VB forms. From the same database design, ERw/n generates your SQL database and DataBOT builds the corre¬ sponding, ready-to-mn Visual Basic forms and SQL data access code. You get faster development, automatic transaction management. scalability and incredible team productivity. Without having to write a line of data access, synchronization or multi-user concurrency code. DataBOT. It'll make you feel human again. Take it to your leader right away. 3 logic ^^works* The Model Management Company' Check out a DataBOT demo at www.logicworks.com. Or, call us at 1-800-'78-ERWIN for special introductory pricing. ©1996 Logic Works, Inc. ERw/ii is a registered trademark and DataBOT is a trademark of Logic Works, Inc. All other products mentioned are trademarks of their respective companies. (www.computerworld.com) NOVEMBER 4, 1996 COMPUTERWORLD 6 News Measure before you manage DecisionOne to launch asset simulation tool at Comdex By Thomas Hoffman You can’t manage what you can’t measure. Tliat is the message Decision- One Corp. hopes to send at Com¬ dex/Fall ’96 later this month when it introduces an asset simu¬ lation tool designed to measure total cost of ownership and end- user technology utilization, Com- puterworld has learned. The system, which consists of a relational database and a Micro¬ soft Corp. Visual Basic application front end, would enable informa¬ tion systems managers to deter¬ mine how much it might cost to migrate a 200-seat accounts pay¬ able department from Novell, Inc. NetWare 4.1 to Microsoft’s Win¬ dows NT 3.5.1. That type of analysis would also enable chief information offi¬ cers such as Brooklyn Union’s Ti¬ na G. Barber to figure out “wheth¬ er we’re wasting money having everyone installed on a particular soft¬ ware package,” she said. Other IS manag¬ ers, including Wil¬ liam Wong, manager of financial systems at Blue Cross/Blue Shield of Connecti¬ cut in North Haven, were not sure if tools such as Deci¬ sionOne Simulator would be effective for their shops. “We don’t do that much cost-justification when we’re upgrading networks or servers — we usually do that for business reasons,” he said. Wong said a total-cost-of-owner- ship tool might be able to help the health insurer rein in some of its run¬ away distributed computing costs. “If the end user puts up a big enough argu¬ ment, we usually in¬ stall the hardware or software for them,” he said. “Maybe we should start thinking about cost-justification.” The software and services required Brooklyn Union’s Tina G. Barber says asset foo/s could prevent the bank from overlicensing users for desktop software for these types of analyses will cost between $20,000 and $45,000, said Ben Tatta, director of mar¬ keting at Frazer, Pa.-based Deci¬ sionOne. The simulator uses a total-cost- of-ownership tool called C/S Solu¬ tions Advisor from Interpose, Inc. in Altamonte Springs, Fla. It determines how much it would cost to support a network environ¬ ment over several years, includ¬ ing labor costs, network growth and downtime. Interpose Presi¬ dent Tom Pisello said. Measuring use DecisionOne and Interpose also plan to incorporate by mid-De¬ cember a “sniffer” technology from U.K.-based Prometrics’ Desktop Watch tool. The technol¬ ogy ferrets its way through a net¬ work to calculate, for example, the percentage of functionality a company’s end users are utilizing with word processing software. Those calculations would be done by partly using total-cost-of- ownership data from research outfits such as Gartner Group, Inc. and interviewing end users on their usage habits, Pisello said. DecisionOne Simulator will come in two pieces — a total-cost- ,of-ownership simulator and a pro¬ cess simulator designed to mea¬ sure, for example, the cost of help desk support, Tatta said. Analysts said other total-cost-of- ownership tools, including those from Tally Systems Corp., Syman¬ tec Corp. and McAfee Associates, Inc., are becoming more sophis¬ ticated and should begin deliver¬ ing functionality similar to Deci¬ sionOne Simulator by next year. “There are a lot of [IS manag¬ ers] running wild with the reality of total cost of ownership being thrown in their faces” by senior management, said Steve Clancy, principal analyst for desktop life cycle services at Dataquest Worldwide Services Group in Westboro, Mass. Sun, Microsoft enter field word processing applications, the Internet and electronic mail. CONTINUED FROM PAGE 1 pick a vendor to supply boxes for Eileen O’Brien, an analyst at In- its 270 stores early next year. ternational Data Corp. in Fra- own network computer specifica- Other users are more skeptical mingham. Mass., said users may tions last week. about the future of these network be confused by the breadth of “It’s really hard to read the tea devices. products falling under the net- leaves right now,” said Michael “I don’t think this [network work computer label. She said the Prince, MIS director at Burling- computer] idea will go any- machines aren’t likely to replace ton Coat Factory Warehouse where,” said Craig Perry, manag- the PC in the foreseeable future. Corp. in Burlington, N.J. “The def- er of software development at inition of [a network ~ ~ Womex World Mer- Money matters computer] seems to NClWOlK chandise Exchange in For many users, however,^ the real vary from vendor to computing Fairfield, Conn. drawing power of the devices will vendor. Right now, it’s - These new appli- be the lower cost of supporting sort of a catch-all term.” ances are overkill as replace- and administering them. Prince wants to use network ments for dumb terminals. Perry “The cost savings between the computers to run Unix applica- said. “If you replace an ASCII ter- _ PC and the JavaStation looks to be tions without breaking out of a minal with something graphical, real,” said Terry Carlin, head of thin-client mode. But choosing you have the time and expense of systems and product launch at the network computer horse for rewriting your applications,” he British Telecommunications PLC the company to ride is a daunting said. “Why do that?” in London. He said BT has saved task right now, he said. But IBM said it doesn’t expect between 50% and 60% with beta The retailer is looking at buy- that network computers will fit ev- JavaStations from Sun. ing 35 “souped-up X terminals” as ery user’s needs, but will work Here is how the different boxes a holding tactic while it tries to well in corporate environments stack up: Vendor/ Product Microsoft/ NetPC Oracle/ Oracle NC Sun/ java Station IBM/ Network Station Processor Memory Operating ENVIRONMENT Availability Price 133-MHz Pentium 16M bytes A version of Windows First half of 1997 NA Pentium NA Oracle NC operating system First half of 1997 $500 without monitor, $900 with monitor Sun SPARC 8M bytes java operating system December $800 to $1,500 An IBM micro¬ processor 8M bytes Windows NT, Unix and OS/2 By year’s end $695 NA infoimdlion not available • Sun’s net¬ work comput¬ er runs the Ja¬ va operating system and more than 85 Java-based applications. It also features a Hotjava World Wide Web browser and Burlington Coat’s Michael Prince: The definition of what [a network computer] is seems to vary from ven¬ dor to vendor. Right now, it’s sort of a catch-all term. ’ can access Windows ap¬ plications. • Oracle’s net¬ work comput¬ er, for which it is developing software, fea¬ tures a Pen¬ tium proces¬ sor and works with both Net¬ scape Com¬ munications Corp.’s Navigator and Oracle’s Personal Oracle Lite Database. • IBM’s Network Station comes with an IBM microprocessor, memory, network adapter, key¬ board and mouse. A monitor is op¬ tional. • The Intel and Microsoft NetPC will have a minimum 133-MHz Pentium processor and 16M bytes of memory when it ships. Details will be finalized by year’s end by Microsoft, Intel, Compaq Computer Corp., Dell Computer Corp. and five other PC makers that have signed on to supply the machine next year. But the stripped PC that Micro¬ soft proposes has some analysts questioning whether it is a real network computer or just less PC. “For so long. Bill Gates thought this technology was nuts. And so to come out and obviously bless the technology now, I really need¬ ed to chuckle because if you get down to the nitty-gritty of the specs, it’s nothing new,” O’Brien said. Dave Smith, an analyst at Gart¬ ner Group, Inc. in Stamford, Conn., said, “If you thought there was nothing in the network com¬ puter, there’s less to this.” Staff writers Kim S. Nash, Sharon Gaudin, Craig Stedman and Mitch Wagner contributed to this report. Will users give up PCs for net- ^ work computers?Seepage45. COMPUTERWORLD NOVEMBER 4, 1996 (www.computerworld.com) Jerky Valente I i 1 ! I I 51 Issues for $39.95 J"? 73% Yes, I want to receive my own copy of COMPUTERWORLD each week. _ I accept your offer of $39.95* per year - a savings of over 73% off the single copy price. Address Shown: □ Home □ Business □ New □ Renew * U.S. Only. Canada $95. Mexico, Central/South America $150, Europe $295, all other countries $295. Foreign orders Single copy price: $3.00/issue must be prepaid in U.S. dollars. Please complete the questions below. 1. BUSINESSrtNDUSTRY (Circle one) 1 0. Manufacturer (other than computer) 20. Finance/Insurance/Real Estate 30. Medical/Law/Education 40. Wholesale/Retail/Trade 50. Business Service (except DP) 60. Government - State/Federal/Local 65. Communications Systems/Public Utilities/ Transportation 70. Mining/Coostfuctiort/Petroteum/Refining/Agric. 80. Manufacturer of Computers, Computer-Related Systems or Peripherals 85. Systems Integrators, VARs, Computer Service Bureaus. Software Planning & Consulting Services 90. Computer/Peripheral Dealer/Dt8t7 Retailer 95. Other _ 2. TITLE/FUNCTION (Circle one) IS/MIS/DP MANAGEMENT 19. Chief information Officer/Vice President/ Asst. VP IS/MIS/DP Management 21. DirTMgr. MIS Services. Informaton Center 22. DirTMgr; Network Sys., Data/Teie. Comm., LAN Mgr. /PC Mgr., Tech Planning, Admin Svs. 23. DirTMgr. Sys. Development. Sys. Architecture 31 . Programming Martagement, Software Developers 41 . Engineering. Sdenttfic, R&D. Tech. Mgt. 60. Sys. Integrators/VARs/Consulting Mgt. CORPORATE MANAGEMENT 1 1 . President, Owner^artner, General Mgr. 12. Vice President. Asst. VP 13. Treasurer. Controller, Financial Officer DEPARTMENTAL MANAGEMENT 51 . Sales & Mktg. Management 70. Medical. Legal, Accounting Mgt. OTHER PROFESSIONAL MANAGEMENT 80. Information Centers/Libraries, Educators. Journalists. Students 90. Other Titled Personrrel Do you use, evaluate, specify, recommend, purchase: (Circle all that apply) (a) Solaris (b) Netware (c) OS/2 (d) Unix (Please Specify) COMPUTERWORLD (e) Mac OS (f) Windows NT (g) Windows (h) NeXTStep Products aves HNo HYes CINo B2L6 X I f 1 NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES BUSINESS REPLY MAIL FIRST-CLASS MAIL PERMIT NO. 55B MARION OH POSTAGE WILL BE PAID BY ADDRESSEE COMPUTERWORLD PO BOX 2044 MARION OHIO 43306-2144 FREE for a Limited Time. . .A CD ROM Previeu^ of The Top New Data Warehousing Software When 200,000 IS managers were asked to choose the top software for data warehousing, their answer had a familiar ring: SAS software from SAS Institute. PRODUCT OF THE YEAR 1996 IS MANAGERS CHOICE As the only end-to-end solution for rapid data warehousing, SAS software delivers everything you need to manage, organize, DATAMATION and exploit your business data. The tools you use to build a data warehouse are the same ones used to maintain it. . .run ^ ' r O ' it. . .and change it. And what’s more, everything’s scalable. You can jump right into entei'prise-wide information deUveiy applications... or start small and build on your success. SAS software doesn’t consume overhead for database features you don’t need. And once you have data in the warehouse, you’ll find everything you need for data query and reporting, OLAP/ multi-dimensional analysis, data mining, dataljase marketing, data visualization, and much more. It’s never been easier to access yoim data... or to arrive at informed decisions by tiuning raw data into real information. SAS Institute Software for Successful Decision Making Phone 919.677.8200 Fax 919.677.4444 In Canada 1.800.363.8397 Yon can also request yonr free CD ROM, and learn more about SAS seminars in yonr area, by visiting us on the World Wide Web at htt|)://www.sas.coin/ E-mail: [email protected] MS is a registered trademark of S/IS Institute Inc Copyright c 1996 by SAS Institute Inc ururw. hp. com/go/computing Mirtraiwe RISC/UNIX- - Based SeiTers 12,3S1 7.fi9H 6.6t^ - -^4 . *?- • ■, . \m Su n IE HP 9000 J40(MV 5.'^0(}(4) K46(>(4) Sif4MfmtC SIV Slii£ Sm T7ie results are in. Now our line of servei's isn't just broadei'. It's also fast€7'. HP NetSei've7's and our new 64-bit HP 9000 Eyitei'pHse Sei'vers cover your NT'^ and UNIX^ needs across the enterprise and run any application you want. With our highei' peifoimance, lower prices a7id wider range, it's clear who's ahead. InteFYNT-Based Servers $/tpmC; tpmC HP NetServer LX Ptv 6/166 $109 5,949 Digital Prioris ZX 6/166 $117 5,740 Compaq ProLiant 5000 6/166 $136 5,677 mbar in parentheses denotes number of processors. Windows NT is a U.S. registered trademark of Microsoft Corp. UNIX is a registered trademark in the U.S. and other countries licensed exclusively through X/Open Company Ltd. tpmC is a registered trademark of the Transaction Processing Performance Council. Intel is a registered trademark of Intel Corp. <£>1996 Hm^tt-Packan) Company HEWLETT PACKARD News Tools cut remote access costs By Mindy Blodgett and Justin Hibbard Steven Wittner has his hands full providing support, training, software, hardware and remote connections to more than 50 offices and dozens of mobile workers. One major challenge is to keep costs down by limiting the connection times for remote online users, said Wittner, net¬ work manager at Centex Construction Group, Inc. in Dallas. And Wittner isn’t alone. Companies are increasingly sending workers on the road or opening remote offices — adding a host of costs and headaches to the usual range COMPUTERWORLD’s Code of Etliics 1. CompiitorworlJs fir?t priiirity is tlie interest of its readers. 2. Editorial decisions are made free of ad\'ertisers’ influence. 3. We insist on fair, uiJiiased presentation in all news and articles. 4. No advertising tliat simulates editorial content wi 11 Le piJrli sired. 5. Plagiarism is grounds for dismissal. 6. Computerworld inaEes prompt, complete corrections of errors. 7. Jounialists do not own or trad e in computer industry stocks. S. No secondary employment in tire IS industry is penirittecl. 9. Our commitment to fairness is oirr defense against slander. 10. rVll editorial opinions will Ire clearly lateled as suck. Th« •* IcIvriBtllM tirMtn* HaMfvsMl 0<lo»«t 2). iM). Vol. 19. N» SkAoM. COMPUTERWORID Webmasters 3Com huh. users say they’d rather fi^t than switch *baul M pro). MmiAnm tiH pwHIflfllttCUdM. Tuxedo dresses down Win 95: Better read the man ual! Novell tarKi'ts clienl/server users with t(M)l Words We Live By. Words You Work By. of support issues. Wittner has solved some of his problems by using a tariff management product from Shiva Corp. in Burlington, Mass., which al¬ lows users to do most of their work off-line. He also is installing an Integrated Services Digital Network line, which offers five times the bandwidth of 28.8K bit/sec. mo¬ dems, where available. Time-savers Products are emerging to shorten ' connection times for mobile users ■ Electronic-mail clients such as Eudora from Qualcomm ■ Off-line Web browsers such as WebEx from Traveling Software ■ Client/server applications such as RemoteWare from XcelleNet and products from Technology Solutions Development Shiva is one of a growing number of ven¬ dors that offer products that allow remote users to maximize off-line time on a stand¬ alone copy of an application before making a connection. The benefit is mainly in shorter connec¬ tion times, which lower telephone bills and reduce the likelihood of dropped con¬ nections. IS managers also report that shorter transmissions and easier communi¬ cations increase the productivity of mobile workers. When you pick up a copy of Computerworld, you know you’re getting the most objective, unbiased news and information in IS. Our code of ethics guarantees it. Why do we make such a big deal out of editorial integrity? Because the words you read in Computerworld often have a dramatic impact on your business, your career, and your future. You use this information to evaluate new products. To get a candid view of emerging technologies. To find out the inside story on corporate strategies. To decide whether to jump ship or stay in your current job. To get the edge on your competition. In short, Computerworld is filled with the words IS professionals like you live by. Week in and week out, our editors and reporters call it the way they see it - on issues ranging from network management to reengineering. They dig deeply to bring you the most accurate, comprehensive news in IS. It’s no wonder over 145,000 IS professionals pay to subscribe to Computerworld. Shouldn’t you? Order today and you’ll receive 51 information-packed issues. Plus, you’ll get our special bonus publication. The Premier 100, an annual profile of the leading companies using IS technology. Call us toll-free at 1-800-343-6474, or visit us on the World Wide Web at http://www.computerworld.com. To order by mail, use the postage-paid subscription card bound into this issue. You’ll get the kind of straightforward, impartial reporting you can work by. You have our word on it. COMPUTERWORID Everything you need to knoiu Synchronization tools Vendors are responding with several new product categories that gather data off-line through intelligent agents, queue the data for transmission and then exchange the data in brief communication sessions — a process called synchronization. “It makes a difference when you have salespeople that are not technicians,’’ said Dan Barth, vice president and chief infor¬ mation officer at Pinnacle Brands, Inc. in Dallas. “One phone call takes care of all their transfer needs.’’ Pinnacle recently installed a sales force automation system that gives users remote access to Notes, an online analytical pro¬ cessing database and PCs on the compa¬ ny’s LAN. Transferring large files to and from headquarters would ordinarily take more than an hour and require many con¬ nections. Barth and his team installed XcelleNet, Inc.’s RemoteWare and its RemoteWare Replication Agent product. Together they let remote users conduct transactions with the main office in one connection. While the client and server are disconnect¬ ed, agents on both sides scan documents, databases and applications for changes made since the last connection. The changes are replicated, compressed, queued for transmission and exchanged in one phone call. Computerworld November 4, 1996 (www.computetworid.com) Add S-Designo) Wilder or Visua^ better aDolicati The model for client/server solutions. " 7° lut Now you can easily accelerate development and improve the quality of your applications with S-Designor® the modeling toolset for PowerBuilder® and Visual Basic.® With unmatched ease-of-use, you can design, generate, reverse engineer, or doc¬ ument databases for over 30 DBMSs. Then get a headstart on development by instant¬ ly generating PowerBuilder and Visual Basic objects — including basic, ready-to- run applications based on your data model. S-Designor shifts your PowerBuilder development into high gear, auto¬ matically generating windows, menus, and DataWindow™ objects based on your favorite class library. For Visual Basic developers, S-Designor generates forms, projects, menus, and other controls from any of the customizable templates provided. You can even include OCX/ ActiveX controls for added functionality. So power up with S-Designor today. Call us at 1-800-395-3525 or visit the Powersoft Web site and give S-Designor a try. It’s high-octane fuel for high-perfor¬ mance development. PowerBuilder and Visual Basic Support Data Modeling • Support for over 30 DBMSs Multiuser Capabilities Download your free evaluation product at http://www^pqwersoft.com^;^ i Powersoft ■ ©1996 Svbase, Inc. All rights resers’ed. Powersoft, PowerBuilder, S-Designor, and The model for client/sers’cr solutions are trademarks of Sybase, Inc. or its subsidiaries'^ Visual Basic is a registered trademark of Microsoft Corporation. All other trademarks and registered trademarks are property of their respective owners. (508) 287-1500^ ©1996 3Com Corporation. 3Com is a registered trademark ol'3Com Coiporation. All other trademarks are those of their res|iective owners. Coniputenvorl()j i’enchr confidence ourcey ohowo y renter ciuitonieroatuf action with 3Coin producto and oerciceo than with any of their competitoro. Please call us and we’ll gladly provide you with reprints of the article which quantifies the advantages ol 3Com networks, or you may access the information directly on our website. * By knowing networks from the ground up, 3Com u dcLloering ooLutiono for the real world. Precious few companies have mastered advanced computer networking. And of those, only one began where the rubber, as they say, meets the road: at the user level. In fact, 3Com has connected more than 42 million users to networks around the world. Knowing how networks work at eveiy level compels 3Com to develop more than the big switches and routers used to run Fortune 500 global systems. 3Com network solutions deliver the consistent application response time critical to businesses of today like banks, healthcare providers and, not surprisingly, other major technolog)^ companies. If you are among these companies, contact 3Com. With a stellar reputation* for reliability, value, follow-through, and solutions that are easily implemented, 3Com can undoubtedly put your network on a solid footing. 800-NET-3Com (option 4) www.3com.com/earth Ne^ News IBM users want closer ties to NT By Tim Ouellette ATLANTA At the Common conference last month, IBM provided users with an AS/400 road map that promises to give the midrange system more processing punch. But users said they also hope for a better fit with Win¬ dows NT systems. IBM revealed the following AS/400 plans for next year: • Sixty-four-bit RISC models of the AS/400 will begin to ship with support for up to eight high-speed PowerPC processors. The models will be designed to speed up pro- > .V ‘ A.'r- .MT careeragent.COMPUTERWORLD-com Have you seen your agent today? New from; COM D November 4, 1996 (www.computerworid.com) cessing, especially for power users. • The same RISC systems will provide 20G bytes of system memory to speed access to information stored on the AS/400’s inte¬ grated DB2 database. • A Windows NT Workstation version of Client Access/400 will hit the streets, let¬ ting Windows NT Workstations access AS/400 applications without having to go through an emulation screen. • To provide World Wide Web integration and simplify client access, IBM hopes to ship native Java support in OS/400. Users are especially eager to blend the Windows NT and AS/400 environments, and they don’t like being hampered by the lags in AS/ 400 development. ‘We initially wanted to put Windows NT Workstation into our accounting depart¬ ment [to access the AS/400], but Client Access/ 400 isn’t available for that yet,” said Eliot Robinson, an information systems manager at Sterling National Bank & Trust Co. in New York. Other users said they want the AS/400 to host their NT Server applications on the AS/400’s Integrated File Server, which is essentially a built-in Intel Corp. PC board. “The reason we went to AS/400 RISC is that with the Integrated File Server, we can drop Windows NT right onto it,” said Gary Reichman, database manager at the Ameri¬ can Red Cross in Atlanta. Cautious approach Some users even said Common isn’t mov¬ ing fast enough to offer enough Windows NT or Windows 95 sessions during the con¬ ference. But for IBM, there is some danger in embracing NT too closely. Although the AS/400 scales better than other systems, competitors such as NT will be able to meet nearly 90% of the needs of most database and application requirements by 1998, said Tom Bittman, an analyst at Gartner Group, Inc. in Stamford, Conn. And once users place more Windows NT applications on the AS/400, they may de¬ cide to off-load everything to a separate Windows NT server and leave only file and print services on the AS/400, Bittman said. But IBM officials said the AS/400 has two characteristics in its favor: a 64-bit ar¬ chitecture that lets existing applications take full advantage of the newly available addressing space without additional pro¬ gramming, and a similarity between the structure of Java and OS/400 that will let the two integrate very well. IBM rolls out AS/400S and RS/6000S to compete with NT. See page 45. RECRUIT TOP IX STUDENTS for your organization in Computerworld’s NEW SPRING Campus Edition Issue: April 1997 Space dose: March 3. 1997 1-800-343-6474 x820l Just another lovely day on the water, right? Define lovely. In a flash, four-foot swells and winds to 55? Sound like your life in networked applications management? Remember your last failed apps deployment? You bet you do. Very expensive. Very. With tempers gusting to 65. Do you know why it happened? Maybe. Maybe not. You can know. We guarantee it. So your next application will work. Compuware’s EcoSYSTEMS is the only end-to-end solution to monitor and manage all the components of your networked applications. That’s all, as in all. Server. Network. Client. at 1 800 368 4ECO. We bring you EcoTOOLS, EcoNET, EcoCLIENT, and, over 2700 professional services experts to kick start any deployment effort. So you can set your own course > Dead ahead? httpi//www.conipuwaro.coin Compuwar*. EcoSYSTEMS, EcoTOOLS. EcoNET. and EcoCLIENT aro raglaUrad tradomarka of Compuwaro Corporation. Class CQMPCIWARE 2 J.- - « i «»npii|i'4«^»iUfr <*tw^^4tH<i. AH ri’^m* rrjrr'tti. CtmifM*} and IhoLunt rtgi'U ittl U.S l*.iU-nl aixl hodt tnai-k ()H« i , 'Mm* lun i Insidt 1 4i^> ami h-ntiuin arc M'm'tmd irodi-inark^aiMl tln' h-ittium I *>c<i 4ivl * ■'. IVi*!^***^***! tu^iorr irotViiuHis id Inud (.'orpirjitfcjti. AH **llni hrancU ami prixhiLl nanM-K art (raikniarks (ir ri-^iMcm) tra<kiiiark.'v<4 tlntr rvi^i!^i\t-(>xii|MnM'& In I'onatla. Mr tan ht not lit-<l at 1 >4H» >li7 tt*l6 It’s An Intern File And Print LrfiL COMPAa PROLIANT ■feA' ' - It’s A The most predictable thing about business is that it’s unpre¬ dictable. Your needs are likely to be different from one day to the next (or for that matter, from one department to another). You either need a range of servers to accommodate all your different your I needs. Or one affordable server with a very wide range. Introducing the new Compaq ProLiant 2500. Simply put, it’s the most versatile platform available today. Its modular chassis lets you easily swap components to meet any new set of requirements. So you only need to purchase for your needs today. And as your r Server. It’s An Application Server. ERVER. Can An Identity Crisis Be A Virtue? business grows, the Compaq ProLiant 2500 provides the scalability to go from file and print to Internet or application server. While distributed giving you the availability and management features you need to run your mission-critical your access applications. And with Distributed Access, the information you need will always be close at hand. In other words, it’s the first platform that’s versatile and flexible enough to run your business on — today and tomorrow. To find out more about the ProLiant 2500 or Distributed Access, visit us at www.compaq.com/us, or call 1-800*319-7778 to locate the Compaq reseller near you. COMPAa Has It Changed Your Life Yet? 28 News I j Lotus eyes groupware vistas New president talks prices, emphasizes retail market push I^tus Development Corp. has a new president, former Chief Oper¬ ating Officer Jeffrey Papows. And the Cambridge, Mass. , subsidiary of IBM has a new naming and pricing scheme for its groupware products. Papows last week spoke with Computerworld senior writer Tim Ouellette about both topics. What do you want to tell \J VV . the Notes user base about yourself and your back¬ ground? TI3, I’ve spent 17 years in the cJ Jr . systems software side of business — meaning databases, tools and applications. I’ve been at Lotus for five years. The composi¬ tion ofthe management team at Lotus is much more enterprise- critical than people suspect. r^\Tm Competitors continue Vy' V V . to use price as a differ¬ entiator to Notes. Do your plans to raise server pricing in January hurt Lotus’ position? TT), I don’tthinkso. It wasn’t • so much a pricingaction as a range of additional product extensionsand added new technol¬ ogy. The point of comparison is pertinent because our SMP version of Domino costs $2,995 compared with $3,995 for[Netscape Commu¬ nications Corp.’s] SuiteSpot. Whether our SMP server is two, four, six or eight processors, it is one price. Netscape goes up 40% when [it adds] a new processor. The real cost argument is about scalability, reliability and cost of ownership. Even though you are V V . committed to competing in the client arena, does the price in crease reflect th e fa ct that th e server side is the more important buy for users these days? TT), What we said is, we now t)± • have a vivid design around the high-value end ofthe Web server market — collabora¬ tion, application services, transac¬ tion and content. We want to have the same kind of dominant share in that space. Netscape and Microsoft are saying it isn’t about browsers ''The real cost argument is about scalability, reliability and cost of ownership. ” — Jeffrey Papows, President, Lotus but higher-value clients. But most ofthe function they deliver is still synonymous with what we ship now with Notes. VV . will service costs change at all? TT), There is no effect. It all fits tJJL» right into the Passport [support] program. TTTl T, Microsoft claims there V V . are more Notes users running its Office than Lotus’ SmartSuite. Will you go after these users to move them to SmartSuite, and how? TT), We have focused around cJir. retail sales and forthe first time got involved in an OEM strategy for SmartSuite. A year ago, we had 11% share in this area. We have 27% share now. It clearly is working. ©Desktop suite market heats up with product updates. See page 55. Notes changes name, shifts focns to Internet By Tim Ouellette Domino is now the name of the game for Notes users. And it could be a more expensive game. That’s because Lotus Develop¬ ment Corp. has renamed Notes 4.5, which will ship by year’s end, as Lotus Domino 4.5: Powered by Notes. And to reflect the additional functionality crammed into the groupware product since late last year, the Cambridge, Mass., sub¬ sidiary of IBM is hiking the serv¬ er price to $995 (see chart) . But observer said the changes are justified as Lotus turns Notes into an Internet and intranet serv¬ er. Notes client naming and pric¬ ing will remain the same, howev¬ er. “The repricing comes as no sur¬ prise. I imagined Lotus would ei¬ ther unbundle Domino or in¬ crease server pricing,” said Bruce Reed, manager of technical ser¬ vices at Intrinsa Corp., a Notes shop in Palo Alto, Calif. “Consid¬ ering the capabilities of the entire package, it is a bargain by any standard.” Reed said the group scheduling features alone are worth the $500 increase. Other capabilities announced last week include Domino server licenses for non-Notes clients for $35. And early next year, Lotus will introduce $29 software, called Weblicator, that gives World Wide Web browsers use of Notes repli-,^ cation features to download Web data that gets fully text indexed. Additionally, users can opt to buy clustering and server usage tracking features for an additional $1,000 per server. Called Domino Advanced Services, the features were originally planned for deliv¬ ery last summer. Currently, Pub¬ lic Notes Network providers such as the IBM Global Network use these features to offer wide-scale services and track billing data. “Lotus is continuing to push the mission-critical envelope of what intranets can provide,” said Ian Campbell, an analyst at Interna¬ tional Data Corp. in Framingham, Mass. “The value is increasing at a greater rate than the price.” Take Note, it’s Domino now Domino 4.5 will cost more, but it’s packed with features Notes 4.1 ($475) • Notes Mail • SMTP MTA • cc:Mail MTA • Web browser Domino 4.5 ($995) Notes Mail SMTP MTA CGMail MTA Web browser Native HTML/HTTP support ' Integrated group scheduling Integration with Windows NT Support for POP3 clients Domino Advanced Services ($1,000) Mail-access license for non-Notes clients ($35) Fix is in for U.S. Robotics modems By Mindy Blodgett U.S. Robotics Corp. has an¬ nounced a fix for several mod¬ els of the Sportster V.34 mo¬ dems that tend to pause unex¬ pectedly during some types of data transmissions. The fix — either the replace¬ ment of the faulty chip set or an exchange of buggy modems for a newer, bug-free model — is available through the U.S. Ro¬ botics World Wide Web site (www.usr.com). The problem affects several models of the V.34 fax, voice and data modems for desktops. U.S. Robotics officials in Sko¬ kie, Ill., said that through the Web site, users can fill out a form and electronically mail it in for the fi'ee exchange pro¬ gram. Company officials said the problem only affects interactive data transmissions, such as on¬ line chatting. The fix announcement comes about six months after users complained about bugs in U.S. Robotics Sportster and Courier PC Cards for laptops. Overheating glitch At that time, U.S. Robotics offi¬ cials downplayed the problems, which some users said involved chronic overheating. Troy Kent, information tech¬ nology specialist at utility com¬ pany Entergy Services, Inc. in Gretna, La., said Entergy had serious problems with Courier PC Card modems in laptops be¬ cause of overheating. Once the laptops became warm, the mo¬ dems would shut down trans¬ missions, Kent said. This summer, the company received
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My first trip to play golf in Europe was to Ireland about ten years ago. A friend who was born and raised in Northern Ireland arranged ...
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https://top100golf.blogspot.com/favicon.ico
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https://top100golf.blogspot.com/2006/03/ballybunion-and-lahinch-golfing-in.html
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wrong_mix_range_subsidiary_00017
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FactBench
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1
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https://edwardbetts.com/monograph/AOL-Time_Warner
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en
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Time Warner
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The Master Switch: The Rise and Fall of Information Empires by Tim Wu
accounting loophole / creative accounting, Alfred Russel Wallace, Andy Rubin, AOL-Time Warner, Apple II, barriers to entry, British Empire, Burning Man, business cycle, Cass Sunstein, Clayton Christensen, commoditize, corporate raider, creative destruction, disinformation, disruptive innovation, don't be evil, Douglas Engelbart, Douglas Engelbart, Eben Moglen, Ford Model T, Howard Rheingold, Hush-A-Phone, informal economy, intermodal, Internet Archive, invention of movable type, invention of the telephone, invisible hand, Jane Jacobs, John Markoff, Joseph Schumpeter, Menlo Park, open economy, packet switching, PageRank, profit motive, radical decentralization, road to serfdom, Robert Bork, Robert Metcalfe, Ronald Coase, scientific management, search costs, seminal paper, sexual politics, shareholder value, Silicon Valley, Skype, Steve Jobs, Steve Wozniak, Telecommunications Act of 1996, The Chicago School, The Death and Life of Great American Cities, the long tail, the market place, The Wisdom of Crowds, too big to fail, Upton Sinclair, urban planning, vertical integration, Yochai Benkler, zero-sum game
CHAPTER 19: A SURPRISING WRECK 1. As told to The New York Times in Tim Arango, “How the AOL–Time Warner Merger Went So Wrong,” New York Times, January 10, 2010. For other sources on the AOL–Time Warner merger, see Johnnie L. Roberts, “How It All Fell Apart,” Newsweek, December 9, 2002, and three books: Nina Munk, Fools Rush In (New York: HarperCollins, 2004); Alec Klein, Stealing TIME: Steve Case, Jerry Levin, and the Collapse of AOL Time Warner (New York: Simon and Schuster, 2003); and Kara Swisher, There Must Be a Pony In Here Somewhere: The AOL Time Warner Debacle and the Quest for a Digital Future (New York: Crown Business, 2003). 2.
…
The early 2000s might have turned into a war of accumulation among three vertically integrated great powers: Microsoft-GE (NBC’s parent), AOL Time Warner, and Comcast-Disney. Eventually everything on the Internet would have been owned by one of them. That would have made for a tidier information economy, centered mainly on two mega-industries: the media conglomerates and the telephone companies. But something went wrong. Microsoft stopped buying media. Disney rejected Comcast’s merger offers. And AOL Time Warner became the textbook example of what not to do—as Ken Auletta calls it, “the Merger from Hell.”11 WHAT HAPPENED? The books about the AOL Time Warner saga are the work of business reporters and as such tend to focus on the personalities, clashes of corporate cultures, and terse boardroom encounters.
…
And within three months of that rendezvous on the reviewing stand, on January 10, 2000, they were holding a press conference to announce their own revolution: a $350 billion merger between the world’s biggest media company and biggest Internet firm. AOL would be the engine that brought Time Warner’s old media holdings—a treasury of what was becoming known as “content”—into the new world. It was an effusive spectacle. Levin said “We’ve become a company of high-fives and hugs.” Ted Turner, the largest individual shareholder, likened it to “the first time I made love some forty-two years ago.”5 It looked as if the future had indeed arrived. To many it seemed that the Internet would eventually belong to vertically integrated giants on the model of AOL Time Warner. Here’s Steve Lohr writing in The New York Times in 2000: “The America Online–Time Warner merger [will] create a powerhouse for the next phase of Internet business: selling information and entertainment services to consumers who may tap into them using digital cell phones, handheld devices and television set-top boxes in addition to personal computers.”6 In time, it was envisioned, three or four consolidated firms—say, AOL Time Warner, Microsoft-Disney, and perhaps Comcast-NBC—would slowly divide up the juiciest Internet properties, such as Yahoo!
As the Future Catches You: How Genomics & Other Forces Are Changing Your Work, Health & Wealth by Juan Enriquez
Albert Einstein, AOL-Time Warner, Apollo 13, Berlin Wall, bioinformatics, borderless world, British Empire, Buckminster Fuller, business cycle, creative destruction, digital divide, double helix, Ford Model T, global village, Gregor Mendel, half of the world's population has never made a phone call, Helicobacter pylori, Howard Rheingold, Jeff Bezos, Joseph Schumpeter, Kevin Kelly, knowledge economy, more computing power than Apollo, Neal Stephenson, new economy, personalized medicine, purchasing power parity, Ray Kurzweil, Richard Feynman, Robert Metcalfe, Search for Extraterrestrial Intelligence, SETI@home, Silicon Valley, spice trade, stem cell, the new new thing, yottabyte
(At the end of 1997, Time Warner’s assets were about forty times those of AOL … But the Internet boom changed things … So did AoL’s 27 million subscribers.) The speed and scope of technological change is such that … AOL became twice as valuable as Time Warner … And became the lead company … In the world’s largest merger. (A new company that expects to be Microsoft’s main competitor … By January 2001 AOL Time Warner controlled 33 percent of Americans’ time on the Net … Yahoo! had 7 percent … Microsoft 6 percent.) Things change very quickly in a digital world. Even companies … That have more cash … That have more information … And that have become larger … Than most national economies … Are by no means guaranteed survival … Either they get smarter … And grow … Or someone will eat them up.6 THE POWER OF TECHNOLOGY … TO BUILD … AND DESTROY … IS SUCH … THAT IT IS LIKELY … FEW OF US HAVE EVER HEARD … THE NAME OF WHAT WILL BE THE WORLD’S LARGEST COMPANY … IN 2020.
…
Technology companies are getting very large … and very powerful… Microsoft’s stock value … Before a judge ruled it a monopoly … Was approaching the value … Of everything Canada produced in one year. In the first quarter of 2000, AOL Time Warner’s market value was greater than everything produced during 1998 by all those who lived in a country like … OR LOOK AT IT A DIFFERENT WAY … OF ALL THE WORLD’S 190 “OFFICIAL” COUNTRIES … LESS THAN ONE-TENTH PRODUCED ENOUGH WEALTH IN 1998 … TO BE ABLE TO BUY AOL TIME WARNER. Even products that … Are by no means essential … That can be substituted by something cheaper … Or by something made locally … Or by products that are healthier … Can dominate using … Talent, scale, and know-how … AND THE LOGIC OF GLOBAL CAPITALISM IS … THAT ONE MUST DOMINATE … THE WHOLE … WORLD … FAST.
…
A language we cannot speak or read directly … We have to use chips and machines to understand. (This is different from communicating in, say, English-Chinese-English. No human translator can take the raw code inside a floppy disk, cell phone, pager, or TV and simultaneously tell you what it says.) Digital code is what drives rapid growth today. It allows mergers like AOL Time Warner … It drives the Internet, TV, music, finance, IT, news coverage, research, manufacturing. A few countries and companies understood this change. That is how poor countries like Finland, Singapore, and Taiwan got so wealthy … So quickly … But a lot of folks just did not learn to read and write a new language … And even though they produced more and more goods, particularly commodities … And even though they restructured companies and governments … Cut budgets, raised taxes, built large factories and buildings … They got a lot poorer.
How I Built This: The Unexpected Paths to Success From the World's Most Inspiring Entrepreneurs by Guy Raz
Airbnb, AOL-Time Warner, Apple II, barriers to entry, Bear Stearns, Ben Horowitz, Big Tech, big-box store, Black Monday: stock market crash in 1987, Blitzscaling, business logic, call centre, Clayton Christensen, commoditize, Cornelius Vanderbilt, Credit Default Swap, crowdsourcing, data science, East Village, El Camino Real, Elon Musk, fear of failure, glass ceiling, growth hacking, housing crisis, imposter syndrome, inventory management, It's morning again in America, iterative process, James Dyson, Jeff Bezos, Justin.tv, Kickstarter, low cost airline, Lyft, Marc Andreessen, Mark Zuckerberg, move fast and break things, Nate Silver, Paul Graham, Peter Thiel, pets.com, power law, rolodex, Ronald Reagan, Ruby on Rails, Salesforce, Sam Altman, Sand Hill Road, side hustle, Silicon Valley, software as a service, South of Market, San Francisco, Steve Jobs, Steve Wozniak, subprime mortgage crisis, TED Talk, The Signal and the Noise by Nate Silver, Tony Hsieh, Uber for X, uber lyft, Y Combinator, Zipcar
Only a company that has lost its way a little bit, that doesn’t know precisely what business it’s actually in, tends to fight itself like this. Andy only needed to look twenty blocks uptown from his New York office and a few years into the past, at AOL Time Warner and the titanic merger that created the company in 2000, to see what the worst possible version of this might look like. When AOL and Time Warner merged, a lot was made of the new media entity’s size and market cap. The potential created by both teams leveraging the assets they brought to the table was difficult to contemplate let alone calculate. The merger was valued at $165 billion, but that was probably just a guess.
…
With a strong culture unified by a larger mission and propelled by people who were all rowing in the same direction, they could have even leveraged the obstacles they faced into opportunities. Except inside AOL Time Warner, there was no unity to be found, and within a decade the merger would be dead. Both companies would lose more than 85 percent of their premerger value. Time Warner would eventually spin off its cable business (Time Warner Cable), it’s publishing business (Time Inc.), and, of course, AOL, which would reenter a radically transformed digital media landscape as a wandering shell of its former self. The smaller Time Warner rebranded itself as WarnerMedia, which was ultimately sold to AT&T for around $85 billion in 2018.
…
In the aftermath of the merger’s unwinding (which occurred at roughly the same time Andy and Brian unwound their partnership at Bonobos, coincidentally), analysts and participants alike pointed to the schism between the AOL folks down in Virginia and the Time Warner folks up in New York as one of the principal reasons for the company’s failure to find its way through the turbulent waters of the dot-com recession. There was always great talk about “building synergy” between AOL and Time Warner, but in the end that turned out to be an illusory goal. “Some of it was the fights within the company,” Steve Case, AOL’s chairman, told me. “It was a mix of different factors but at the end of the day it’s about people and it’s about teams.”
Hacking Capitalism by Söderberg, Johan; Söderberg, Johan;
Abraham Maslow, air gap, Alvin Toffler, AOL-Time Warner, barriers to entry, Charles Babbage, collective bargaining, commoditize, computer age, corporate governance, creative destruction, Debian, deindustrialization, delayed gratification, Dennis Ritchie, deskilling, digital capitalism, digital divide, Donald Davies, Eben Moglen, Erik Brynjolfsson, Firefox, Free Software Foundation, frictionless, full employment, Garrett Hardin, Hacker Conference 1984, Hacker Ethic, Herbert Marcuse, Howard Rheingold, IBM and the Holocaust, informal economy, interchangeable parts, invention of radio, invention of the telephone, Jacquard loom, James Watt: steam engine, jimmy wales, John Markoff, John von Neumann, Joseph Schumpeter, Joseph-Marie Jacquard, Ken Thompson, knowledge economy, knowledge worker, labour market flexibility, late capitalism, Lewis Mumford, liberal capitalism, Marshall McLuhan, means of production, Mitch Kapor, mutually assured destruction, new economy, Norbert Wiener, On the Economy of Machinery and Manufactures, packet switching, patent troll, peer-to-peer, peer-to-peer model, planned obsolescence, post scarcity, post-Fordism, post-industrial society, price mechanism, Productivity paradox, profit motive, RFID, Richard Florida, Richard Stallman, Ronald Coase, safety bicycle, Search for Extraterrestrial Intelligence, SETI@home, Silicon Valley, Slavoj Žižek, software patent, Steven Levy, Stewart Brand, subscription business, tech worker, technological determinism, technoutopianism, the Cathedral and the Bazaar, The Nature of the Firm, the scientific method, The Theory of the Leisure Class by Thorstein Veblen, Thomas Davenport, Thorstein Veblen, tragedy of the anticommons, Tragedy of the Commons, transaction costs, Whole Earth Catalog, Yochai Benkler
Distributing censorship and surveillance to Internet Service Providers has one drawback, from the perspective of regulators, in that counterfeiters can hire the services of another company, or set up their own shop. But the options are declining fast since ownership over the network infrastructure is concentrated into ever fewer hands. After a number of mergers, ownership over the cables is for all practical purposes divided up between AT&T and AOL Time Warner. These giants can easily strangle access to a large part of the network and pass decrees down to smaller Internet Service Providers. No less detrimental is their intent to turn the Internet into an interactive cable TV set.49 The next generation of wires would realise this scenario by discriminating the traffic going upstream from the client (user) to the server, while giving priority to traffic going downstream (downloading of data) from server to client.
…
In WASTE the connections are established between a small circle of people who trust each other from the start and the communication, in most cases consisting of illegally copied files, is heavily encrypted. The law authorities have a very hard time to find out about the infringements taking place in the private network. In the short time that WASTE was made available by Nullsoft the code spread like wildfire in the FOSS community. The whereabouts of the application was put out of reach of AOL Time Warner. After that the plug was finally pulled on Nullsoft. The story about OpenNap, Gnutella and WASTE gives a flavour of what can happen when the means to write algorithms are dispersed among the proletariat. FOSS licenses works in a way similar to the architecture of Gnutella. By decentralising the running of the technology, Gnutella’s authors gave up their control over their creation.
…
Index Aestethic innovation 64, 68, 177 Adorno, Theodor 65, 70, 168, 191–192 Advanced Research Projects Agency, see ARPA Affluent society 99–101 Aglietta, Michel 59 Alienation 10, 156–159, 173, 182, 188, 190 Allopoietic 134–135 Altair 17 Althusser, Louis 77 Analytical Engine 3 Anti-production 120, 213 n.12 AOL Time Warner 89, 91, 125 Apache 24, 28, 38, 44 Apple 17 ARPA (advanced research projects agency) 13–15 AT&T (american telephone and telegraph) 13–15, 19, 23–24, 91, 116 Audience power 66, 68, 198 n.47, 204 n.40 Authorship 74, 78, 80–82, 112, 114, 125, 128–129, 138, 154, 160, 174, 206 n.9 Autonomous Marxism 6–7, 52, 55, 176, 194 n.18, 201 n.9 Autopoietic 134–135, 155 Axelos, Kostas 158–159 Babbage, Charles 3–4 Back Orifice 80 Barbrook, Richard 150, 216 n.27 Bataille, George 147, 149, 154, 216 n.20 Baudrillard, Jean 64, 103, 105, 109, 127, 202 n.19, 211 n.9, n.12 BBS (bulletin board systems) 96 Beauty of the Baud 3, 184 Bell, Daniel 51, 54, 100, 170–171, 173 Bell, Graham 11 Bell laboratory 14 Benjamin, Walter 65, 207 n.18, 210 n.49 Benkler, Yochai 139–140, Berkeley internet name domain, see BIND Berkeley software distribution, see BSD Berne convention 85, 208 n.25 Bertelsmann 124 Biegel, Stuart 91 Bijker, Wiebe 54–55, 203 n.24 Binary code 19, 21–22, 97, 195 n.16 BIND (Berkeley internet name domain) 25 Biometric technology 92–93 Black, Edwin 194 n.15 Boomerang externalities 146 Bowles, Samuel 173 Boyle, James 117, 208 n.24 Brand, Stewart 16, 69 Braverman, Harry 130–133 British cultural studies 9, 65–66 Brooks, Fred 184 BSD (Berkeley software distribution) 15, 23–24, 38 Bulletin board systems, see BBS Burghardt, Gordon 166–167 Bush, Vannevar 12 Caffentzis, George 61–63 Caillois, Roger 166–167, 182 Castells, Manuel 51, 145, 200 n.3, 202 n.19, 216 n.15 CC (Creative commons) 4, 41, 78 Censorship 4, 79–80, 82, 91, 97, 178, 189 CERN (Conseil européen pour la recherche nucléaire) 25 Certeau, Michel de 66, 112, 182 Chaos computer club 180 Charismatic code 153, 217 n.33 Chiapello, Eve 163 Circulating capital 120, 145 Class consciousness 18, 178, 180–181 for-itself 188 struggle 4, 7, 44, 47–48, 54, 56, 67, 72, 76, 103–104, 159, 175–178, 188, 203 n.20, 204 n.27, 212 n.12 Clickwrap license, see shrinkwrap license Coase, Ronald 140 Cohen, Gerald 54 Collective invention, 213 n.6 Collins, Hugh 76–77 Commodification of information 8, 31, 199 n.60, Commodity exchange theory 75–76, 90 Commons 119, 122, 129, 135, 137, 145–148, 150–151, 171–172, 184, 191, 199 n.57, 216 n.18 Community for-itself 183 FOSS developers 21, 23 Compiling 195 n.16 Computer literacy 131–132 Constant capital 127 Copyleft 20–22, 34, 196 n.19, n.21, 198 n.44 Copyright law 8, 18–22, 78–79, 82–85, 94, 98, 112, 113, 143, 154, 181, 195 n.14, 196 n.19, 207 n.15, 208 n.22 Crackers 69, 98, 113, 151, 153, 155, 183, 188, 217 n.35 Creative class 51, 61, 173–174 Creative commons, see CC Cross, Gary 101 Cultural workers 82, 163–164, 192 Culture industry 57, 70, 73, 75, 85, 106, 112, 168, 173, 205 n.46 Cyber attacks 199 n.61 feminism 30, 214 n.32 libertarianism 4, 90, 216 n.27 marx 52 politics 4, 30, 48, 69 space 11, 88, 150 Cycles of struggle 176–177 Cygnus 32–34 Darknet 97 Davies, Donald 195 n.5 Debian 123 Debian-women 30 Debord, Guy 103, 211 n.9 Decompiling 195 n.16 DeCSS see DVD-Jon Deleuze, Gilles 135, 213 n.12, 215 n.34 Denial-of-service attacks 1, 193 n.3 Derrida, Jacques 57, 149, 153, 216 n.24 Desire 18, 27, 48, 105, 109, 136, 155–156, 161, 174, 185–186 Deskilling 5, 9, 45, 97, 111, 130–131, 209 n.44, 210 n.56 Desktop factory 186 Developing countries and FOSS 30, 87, 96, 210 n.54 Difference Engine 3 Digital rigths management, see DRM DRM (digital rights management) 22, 42, 91, 183, 209 n.45 DVD-Jon 87–88, 91 Edelman, Bernard 77–78, 80, 207 n.16 Edwards, Richard 89 Electro-hippies 178 Electronic Frontier Foundation 58, 208 n.21 Ellickson, Robert 217 n.30 Empire 6 Enclosure movement 71, 129, 171 Engels, Friedrich 53, 115 Enzensberger, Hans 194 n.16, 210 n.49 Excess of expenditure 49, 100, 136, 147–148, 153–155, 171, 174 Exchange value 45, 56, 103–105, 109, 144, 211 n.12 Fan media production 112–113, 127, 164, 183, 191, 212 n.20, 194 n.16 Fanning, Shawn 124–125 Felsenstein, Lee 17 Filesharing networks 4, 8, 10, 31, 73, 93–94, 113, 127, 137, 150–153, 189 Firefox 37, Fisher, William 74–75 Fixed capital 15, 27, 39, 68 Flextronics 96 Florida, Richard 51, 173–174 Fordism 59, 67, 101, 203 n.26 Formal subsumption 56, 118 FOSS (free and open source) community 5, 8, 28–29, 38, 49, 111, 125, 133, 172, 177 development model 6, 9, 24, 41, 49, 115, 121, 137, 139–140, 190 license 8, 20, 28, 40, 78, 122, 125, 190 movement 26–27, 31–32, 38, 43, 50, 116, 133, 150, 184, 195 n.17 Foucault, Michel 48, 57, 76, 80, 128, 181 Frankel, Justin 124–125 Frankfurt School 57, 160 Free and open source software, see FOSS Freenet 80, 214 n.18, Free software foundation 19, 22–23, 37, 73, 126, 179–180, 196 n.20, n.23 movement 151, 195 n.17 Free speach not free beer 32, 73, 123 French regulation school 59, 204 n.27 French revolution 1–2, 79, 159, 161, 165, 187 Friedman, Andrew 133 Frow, John 151 Gaines, Jane 207 n.20 Garnham, Nicholas 102 Gates, Bill 4 Gay, Paul du 106–107 General economy 147 intellect 60, 63, 184 public license, see GPL Giddens, Anthony 200 n.6 Gift economy 10, 54, 100, 137, 148–152 Gintis, Herbert 173 Gnome 35, GNU (GNU is not Unix) book 210 n.55 Emacs 20, 32 /Linux 4, 15, 22–24, 26, 28, 31–35, 38–39, 43–44, 47, 87, 123, 163, 183, 196 n.23, n.28 Gnutella 124–125, 153, 214 n.18 Google 41 Gopher 25 Gosling, James 20 Gouldner, Alvin 201 n.12 GPL (General public license) 19–24, 27, 31–32, 34–35, 37, 96, 129, 185, 196 n.19, n.20, n.21, 197 n.44 Gracenote 41, 199 n.57 Guattari, Felix 135, 213 n.12, 215 n.34 Habermas, Jurgen 202 n.16 Hacker manifesto 28, 30, 172 spirit 44, 108, 174, 199 n.66 Hacktivists 16, 55, 84, 178, 180, 182 Haeksen 30, 197 n.41 Halloween Documents 26 Haraway, Donna 197 n.42 Hardin, Garrett 145–146, 148 Hardt, Michael 6, 47–48, 52, 60, 194 n.18, 204 n.30 Hardware hackers 7, 17–18, 96 Harrison, Bennett 140–141 Harvey, David 95 Haug, Wolfgang 104–105 Hayes, Dennis 44 Hayles, Katherine 71–72, 203 n.22 Hearn, Francis 168, 182 Heeles, Paul 108 Hegel, G.W.F. 52–53, 56, 74, 157 Heidegger, Martin 160 Heller, Michael 148 High-tech cottage industry 139 gift economy 10, 100, 137, 150 Himanen, Pekka 100, 108, 174, 199 n.66 Hippel, Eric von 205 n.44 Hirsch, Fred 102, 171 Hobsbawm, Eric 76, 189, 193 n.6 Holloway, John 7 Homebrew computer club 17, 185 Homo ludens 165 Horkheimer, Max 65, 70, 168 Howard, Michael 114–115 Huizinga, Johan 165–167, 182 Human genome project 39, 93 Hyde, Lewis 152, IBM 5, 7, 17–19, 24, 38, 43–44, 47, 73, 92, 108, 128, 142, 194 n.15 Identification 90–93, 189 Identity 98, 110, 123, 174–177, 181 Illich, Ivan 128, Immaterial labour 52, 60–61, 71 Independent media centre (IMC) 126 Information age 8, 19, 31, 50–54, 57, 60, 108, 180, 182, 199 n.66, 202 n.19, 203 n.26 exeptionalism 69–70, 73, 132, society 50 Instrumentality 10, 49, 56, 116, 160, Intel 17, 38–39, 43, 92, 198 n.52 Intellectual property enforcement 5, 43, 83, 85, 85, 88, 94, 98, 133 regime 19, 35, 42, 65, 72–75, 80, 82–85, 111, 113–114, 119, 123, 154, 174 Internet explorer 36–37 Jacquard Joseph-Marie 1, 3 Jacquard loom, 1, 193 n.1, n.2, n.4 Jameson, Fredric 56, 64, 201 n.8, 202 n.17 Jefferson, Thomas 69, 205 n.50 Jenkins, Henry 212 n.20 Jessop, Bob 143, 216 n.14 Johansen, Jon, see DVD-Jon Johnson-Forrest Tendency 143 Kant, Immanuel 74, 161 Kautsky, Karl 53–54 KDE (K desktop environment) 35 Kenney, Martin 39, 67 Keynesianism 143, 170 King, John 114–115 Kirchheimer Otto 77 Kloppenburg, Jack 90 Kopytoff, Igor 150 Kropotkin, Peter 129 Labour contract of the outlaw 123 Laclau, Ernesto 175 Lamer 58, 153, 155 Landsat system 119 Late capitalism 56, 101, 104, 120, 168, 188, 201 n.8, 202 n.17, n.18 Lazzarato, Maurizio 60–62 Lenin, Vladimir 4, 115 Lessig, Lawrence 70, 88 Lévi-Strauss, Claude 152, 217 n.34 Levy, Steven 17 Libertarianism 18, 34, 50, 90, 182, 196 n.28, 216 n.27 Library economy 136, 151–153, 155 Liebowitz, Stan 122–123, 144, Linux, see also GNU/Linux chix 30 kernel 21, 23, 49, 193 n.7, 196 n.23 Liu, Alan 48 Locke, John 74, 78, 147, 154 Luddites 1–2, 189 Lukács, Georg 162, 178–181, 184 Lury, Celia 81 Lyotard, Jean-Francois 201 n.10 Machlup, Fritz 69, 206 n.58 Magic circle 165, 167, 190 Make-believe markets 145–146, 148, 155 Mallet, Serge 60, 204 n.29 Malinowski, Bonislaw 148 Mandel, Ernest 56, 59–60, 62–63, 184, 202 n.17, n.18, n.19 Marconi Wireless Telegraph Company 116 Marcuse, Herbert 3, 10, 116, 159–164, 182, 184 Marx, Karl 2, 4, 7, 48, 50, 53–54, 56–57, 60–61, 64, 81, 88, 101, 104, 109–111, 114–115, 118–119, 133, 139, 141, 144–145, 156–162, 173–175, 197 n.32, 201 n.12, 211 n.5, 212 n.19, 215 n.4 Maslow, Abraham 99–101, 211 n.2 Mass worker 7, 176 Maturana, Humberto 134, 136s Mauss, Marcel 148–149 McBride, Darl 31, 87 McLuhan, Marshall 58 McRobbie, Angela 108 Means of production 9, 48, 57, 81, 116, 129–130, 135, 186, 192 Mentor, the 172 Micro-capital 141 Microsoft 4, 19, 24, 26, 34, 36–39, 42–43, 63, 87, 92, 96, 144 Mill, John Stuart 69 Minitel 14 Minix 23–24 Moglen, Eben 4, 126 Mokyr, Joel 55 Moody, Glen 35, 37, 130 Moore, Fred 17 Morris-Suzuki, Tessa 63–64 Mosaic 36, 198 n.50 Mosco, Vincent, 204 n.40 Motion pictures association of america, see MPAA Mouffe, Chantal 175 Mozilla 36–37, 198 n.50 Mozilla crypto group 126 MPAA (motion pictures association of america) 42, 87–88, 199 n.58, 209 n.36 Multitude 6–7, 60, 181 Mumford, Lewis 134, 147 Naples, Nancy 200 n.77 Napster 124–125, 213 n.17 Naughton, John 12, 15 N/C technology 45–46, 131 Negri, Antonio 6–7, 47–48, 52, 56–57, 60–61, 176–177, 194 n.18, 201 n.9, n.15, 202 n.16, 204 n.31, n.33 Neo-Luddism 134 Netscape 36–38, 126 Network externalities 38, 144 firm 137, 141–142, 144 industry 27, 137 science 141, 215 n.2 society 51, 137, 142 Neuman, Franz 77 Neumann, John von 61, 63 New economy 124, 132, 144 New left 16–17, 150–151, 157, 212 n.12 Noble, David 45, 131, 206 n.59 Norton, Bruce 202 n.17 Nullsoft 125 Nupedia 128 Oekonux 5 Offe, Claus 214 n.30 Office despotism 18 Opencores project 96 Open marxism 7 Open source car 185 development labs 43 initiative 36, 38–41, 78, 180 Organised labour 27, 41, 69, 72, 95–96, 131–132, 141–142, 188, 190 Pashukanis, Evgeny 75–77, 206 n.2 Patent costs 116–118 expansion 22, 39, 83–84, 208 n.24 pools 119 Peer-to-peer filesharing networks 31, 91, 123– 125, 151 labour relations 123, 129 Perelman, Michael 86, 171 Perpetual innovation economy 64, 120 Petty commodity trader 61, 81, 159 PGP (pretty good privacy) 80 Phone phreaks 16, 96–97 Pirate sharing 69, 122–123, 183, 209 n.33, n.45 Play drive 10, 18, 49, 154, 161–162 struggle 3, 10, 156, 174, 182, 190–192 Political subject 156, 174 Poster, Mark 128 Post- fordism 8, 59–61, 67, 81, 107, 116, 133, 135, 139–140, 163, 168, 176, 183, 203 n.26, 204 n.27 industrialism 5, 51–52, 54, 56, 60–61, 71, 100, 103, 130, 137, 139 marxism 175, 177 modern capitalism, 52, 56, 61, 64, 73, 101, 104, 120, 145, 168, 175–176, 188, 216 n.20 Poulantzas, Nicos 218 n.18 Pretty good privacy, see PGP Professional worker 176 Proprietary software 9, 16, 19, 21, 24, 26–27, 33–34, 38, 41, 115, 129–130, 139, 144, 198 n.46, n.52, 200 n.71 Prosumer 106–108 Put to work 8, 48, 73, 82, 177, 184 Qt 35 Radio amateur 17, 96, 185, 191 Radio frequency identifiers, see RFID RAND (research and development) 13 Rand, Ayn 206 n.61 Raymond, Eric 25–27, 196 n.28, 197 n.29 Real subsumption 56, 118, 135 Record industry association of america, see RIAA Recuperation 49, 164, 182 Red Hat 26, 32–35, 43, 47, 68, 196 n.27, 197 n.33, n.44, 198 n.45 Refusal of work 44, 108 Rehn, Alf 217 n.35 Representation politics 66, 110, 191 Research and development, see RAND Restrictive economy, see general economy RFID (radio frequency identifiers) 92 RIAA (record industry association of america) 42, 124–125, 153, 199 n.58 Robins, Kevin 194 n.17, 209 n.44 Romanticism 2, 81–82, 159, 162–163 Ross, Andrew 46, 199 n.66 Sabotage 1, 10, 46, 111, 188, 193 n.6 Sahlins, Marshall 70 Sanger, Larry 128 Sarnoff law 66 Scarcity 70–71, 99–101, 109, 112–113, 130, 147, 155, 160, 169, 190 Schiller, Dan 71, Schiller, Friedrich 23, 10, 154, 160–163, 184 Schumpeterian competition state 143 Schumpeter, Joseph 30 SCO/Caldera 43–44, 87 Self-administrated poverty 172 Sennett, Richard 45 SETI@home 127 Sham property 141 Shiva, Vandana 209 n.45 Shrinkwrap license 21 Shy, Oz 122, 143–144 Silicon Valley 44, 180 Simputer 210 n.54 Sitecom Germany GmbH 22 Situationists 150 Smythe, Dallas 66–67 Social bandit 76, 93–94, 98, 189 division of labour 4, 77, 99, 123, 149, 158–159, 164, 174, 187–188, 192, 205 n.44, 210 n.49 factory 47–48, 56, 64, 68, 89, 177 labour 38, 56, 71 planning theory 74–75 taylorism 90, 97–98, 209 n.44 worker 7, 60, 176–177 Sony 42 Stallman, Richard 19–20, 32, 37, 73, 179, 195 n.17, 196 n.23, 200 n.71 Strahilevitz, Jacob 152–153, 217 n.33 Stefik, Mark 92 Sterling, Bruce 11, 15 Strahilevitz, Jacob 152–153, 217 n.33 Surplus labour 8, 47–48, 61, 63, 67, 211 n.5 profit business model 34, 68 value 33–34, 47, 50, 61–64, 66–68, 101, 105, 110–111, 118, 120–121, 134, 156, 202 n.16, 204 n.40, 213 n.12, Surveillance 4–5, 85, 90–91, 97, 143, 145, 189, 214 n.18, Tanenbaum, Andrew 23 Taylorism 8, 45–46, 48, 90, 115, 132 Techies 16, 18, 30, 178, 182 Technical division of labour 27, 48, 115, 123, 132, 142, 155, 199 n.68 Technicist 54, 201 n.6 Technological american party 16, 18 Technological determinism 57–58, 182 Terranova, Tiziana 68 Toffler, Alvin 51, 106 Torvalds, Linus 21–23, 26–27, 49, 193 n.7, 197 n.32 Travis, Hannibal 207 n.15 TRIPS 86, 208 n.29 Troll Tech 35 Tronti, Mario 47 Trusted computing 92, 96 Unix 14–15, 19–20, 23–24, 43, 87, 195 n.7 User centred development 9, 27, 41, 65–68, 129, 131, 133, 192, 205 n.44 community 50, 68, 111, 123 friendliness 17, 45, 90, 98 Use value 68, 71, 101–105, 109, 113, 120, 122, 129, 144, 147, 153, 155, 211 n.9, n.12 Vaneigem Raoul 212 n.21 Varela, Francisco 134, 136 Variable capital 127 Veblen, Torsten 211 n.7 Villanueva, Edgar 144 Virno, Paulo 57, 73, 172, 177 Virtual community 152–153, 217 n.30 space 90, 92–93, 95, 184, 203 n.22, 217 n.33 Volosinov, Valentin 202 n.20 Voluntarism 5, 29, 179 Voluntary labour 2, 8, 107, 129, 166 Wales, Jimmy 128 Warez 153, 183, 217 n.35 Wark, McKenzie 177 W.a.s.t.e. 125 Watt, Duncan 141–142 Watt, James 166 Watt, Richard 213 n.14 Wayner, Peter 151–152 Webster, Frank 194 n.17, 200 n.3, 201 n.7, 209 n.44 Wetware 133–135 White collar working class 48, 97, 130, 200 n.72 hat hacking 180 Whole Earth Catalog 16 Wiener, Norbert 12 Wikipedia 128–129 Williams, Raymond 58 Windows 25, 41, 43, 86–87, 123, 126, 163, 183 Winner, Langdon 16, 203 n.25 WIPO (World Intellectual Property Organisation) 18, 83, 91 Wired Magazine 18, 58, 180 Witheford, Nick-Dyer 51, 204 n.31 Wolfgang, Haug 104–105 Wolf, Naomi 105 Wood, Stephen 131 Workfare state 135, 171 World Intellectual Property Organisation, see WIPO World Trade Organisation, see WTO Worshipful Company of Stationers London 79 Wright, Steve 201 n.9 WTO (World Trade Organisation) 86, 126, 178 Yahoo 41 Young, Robert 26–27, 33, 126, 196 n.27, 198 n.46, n.52 Youth international party line 16 Zero work 49 Zizek, Slavoj 4, 175
The Global Minotaur by Yanis Varoufakis, Paul Mason
active measures, Alan Greenspan, AOL-Time Warner, banking crisis, Bear Stearns, Berlin Wall, Big bang: deregulation of the City of London, Bretton Woods, business climate, business cycle, capital controls, Carmen Reinhart, central bank independence, collapse of Lehman Brothers, collateralized debt obligation, colonial rule, corporate governance, correlation coefficient, creative destruction, credit crunch, Credit Default Swap, credit default swaps / collateralized debt obligations, debt deflation, declining real wages, deindustrialization, Easter island, endogenous growth, eurozone crisis, financial engineering, financial innovation, first-past-the-post, full employment, Glass-Steagall Act, Great Leap Forward, guns versus butter model, Hyman Minsky, industrial robot, Joseph Schumpeter, Kenneth Rogoff, Kickstarter, labour market flexibility, light touch regulation, liquidity trap, London Interbank Offered Rate, Long Term Capital Management, low interest rates, market fundamentalism, Mexican peso crisis / tequila crisis, military-industrial complex, Money creation, money market fund, mortgage debt, Myron Scholes, negative equity, new economy, Nixon triggered the end of the Bretton Woods system, Northern Rock, paper trading, Paul Samuelson, planetary scale, post-oil, price stability, quantitative easing, reserve currency, rising living standards, Ronald Reagan, special economic zone, Steve Jobs, structural adjustment programs, Suez crisis 1956, systematic trading, too big to fail, trickle-down economics, urban renewal, War on Poverty, WikiLeaks, Yom Kippur War
The valuations were nothing more than bubbles waiting to burst. And burst they did, just before the Crash of 2008. In 2007, DaimlerChrysler broke up and Daimler sold Chrysler for a sad $500 million (taking a ‘haircut’ of $35.5 billion on the price it had paid in 1998, lost interest not included). It was a similar story with AOL-Time Warner: by 2007, its Wall Street capitalization had been revised down from $350 billion to $29 billion, and the break-up left both companies reeling. On the other side of the Atlantic, in the other Anglo-Celtic economy that the Europeans had so much admired before 2008, a similar game was unfolding in the City of London.
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ABN-Amro, takeover by RBS, 119–20 ACE (aeronautic–computer–electronics) complex, 83 Acheson, Dean, 68 Adenauer, Konrad, 74 Afghanistan, proposed US invasion, 106–7 Africa: colonization, 79; investment in, 214, 218, 252, 253 agriculture, 26, 31 AIG (American Insurance Group), 150, 153, 159 Akins, James, 97 Allied Control Council, 70 America see US (United States) American Civil War, 40 Anglo-Celtic model, 12–13, 23, 117, 199 Anglo-Celtic societies, 20, 128–9 Anglo Irish Bank, 158 Angola, effect of China on, 214–15 AOL-Time Warner, 117 apartheid, in the US, 84 aporia, 1, 3–4, 25, 33, 146 Argentina: Crash of 2008, 163; currency unions, 61, 65; effect of China on, 215, 218; financial crisis, 190; trade with Asia, 215 asabiyyah (solidarity), 33–4 Asia: investment in, 191, 215; investors from, 175; reaction to the Crash of 2008, 13; surplus output, 184; US-controlled, 78 see also East Asia; South East Asia; specific countries ATMs (automated telling machines): virtual, 8, 9; Volcker on, 122 Australia: effect of China on, 214; house prices, 128, 129, 129; Reserve Bank, 160 balance, global, 22 Bank of America, 153, 157, 158 Bank of Canada, 148, 155 Bank of Denmark, 157 Bank of England: and Barings Bank, 40; and the Crash of 2008, 151, 155, 156, 158; and Northern Rock, 148; rates, 148, 159 Bank of Japan, 148, 187, 189 Bank of Sweden, 157 bankruptocracy, 164–8, 169, 191, 230, 236, 237, 250 banks: bonuses, 8; and the EFSF, 175; main principle of, 130; nationalization, 153, 154, 155, 158; Roosevelt’s regulations, 10; runs on, 148; zombie, 190–1 see also specific banks Barclays Bank, 151, 152 Barings Bank, 40 bauxite, prices, 96 Bear Stearns, 147, 151 Belgium, 75, 79, 120, 154, 196 Berlin crisis, 71 Berlin Wall, demolition, 201 Bernanke, Ben, 147, 148, 164, 230, 231, 233, 234 Big Bang, 138 bio-fuels, 163 biological weapons, 27 Black Monday, 2, 10 Blake, William, 29 BNP-Paribas, 147–8 boom to bust cycle, 35 Bradford and Bingley, 154 Brazil: Crash of 2008, 163; effect of China on, 215, 217, 218, 253; trade with Asia, 215 Bretton Woods conference, 58–61, 62, 64, 254–5 Bretton Woods system, 60, 62, 63, 67, 78, 92–3; end, 94, 95–6 Britain: Crash of 2008, 2, 159; crisis of 1847, 40; devaluing of the pound, 93; economy under Thatcher, 136–7; Global Plan, 69; gold request, 94; Gold Standard, 44; Icelandic bank nationalization, 155; labour costs, 105; Plaza Accord, 188; stance on Cyprus, 79; stance on India, 79; unemployment rate, 160 British Academy, 4, 5, 6 Buffet, Warren, 8 bureaucracies, rise of, 27 Bush, George W., 149, 156, 157 Byrnes, James, 68 capital, and the human will, 18–19 capitalism: dynamic system, 139–40; free market, 68; generation of crises, 34; global, 58, 72, 114, 115, 133; Greenspan and, 11–12; Marxism, 17–18; static system, 139; supposed cure for poverty, 41–2; surplus recycling mechanisms, 64–5 capitalists, origin of, 31 car production, 70, 103, 116, 157–8 carry trade, 189–90 Carter, Jimmy, 99, 100 CDOs (collateralized debt obligations), 141–2, 147–8, 149, 150, 153; for crops, 163; eurozone, 205; explanation, 6–9; France, 203; function, 130–2; Greece, 206 see also EFSF; Geithner–Summers Plan CDSs (credit default swaps), 149, 150, 153, 154, 176, 177 CEOs (chief executive officers), 46, 48, 49 Chamber of Commerce, British, 152 cheapness, ideology of, 124 Chiang Kai-shek, 76 Chicago Commodities Exchange, 120 Chicago Futures Exchange, 163 China: aggregate demand, 245; Crash of 2008, 156, 162; currency, 194, 213, 214, 217, 218, 252; economic development, 106–7; effects of the Crash of 2008, 3; financial support for the US, 216; global capital, 116; Global Plan, 76; growth, 92; rise and impact, 212–18, 219–20 Chrysler, 117, 159 CIA (Central Intelligence Agency), 69 Citigroup, 149, 156, 158 City of London: Anglo-Celtic model, 12; Crash of 2008, 148, 152; debt in relation to GDP, 4–5; financialization, 118–19; under Thatcher, 138; wealth of merchants, 28 civilization, 27, 29–30, 128 Clinton, Hillary, 212, 215–16 Cold War, 71, 80, 81, 86 collateralized debt obligations see CDOs commodification: resistance to, 53–4; rise of, 30, 33, 54; of seeds, 175 commodities: global, 27–8; human nature not, 53; labour as, 45, 49, 54; money as, 45, 49; prices, 96, 98, 102, 125; trading, 31, 175 common market, European, 195 communism, collapse of, 22, 107–8 complexity, and economic models, 139–40 Condorcet, Nicholas de Caritat, marquis de, 29, 32 Congress (US): bail-outs, 77, 153–4, 155; import tariff bill, 45 Connally, John, 94–5 council houses, selling off, 137, 138 Crash of 1907, 40 Crash of 1929, 38–43, 44, 181 Crash of 2008, 146–68; aftermath, 158–60; chronicle, 2007, 147–9; chronicle, 2008, 149, 151–8; credit default swaps, 150; effects, 2–3; epilogue, 164–8; explanations, 4–19; in Italy, 237; review, 160–4; in Spain, 237; warnings, 144–5 credit crunch, 149, 151 credit default swaps (CDSs), 149, 150, 153, 154, 176, 177 credit facilities, 127–8 credit rating agencies, 6–7, 8, 9, 20, 130 crises: as laboratories of the future, 28; nature of, 141; pre-1929, 40; pre-2008, 2; proneness to, 30; redemptive, 33–5, 35 currency unions, 60–1, 61–2, 65, 251 Cyprus, Britain’s role in, 69, 79 Daimler-Benz, 117 DaimlerChrysler, 117 Darling, Alistair, 159 Darwinian process, 167 Das Kapital (Marx), 49 de Gaulle, Charles, 76, 93 Debenhams, takeover of, 119 debt: and GDP, 4–5; unsecured, 128; US government, 92; US households, 161–2 see also CDOs; leverage debt–deflation cycle, 63 deficits: in the EU, 196; US budget, 22–3, 25, 112, 136, 182–3, 215–16; US trade, 22–3, 25, 111, 182–3, 196, 227 Deng Xiao Ping, 92, 212 Depressions: US 1873–8, 40; US Great Depression, 55, 58, 59, 80 deregulations, 138, 143, 170 derivatives, 120, 131–2, 174, 178 Deutschmark, 74, 96, 195, 197 Dexia, 154 distribution, and production, 30, 31, 54, 64 dollar: devaluing, 188; flooding markets, 92–3; pegging, 190; reliance on, 57, 60, 102; value of, 96, 204; zone, 62, 78, 89, 164 dotcom bubble, 2, 5 Draghi, Mario, 239 East Asia, 79, 143, 144, 194 see also Asia; specific countries East Germany, 201, 202 see also Germany Eastern Europe, 108, 198, 203 ECB (European Central Bank): aftermath of Crash of 2008, 158; bank bail-outs, 203, 204; Crash of 2008, 148, 149, 155, 156, 157; European banking crisis, 208, 209–10; Greek crisis, 207; LTRO, 238; Maastricht Treaty, 199–200; toxic theory, 15 economic models, 139–42 Economic Recovery Advisory Board (ERAB), 180, 181 Economic Report of the President (1999), 116 ECSC (European Coal and Steel Community), 74, 75–6 Edison, Thomas, 38–9 Efficient Market Hypothesis (EMH), 15 EFSF (European Financial Stability Facility), 174, 175–7, 207, 208–9 EIB (European Investment Bank), 210 Eisenhower, Dwight D., 82 Elizabeth II, Queen, 4, 5 ERAB (Economic Recovery Advisory Board), 180, 181 ERM (European Exchange Rate Mechanism), 197 EU (European Union): economies within, 196; EFSF, 174; European Financial Stability Mechanism, 174; financial support for the US, 216; origins, 73, 74, 75; SPV, 174 euro see eurozone eurobonds, toxic, 175–7 Europa myth, 201 Europe: aftermath of Crash of 2008, 162; bank bail-outs, 203–5; Crash of 2008, 2–3, 12–13, 183; end of Bretton Woods system, 95; eurozone problems, 165; Geithner–Summers Plan, 174–7; oil price rises, 98; unemployment, 164 see also specific countries European Central Bank see ECB European Coal and Steel Community (ECSC), 74, 75–6 European Commission, 157, 203, 204 European Common Market, 195 European Exchange Rate Mechanism (ERM), 197 European Financial Stability Facility (EFSF), 174, 207, 208–9 European Financial Stability Mechanism, 174, 175–7 European Investment Bank (EIB), 210 European Recovery Progam see Marshall Plan European Union see EU eurozone, 61, 62, 156, 164; crisis, 165, 174, 204, 208–9, 209–11; European banks’ exposure to, 203; formation of, 198, 202; France and, 198; Germany and, 198–201; and Greek crisis, 207 exchange rate system, Bretton Woods, 60, 63, 67 falsifiability, empirical test of, 221 Fannie Mae, 152, 166 Fed, the (Federal Reserve): aftermath of Crash of 2008, 159; Crash of 2008, 148, 149, 151, 153, 155, 156, 157; creation, 40; current problems, 164; Geithner–Summers Plan, 171–2, 173, 230; Greenspan and, 3, 10; interest rate policy, 99; sub-prime crisis, 147, 149; and toxic theory, 15 feudalism, 30, 31, 64 Fiat, 159 finance: as a pillar of industry, 31; role of, 35–8 Financial Crisis Inquiry Commission, 166 financialization, 30, 190, 222 First World War, Gold Standard suspension, 44 food: markets, 215; prices, 163 Ford, Henry, 39 formalist economic model, 139–40 Forrestal, James, 68 Fortis, 153 franc, value against dollar, 96 France: aid for banks, 157; colonialism criticized, 79; EU membership, 196; and the euro, 198; gold request, 94; Plaza Accord, 188; reindustrialization of Germany, 74; support for Dexia, 154 Freddie Mac, 152, 166 free market fundamentalism, 181, 182 French Revolution, 29 G7 group, 151 G20 group, 159, 163–4 Galbraith, John Kenneth, 73 GATT (General Agreement on Tariffs and Trade), 78 GDP (Gross Domestic Product): Britain, 4–5, 88, 158; eurozone, 199, 204; France, 88; Germany, 88, 88; Japan, 88, 88; US, 4, 72, 73, 87, 88, 88, 161; world, 88 Geithner–Summers Plan, 159, 169–83; in Europe, 174–7; results, 178–81; in the US, 169–74, 170, 230 Geithner, Timothy, 170, 173, 230 General Motors (GM), 131–2, 157–8, 160 General Theory (Keynes), 37 geopolitical power, 106–8 Germany: aftermath of the Second World War, 68, 73–4; competition with US, 98, 103; current importance, 251; and Europe, 195–8; and the eurozone, 198–201, 211; global capital, 115–16; Global Plan, 69, 70; Greek crisis, 206; house prices, 129; Marshall Plan, 73; reunification, 201–3; support for Hypo Real Estate, 155; trade surplus, 251; trade surpluses, 158 Giscard d’Estaing, Valery, 93 Glass–Steagall Act (1933), 10, 180 global balance, 22 global imbalances, 251–2 Global Plan: appraisal, 85–9; architects, 68; end of, 100–1, 182; geopolitical ideology, 79–82; Germany, 75; Marshall Plan, 74; origins, 67–71; real GDP per capita, 87; unravelling of, 90–4; US domestic policies, 82–5 global surplus recycing mechanism see GSRM global warming, 163 globalization, 12, 28, 125 GM (General Motors), 131–2, 157–8, 160 gold: prices, 96; rushes, 40; US reserves, 92–3 Gold Exchange Standard, collapse, 43–5 Goodwin, Richard, 34 Great Depression, 55, 58, 59, 80 Greece: currency, 205; debt crisis, 206–8 greed, Crash of 2008, 9–12 Greek Civil War, 71, 72, 79 Greenspan, Alan, 3, 10–11 Greenwald, Robert, 125–6 Gross Domestic Product see GDP GSRM (global surplus recycling mechanism), 62, 66, 85, 90, 109–10, 222, 223, 224, 248, 252–6 HBOS, 153, 156 Heath, Edward, 94 hedge funds, 147, 204; LTCM, 2, 13; toxic theory, 15 hedging, 120–1 history: consent as driving force, 29; Marx on, 178; as undemocratic, 28 Ho Chi Minh, 92 Holland, 79, 120, 155, 196, 204 home ownership, 12, 127–8; reposessions, 161 Homeownership Preservation Foundation, 161 Hoover, Herbert, 42–3, 44–5, 230 House Committee on Un-American Activities, 73 house prices, 12, 128–9, 129, 138; falling, 151, 152 human nature, 10, 11–12 humanity, in the workforce, 50–2, 54 Hypo Real Estate, 155 Ibn Khaldun, 33 IBRD (International Bank for Reconstruction and Development) see World Bank Iceland, 154, 155, 156, 203 ICU (International Currency Union) proposal, 60–1, 66, 90, 251 IMF (International Monetary Fund): burst bubbles, 190; cost of the credit crunch, 151; Crash of 2008, 155–6, 156, 159; demise of social services, 163; on economic growth, 159; European banking crisis, 208; G20 support for, 163–4; Greek crisis, 207; origins, 59; South East Asia, 192, 193; Third World debt crisis, 108; as a transnational institution, 253, 254 income: distribution, 64; national, 42; US national, 43 India: Britain’s stance criticized, 79; Crash of 2008, 163; suicides of farmers, 163 Indochina, and colonization, 79 Indonesia, 79, 191 industrialization: Britain, 5; Germany, 74–5; Japan, 89, 185–6; roots of, 27–8; South East Asia, 86 infinite regress, 47 interest rates: CDOs, 7; post-Global Plan, 99; prophecy paradox, 48; rises in, 107 International Bank for Reconstruction and Development (IBRD) see World Bank International Currency Union (ICU) proposal, 60–1, 66, 90, 253 International Labour Organisation, 159 International Monetary Fund see IMF Iran, Shah of, 97 Ireland: bankruptcy, 154, 156; EFSF, 175; nationalization of Anglo Irish Bank, 158 Irwin, John, 97 Japan: aftermath of the Second World War, 68–9; competition with the US, 98, 103; in decline, 186–91; end of Bretton Woods system, 95; financial support for the US, 216; global capital, 115–16; Global Plan, 69, 70, 76–8, 85–6; house prices, 129; labour costs, 105; new Marshall Plan, 77; Plaza Accord, 188; post-war, 185–91; post-war growth, 185–6; relations with the US, 187–8, 189; South East Asia, 91, 191–2; trade surpluses, 158 joblessness see unemployment Johnson, Lyndon B.: Great Society programmes, 83, 84, 92; Vietnam War, 92 JPMorgan Chase, 151, 153 keiretsu system, Japan, 186, 187, 188, 189, 191 Kennan, George, 68, 71 Kennedy, John F., New Frontier social programmes, 83, 84 Keynes, John Maynard: Bretton Woods conference, 59, 60, 62, 109; General Theory, 37; ICU proposal, 60, 66, 90, 109, 254, 255; influence on New Dealers, 81; on investment decisions, 48; on liquidity, 160–1; trade imbalances, 62–6 Keynsianism, 157 Kim Il Sung, 77 Kissinger, Henry, 94, 98, 106 Kohl, Helmut, 201 Korea, 91, 191, 192 Korean War, 77, 86 labour: as a commodity, 28; costs, 104–5, 104, 105, 106, 137; hired, 31, 45, 46, 53, 64; scarcity of, 34–5; value of, 50–2 labour markets, 12, 202 Labour Party (British), 69 labourers, 32 land: as a commodity, 28; enclosure, 64 Landesbanken, 203 Latin America: effect of China on, 215, 218; European banks’ exposure to, 203; financial crisis, 190 see also specific countries lead, prices, 96 Lebensraum, 67 Left-Right divide, 167 Lehman Brothers, 150, 152–3 leverage, 121–2 leveraging, 37 Liberal Democratic Party (Japan), 187 liberation movements, 79, 107 LIBOR (London Interbank Offered Rate), 148 liquidity traps, 157, 190 Lloyds TSB, 153, 156 loans: and CDOs, 7–8, 129–31; defaults on, 37 London School of Economics, 4, 66 Long-Term Capital Management (LTCM) hedge fund collapse, 13 LTCM (Long-Term Capital Management) hedge fund collapse, 2, 13 Luxembourg, support for Dexia, 154 Maastricht Treaty, 199–200, 202 MacArthur, Douglas, 70–1, 76, 77 machines, and humans, 50–2 Malaysia, 91, 191 Mao, Chairman, 76, 86, 91 Maresca, John, 106–7 Marjolin, Robert, 73 Marshall, George, 72 Marshall Plan, 71–4 Marx, Karl: and capitalism, 17–18, 19, 34; Das Kapital, 49; on history, 178 Marxism, 181, 182 Matrix, The (film), 50–2 MBIA, 149, 150 McCarthy, Senator Joseph, 73 mercantilism, in Germany, 251 merchant class, 27–8 Merkel, Angela, 158, 206 Merrill Lynch, 149, 153, 157 Merton, Robert, 13 Mexico: effect of China on, 214; peso crisis, 190 Middle East, oil, 69 MIE (military-industrial establishment), 82–3 migration, Crash of 2008, 3 military-industrial complex mechanism, 65, 81, 182 Ministry for International Trade and Industry (Japan), 78 Ministry of Finance (Japan), 187 Minotaur legend, 24–5, 25 Minsky, Hyman, 37 money markets, 45–6, 53, 153 moneylenders, 31, 32 mortgage backed securities (MBS) 232, 233, 234 NAFTA (North American Free Trade Agreement), 214 National Bureau of Economic Research (US), 157 National Economic Council (US), 3 national income see GDP National Security Council (US), 94 National Security Study Memorandum 200 (US), 106 nationalization: Anglo Irish Bank, 158; Bradford and Bingley, 154; Fortis, 153; Geithner–Summers Plan, 179; General Motors, 160; Icelandic banks, 154, 155; Northern Rock, 151 NATO (North Atlantic Treaty Organization), 76, 253 negative engineering, 110 negative equity 234 neoliberalism, 139, 142; and greed, 10 New Century Financial, 147 New Deal: beginnings, 45; Bretton Woods conference, 57–9; China, 76; Global Plan, 67–71, 68; Japan, 77; President Kennedy, 84; support for the Deutschmark, 74; transfer union, 65 New Dealers: corporate power, 81; criticism of European colonizers, 79 ‘new economy’, 5–6 New York stock exchange, 40, 158 Nietzsche, Friedrich, 19 Nixon, Richard, 94, 95–6 Nobel Prize for Economics, 13 North American Free Trade Agreement (NAFTA), 214 North Atlantic Treaty Organization (NATO), 76 North Korea see Korea Northern Rock, 148, 151 Obama administration, 164, 178 Obama, Barack, 158, 159, 169, 180, 230, 231 OECD (Organisation for Economic Co-operation and Development), 73 OEEC (Organisation for European Economic Co-operation), 73, 74 oil: global consumption, 160; imports, 102–3; prices, 96, 97–9 OPEC (Organization of the Petroleum Exporting Countries), 96, 97 paradox of success, 249 parallax challenge, 20–1 Paulson, Henry, 152, 154, 170 Paulson Plan, 154, 173 Penn Bank, 40 Pentagon, the, 73 Plaza Accord (1985), 188, 192, 213 Pompidou, Georges, 94, 95–6 pound sterling, devaluing, 93 poverty: capitalism as a supposed cure for, 41–2; in China, 162; reduction in the US, 84; reports on global, 125 predatory governance, 181 prey–predator dynamic, 33–5 prices, flexible, 40–1 private money, 147, 177; Geithner–Summers Plan, 178; toxic, 132–3, 136, 179 privatization, of surpluses, 29 probability, estimating, 13–14 production: cars, 70, 103, 116, 157–8; coal, 73, 75; costs, 96, 104; cuts in, 41; in Japan, 185–6; processes, 30, 31, 64; steel, 70, 75 production–distribution cycle, 54 property see real estate prophecy paradox, 46, 47, 53 psychology, mass, 14 public debt crisis, 205 quantitative easing, 164, 231–6 railway bubbles, 40 Rational Expectations Hypothesis (REH), 15–16 RBS (Royal Bank of Scotland), 6, 151, 156; takeover of ABN-Amro, 119–20 Reagan, Ronald, 10, 99, 133–5, 182–3 Real Business Cycle Theory (RBCT), 15, 16–17 real estate, bubbles, 8–9, 188, 190, 192–3 reason, deferring to expectation, 47 recession predictions, 152 recessions, US, 40, 157 recycling mechanisms, 200 regulation, of banking system, 10, 122 relabelling, 14 religion, organized, 27 renminbi (RMB), 213, 214, 217, 218, 253 rentiers, 165, 187, 188 representative agents, 140 Reserve Bank of Australia, 148 reserve currency status, 101–2 risk: capitalists and, 31; riskless, 5, 6–9, 14 Roach, Stephen, 145 Robbins, Lionel, 66 Roosevelt, Franklin D., 165; attitude towards Britain, 69; and bank regulation, 10; New Deal, 45, 58–9 Roosevelt, Theodore (‘Teddy’), 180 Royal Bank of Scotland (RBS), 6, 151, 156; takeover of ABN-Amro, 119–20 Rudd, Kevin, 212 Russia, financial crisis, 190 Saudi Arabia, oil prices, 98 Scandinavia, Gold Standard, 44 Scholes, Myron, 13 Schopenhauer, Arthur, 19 Schuman, Robert, 75 Schumpter, Joseph, 34 Second World War, 45, 55–6; aftermath, 87–8; effect on the US, 57–8 seeds, commodification of, 163 shares, in privatized companies, 137, 138 silver, prices, 96 simulated markets, 170 simulated prices, 170 Singapore, 91 single currencies, ICU, 60–1 slave trade, 28 SMEs (small and medium-sized enterprises), 186 social welfare, 12 solidarity (asabiyyah), 33–4 South East Asia, 91; financial crisis, 190, 191–5, 213; industrialization, 86, 87 South Korea see Korea sovereign debt crisis, 205 Soviet Union: Africa, 79; disintegration, 201; Marshall Plan, 72–3; Marxism, 181, 182; relations with the US, 71 SPV (Special Purpose Vehicle), 174 see also EFSF stagflation, 97 stagnation, 37 Stalin, Joseph, 72–3 steel production, in Germany, 70 Strauss-Kahn, Dominique, 60, 254, 255 Summers, Larry, 230 strikes, 40 sub-prime mortgages, 2, 5, 6, 130–1, 147, 149, 151, 166 success, paradox of, 33–5, 53 Suez Canal trauma, 69 Suharto, President of Indonesia, 97 Summers, Larry, 3, 132, 170, 173, 180 see also Geithner–Summers Plan supply and demand, 11 surpluses: under capitalism, 31–2; currency unions, 61; under feudalism, 30; generation in the EU, 196; manufacturing, 30; origin of, 26–7; privatization of, 29; recycling mechanisms, 64–5, 109–10 Sweden, Crash of 2008, 155 Sweezy, Paul, 73 Switzerland: Crash of 2008, 155; UBS, 148–9, 151 systemic failure, Crash of 2008, 17–19 Taiwan, 191, 192 Tea Party (US), 162, 230, 231, 281 technology, and globalization, 28 Thailand, 91 Thatcher, Margaret, 117–18, 136–7 Third World: Crash of 2008, 162; debt crisis, 108, 219; interest rate rises, 108; mineral wealth, 106; production of goods for Walmart, 125 tiger economies, 87 see also South East Asia Tillman Act (1907), 180 time, and economic models, 139–40 Time Warner, 117 tin, prices, 96 toxic theory, 13–17, 115, 133–9, 139–42 trade: balance of, 61, 62, 64–5; deficits (US), 111, 243; global, 27, 90; surpluses, 158 trades unions, 124, 137, 202 transfer unions, New Deal, 65 Treasury Bills (US), 7 Treaty of Rome, 237 Treaty of Versailles, 237 Treaty of Westphalia, 237 trickle-down, 115, 135 trickle-up, 135 Truman Doctrine, 71, 71–2, 77 Truman, Harry, 73 tsunami, effects of, 194 UBS, 148–9, 151 Ukraine, and the Crash of 2008, 156 UN Security Council, 253 unemployment: Britain, 160; Global Plan, 96–7; rate of, 14; US, 152, 158, 164 United States see US Unocal, 106 US economy, twin deficits, 22–3, 25 US government, and South East Asia, 192 US Mortgage Bankers Association, 161 US Supreme Court, 180 US Treasury, 153–4, 156, 157, 159; aftermath of the Crash of 2008, 160; Geithner–Summers Plan, 171–2, 173; bonds, 227 US Treasury Bills, 109 US (United States): aftermath of the Crash of 2008, 161–2; assets owned by foreign state institutions, 216; attitude towards oil price rises, 97–8; China, 213–14; corporate bond purchases, 228; as a creditor nation, 57; domestic policies during the Global Plan, 82–5; economy at present, 184; economy praised, 113–14; effects of the Crash of 2008, 2, 183; foreign-owned assets, 225; Greek Civil War, 71; labour costs, 105; Plaza Accord, 188; profit rates, 106; proposed invasion of Afghanistan, 106–7; role in the ECSC, 75; South East Asia, 192 value, costing, 50–1 VAT, reduced, 156 Venezuela, oil prices, 97 Vietnamese War, 86, 91–2 vital spaces, 192, 195, 196 Volcker, Paul: 2009 address to Wall Street, 122; demand for dollars, 102; and gold convertibility, 94; interest rate rises, 99; replaced by Greenspan, 10; warning of the Crash of 2008, 144–5; on the world economy, 22, 100–1, 139 Volcker Rule, 180–1 Wachowski, Larry and Andy, 50 wage share, 34–5 wages: British workers, 137; Japanese workers, 185; productivity, 104; prophecy paradox, 48; US workers, 124, 161 Wal-Mart: The High Cost of Low Price (documentary, Greenwald), 125–6 Wall Street: Anglo-Celtic model, 12; Crash of 2008, 11–12, 152; current importance, 251; Geithner–Summers Plan, 178; global profits, 23; misplaced confidence in, 41; private money, 136; profiting from sub-prime mortgages, 131; takeovers and mergers, 115–17, 115, 118–19; toxic theory, 15 Wallace, Harry, 72–3 Walmart, 115, 123–7, 126; current importance, 251 War of the Currents, 39 Washington Mutual, 153 weapons of mass destruction, 27 West Germany: labour costs, 105; Plaza Accord, 188 Westinghouse, George, 39 White, Harry Dexter, 59, 70, 109 Wikileaks, 212 wool, as a global commodity, 28 working class: in Britain, 136; development of, 28 working conditions, at Walmart, 124–5 World Bank, 253; origins, 59; recession prediction, 149; and South East Asia, 192 World Trade Organization, 78, 215 written word, 27 yen, value against dollar, 96, 188, 193–4 Yom Kippur War, 96 zombie banks, 190–1
The Greed Merchants: How the Investment Banks Exploited the System by Philip Augar
Alan Greenspan, Andy Kessler, AOL-Time Warner, barriers to entry, Bear Stearns, Berlin Wall, Big bang: deregulation of the City of London, Bonfire of the Vanities, business cycle, buttonwood tree, buy and hold, capital asset pricing model, Carl Icahn, commoditize, corporate governance, corporate raider, crony capitalism, cross-subsidies, deal flow, equity risk premium, financial deregulation, financial engineering, financial innovation, fixed income, Glass-Steagall Act, Gordon Gekko, high net worth, information retrieval, interest rate derivative, invisible hand, John Meriwether, junk bonds, Long Term Capital Management, low interest rates, Martin Wolf, Michael Milken, new economy, Nick Leeson, offshore financial centre, pensions crisis, proprietary trading, regulatory arbitrage, risk free rate, Sand Hill Road, shareholder value, short selling, Silicon Valley, South Sea Bubble, statistical model, systematic bias, Telecommunications Act of 1996, The Chicago School, The Predators' Ball, The Wealth of Nations by Adam Smith, transaction costs, tulip mania, value at risk, yield curve
Finance knew what was best for the economy and accordingly by paying heed to financial markets we would increase growth and prosperity.’31 And so on Millennium Eve, with the Dow up 25 per cent for the year, its ninth straight annual increase, and the NASDAQ up a towering 86 per cent for the year, it seemed good to be alive, good to be an investor and great to be an investment banker, a Master of the Universe. This time, no kidding. The Smoking Gun To begin with, the new millennium went according to plan. In January 2000 news broke of the $166 billion merger between AOL, the iconoclastic internet company, and Time Warner, the ‘old media’ blue chip. Time Warner owned stalwarts of American society such as CNN and the HBO, Time, Fortune and Sports Illustrated magazines, and the Warner Brothers studios. AOL was less than fifteen years old yet already it had 22 million subscribers. The combination excited the pundits, who thought it would create ‘a globally powerful company that combines old media power and content with new media speed’.32 The merger seemed to confirm the convergence of the new and old economies and fired up enthusiasm for internet stocks still further.
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The old economy indices, the S&P 500 and the Dow Jones, had already run out of steam in 1999 and by the end of 2001 a full scale bear market had developed. Fortunes were lost and retirement plans hastily revised. In March 2002, barely two years after the market peak, losses totalled $4 trillion. Almost 30 per cent had been wiped off the value of the stock market holdings of 100 million American investors. Events at AOL-Time Warner summed up the extraordinary change in mood. Barely twelve months after the acclaimed epoch-defining merger, the company announced incredible losses of $54 billion for the first quarter of 2002, having been forced to reassess and write down the value of its over-hyped assets.34 The lifeblood of the investment banks dried up as the bear market took hold.
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Shareholders of the buying firms saw their wealth reduced by $240 billion, representing 12 per cent of the purchase price. The wealth destruction was concentrated amongst the biggest equity-financed deals; the bigger the deal, the worse the results.30 Often there was a sharp deterioration in acquirer performance for several years after the deal is done.31 The merger of AOL and Time Warner in 2000 is a case in point. As we saw in Chapter 1, the deal was intended to create a world-class modern media company but instead led to the largest losses in corporate history. Bankers such as the legendary dealmaker Bruce Wasserstein are dismissive of the value-destroying arguments: ‘The problem with many academic studies is that they make questionable assumptions to squeeze untidy data points into a pristine statistical model.’32 But the weight of evidence from the late-twentieth-century merger wave seems to show that the handsome profits made by the selling shareholders were usually offset by subsequent losses for the acquirers.
Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age by Michael Wolff
activist fund / activist shareholder / activist investor, AOL-Time Warner, barriers to entry, Carl Icahn, commoditize, creative destruction, digital divide, disintermediation, Golden age of television, Great Leap Forward, hiring and firing, Joseph Schumpeter, Marc Andreessen, Mark Zuckerberg, Marshall McLuhan, Michael Milken, Sheryl Sandberg, Silicon Valley, SoftBank, Steve Jobs, Susan Wojcicki, telemarketer, the medium is the message, vertical integration, zero-sum game
This new breed, less focused on advertising and more focused on fees, and all out of the nascent cable industry, came to control the media business: Jeff Bewkes, CEO of Time Warner; Chase Carey, COO of 21st Century Fox; Sumner Redstone, who built Viacom; Tom Freston, who came out of MTV to run Viacom; Bob Pittman, MTV’s founder, who spearheaded the rise of AOL and its merger with Time Warner, and who now runs Clear Channel; Philippe Dauman, the current CEO of Viacom; and Ted Turner, in many ways the originator of the cable programming model with CNN and the Turner Broadcasting properties. The singular and necessary accomplishment, beyond getting a critical mass of cable companies to carry your station (for a period this resulted in a lot of ownership trade-offs—we’ll carry you, if you give us an ownership stake), was to get a share of the subscription fees.
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In other words, Moonves had reinvented broadcast television; a lagging business became a growth industry. Meanwhile, Time Warner, having spun off its own cable company—next to Comcast, the nation’s second largest—became itself an effective pure content play. (It had already jettisoned its music company; it would soon get rid of its troubled AOL division; and it would eventually spin off its magazines.) Time Warner’s essential business became its negotiation with cable operators for HBO, CNN, and the Turner channels. In a remarkable turnaround, Time Warner, which had, not long ago, nearly broken itself with a bet on a digital future, saw its cable fees rise so quickly that, in little more than half a decade following Icahn’s play for the company and his call to streamline it into a pure content play, its share price had doubled (a doubling even without cable, AOL, and publishing—all spun off to the shareholders).
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A&E Networks, 61, 65, 117 ABC, 183 Abrahamsen, Kurt, 2 Advance Communications, 116, 117 advertising: adjacency strategy of, 59 ad-skipping devices, 49, 84, 96 and audience, 63, 72–73, 87, 198–99 billboards, 77, 115 brand, 23–24, 25, 26, 49–50, 67, 182–83 buying space vs. making ads, 48, 57, 63, 87–88 classified, 69, 115 and content, 59, 63, 84, 158 CPMs, 52, 65, 66, 71–72, 73 direct mail, 55–56, 69–70, 86 direct-response, 24, 25, 26, 85, 87 display, 69 dual markets for, 80–81, 85–88 falling prices of, 33, 50, 51, 52, 70–73, 74, 78, 167 global online industry, 75–76 government regulation of, 56 low tolerance for, 83–85 market predictions for, 79 and mass media, 123 measuring effectiveness of, 71–72, 79, 84–85, 87 media, 18, 21, 52 print, 25, 54, 69–71 programmatic buying/selling, 73, 76–80 as pyramid scheme, 57–58 remnant space for, 78 response rate, 55, 56–57, 72 as revenue source, 41, 43, 48 revolution in, 69–74 sales, 40–41, 56 and sports, 181–88 television, 24, 25, 40, 70, 79–80, 83–84, 99, 115, 119, 125, 129 too much space, 76 and YouTube, 153, 154–55 Advertising Week, New York, 21 Aereo, 112 aggregation, 18–19, 50–51, 59, 66, 190, 195–96 Ailes, Roger, 119 Alibaba, 19, 20 Allen, Mel, 182 Amazon, 42, 110, 112, 142, 161, 169 Andreessen, Marc, 2, 3, 4, 39, 60, 83, 97 AOL: and Huffington Post, 12, 58 and newspaper format, 18, 33, 189 and Time Warner, 11, 117, 126, 132, 159 Apple, 101–5 Apple TV, 109, 112, 113 Arledge, Roone, 183, 187 AT&T, 135, 136 audience: and advertising, 63, 72–73, 87, 198–99 auctions for, 77 behavior patterns of, 50 building, 47, 48, 50 and carriage, 125, 184–85 cost vs. profitability of, 54 demographics of, 73, 78 downmarket vs. upmarket, 192 drive-by, 54 eyeballs of, 57, 77–78 holding the attention of, 32, 50, 67, 71, 74 identifying, 47–49 illusory nature of, 64, 73–74 manipulation of, 50 mass, 35, 76, 195 measuring and monitoring, 48–50, 57, 77 migration of, 70 monetizing, 16, 40 and pay cable, 47–48 programming focused on, 128 and scarcity premium, 72 self-selected, 78 stand-alone unbranded entities, 78–79 as traffic, 18–19, 49–53, 73, 86, 196 value of, 48, 49 you don’t own it, 53, 54 Auletta, Ken, 95–100 Bartz, Carol, 19 Bewkes, Jeffrey, 121, 126 Blockbuster, 91 Blu-ray DVD players, 110–11 books, 115, 117, 124 broadband, 109, 135, 138–41 broadcast, 108, 112, 131, 168 BSkyB, 120 bundling-unbundling-rebundling, 171–78 BuzzFeed, 12, 18, 23, 57, 58–61, 62, 66, 67, 87, 102, 189, 193–94, 195–96, 199 cable companies: and broadband, 140–41 and bundling/unbundling, 174–78 bypassing fees of, 112 and costs, 99–100, 174 declining quality of, 168 deregulation of, 127 and digital access, 133 and government bureaucracy, 139 and Internet, 125, 129, 130, 135 mean and stingy deals from, 10 and “must-carry rule,” 131 pay cable model, 47–48, 113, 127 paying content providers, 125–26, 127, 130, 133 and sports, 184–85 streaming, 99–100 and television, see television upgrades, 134, 168 Cable Television Consumer Protection and Competition Act (1992), 96, 131 Cannes Lions Festival, France, 21 Carey, Chase, 126 Carlson, Nicholas, 21–22 carriage, 125, 126, 131–32, 184–85 CBS, 97, 118, 121, 129, 130, 131, 160, 185, 198 Chiat, Jay, 101–2 Clear Channel, 116, 126 click fraud, 26, 74 CNN, 22, 32, 35, 65, 95, 126, 130, 132 Coleman, Greg, 58 Comcast, 10, 116, 120, 130, 132–36, 138, 143–44, 175, 185 Comedy Central, 3, 5, 130 computers: cloud, 108 as entertainment devices, 106 and television, 105, 108, 110, 111 comScore, 63 Condé Nast, 116, 117 consolivision, 114, 115–21 Consumer Electronics Show (CES), 83 “cool,” meanings of, 41, 63 copyright infringement, 146–49 Coupland, Douglas, 107 Couric, Katie, 21 Cue, Eddy, 103 curation, 36 Cusack, John, 2 Dacron Republican-Democrat, The, 18, 167 Dauman, Philippe, 126 Deadline Hollywood, 25 Delphi, 118 Demand Media, 52 Denton, Nick, 193–94, 196, 197 Deutsch, Donny, 2 digital convergence, 107 digital media: and advertising, 18, 21, 24, 25, 52, 70, 76, 84–85, 87, 128, 130 audience for, 16–17, 49, 54, 74, 87 and bundling/unbundling, 174–78 bureaucracies of, 19, 24, 138, 199 changed business of, 194–200 circulations strategy of, 56–57 click fraud on, 26, 74 and content producers, 189–92 as distribution deal, 104, 194, 199 efficiency of, 195 forecasts for, 25–26 functionality of, 16, 17, 41, 166, 168 image-based, 157–58 inevitability of the new, 5, 10, 12, 14, 15 life expectancy of, 194 lowered value of, 52, 81, 190 as news outlet, 33, 58 and profitability, 15, 49, 66 promotion as chief function of, 56–58 as reinvention of media business, 42, 168, 194 revenue sources of, 43 and sports, 181–88 digital media (cont.) stalled market of, 58 technology view of, 3, 11, 17, 43, 152–53, 166 traffic sought by, 14, 52, 59, 86 transitory nature of, 23, 194 unregulated, 138 and user satisfaction, 18 as video, 97–98, 109, 139, 157–59, 169 vs. traditional, 1–5, 14, 40, 190–91 as wasteland, 190 Digital Millennium Copyright Act (DMCA), 148 direct marketing, 55–56, 69–70, 86 Discovery Channel, 117 Disney, 60, 61, 102, 116, 117, 154, 185 dongle streaming device, 110, 111 dot-com crash, 65, 66, 134, 148 DoubleClick, 72 DSL, 133–34, 135 DVDs, 91–92, 111, 190 DVorkin, Lewis, 66–67 DVR, 83, 110, 146 entertainment businesses, 115, 142, 146, 168, 189–90, 192 ESPN, 95, 117, 120, 126, 127, 171, 184–85 Ethernet, 109 Everson, Carolyn, 40–41 Facebook, 86, 195 advertising on, 40–41, 161 and BuzzFeed, 59, 60, 102 News Feed, 33, 36–37, 157 rise of, 26, 117, 130–31 social strategy of, 52–53 and television, 157–62 as utility, 41, 42, 43 video on, 44, 158–62 FCC, 141–44, 174, 175 fiber optics, 135 Final Cut Pro, 62 Food Network, 21–22 Forbes, 57–58, 65–67, 161 Fox Broadcasting Company, 97 Fox Interactive Media, 20 Fox Network, 118, 120, 183, 185 Fox News Channel, 32, 35, 119 Freston, Tom, 62, 117, 126 Galloway, Scott, 99 Gannett, 116 Gawker media, 33, 193–97 generation gap, 13, 26 Godard, Jean-Luc, 31 Google, 42, 43, 52, 112 AdSense, 59 and Android, 102, 110 and digital vs. old media, 4, 40, 195 and DoubleClick, 72 income sources of, 26 and search engine wars, 15–16, 53 and sports, 181, 186 and traffic gaming, 59 and Yahoo, 16, 20 and YouTube, 1, 96, 147–49, 151–55, 158, 160 Google Chromecast, 110 Google News, 33 Greenfield, Richard, 96 Grey, Brad, 2 Guardian, The, 13 Hastings, Reed, 92–93, 98, 142, 187 HBO, 64, 95, 98, 100, 114, 117, 125, 126, 127, 130, 132, 171, 176, 177 Hearst, 61, 116, 117 Herzog, Doug, 2 Hirschhorn, Jason, 95 Hoffner, Jordon, 2 Holt, Dennis, 48 House of Cards, 94 Huffington, Arianna, 11–12, 34, 58–59 Huffington Post, The, 12, 18, 34, 58, 66, 189 Hughes, Chris, 196–97 Hulu, 5, 161 Icahn, Carl, 130, 132 information: bare minimum level of, 52 branding, 52 as currency, 32 personalized, 157, 158 real value of, 123 sources of, 52 surgical selection of, 51 too much, 35–36 transient nature of, 37 wanting to be free, 123, 124, 167, 189–90 intellectual property, 146–49, 194 Internet: bundling, 177–78 and cable, 125, 129, 130, 135 free, 123, 124, 139–41 moralistic intensity of, 191–92 “net neutrality,” 138–44 and OTT, 113 publishing, 65–66 and television, 91, 108, 111, 112, 139 two-speed, 143 and video, 26, 145, 159 Internet protocol (IP), 92, 94, 109, 110–11, 134 Jarvis, Jeff, 11 Jobs, Steve, 101–4, 105 Johansson, Scarlet, 2 journalists, technology, 10–11, 13 Kvamme, Mark, 2, 3 Kyncl, Robert, 96 Lauer, Matt, 21 Lerer, Ken, 11, 12, 58 Levinsohn, Ross, 20 licensing formats, 119–20, 126 LL Cool J, 2 Loeb, Dan, 19–20 magazines, 21, 56, 86, 104, 116 attention demands of, 71 CPMs, 52, 65, 66, 71–72, 73 production and distribution costs, 71 revenue sources, 48, 54, 115, 124 space limitations of, 72 Maker Studios, 154 Mann, Michael, 2 Martin, Laura, 175 Mayer, Marissa, 20–21 McCain, John, 174 McConaughey, Matthew, 2 McFee, Abigail, 27 McLuhan, Marshall, 107 media: advertising in, 18, 21, 52 and Apple, 101–3 audience for, 16–17, 40, 72 bundling/unbundling, 171–78 and consumer behavior, 12 content costs of, 165–67, 189 crossover executives in, 17, 20 deal-making in, 93 digital, see digital media disrupted paradigm of, 83 as entertainment, 31, 85 generation gap in, 13 hierarchical business of, 11 income sources for, 16 licensing and distribution, 104 low- vs. high-end, 85–88, 165, 187 and marketing, 64 mass, 39, 123, 195 as narrative, 31, 67 news outlets, 12, 18, 31–37 new world market for, 85 no-cost, 43 ownership trade-offs, 126–27 pirated, 146–49, 172 quest for new medium, 12 removing salesmen from, 76 and scarcity premium, 72, 76 and sports, 181–88 streaming media devices, 109–10 as television, 118, 121 traditional, value of, 4, 71 transformation of, 12–14 user-supported content, 127–28, 147–49, 190 as zero-sum game, 4, 23–24 media brand, 51 media business, 115–16 media buyer, 48 Microsoft, 16 Microsoft Xbox, 110 Milken, Michael, 11 Milner, Yuri, 43, 160 mobiles, 74, 102–3 Moonves, Les, 9–10, 12, 97, 131–32, 135–36 Morris, Kevin, 1–4 movies, 115, 123, 124, 146 MSN, 18, 33 MTV, 126, 130 Murdoch, Elisabeth, 119 Murdoch, James, 61, 119–20 Murdoch, Rupert, 103–4, 116–21 music industry, 1, 101–3, 146–47, 172, 173–74 Myspace, 20, 95, 117, 118 Napster, 146, 147 Nathanson, Michael, 25–26 NBC, 130, 132, 143, 160, 185 Netflix, 91–94, 97, 98–100, 139–40, 142–44, 155, 161, 169, 176, 177, 190 “net neutrality,” 138–44 Netscape, 39, 97 New Republic, The, 196–97 news: anchormen [-women] of, 35 as branding device, 59 declining value of, 34, 37, 168 economic triage of, 33 and elections, 59, 60 lower-cost, 32, 33, 35 media outlets for, 31–37, 58, 65 monetizing, 64 network, 35 as public good, 32 as reality, 31 repetitive, 33, 36 as storytelling, 31, 32 ubiquity of, 34 unprofitability of, 34, 35 and Vice, 63–64 News Corp, 20, 116, 117, 118 newspapers: attention demands of, 71 classified ads, 69, 115 consolidation of, 116 digital replacement of, 24–25, 167 entertainment supplements, 34 income sources of, 69, 124 local retailers publicized in, 115 nineteenth-century, 123 personalized, 33, 36–37 production and distribution costs, 71 space limitations of, 72 Web similarity to, 18, 33, 189 New Yorker, 94–100 New York magazine, 47, 48, 53, 61 New York Times, The, 12–13, 27, 35, 63, 73, 78, 165, 166 Nickelodeon, 95, 130 Nintendo Wii, 110 Oliver, John, 141 OTT (over-the-top) content venues, 84, 94, 100, 108, 109, 111–14, 130, 161, 175, 176–77 Outbrain, 53, 197 Paley, William, 160 Paramount Pictures, 2 Peretti, Jonah, 53, 58–59 pirated media, 146–49, 172 Pittman, Bob, 126 platform function, 93, 158, 161 Politico, 189 portal wars, 15 POTS (plain old telephone service), 135 programmatic buying, 73 publishing: business of, 55, 56, 115 Internet, 65–66 print, 66, 172 radio, 115, 116, 124 Redstone, Sumner, 121, 126, 147 Reilly, Kevin, 2 ReplayTV, 83 Roberts, Brian, 10 Rodman, Dennis, 64 Rogers Communications, 65 Roku, 109, 113 Rubicon Project, 75 Rutledge, Tom, 113 Saffo, Paul, 96–97 Sandberg, Sheryl, Lean In, 41 Scripps Networks, 21–22 search engine optimization (SEO), 51–53, 73 search engine wars, 15–16, 51, 53 Sears, Jay, 75–76, 80 Semel, Terry, 17 Sequoia Capital, 2 Showtime, 98, 177 60 Minutes, 64 smart phones, 105–6, 110, 111 smart TVs, 111, 113 Smith, Ben, 23 Smith, Shane, 62, 63–65 Snyder, Gabriel, 197 social media, 56–57, 62, 73, 158 Sony PlayStation, 110 Sorrell, Martin, 61, 99 South Park, 64 Spacey, Kevin, 94 sports events, 85, 181–88 Starz, 92, 93 Stewart, Adam, 2 Stone, Matt, 2, 4, 5 storytelling, 16, 31–32, 152, 190, 191, 199 Super Bowl, 23, 85 Supreme Court, U.S., 112 Swisher, Kara, 11 tablets, 103–6, 111 TCV, 61, 63 telephone companies (telcos), 135, 140–41, 177 television: advertising on, 24, 25, 40, 70, 79–80, 83–84, 99–100, 115, 119, 125, 129 anti-television views, 39–40 attention demands of, 71 as box, 107–8, 111, 113–14 broadcast, 108, 112, 132, 168 and bundling/unbundling, 173–75 cable networks, 95–96, 99–100, 109, 119, 124–25, 131–32, 139, 172, 184 comparisons with, 39, 167, 191–92, 197–98 and computers, 105, 108, 110, 111 deadwood on, 19 digital’s perceived 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98, 108–9, 141–42, 145–46, 152–55, 158, 165–69 Thompson, Scott, 19 Time Inc., 159 Time Warner, 11, 61, 64–65, 116, 117, 119–21, 126, 130, 132, 159 Time Warner Cable (TWC), 120, 130, 135–36, 143, 185 TiVo, 83, 110 traffic: aggregation methods, 18–19, 50–51, 59, 66, 190, 195–96 audience as, 18–19, 49–53 exchanges of, 53 pumping, 73 traffic arbitrage, 52, 66 traffic loop aggregators, 73 transcendence, 42 transformation: inevitability of, 10, 12–13 print to digital, 65–67 as shell game, 66 Tribune, 116 True/Slant, 66–67 Turner, Ted, 126, 127 Turner Broadcasting, 117, 126, 127, 130, 132 21st Century Fox, 61, 118–21, 126 Twitter, 26, 33 unbundling, 171–78 utilities, 41–42 Verizon FiOS, 97, 135, 177 Viacom, 3, 116, 117, 118, 121, 126, 129, 130, 131, 147–49, 152 Vice, 57–58, 61–65, 67 video: ads on, 63, 158, 167 amateur (cheap), 167 and BuzzFeed.
|
||||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 76 |
https://unesdoc.unesco.org/ark:/48223/pf0000373731
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 23 |
https://yro.slashdot.org/story/01/03/01/2212233/microsoft-the-biggest-web-bugger
|
en
|
Microsoft: The Biggest Web Bugger
|
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An unnamed reader writes: "A recently released web bug report shows
that Microsoft (via Link
Exchange) is bugging more web sites than any other organization.
Less surprisingly, however, the same report shows that by making some rough traffic estimates, DoubleClick
is probably bugging more web traffi...
|
en
|
/favicon.ico
|
https://yro.slashdot.org/story/01/03/01/2212233/microsoft-the-biggest-web-bugger
| ||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
2
| 57 |
https://www.entrepreneur.com/starting-a-business/young-millionaires-who-made-it-bigger-entrepreneurcom/185050
|
en
|
Young Millionaires Who Made It Bigger - Entrepreneur.com
|
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[] |
[] |
[
"young millionares",
"business success stories",
"starting a business"
] | null |
[] |
2007-10-05T00:00:00+00:00
|
Roundup up past Entrepreneur magazine Young Millionaires
|
en
|
Entrepreneur
|
https://www.entrepreneur.com/starting-a-business/young-millionaires-who-made-it-bigger-entrepreneurcom/185050
|
What do Sir Richard Branson and Michael Dell have in common? Aside from their obvious success and wealth today, they were both recognized by Entrepreneur magazine as "Young Millionaires" in the late '80s. When we first interviewed Dell, he was 23 years old and fresh out of college. He spoke about the struggles of running a $6 million business while attending school, but said the rewards were more than worth it. And you can bet that today, as the world's second-largest PC maker, he'd say the exact same thing.
Our past Young Millionaires have plenty in common; for instance, many of their ideas were initially greeted with skepticism. That's what happened to California Pizza Kitchen founders Larry Flax and Rick Rosenfield, who told us in 1986 that people thought they were crazy for going into the restaurant business. Yet today, CPK is an industry leader with more than 210 locations in 29 states and eight countries.
When we first highlighted the businesses below, they were relatively unknown. But now, they're household names virtually synonymous with the products they sell. Find out just how far they've come.
Liz Lange, 40
Founder of Liz Lange Maternity
Featured in November 2001
Then: In 1996, prospective retailers told Lange that pregnant women wouldn't spend money on her sophisticated maternity wear. Ignoring them, Lange borrowed money from friends and family and opened a small office in New York City, where she sold made-to-order clothing to women by appointment. Thanks to word-of-mouth, Lange's business started booming, and in 2001, she reported $3 million plus in sales.
Now: Lange continues to prove those retailers wrong. Today, the Liz Lange Maternity Collection, which celebrates its 10th anniversary this month, can be found at Lange's three Liz Lange Maternity flagship boutiques, and her secondary line, Liz Lange for Target, is the exclusive maternity line at all Target stores and on Target.com. Though Lange wouldn't release sales figures, she says the company has grown in huge multiples since 2001. Lange adds that her constant activity, which includes lecturing around the country, writing her monthly column for Prevention magazine, and spending time with her family, suits her perfectly. "I'd be very bored without it. I've always dreamt big, but never thought it could be like this," she says. "Not a day goes by that I don't get stopped on the street or receive an e-mail from someone telling me I made a difference in their life."
Larry Leight, 54
Co-founder of Oliver Peoples
Featured in October 1989
Then: How many companies can say their second year of sales surpassed their first by 400 percent? Not many. But Oliver Peoples, which began selling antique eyewear in 1986, reported that statistic to Entrepreneur back in 1989. "The business has been a giant success, and we're still young!" said Leight. In 1987, Oliver Peoples created its own brand, Oliver Peoples Eyewear, and named Leight the chief designer.
Now: Oliver Peoples is now preparing to launch its 20th anniversary campaign and showcase its new collections. Since we last spoke with Leight, he's been named one of the top nine American designers by Conde Nast Publications and Ford Motor Company. Though the company has changed, it's continued to grow dramatically. In fact, Leight says the company continues exceeding sales projections each year. Perhaps the most important business lesson Leight has learned is to not give up. "Even if everyone is against you, if you are passionate about something, you have to fight for it," says Leight. As for the next 20 years, Leight hopes to continue designing expressive, stimulating eyewear that will appeal to the brand's global clientele.
Richard Allred, 44
Founder of Toes on the Nose
Featured in November 1999
Then: Sometimes you have to test out more than one path before settling on a career. That's what Allred learned after graduating from the University of Southern California and getting involved with real estate. After he realized it wasn't the right path for him, Allred decided to take a leap of faith and gather $110,000 from friends and savings to build his company, creating Hawaiian-print clothing. When interviewed in 1999, Allred's 7-year-old company was expecting to double from $5 million to $10 million in sales that year.
Now: When we last spoke with Allred, he said he hoped his casual, classic surf clothing would become timeless fashion. Now, with 33 employees and about eight years under his belt, Allred can be confident that Toes on the Nose has done just that. Though Allred prefers not to release his total sales volume anymore, he says the company has been focusing on expanding internationally and has established beneficial partnerships with International Marketing Group. "We're doing a lot. We've leveraged our brand in different marketplaces, which has allowed us to grow with the help of other peoples' expertise," says Allred. But more than anything, Allred says the last 15 years have taught him the importance of a good internal support team. Since his marriage and the birth of his daughter, Allred has been forced to learn how to delegate and trust in others' abilities.
Tony Hsieh, 33
CEO and Director of Zappos.com
Featured in November 2003
Then: It all started in 1999 when Nick Swinmurn made an unproductive trip to the mall in search of shoes. Disappointed by his lack of purchases, Swinmurn got the idea for Zappos.com, a one-stop shop for men's, women's and children's shoes. But first, Swinmurn needed financial backing. He persuaded Tony Hsieh, who had earned $270 million from selling LinkExchange to Microsoft in 1998, to jump on board. "On the surface, it seemed like the quintessential poster child for a bad dotcom idea," said Hsieh four years ago. But after recognizing the $40 billion market, Hsieh saw potential. By 2003, the company was projecting $65 million in sales.
Now: Potential was an understatement. This year, Zappos.com--which is derived from the Spanish word for shoes, zapatos--is projecting $800 million in sales, bringing the company that much closer to its original goal of achieving $1 billion in gross merchandise sales by 2010. But not everything has remained constant with the company, starting with its image. "Back in 2003, we thought of ourselves as a shoe company that offered great service. Today, we really think of the Zappos brand as about great service, and we just happen to sell shoes," says Hsieh. Zappos.com has expanded by adding apparel, handbags, sunglasses and watches to the site, and is promising more to come. Another key change: Founder Swinmurn left Zappos in 2006 to start STAGR, a website focusing on customized apparel.
Julie Aigner-Clark, 41
Founder of The Baby Einstein Company
Featured in November 2000
Then: From the beginning, Aigner-Clark's business ambitions have been focused on her family. They started with her infant daughter, Aspen, in 1995, when Aigner-Clark realized there were no age-appropriate products for sharing her passion for art and classical music. So the former teacher took matters into her own hands and created her first video, Baby Einstein, featuring captivating pictures and mothers speaking different languages. After pitching her idea for two years and not making any progress, Aigner-Clark got her big break at the American International Toy Fair in New York City, where buyers snatched up her product. By 2000, the company had reached sales of $10 million.
|
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wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 1 |
https://www.microsoft.com/investor/reports/ar02/financials/item1.htm
|
en
|
Your request has been blocked. This could be due to several reasons.
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//www.microsoft.com/favicon.ico?v2
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wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 97 |
https://www.academia.edu/36115660/Information_Systems_A_Managers_Guide_to_Harnessing_Technology_Information_Systems_A_Managers_Guide_to_Harnessing_Technology
|
en
|
Information Systems: A Manager's Guide to Harnessing Technology Information Systems: A Manager's Guide to Harnessing Technology
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[
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2018-03-08T00:00:00
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Information Systems: A Manager's Guide to Harnessing Technology Information Systems: A Manager's Guide to Harnessing Technology
|
https://www.academia.edu/36115660/Information_Systems_A_Managers_Guide_to_Harnessing_Technology_Information_Systems_A_Managers_Guide_to_Harnessing_Technology
|
Yet Trapped in the Net by Gene Rochlin, winner of last year's APSA award in the field of technology policy, argues that decision makers in business and industry, the military, and other fields generally are failing to give due regard to the unanticipated consequences of computerization. They are leading technological civilization into a" computer trap"-lured there by promises of powerful, low-cost machinery and rapid networking, but then snared when their organizations become" irreversibly committed to the new capacities and ...
Download
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
2
| 46 |
https://www.searchenginejournal.com/make-your-link-exchanges-sticky-content-for-visitors/1189/
|
en
|
Make Your Link Exchanges Sticky Content for Visitors
|
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[
""
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[
"Loren Baker",
"www.facebook.com"
] |
2004-12-28T02:34:43+00:00
|
Make Your Link Exchanges Sticky Content for Visitors There are a lot of webmasters who spend a substantial amount of time "working" their link exchange
|
en
|
Search Engine Journal
|
https://www.searchenginejournal.com/make-your-link-exchanges-sticky-content-for-visitors/1189/
|
There are a lot of webmasters who spend a substantial amount of time “working” their link exchange program. But very few who realize that a good link exchange program can not only increase your back links and your search engine visibility, it can also be used as a feature to attract and retain visitors. (And the visitors I am talking about are NOT just other webmasters who are looking to exchange links!)
It may take a little more work than you are currently investing in the links you put up on your site, but its well worth it. We have just begun creating a very dynamic link exchange program for Security Resources Inc., and within just a few weeks, not only has the entire links directory been spidered by Google, Yahoo, MSN and others, it is averaging 20 visitors a day. And over half of those visitors actually click through to the Security Resources online store.
I can almost hear you thinking, “20 visitors? Thats ALL? Big deal!” Ah but it is a big deal when you consider that the Security Resources Links Directory contains fewer than 100 links, (so far), and that 99% of these visitors are drawn to the site BECAUSE of the link directory, and that 95% of them are NOT other webmasters just looking for a place to exchange links. Add to that a whopping 26% of the visitors have added the Links Directory as a bookmarked favorite! If our results of a similar link exchange directory at Webs 4 Christ are an indicator, it would be safe to predict that the Security Resources Directory will be averaging well over 100 visitors a day within the next 30-60 days. How many of those will turn into buying customers? Perhaps only 1 percent – but that alone would be 30 additional sales per month!
What’s the secret? There are three of them – target your links directory to your marketplace, organize your links directory and publicize it as you would your main website.
First, target your links directory. It shouldn’t be a free-for-all directory. There are plenty of those. In the case of Security Resources, their directory only contains categories and links to sites related to security. As the link directory grows, it will eventually become a very comprehensive directory of great value to anyone who is interested in security resources, websites, publications, etc.
Second, organizing your links based on categories not only helps each outgoing link have more value, (because of less links per page), but it becomes a value add for visitors who are looking for links and information on your targeted topic because they can find what they are looking for. Take the time to alphabetize your links, and if you find yourself with over 100 links in a certain category, split the category.
Third, publicize your links directory. Have it as a sub-domain of your main site, or even have its own domain name. Submit it to as many web directories and search engines as you do for your main website.
Dramatic results? No, not hardly, but content is king and if you make your links directory into a valuable component of your website, with ever changing content, you will have a better chance of return visitors.
—
|
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wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 24 |
https://www.collegesidekick.com/study-docs/7072908
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 91 |
https://www.academia.edu/36115660/Information_Systems_A_Managers_Guide_to_Harnessing_Technology_Information_Systems_A_Managers_Guide_to_Harnessing_Technology
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en
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Information Systems: A Manager's Guide to Harnessing Technology Information Systems: A Manager's Guide to Harnessing Technology
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[
"동빈 김",
"independent.academia.edu"
] |
2018-03-08T00:00:00
|
Information Systems: A Manager's Guide to Harnessing Technology Information Systems: A Manager's Guide to Harnessing Technology
|
https://www.academia.edu/36115660/Information_Systems_A_Managers_Guide_to_Harnessing_Technology_Information_Systems_A_Managers_Guide_to_Harnessing_Technology
|
Keep reading this paper — and 50 million others — with a free Academia account
Used by leading Academics
Stephen Whittle
Manchester Metropolitan University
Bruno Amaral Machado
Centro Universitario de Brasilia - UniCEUB
Darryl Brown
University of Virginia
Robert J Kaminski
University of South Carolina
Yet Trapped in the Net by Gene Rochlin, winner of last year's APSA award in the field of technology policy, argues that decision makers in business and industry, the military, and other fields generally are failing to give due regard to the unanticipated consequences of computerization. They are leading technological civilization into a" computer trap"-lured there by promises of powerful, low-cost machinery and rapid networking, but then snared when their organizations become" irreversibly committed to the new capacities and ...
Download
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
2
| 1 |
https://www.computerhope.com/history/1998.htm
|
en
|
Computer history - 1998
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[] | null |
Computer history that happened in 1998 including Google incorporating and the introduction of the MP3 player.
|
en
|
https://www.computerhope.com/history/1998.htm
|
Major computer events in 1998
Google filed for incorporation in California on September 4, 1998.
Saehan's MPMan became the first MP3 player released in Japan to the public in the spring of 1998.
1998 computer and technology top terms
The following are some top computer and technology-related terms in alphabetical order that were introduced or popularized in 1998.
CD-RW (Compact Disc Re-Writable)
IRC (Internet Relay Chat)
MP3
New computer products and services introduced in 1998
HD-ROM (High-Density Read-Only Memory) was introduced on February 2, 1998.
The V.90 modem standard was announced by the ITU (International Telecommunication Union) and agreed on February 6, 1998.
XML (eXtensible Markup Language) 1.0 became a W3C recommendation on February 8, 1998.
Yahoo! Pager was released on March 9, 1998, and later renamed to Yahoo! Messenger in 1999.
The RTS (Real-Time Strategy) game StarCraft was released by Blizzard Entertainment for the PC (personal computer) on March 31, 1998, and for the Mac in 1999. Selling over 11 million copies by 2009, the game was an important step in developing real-time strategy games, raising the bar for the gaming industry.
The CIH virus, also known as the Chernobyl virus, was created and began infecting computers and executed one year later, on April 26, 1999. This day was the same day as the Chernobyl accident in Ukraine on April 26, 1986.
Koko, a gorilla ape and student of American Sign Language, held the first interspecies live Internet chat on April 27, 1998.
AMD introduced its new K6-2 processor line on May 28, 1998, with speeds of 266 MHz to 550 MHz and bus speeds of 66 MHz to 100 MHz. The K6-2 processor was an enhanced version of AMD's K6 processor.
Unreal was developed by Epic MegaGames and released by GT Interactive on May 22, 1998. The game was credited with helping to popularize the Unreal graphics engine, which is still used today with DirectX and OpenGL for graphics rendering.
Intel released the first Xeon processor, the Pentium II Xeon 400 (512 K or 1 M cache, 400 MHz, 100 MHz FSB), in June 1998.
DDR (Double Data Rate) SDRAM (Synchronous Dynamic Random-Access Memory) began being sold by Samsung in June 1998.
ATA-4 was approved by ANSI (American National Standards Institute) on August 19, 1998.
The first Google Doodle appeared on Google's web page on August 20, 1998, to celebrate Burning Man.
Intel introduced the AMR (Audio/Modem Riser) and MDC (Mobile Daughter Card) on September 9, 1998.
Microsoft Internet Explorer passed Netscape in Internet browser market share for the first time, as reported in an International Data Corporation report on September 28, 1998.
In October 1998, Microsoft announced that future releases of Windows NT would no longer have the initials of NT and that the next edition would be Windows 2000.
The Computer Hope website came online on November 1, 1998.
Sega released the Dreamcast console in Japan on November 27, 1998. It was later released for North America and Europe in 1999.
Interplay Entertainment released Baldur's Gate on November 30, 1998. The first in several role-playing games, it sold over two million copies worldwide as of 2008. It was credited with helping to revive the RPG (Role-Playing Game) genre, and PC Gamer said the game "sets new standards for those to come."
IDLE (Integrated Development and Learning Environment) was introduced for Python on December 22, 1998.
Microsoft released Word 98 for PC and Mac in 1998.
Internet weblogs began to appear in 1998.
AVC (Advanced Video Coding) was developed and designed in 1998.
The CST (Computer Service Technician) was initiated by ETA (Electronic Technicians Association) in 1998.
Mac Excel 98 was released in 1998.
The GeekSpeak radio show started in 1998.
GnuCash was developed by Robin Clark and released in 1998.
LAME (LAME Ain't an MP3 Encoder) started its development in 1998.
The first version of Mandrake was released in 1998.
Maya was released by Alias Systems in 1998.
MPEG-4 was introduced in 1998.
Microsoft released FrontPage 98 in 1998.
OpenSSL began development in 1998.
PCI-X (Peripheral Component Interconnect Extended) was introduced in 1998.
QVCS (Quma Version Control System) was developed for the Amiga in 1998.
In 1998, Ritmoteca.com was launched. It allowed users to search over 300,000 songs using a catalog with a jukebox-style interface.
During the demonstration of a pre-release copy of Windows 98 at COMDEX (Computer Dealers' Exhibition), Bill Gates and an assistant demonstrated how to install a scanner. During the demonstration, Windows 98 caused an error message.
Two teenage hackers launched the "Solar Sunrise" attack, which gave them access to over 500 military government computers.
The term gray hat was first used by L0pht in 1998.
The successor to IPv4, IPv6, was formalized by the IETF (Internet Engineering Task Force) in 1998.
SanDisk (formerly SunDisk) released the first SSD (Solid-State Drive) with PATA (Parallel AT Attachment) interfaces in 1998.
Sony released the High-capacity Floppy Disk in 1998.
Sony introduced the Sony memory stick in 1998.
Hearings opened between Microsoft and the U.S. Department of Justice to determine whether Microsoft monopolized the software market in 1998.
U.S. Vice President Al Gore announced Blue Pacific, the world's fastest computer jointly developed by the U.S. Energy Department's Lawrence Livermore National Laboratory and IBM. Blue Pacific can perform 3.9 trillion calculations per second (15,000 times faster than the average desktop computer) and had over 2.6 trillion bytes of memory (80,000 times more than the average PC). It would take a person using a calculator 63,000 years to perform as many calculations as this computer can perform in a single second.
UDMA (Ultra Direct Memory Access) was introduced in 1998.
W3Schools came online.
Dell released the XPS R series in 1998.
Computer and technology-related events in 1998
Bill Gates was hit in the face with a cream pie by Noël Godin while entering the European Union on February 4, 1998.
Sun Microsystems began shipping the JavaStation in March 1998.
Adobe Photoshop 5.0 was released in May 1998.
3DNow! was introduced by AMD in May 1998.
AGP (Accelerated Graphics Port) 2.0 was introduced in May 1998.
Microsoft Windows 98 was officially released on June 25, 1998.
Perl 5.005 was released on July 22, 1998.
Advanced packaging tool was released in August 1998.
Apple introduced the iMac in August 1998.
eBay made its IPO (initial public offering)) on September 24, 1998, and went up 163.2% to close at 47.375.
Amazon.com went down for a routine update and remained down for ten hours on September 30, 1998.
The DMCA (Digital Millennium Copyright Act) was passed on October 28, 1998.
Syquest Technology announced on November 17, 1998, it filed for Chapter 11 bankruptcy. All pre-petition debts and liabilities were under the bankruptcy court's jurisdiction.
Valve Half-Life, a popular FPS (First-Person Shooter) game, was released on November 19, 1998.
Storm Technologies converted its Chapter 11 bankruptcy case to a Chapter 7 filing on November 30, 1998.
AbiWord was released on December 1, 1998.
Chips and Technologies (C&T) was purchased by Intel in 1998.
The IEC (International Electrotechnical Commission) approved standard 60027-2 in December 1998 and defined kibi, mebi, gibi, tebi, pebi, and exbi.
Intel released the Celeron processor in 1998.
The PureBasic programming language was released for AmigaOS in 1998.
The first programming language for a computer, called Plankalkül, developed by Konrad Zuse between 1943 and 1945, was finally implemented in 1998.
The Triple Data Encryption Algorithm was introduced in 1998.
Microsoft released the 6.0 version of Visual Basic in 1998.
Intel introduced the Socket 370 socket in 1998.
Blender began being developed by NeoGeo and Not a Number Technologies in 1998.
The Erlang functional programming language became open source in 1998.
The ActionScript programming language was introduced in 1998.
David Rosenthal of the MIT (Massachusetts Institute of Technology) X Consortium released the ICCCM (Inter-Client Communication Conventions Manual) standard in 1998.
Mindscape became part of Mattel Interactive and then sold to Mattel in 1998.
The first programming language for a computer was Plankalkül, developed by Konrad Zuse for the Z3 between 1943 and 1945. However, it was not implemented until 1998.
In 1998, in a joint venture with telephone manufacturers Nokia, Ericsson, and Motorola, Psion became Symbian, Ltd., and EPOC became Symbian OS (Operating System).
X.500 was introduced in 1998 by CCITT.
Computer companies and organizations founded in 1998
GOD Games was founded in January 1998.
Mozilla was initially formed on March 13, 1998 by Netscape.
AFREEY was established on April 16, 1998.
Computer Hope was founded on November 1, 1998, by Nathan Emberton.
Addonics was incorporated in 1998.
Akamai was founded in 1998.
Comodo was founded in 1998.
CSR was founded in 1998.
CyberPowerPC was founded in 1998.
eMachines was founded in 1998.
EONtronics was founded in 1998.
Palm, the makers of the Palm Pilot, left U.S. Robotics and formed its own company called HandSpring.
ICANN was founded in 1998.
InnoVISION was established in 1998.
Insyde was founded in 1998.
InterVideo was founded in 1998.
HannStar Display Corporation was founded in 1998.
Lite-on was founded in 1998.
Multiwave Digital Solutions was founded in 1998.
PayPal was founded in 1998.
The national non-profit social enterprise PCs for People was founded in 1998.
Razer was founded in 1998.
Rockstar Games was founded in 1998.
Sabrent was founded in 1998.
Skillsoft was founded in 1998 by Charles Moran.
Spamhaus was founded in 1998.
Tencent was founded in 1998.
VMware was founded in 1998.
ZTE was founded in 1998.
Computer company events in 1998
Compaq Computer purchased Digital Equipment Corporation for $9.6 billion on January 26, 1998.
Oak Technology exited the PC audio and 3D graphics market on March 31, 1998. It discontinued all product development and technical support operations for its products.
Compuserve became a wholly-owned subsidiary of AOL (America Online) in 1998.
Mirabilis, the maker of ICQ, was purchased by AOL for $287 million on June 8, 1998.
McAfee announced it would acquire Dr. Solomon's Group PLC on June 9, 1998.
Softimage Inc. was acquired from Microsoft by Avid on June 15, 1998.
Global Village Communication was sold to Boca Research in June 1998.
On August 17, 1998, Electronic Arts announced that it would purchase all outstanding stock of Westwood Studios, Inc., and certain other studio assets of Virgin Interactive Entertainment, Inc. The cash transaction was valued at $122.5 million.
The Learning Company announced the completion of its merger with Broderbund Software on August 31, 1998. As a result of the merger, Broderbund became a wholly-owned subsidiary of The Learning Company.
Nortel acquired Bay Networks on August 31, 1998.
On September 2, 1998, Caldera announced it would create two subsidiaries: CSI (Caldera Systems, Inc.) that became Caldera International and Caldera Thin Clients.
Trilobyte was forced to close its doors on September 15, 1998, after no publishing deals.
MindSpring Enterprises, Inc. announced it had completed the acquisition of SpryNet from America Online, Inc. on October 15, 1998.
Microsoft acquired the advertising company LinkExchange for $265 million on November 6, 1998.
On November 24, 1998, AOL announced it would acquire Netscape Communications for an estimated value of $4.2 billion.
Virgin became part of Irvine Games Inc. and ceased operations in November 1998. However, the business of Virgin Interactive continued to be conducted through its London headquarters.
JTS filed for bankruptcy on December 11, 1998.
The Learning Company announced it had entered into a definitive agreement with Mattel, Inc. for the merger of the two companies on December 14, 1998.
Google hired Craig Silverstein as its first employee in 1998.
IBM acquired CommQuest Technologies, Inc., which designed and marketed advanced semiconductors for wireless communications applications. CommQuest became a unit of IBM's Microelectronics Division.
In 1998, InterNIC, with IANA (Internet Assigned Numbers Authority), was put under the control of the ICANN (Internet Corporation for Assigned Names and Numbers).
Amazon purchased IMDb (Internet Movie Database) in 1998.
APS Tech was acquired by LaCie in 1998.
Award, well known for its computer BIOS (Basic Input/Output System), became part of Phoenix, another company well known for its computer BIOS.
Digicom Systems Inc. changed its name to Broadxent, Inc. in 1998.
Lycos purchased Angelfire in 1998.
In 1998, Rockwell Semiconductor Systems announced its new name as Conexant Systems Inc.
MicroProse joined Hasbro Interactive in 1998.
STB Systems was acquired by 3dfx Interactive Inc. in 1998.
Virgin Interactive agreed to buyout from Interplay Entertainment and acquired 43.9% of Virgin Interactive in 1998. This agreement granted Interplay distribution rights in North and South America.
Internet domains that came online in 1998
The domain computerhope.com came online on July 14, 1998.
The domain ask.com came online on October 19, 1998.
Computer-related TV shows and movies released in 1998
Enemy of the State, a 1998 movie about a lawyer targeted by a corrupt politician and his NSA (National Security Agency) goons was released.
Home Page, a documentary about the Internet pioneer Justin Hall, one of the first bloggers, was released in 1998.
Nerds 2.0.1: A Brief History of the Internet, a TV mini series about developing ARPAnet, the Internet, and the World Wide Web from 1969 to 1998.
The Net, a TV series about a computer programmer named Angela Bennett who discovered a shadowy group of cyber terrorists, was released in 1998.
Discontinued products and services in 1998
AOL announced it would no longer support the Netscape browser on February 1, 1998.
Development for the Apple Newton OS and the Newton platform officially ended on February 27, 1998.
CD-i (Compact Disc-interactive) was discontinued in 1998.
Computer pioneer deaths in 1998
Richard Hamming passed away on January 7, 1998 (Age: 82).
Trevor Pearcey passed away on January 27, 1998 (Age: 79).
Reynold Johnson passed away on September 15, 1998 (Age: 92).
David Evans passed away on October 3, 1998 (Age: 74).
Jonathan Postel passed away on October 16, 1998 (Age: 55).
|
||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 84 |
https://www.simplewebhosting.co.uk/e-commerce/webshop-search-engine-optimisation.php
|
en
|
E-commerce - a variety of packages to suit your needs
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] |
[] |
[] |
[
"web hosting",
"web design",
"website design",
"domain names",
"search engine optimisation",
"seo",
"email hosting",
"domain registration",
"email",
"e-commerce",
"windows plans",
"reseller",
"web site hosting",
"simplewebhosting",
"simplewebhosting.co.uk"
] | null |
[] | null |
Affordable web site design from simplewebhosting.co.uk - fast turnaround with a variety of packages to suit you - pay nothing until your website is online! - simplewebhosting.co.uk
|
/favicon.ico
| null |
webshop from simplewebhosting.co.uk was designed from a marketing perspective and we understand that getting quality traffic to your site is imperative for your success as an online merchant. Our development and marketing teams work closely together ensuring that we are up to date on all the trends in the ever changing world of search engine optimisation so that you will always achieve optimum ranking on all major search engines.
Here some key features the software provides:
Complete Title & Meta Tag control - webshop from simplewebhosting.co.uk gives you complete control over all Meta Tags on your site. Additionally, the software can auto-generate tags and make suggestions based on the product information you provide.
Flat URL Generation - Instead of using hard to understand, database driven URLs such as (http://www.yourcart.com/index.php?p=product&id=97&parent=20) you can set your cart to generate search engine friendly, flat URL’s like: http://www.yoursite.com/catalog/product_name.html. This helps you with search engine optimisation and direct page linking.
|
||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 86 |
https://link.springer.com/content/pdf/10.1007/978-3-642-34497-8.pdf
|
en
|
Service Science in China
|
[
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"https://media.springernature.com/w92h120/springer-static/cover-hires/book/978-981-10-3358-2?as=webp",
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"https://link.springer.com/oscar-static/images/logo-springernature-white-19dd4ba190.svg"
] |
[] |
[] |
[
""
] | null |
[
"Jiazhen Huo",
"Zhisheng Hong"
] | null |
en
|
/oscar-static/img/favicons/darwin/apple-touch-icon-92e819bf8a.png
|
SpringerLink
|
https://link.springer.com/book/10.1007/978-3-642-34497-8
|
A service economy era is coming! As the basic discipline of service dominant era, service science mainly studies common rules of service activities, aiming to provide theoretical bases for creating service value in the new era. The book, which integrates knowledge of service management, operational management, logistics and supply chain management, constructs a research system for this emerging discipline. Service science research system constitutes service philosophy, resource allocation, operational management and service technology. Many cases about China’s service enterprises are incorporated in the book, in the hope of providing readers an insight into not only service science but also the development of China’s service economy.
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Other ways to access
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 73 |
https://www.horticulturesource.com/fresh/search/La%2BBI%2BA/page/1349/
|
en
|
Horticulture Source
|
[
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[] |
[
""
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[] | null |
en
|
Horticulture Source
|
https://www.horticulturesource.com/fresh/search/La%2BBI%2BA/page/1349/
|
FloraFlex® FloraCap® 2.0
The FloraFlex® FloraCap® is a patent-pending revolutionary tool for top feeding that also helps eliminate algae. The FloraCap® 2.0 was redesigned to give you a more consistent flow rate, even distribution, a slightly increased air flow and improved stabilization. Place the FloraCap® on top of your 4, 6 or 8 in rockwool cubes, maximizing your space in the vegetative cycle. Fill the cap with water and nutrients by hand or automate with FloraClips. The 4 in cap features 13 flower designed louvers and the 6 and 8 in cap feature 26 flower designed louvers that delivers water, nutrients and air to the medium while blocking light. The FloraCap® strategically covers the top of the media, allowing the root zones to dry at a more consistent rate and delivering the necessary oxygen your plants need to thrive. Algae disappears, healthy roots fill the medium and blossoms multiply.
Mother Earth® Coco substrate contains the highest-quality mix of coco pith and coco fiber. RHP certified for quality, Mother Earth® Coco is pre-buffered and pH adjusted to neutral at 6.3–6.8. Mother Earth® Coco will promote strong root growth, populate microbial activity, discourage disease and insect outbreak and release nutrients evenly. For an optimal hydroponic media, combine Mother Earth® Coco with Mother Earth® Hydroton® or Perlite for increased production. This is uncharged inert media.
Sunshine® Mix #4 with Mycorrhizae
Sunshine Mix #4 with Mycorrhizae is an ideal choice for both indoor and outdoor gardening. Formulated with Canadian sphagnum peat moss for increased moisture retention, optimum air exchange and high cation exchange capacity (CEC), plus coarse perlite for amplified root zone aeration. The lime, gypsum and proprietary wetting agent combine to make Sunshine Mix #4 with Mycorrhizae the professional quality mix that meets the needs of serious-minded growers.
Super Sprouter® Perfect Plug® growing media replacement plugs are great for seed starting and cuttings. Perfect Plug® growing media plugs use a custom peat moss blend, with Mother Earth® BioChar added, exclusively developed for Super Sprouter® to allow a great mixture of moisture and aeration. Perfect Plug® media plugs have a pre-drilled dibble to foster the optimum environment for stem to media contact. If limiting your plastic waste is important to you, use these refill plugs to reload your Perfect Plug Tray® starter tray. Easy to use, just insert cutting or seeds into your plugs and watch them grow.
HDI Root Riot™ Tray
The HDI Root Riot™ Tray contains plant starter cubes for cuttings and seeds for soil or hydroponics. Derived from naturally composted fine milled sphagnum peat moss and are fully biodegradable. Root Riot™ will give you faster, more vigorous rooting. Perfect air/water capacity for healthy roots. New plants transfer easily into soil or any other media.
Premier Tech Pro-Mix® BX Mycorrhizae™
Pro-Mix® BX Mycorrhizae™ is a general purpose peat-based growing medium containing a beneficial mycorrhizal inoculum (glomus intraradices). These microscopic fungi attach to and colonize the root systems working in symbiosis with plants. Contains: Canadian sphagnum peat moss (75–85%/volume), horticultural-grade perlite, horticultural-grade vermiculite, dolomitic and calcitic limestone (pH adjuster), wetting agent and mycorrhizae – endomycorrhizal fungi (glomus intraradices).
Grodan® Stonewool Grow-Chunks™
Light, airy and versatile. Grow-Chunks™ are about 3/4 in square each and can be used in pots, around blocks or alone. They are easily combined with other media, such as layering with coco fiber or clay pellets. They can also be combined with soil for added aeration and increased moisture-holding properties. Great for hydro systems or container gardening.
Gro-Blocks are similar to a plant container. Need a 3 in pot? Then choose a 3 in Gro-Block. Small plants can be fully grown in our larger Gro-Blocks. Holes are perfect size for any 1.5 in starter plug. Come in packs labeled with instructions. Big Mama is Grodan’s largest block ever produced! Big enough to grow a large plant for its entire life. More than twice the amount of wool as our Hugo Block.
Gro-Blocks are similar to a plant container. Need a 3 in pot? Then choose a 3 in Gro-Block. Small plants can be fully grown in our larger Gro-Blocks. Holes are perfect size for any 1.5 in starter plug. Come in packs labeled with instructions. Big Mama is Grodan’s largest block ever produced! Big enough to grow a large plant for its entire life. More than twice the amount of wool as our Hugo Block.
Grodan® Stonewool Delta Gro-Blocks™ & Big Mama
Gro-Blocks™ are similar to a plant container. Need a 3 in pot? Then choose a 3 in Gro-Block™. Small plants can be fully grown in our larger Gro-Blocks™. Holes are perfect size for any 1.5 in starter plug. Come in packs labeled with instructions. Big Mama is Grodan’s largest block ever produced! Big enough to grow a large plant for its entire life. More than twice the amount of wool as our Hugo Block.
|
||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 29 |
https://shizune.co/investors/mobile-angel-investors-chile
|
en
|
Top 10 Mobile Angel Investors in Chile
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
A list of 10 angel investors that invest in Mobile startups based in Chile. We rank investors based on the number of investments they made in Mobile companies from Chile. We update this investor list every month.
|
/index.png
|
Shizune
| null | ||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 91 |
https://www.ibiblio.org/pub/Linux/docs/LDP/mail_archives/ldp-discuss/msg00799.html
|
en
|
Let's trade links!
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null |
To: [email protected]
Subject: Let's trade links!
From: Maia <[email protected]>
Date: Mon, 29 Nov 1999 19:09:35 -0500 (EST)
Resent-cc: recipient list not shown: ;
Resent-date: 30 Nov 1999 00:08:25 -0000
Resent-from: [email protected]
Resent-message-id: <XXZtJC.A.N7E.4VxQ4@murphy>
Resent-sender: [email protected]
I visited your web site and thought it was great. Our web site's themes match enough for us to be Link Partners. Please visit and let's trade reciprocal links. Email me and let me know what you decide. Our Link Partners receive preferential treatment with a listing at the TOP of each Theme page, a Link Partner graphic, bold print, etc. They also receive a lot more traffic than our regular listings. As of today, we have over 1,800 specific links in over 200 theme categories. Our link directory is growing quickly, and our hit count is growing by over 10% per week! When you visit our page, you'll see some sites which have already decided to join us as Link Partners. You are now listed as a regular listing but I hope you decide to be a Link Partner. Your web site address: http://metalab.unc.edu Your listing in my Link Directory is here: http://www.BreakRecords.com/links/themeindex.html I have your site listed in the COMPUTER RESOURCES theme. After reading your Link Directory listing, if you should wish any changes in Theme Category, Title or Description, please email me with the correct text. The link to my home page is http://www.BreakRecords.com/ My information about adding a link on your web site to my web site is here: http://www.BreakRecords.com/links/addlink.htm My Zeus robot searches the internet for web sites to trade links with. He's found the following key words in web sites similar to yours and mine. They are sorted according to the number of times they occur throughout the internet. I hope they help you to increase your traffic as much as they did for me. Thanks, Maia http://www.BreakRecords.com/ # Word 47069 INFORMATION 45637 WEB 44099 INTERNET 39586 SITE 29834 HOME 29186 SOFTWARE 28984 SEARCH 27836 SERVICES 26417 BUSINESS 24557 SERVICE 23046 FREE 22755 INC 21199 SUPPORT 20685 PRODUCTS 20621 ONLINE 20387 NETWORK 18918 CABLEMODEM 17845 COMPANY 17733 EMAIL 16904 SYSTEMS 16319 TECHNOLOGY 16160 SERVER 16118 LIST 15945 HELP 15547 DATA 15483 ACCESS 14957 OMWARE 14427 SYSTEM 14355 COMPUTER 14229 COPYRIGHT 14213 PRODUCT 13700 WINDOWS 13517 CLICK 12724 MANAGEMENT 12178 FIND 11750 LINKS 11662 SITES 11489 AIRTOUCH 11263 MARKET 11074 RIGHTS 11065 PROGRAM 10511 SOLUTIONS 10447 RESEARCH 10324 TCPIP 10258 WORLD 10111 PAGES 10052 MAIL 10038 FILE 10003 DESIGN 9968 USER 9739 SALES 9642 USERS 9601 RELEASES 9568 RESOURCES 9495 DEVELOPMENT 9437 WORK 9327 INFO 9131 MEDIA 9104 CUSTOMER 9051 RESERVED 9043 COMMUNICATIONS 9016 ORDER 9002 GROUP 8991 QUESTIONS 8979 INTERNATIONAL 8962 VERSION 8951 REAL 8883 DE 8820 EST 8593 PEOPLE 8501 CUSTOMERS 8499 COMPANIES 8482 SOLARIS 8453 FAX 8440 MARKETING 8439 INCLUDING 8419 FORM 8142 MICROSOFT 8025 DOWNLOAD 7926 RATIO 7909 CONTENT 7896 TECHNICAL 7850 UNIVERSITY 7803 APPLICATIONS 7802 OFFICE 7743 INSTEAD 7695 GO 7676 ACQUIRING 7675 PRICE 7673 NEWSFILES 7667 DIRECTORY 7639 TENDS 7613 ASP 7588 SECURITY 7554 INDUSTRY 7507 PHONE 7461 HEADLINE 7386 MESSAGE 7383 PC 7341 LOGIC 7279 FINANCIAL 7180 MODULES 7148 PROCESSORS 7139 TOOLS 7102 CALL 7026 HP 7006 LINK 6973 PENTIUMIII 6939 HTML 6923 SHIPPING 6868 PUBLIC 6858 BYTES 6807 BITS 6770 ARCHITECTURES 6716 YOUTH 6697 MOTHERBOARD 6687 ACCOUNT 6684 CONTROLLERS 6670 EQUIPPED 6660 STOCK 6594 COMBINATIONS 6580 CODE 6531 PARITY 6521 PRESUMABLY 6506 POWERMAC 6488 APPLICATION 6478 HYPERSPARC 6478 SUPERCACHE 6474 INTERLUDE 6449 GENERAL 6447 FILES 6399 CORPORATE 6387 COMMENTS 6341 PRINTERDRIVERS 6297 BROWSER 6265 PRIVACY 6242 CORPORATION 6205 JAVA 6169 DIGITAL 6161 NETWORKS 6156 PREPARE 6127 PERFORMANCE 6118 PROGRAMS 5995 RANKED 5953 TRUSTED 5923 COMMUNICATION 5912 YAHOO 5903 MEMBERS 5891 ADVERTISING 5868 ESTABLISHES 5862 VIDEO 5818 READ 5807 DELIVERS 5794 LINE 5783 TECHNOLOGIES 5744 INDEX 5692 ENTER 5669 SUN 5653 HARDWARE 5645 COMMUNITY 5553 EXPANSION 5525 SHIPPED 5506 EVENTS 5503 EXPERIENCE 5502 OFFERS 5488 IMAGES 5488 BROWSE 5432 POLICY 5412 INVESTMENT 5381 PST 5381 AR 5368 DATABASE 5341 WEBSITE 5316 TEXT 5313 GOOD 5277 EXCHANGE 5270 PRODUCTS 5265 HIGH 5252 FEEDBACK 5251 TODAY 5229 NATIONAL 5211 BELOW 5202 MAGAZINE 5151 NT 5114 IP 5072 LEGAL 5043 SPECIAL 5020 CREATE 5015 WORLDWIDEWEB 5006 RETURN 4991 SOLUTION 4980 PRESIDENT 4978 ADD 4960 CONTROL 4957 NET 4951 ESTATE 4929 RELEASE 4916 ISSUES 4897 PROJECT 4895 CITY 4850 CONNECTION 4840 COMPUTING 4827 TYPE 4793 MAP 4782 MESSAGES 4782 GREAT 4778 CALIFORNIA 4763 ELECTRONIC 4729 TERMS 4719 MANAGER 4707 FEEDBACK 4696 GRAPHICS 4693 MONEY 4683 ADVANCED 4672 OPTIONS 4670 STOCKOPTION 4658 WIDE 4653 ENTERPRISE 4650 SERVERS 4631 SECTION 4625 PROCESS 4601 GAMES 4585 ISDN 4583 STORE 4575 ASSOCIATION 4552 CREATES 4551 RESULTS 4550 QUALITY 4529 VISIT 4520 PARTNERS 4497 SPECTRUM 4480 GALAXY 4445 REPORTS 4443 NETWORKING 4441 TOUCH 4428 POWER 4414 HYPE 4379 SOURCE 4368 DISCLAIMER 4367 RELATED 4362 FAQ 4361 LINUX 4351 VIA 4337 DEPARTMENT 4313 SOUND 4311 TRAINING 4306 MENTORPOINT 4300 POST 4291 WEBSERVER 4276 WORKING 4266 CARDS 4265 SELECT 4260 NETSCAPE 4253 COMPLEXITY 4250 EDITOR 4243 DENSITY 4239 CA 4228 ISP 4206 UNIX 4178 FORUM 4178 AGIS 4171 PASSWORD 4170 ENGINEERING 4156 PROFESSIONAL 4142 UPDATED 4125 STREET 4118 HUMAN 4108 FINANCE 4106 LINES 4103 GLOBAL 4082 SEMANTICS 4051 MEMORY 4047 LIBRARY 4042 SCIENCE 4029 LEADING 4017 TIPS 4015 STANDARD 4012 SATISFYING 4008 IMAGE 4006 KEY 3993 CREDIT 3988 DOMAIN 3965 REQUEST 3960 TRADING 3950 REGISTER 3938 INTACT 3936 UNITED 3931 FUTURE 3930 FILING 3928 TELEPHONE 3927 RESOURCE 3908 PROGRAMMING 3900 STATES 3898 ISSUE 3895 HEALTH 3865 BUILT 3849 INTEREST 3848 MAIN 3845 VIRTUAL 3837 COMPUTERS 3817 PURCHASE 3817 TECH 3814 STATEMENT 3811 DESIGNED 3806 LONG 3802 TH 3798 PACKAGES 3788 ANALYSIS 3783 STOCKS 3751 STORAGE 3749 TEAM 3745 DOCUMENT 3730 WIRELESS 3724 OPERATING 3721 PROFESSION 3720 INTERACTIVE 3694 TRADE 3692 MULTIMEDIA 3691 CLIENT 3684 HOMES 3678 START 3676 TEST 3655 PROVIDERS 3653 REVIEW 3651 MILLION 3650 CONFERENCE 3649 DISCUSSION 3641 SIGN 3640 PLAN 3619 URL 3607 PRICES 3585 PROVIDER 3576 DIRECT 3571 LEARN 3570 DEVICE 3564 REGISTRATION 3555 INVESTOR 3549 NECESSARY 3537 INTRODUCTION 3524 CONFIGURATION 3520 PRACTICE 3490 LAW 3489 DIRECTOR 3489 INTERFACE 3484 MAJOR 3474 OPPORTUNITIES 3465 LEVEL 3434 POWERFUL 3433 CELLPHONE 3431 DOWNLOADS 3406 AMERICA 3402 SHOW 3402 BIGGEST 3389 ARTICLES 3383 GOVERNMENT 3379 EDGAR 3370 MARKETS 3358 MERCHANT 3352 TELECOMMUNICATIONS 3349 EDT 3342 VOICE 3337 ARCHIVE 3334 TRAFFIC 3328 MUSIC 3325 DOCUMENTS 3323 THINK 3321 DOWN 3316 HOSTING 3311 AWARD 3308 SUNOS 3296 UNDERWRITERS 3275 INSTANTLY 3232 COMMERCE 3229 GUARANTEES 3223 ERROR 3223 UPDATE 3215 REGISTERED 3204 ITEM 3202 CLIENTS 3193 INDIVIDUAL 3182 PM 3179 STARTED 3172 MBPS 3167 MULTIPLE 3165 FASTEST 3149 WORLDWIDE 3148 SCHOOLS 3144 PROVIDING 3140 QUESTION 3134 ARCHIVES 3126 TOTAL 3120 COPY 3112 SECURE 3100 CENTRAL 3098 KNOWLEDGE 3091 DETAILS 3087 POINT 3081 CONSUMER 3075 BUILD 3071 PRIVATE 3065 AUDIO 3060 CORP 3053 STANDARDS 3051 INTERNAL 3046 MHZ 3041 PROPERTY 3039 CHAT 3034 DROPS 3029 MANUFACTURER 3017 PRO 3015 AMERICAN 3009 EXECUTIVE 3007 PROPOSITION 3002 USENET 3001 SUITE 2994 WITNESS 2987 MEMBERSHIP 2983 SELL 2980 EQUIPMENT 2978 IMPLEMENT 2973 KB 2973 RENAMING 2962 DEVELOPER 2955 PENCHANT 2950 HISTORY 2948 RETROACTIVELY 2938 EXPRESS 2936 SALE 2934 PUBLISHING 2931 CONTENTS 2928 SHARE 2920 CONSULTING 2915 SAVE 2909 TRADEMARKS 2908 FUND 2901 CHANGES 2897 ENGINE 2894 LISTING 2893 AGENCY 2893 BENEFITS 2890 FORMAT 2881 SECURITIES 2874 USA 2872 INTELLIGENT 2870 CART 2868 ALPHA 2862 GROUPS 2862 NEWSGROUPS 2847 INVOLVED 2846 BUTTON 2840 COLOR 2840 EDITED 2839 OPERATIONS 2836 FTP 2833 ACCOUNTING 2832 SPORTS 2826 PAYS 2824 AD 2818 COMMERCIAL 2816 LANGUAGE 2813 ACCESSORIES 2813 SIZE 2811 OPTION 2811 LA 2810 LIVE 2810 REMOTE 2798 ORGANIZATION 2793 WORKS 2790 AUSTRALIA 2787 REVIEWS 2787 CABLE 2781 DEVELOP 2778 AGENT 2776 BASIC 2774 PROFILES 2771 BUSINESSES 2750 IBM 2748 INSURANCE 2746 TOOL 2744 TAX 2742 DISTRIBUTION 2735 CAMPUS 2733 ADDITION 2728 MACHINES 2721 CE 2719 SIDE 2706 PRINT 2699 DUAL 2698 PRINTING 2698 FEATURE 2695 RELATIONS 2689 OVERVIEW 2683 ARCHITECT 2683 UPDATES 2682 CONSULTINGSENIOR 2681 COSTS 2679 ACHIEVE 2677 FRAME 2661 GROWTH 2659 DEVELOPERS 2655 SOUNDS 2653 CATEGORY 2651 FEDERAL 2646 LISTED 2638 CHILDREN 2637 LOCATION 2635 ABILITY 2635 WEBMASTER 2635 MATERIALS 2635 INTELLIGENCE 2626 DATES 2623 PROTECTED 2607 WIN 2601 RATE 2598 HEADQUARTERS 2598 SUCCESS 2596 MEETING 2595 DEDICATED 2592 MODULE 2587 PARTNER 2586 CAPABLE 2577 ART 2571 PORTS 2559 RUNNING 2556 SERIAL 2551 FIXED 2550 DISK 2548 COMPREHENSIVE 2546 DESKTOP 2543 INTEL 2543 CYCLE 2534 LICENSE 2533 PRICING 2533 CAREER 2532 AFFILIATE 2527 INTEGRATED 2522 SHOP 2515 MODEL 2506 PROTOCOL 2499 EXISTING 2498 REFERENCE 2496 SERIES 2492 LIKELY 2485 REASONABLE 2483 BANK 2482 FORMS 2477 SPEED 2475 FIELD 2471 SCREEN 2470 PUBLICATIONS 2458 MANAGING 2455 UPGRADES 2453 HOMEPAGE 2452 INVESTING 2451 MICROPROCESSORS 2450 HOT 2446 PLANS 2445 CONTROLLER 2444 PREVIOUS 2444 GIS 2442 PRIVACY 2440 SPORT 2437 MAC 2430 WORKSTATION 2427 TURBOSPARC 2426 ADS 2424 INFINITELY 2422 CREATED 2416 ORGANIZATIONS 2410 CO 2407 PARCEL 2405 SUNHELP 2395 LUCKY 2390 MICROELECTRONICS 2390 HOST 2388 UK 2387 PALM 2386 LEARNING 2385 ANNOUNCING 2384 PLATFORM 2384 TRAVELING 2382 DISPLAY 2378 ACTIVE 2375 MUTUAL 2367 ENTERTAINMENT 2364 PLANNING 2360 BUFFER 2360 AMOUNTS 2358 TV 2353 PROFESSIONALS 2348 POSITION 2341 COUNTERS 2338 SAVERS 2336 MEDICINE 2334 COLLECTION 2326 CONTACTS 2324 OFFERING 2321 CISC 2320 DEVELOPS 2316 GUITARS 2314 INCIDENTALLY 2313 CHIEF 2312 PRINCIPLES 2306 MANUFACTURED 2305 COMPILATION 2300 PRIOR 2295 WEST 2294 FPU 2293 PROCESSING 2290 DATASHEETS 2287 FACTORY 2286 MMU 2285 VISITS 2281 ROBUST 2279 STATUS 2273 TOPICS 2273 PORTFOLIO 2272 RATES 2270 MENU 2269 DISTRIBUTED 2268 SKILLS 2266 FUNDS 2259 TESTING 2259 INTRANET 2258 DATASHEET 2257 ET 2256 PDF 2256 CHANNEL 2255 INQUIRY 2253 PROJECTS 2251 ITEMS 2251 SENIOR 2248 II 2242 SUCCESSFUL 2239 COUNTRY 2238 OS 2238 AUTOMATICALLY 2237 BLOCKS 2236 PAY 2227 SIGNATURE 2224 CALIF 2222 MISSION 2220 BOOT 2218 ADVERTISERS 2215 FLEXIBILITY 2214 WRITING 2210 ARCHITECTURE 2210 SLOT 2208 CONNECTED 2205 VENDORS 2202 COMPONENTS 2201 INCREASE 2201 CONDITIONS 2197 RULES 2192 PERCENT 2191 LINKING 2188 DEBATING 2185 CATALOG 2184 LTD 2182 SLOTS 2179 CONSTRUCTION 2178 POWERUP 2177 PLATFORMS 2176 XDBUS 2176 DES 2172 QUICK 2168 MATH 2165 NOTES 2165 DELIVERING 2161 BREAK 2158 ORIGINAL 2154 LISTINGS 2149 LOG 2148 PREMIUM 2148 ACTION 2146 JAVASCRIPT 2143 TRACK 2138 MANAGERS 2135 TIED 2134 ACCOUNTS 2130 FRAMES 2130 FEEDBACK 2127 BUNCH 2119 PLASTIC 2118 ELECTRONICS 2118 DEBUT 2117 NASDAQ 2110 TABLE 2109 GATEWAY 2108 INCLUDED 2103 OFFICIALLY 2102 STATEMENT 2098 VARIETY 2093 CEO 2091 KIT 2089 PORTION 2086 DESIGNING 2084 RESUME 2081 OPPORTUNITY 2079 YIELDS 2078 SLOWER 2076 AGENTS 2073 RADIO 2073 NETBSD 2067 RENAMED 2067 VISITORS 2059 LEGAL 2056 BOOTS 2051 PROBABLY 2051 WWW 2049 SMP 2048 UNIQUE 2047 MANAGE 2047 ALLTEL 2046 ADJACENT 2045 HAT 2045 TRANSACTIONS 2043 EDUCATIONAL 2042 ORDERS 2042 EXEMPT 2041 MBUS 2039 EXTEND 2039 AUTHOR 2035 ADVERTISE 2035 SPARCSTATION 2035 HS 2034 CONDITION 2032 ACT 2032 COMMITTEE 2032 PACKAGE 2022 BRAND 2020 DR 2017 BATTERY 2016 ASSESSED 2015 LX 2013 SELECTED 2013 LOW 2012 SBUS 2008 SUNS 2008 MACHINE 2007 FILINGS 2004 PRINTER 2002 INVESTORS 2002 VOYAGER 1998 BROKERS 1996 SPARCSTATIONS 1994 MASTER 1991 SIMILAR 1991 SOCIETY 1987 PRINTED 1986 UPGRADABLE 1982 DRAWING 1981 FIXME 1980 ANNOUNCED 1980 AUTHENTICATION 1976 OPENBSD 1974 TRANSFER 1973 SPARCCLASSIC 1972 MERRILLLYNCH 1971 CAPABILITIES 1970 ENGINEERFULLTIMECARY 1970 PARTICIPANT 1969 EDITION 1969 PROGRAMMERCONTRACT 1964 WEEKLY 1962 PURDUE 1960 FREQUENTLY 1959 TRADEMARK 1957 ID 1956 CHALLENGE 1955 INNUMERABLE 1954 DISCRETE 1949 PASTE 1948 COM 1945 SPECIALTY 1944 PERSONALIZATION 1941 SUPPORTS 1928 INSTALLATION 1926 CREDITCARD 1925 ADVANTAGE 1925 VISUAL 1924 PUBLISHED 1922 BACKGROUND 1922 REPRODUCTION 1918 OBSERVATIONS 1917 CONNECTIONS 1916 UPGRADE 1913 COMMISSION 1913 ADMINISTRATION 1910 PAYEE 1910 BUYING 1910 APPARENTLY 1909 LOADS 1907 OPERATION 1902 EVERYTIME 1901 EUROPE 1895 RETRIEVAL 1894 INTEGRATION 1890 CALCULUS 1888 AFFAIRS 1885 MATHLAB 1883 SEMESTERS 1882 PRODUCE 1880 BLENDED 1877 ZIP 1877 OFFICES 1877 WEIGHTS 1877 DOCUMENTATION 1874 GROW 1872 FIRM 1870 COMPAQ 1869 SELLING 1868 NEGOTIABLE 1867 ADVERTISEMENT 1865 XML 1863 DISTRIBUTOR 1862 COMBINED 1857 STRATEGY 1855 CONTRACT 1852 FILTERING 1852 BANDWIDTH 1850 INCOME 1848 RECORD 1846 STYLE 1846 VERSIONS 1844 SHOWS 1843 RANKING 1841 AUTOMATIC 1840 CONTINUE 1839 WATCHDOG 1837 POPULAR 1837 TRADINGAN 1836 PAYMENT 1834 AVAILABILITY 1832 CD 1828 FAQS 1825 TRUSTMARKS 1819 ORDERING 1819 LIMITS 1812 CGI 1809 ACTIVITIES 1808 SGI 1801 WINDOW 1799 BELIEVE 1797 MAINTENANCE 1792 RECOMMENDATIONS 1792 COMMAND 1790 WONDERFUL 1788 CONTINUES 1788 MONITOR 1784 COMMANDS 1782 FACT 1782 JAPAN 1777 BROKERMLS 1773 RESPONSE 1771 EFFECTIVELY 1771 EXPLORER 1770 DIRECTORIES 1769 RESPONSES 1769 IMPLEMENTATION 1769 IDEAS 1767 STRATEGIC 1767 ORACLE 1765 ENGINES 1764 ROCKIN 1763 HOTLINKS 1761 FOLLOW 1760 SHORT 1757 INSTALL 1755 TRANSACTION 1755 VPN 1753 MORTGAGE 1753 COMPLIANCE 1751 RISK 1751 PLANTS 1751 MS 1751 EFFECTIVE 1749 LEAD 1748 POTENTIAL 1747 ENSURE 1745 NECESSITY 1745 COMPETITIVE 1745 AOL 1743 EDIT 1741 CREATING 1739 SMART 1738 REALTORS 1732 AUCTIONS 1731 ISPS 1730 SQUARE 1726 LIBRARIES 1724 WOMEN 1722 MODERATED 1720 INSTALLED 1719 EDO 1719 CONFIDENTIAL 1718 DYNAMIC 1718 SHAREWARE 1718 CYGENT 1717 LIVING 1716 SELECTION 1716 READING 1716 CENTERS 1715 ARTS 1712 SPECIFY 1712 ASSIGNING 1712 SPECIFICATION 1710 MICROSYSTEMS 1709 INCORPORATES 1708 CIRCUITRY 1707 REVENUE 1707 FUNCTIONS 1705 DATAWAREHOUSE 1705 PENTIUMII 1704 INDEPENDENT 1703 MAX 1700 BASE 1700 COURSES 1699 PROFILE 1697 SPOTTING 1696 CATEGORIES 1695 ADDING 1695 HOLIDAY 1695 LOCATIONS 1692 CONCLUSION 1690 CONDOMINIUM 1689 ISR 1688 METHOD 1686 AGE 1685 BANKING 1684 MESSAGING 1684 SI 1684 EDITORS 1684 NATURALLY 1682 TELECOM 1682 STOCKTRACKER 1681 FUN 1681 ENCRYPTION 1678 FAVORITE 1676 FIX 1674 QUARTER 1670 WAREHOUSES 1669 HIGHER 1668 OBJECTIVES 1667 REGIONAL 1666 ADSL 1666 FOCUS 1665 OBJECT 1664 REPLY 1663 MODIFIED 1662 TRANSLATOR 1660 PURCHASING 1659 FACULTY 1655 PROTOCOLS 1655 MANSIONS 1653 SCRIPT 1652 MACINTOSH 1646 SPARC 1646 FOOTHILLS 1643 NEEDED 1643 MEDICAL 1642 IRON 1642 AUTOMATES 1640 GENERATION 1639 REPORTING 1639 PERFECT 1638 SYMBOL 1636 INTERVIEWEE 1635 MANAGEABLE 1635 GREATER 1635 BUDGETS 1633 CASH 1632 LOANS 1630 TOWNHOUSE 1629 MR 1627 RESIDENTIAL 1623 TRENDS 1623 STRONG 1622 HIGHLIGHT 1617 RETIREMENT 1614 ASPECTS 1612 FUNCTION 1611 GAMING 1611 UNLIMITED 1609 ASIA 1608 PROMOTION 1606 IMPACT 1604 VINTAGE 1603 PROPERTIES 1603 ENABLE 1601 WON 1597 FOOTPRINT 1595 SPONSOR 1590 SPARCSERVER 1589 DEFAULT 1580 SPARCCENTER 1579 BASIS 1576 BIT 1576 EMPIRE 1571 INTERFACES 1570 IDEA 1569 STATISTICS 1569 COOKIES 1568 GOOGLES 1568 LEADERS 1567 BROWSERS 1565 SOURCES 1563 TRANSPORTATION 1561 LEADER 1561 BUS 1552 INVESTMENTS 1551 AMOUNT 1551 PLEASANT 1551 GEOGRAPHIC 1550 PATCHES 1549 THANKS 1548 WEALTH 1547 SEARCHING 1547 EXCELLENT 1546 POP 1546 CHIP 1544 SHAPE 1543 HEFTY 1543 FEE 1542 SUGGESTIONS 1542 DEVELOPING 1541 DEAL 1538 ODBC 1538 TECHNIQUES 1536 CACHING 1536 REQUESTED 1535 DIRECTORS 1535 MINOR 1534 ENGINEER 1533 ANSWERS 1531 CLIMATE 1528 INDUSTRIES 1527 ENABLES 1526 ND 1524 DRIVING 1524 LOST 1522 EXPECTS 1522 CONSUMERS 1522 FUTURES 1521 VILLAGE 1520 STARTING 1520 JESUS 1516 APPROACH 1516 SNAPPIER 1514 PACIFIC 1512 UTILITIES 1509 WALL 1508 INT 1507 ASSETS 1503 APPROXIMATELY 1500 OFFICER 1499 STRATEGIES 1498 PORT 1498 HIT 1497 RECOMMENDED 1494 PERL 1493 EQUITY 1491 SYNCHRONOUS 1491 FLASH 1491 PRACTICES 1491 LB 1489 WONDER 1486 REPRINTS 1486 TROUBLESHOOTING 1484 OFFICIAL 1483 BROKER 1480 INDIVIDUALS 1480 DOWNLINK 1480 SWIMSUIT 1477 APACHE 1473 ENHANCEMENT 1473 CAPACITY 1469 RESIDENT 1465 VIEWED 1462 DRIVERS 1462 NEWSLETTERS 1461 PARTS 1460 SANTA 1460 CURRICULUM 1456 GENERATING 1455 AGRICULTURAL 1455 TERM 1453 METHODS 1449 BEYOND 1448 XEROX 1448 EXPERT 1446 UNIT 1446 ENHANCED 1445 ETHERNET 1445 FLOW 1444 POSTING 1443 PROTECTION 1440 PHOTO 1440 CLASSES 1439 DOUBLE 1434 GNOME 1434 INLAND 1432 NEWLY 1427 SEMINAR 1426 BROKERAGE 1422 ECONOMY 1419 GUIDES 1419 NOTICES 1418 DPI 1418 INFLUENCE 1418 PROPRIETARY 1417 DESCRIBE 1415 FREEWARE 1415 LONDON 1412 TOYOTA 1411 CORE 1408 EUROPEAN 1406 CHICAGO 1404 PCMCIA 1402 ASSOCIATED 1397 CHINA 1395 REQUESTS 1391 HOME 1389 FORECLOSURES 1388 PURPOSE 1388 FORUMS 1387 OTHERWISE 1387 APPLE 1387 LETTER 1386 WHOLE 1386 TOUR 1385 CHUCKLED 1385 ALLIANCE 1384 PUBLICATION 1384 REPO 1384 PORTAL 1383 PROSPECTUS 1383 COMPLIANT 1381 DRIVER 1381 RFC 1380 RESELLERS 1379 PERMISSION 1378 THOUSANDS 1378 DISTINGUISHED 1378 STRUCTURE 1376 DATABASES 1375 POSITIONS 1369 DSL 1369 CHASSIS 1368 RESEARCHER 1365 OUTPUT 1364 NV 1362 ECONOMIC 1361 ASSISTANCE 1360 AVERAGE 1360 GIFT 1358 FLOOR 1358 PREEMPT 1356 INNOVATIVE 1356 VENDOR 1356 GEOGRAPHICAL 1356 CAMERAS 1354 DESIGNS 1353 EXPECTED 1353 TUTORIALS 1352 CISCO 1351 FREELY 1350 QUOTE 1349 STATIC 1348 FIXER 1348 ARCADIA 1345 ANGELES 1345 REDHAT 1343 ADOBE 1342 STUDY 1341 SHARING 1339 FUNCTIONALITY 1339 MARKETMAKERS 1339 USAGE 1337 AURORA 1336 SHIP 1335 COMPLETED 1335 FORMATTING 1334 REO 1333 SUPPLIES 1333 TRUSTEE 1332 RECOGNITION 1331 SUPPORTED 1330 JOURNALIST 1330 BENEFIT 1330 SETS 1326 SCIENTIFIC 1324 NEGOTIATE 1324 DECISION 1323 VENTURE 1321 RISES 1321 BILLING 1320 TRICKS 1316 QUERIES 1315 FONTS 1315 CENTURY 1314 EXCITE 1314 CHARGES 1314 FORWARD 1313 VISUALBASIC 1313 LIMITATION 1312 FACE 1311 ANNOUNCES 1308 CERTIFIED 1306 FEES 1306 ONGOING 1302 ACCEPT 1295 BUG 1293 CYBER 1293 TUTORIAL 1293 SSL 1292 RECRUITS 1291 RESELLER 1290 PLANNED 1289 SQL 1287 FOUNDED 1287 CRISPER 1283 ENTRY 1282 MANUAL 1282 LIGHT 1279 LECTURER 1279 READER 1278 AGREE 1278 IMMEDIATE 1278 INITIAL 1276 LASER 1275 HEADLINES 1273 FOOTAGE 1272 SESSION 1270 CREATIVE 1269 IETF 1268 BANKRUPTS 1268 WORKPLACE 1266 RECORDS 1264 PRESENTATION 1264 ACRES 1263 PARTICIPATES 1262 INCREASED 1262 NIGHT 1262 MOVIE 1260 BATHROOMS 1259 ZDNET 1259 HIRING 1253 GRAPHIC 1253 GOLD 1252 STREAMING 1252 LOAN 1251 WORTH 1251 SWITCH 1250 SMTP 1248 QUERY 1247 SERVICES 1247 GOOGLE 1246 TRANSFERS 1246 WOODLAND 1245 IIS 1245 RESPECTIVE 1244 RECOVERY 1239 INDICATION 1239 SUPPORT 1237 OPINION 1236 ASSOCIATES 1236 KEYWORDS 1236 ENGINEERFULLTIMENEW 1235 LLCSYSTEM 1235 MARKETPLACE 1235 PROCESSOR 1235 WORKSHOP 1233 LLCJAVA 1233 SECTIONS 1229 COMPETITION 1227 VARIETIES 1227 EXPERTS 1227 ACCEPTED 1227 WINSOCK 1226 FACILITY 1225 LATIN 1225 WESTLAKE 1224 ENHANCE 1221 ADMINISTRATOR 1220 EXPERTISE 1218 COMMENT 1218 PINES 1216 COUNT 1214 PRODUCTS 1212 ALTERNATIVELY 1209 LAWYERS 1209 RELATIONSHIP 1208 THREAD 1207 COMPATIBLE 1206 IMPROVISE 1205 EARNINGS 1202 PRODUCT 1201 BOND 1199 SERVE 1199 PATH 1198 CREATION 1197 DOWNLOAD 1197 LOOKS 1196 SPECIFICATIONS 1196 HELPED 1194 PARTNERS 1192 SOLD 1192 ENJOYS 1191 PROGRAMMER 1191 ACTUAL 1191 TIME 1191 SILICON 1190 CORPORATIONSENIOR 1189 REMOVE 1187 AUCTIONEERS 1186 SCALABILITY 1185 RELEVANT 1184 HIGHWAY 1182 HANDLE 1181 PROMOTE 1179 MAINTAINED 1178 MULTI 1176 STORE 1176 INPUT 1176 TRAINING 1174 CONSULTANT 1173 TRUST 1173 NEWSPAPER 1171 REALTOR 1171 NOVELL 1171 SEALS 1170 RESORT 1170 ROLE 1170 QUALCOMM 1170 INITIATIVE 1168 PARKS 1168 ASSUME 1167 BUYERS 1166 REPRESENTATIVE 1165 UNMODIFIED 1165 AQUIRE 1164 EFFORTS 1163 ASSOCIATE 1163 COLUMN 1162 KEYWORD 1161 UTILITY 1159 CT 1157 MILLENNIUM 1155 OCC 1155 TARGET 1154 EXPLORE 1154 CACHE 1154 DUTIES 1153 RESOLUTION 1153 VP 1151 PLACEMENT 1150 GUIDELINES 1150 RESPECTED 1149 SCHEMES 1149 EXTERNAL 1149 HIGHLIGHTS 1146 FACILITATOR 1146 PARTNERSHIP 1144 GAVE 1143 UNDERSTANDING 1142 REGION 1142 EXTENSIVE 1141 DB 1140 UPLINK 1139 INTERESTING 1139 ATTENTION 1138 COLUMBIA 1138 LAWS 1138 MODELS 1137 MIND 1136 COMMUNITIES 1135 MEDIUM 1134 NOKIA 1134 NAVIGATION 1133 SCENIC 1132 PUBLISHER 1132 RELIABLE 1128 RAM 1128 PREPARING 1127 LAND 1126 FINE 1126 HOPE 1126 LEADERSHIP 1125 MATCH 1123 WEBSITES 1122 SCRIPTS 1121 ROUTE 1121 AMERICASOFTWARE 1120 PAID 1118 INTRODUCING 1116 INDUSTRIAL 1115 CONFERENCES 1115 SETTING 1115 EMPLOYER 1113 RICH 1113 BEGIN 1110 REPLIED 1110 INTENDED 1108 LABEL 1107 RESIDENCE 1107 PERSONALIZED 1106 RAW 1104 TRACKING 1104 ROUTING 1104 APPLET 1102 MALL 1102 SEC 1102 IDENTIFY 1102 EXECUTIVES 1102 VS 1101 DIGEST 1100 DHCP 1099 FIRMS 1099 ALGORITHMS 1097 GLANCE 1097 COMPILED 1096 PICTURE 1096 TCP 1095 CONSULTANTS 1095 DVD 1094 MANAGED 1093 HOPPED 1093 HERITAGE 1092 PARTIAL 1088 PROSPECTS 1087 CONNECTING 1086 DRIVES 1086 DETAIL 1085 CONSISTENCY 1085 FEATURED 1085 OPTIONAL 1082 SPECIFIED 1081 LIMIT 1080 CLEANER 1079 PROPOSAL 1078 TAXFREE 1078 DEPARTMENTS 1077 LEASING 1076 CONNECTIVITY 1076 CHARTS 1073 GARAGE 1072 EFFICIENT 1072 EARLIEST 1071 DEMAND 1070 ITS 1069 THRIVE 1068 BROADBAND 1067 EVALUATION 1067 LOAD 1067 ACADEMIC 1067 SLIDES 1066 APP 1065 PRACTICAL 1064 DISTANCE 1063 MERCHANTS 1063 HTTP 1061 GENERATE 1061 RETURNED 1057 INTERACTION 1057 MILESTONES 1054 PLUGIN 1052 REDUCE 1052 BONDS 1050 CHART 1049 DESKTRACKER 1048 SAFE 1045 BIZARRE 1045 STORMTRACKER 1045 MAXIMUM 1045 GOAL 1044 CES 1044 SAVINGS 1044 SETTINGS 1043 OLDER 1043 MOVIES 1043 GUEST 1042 ANIMATION 1041 LAS 1040 MP 1039 ECOMMERCE 1039 DISCLOSURE 1038 PRINCIPALS 1036 ENTERPRISES 1032 RECEIVING 1032 GERMANY 1032 NATURAL 1030 SEPARATE 1029 DNS 1027 COMPARE 1027 INSTANT 1026 SCOPE 1025 PURCHASED 1024 BOLD 1024 SEMINARS 1024 AFRICA 1022 HOUSES 1022 ECLIPSE 1020 CLOSING 1018 BARNESANDNOBLE 1018 ACA 1018 CONSIDERED 1017 STOCKTON 1016 PR 1016 LLC 1014 NAVIGATOR 1014 AUTOMATED 1013 INVEST 1012 MOSAIC 1011 QUICKTIME 1010 POSTAL 1007 JDK 1007 ULTIMATE 1006 FRIENDLY 1005 DISCUSSIONS 1005 WATER 1005 VIEWING 1004 DEFINE 1004 IPX 1004 CASINO 1002 INCORPORATED 1001 PALM 1001 COMPARED 1000 EBAY 999 FITNESS 998 SKI 995 DROP 994 TASK 994 URGENT 993 SUBMITTED 993 MODE 992 GUI 992 CANADIAN 991 NAMED 990 SLOW 990 WAREHOUSE 990 JONES 989 ENDORSE 988 PERSONALLY 988 ISLAND 987 LICENSING 986 GALLERY 985 SHIPMENTS 983 EXCLUSIVE 983 ARCADE 982 EFFECT 981 CUSTOMIZED 981 KEYS 980 COPIES 980 CHARGED 979 DOLLARS 978 ULTRA 978 AUTHORIZED 978 SCALABLE 977 CONDO 977 LENDERS 977 MINING 976 PREMIER 974 GOODS 974 SHARED 973 ADDS 973 BEACH 972 RUSSIAN 972 GENERALLY 967 KEYBOARDS 965 PARAMETER 965 ATHLON 964 AFFORDABLE 964 PARALEGAL 960 OUTLOOK 960 FOCUSED 960 GUARANTEE 959 DISPLAYED 958 UPS 958 WARRANTIES 957 PROFOUND 957 ASSIST 957 HOMESEEKERS 956 GROUPINTERNET 955 ASSOCIATESJAVA 954 SHOCKWAVE 954 ADVERTISED 952 RELATIONSHIPS 950 FOUNDER 947 EXPOSING 946 FEET 946 PHOTOS 946 PROCEDURES 945 REGULARLY 945 HANDLING 945 STAPLES 942 CLICKING 942 EXTENDS 938 BRANDED 936 POWERED 935 EXCEPTION 934 UNITS 934 HIGHEST 933 EXPANDS 931 ARCHITECTURAL 931 COMMODITIES 930 ASTRAWARE 930 COMMITTED 928 REGULATIONS 927 IDEAL 927 APPLIED 927 AUTHORS 926 COUPLE 923 MAUI 923 ENDORSEMENT 923 SEATTLE 923 BAR 923 IANA 922 FIGURE 922 COPYRIGHT 921 ADVERTISER 920 PROPERLY 918 CONFIGURATIONS 917 GIF 917 BACKUP 916 CENTS 915 RENTALS 914 LICENSED 914 COPYING 913 ELEMENTS 913 SPECIFICALLY 913 REPRESENTING 911 TEACHING 911 IPC 910 CHANNELS 910 LODGING 910 STATED 910 SUGGEST 909 SPENDING 908 NAVIGATING 908 ASTEROIDS 907 ASTRASOFT 907 ANDREW 906 WEBSPHERE 905 CHECKING 905 FINDERS 905 REALITY 904 COMMITMENT 904 LISTEN 904 COORDINATE 904 CMOS 902 CONVERSION 902 LYCOS 902 DUPLEXES 899 DOWNLOADABLE 899 EXPATRIATE 898 EXCITING 898 FOURPLEXES 897 PERCENTAGE 897 GLOSSARY 896 ALONGSIDE 895 ASSURANCE 895 ANALYST 894 DA 894 DEVELOPER TAMPA 892 SCIENCES 892 DEVELOPERS ATLANTA 892 GROUPSENIOR 891 SCSI 891 BID 889 OCEAN 889 MEDIAWIRELESS 889 MEDIASENIOR 888 SERVING 888 MEDIAJUNIOR 887 VIRTUALLY 887 LINK 886 DEVELOPER LOUISVILLE 886 HOSTS 885 CONSULTINGJAVA 885 ARCHITECTCONTRACT 885 TRANSPORT 884 EXCHANGING 884 INSUREMARKET 883 DIFFERENCE 883 TRANSACT 883 ENGINEER 882 STRATEGIST 882 TECHNOLOGYDISTRIBUTED 882 DEVELOPER 881 OBJECTS 881 DOW 881 DEVELOPER PORTLAND 881 CORPORATIONJAVA 880 CULTURE 880 DISTANT 879 OVERSOLD 879 QUALIFIED 877 JUNCTION 876 RELOCATION 875 WORLDWIDEJAVA 875 PROCESSES 874 RAID 874 INVOLVING 874 PLACES 872 LICENSEE 872 HITS 872 ENGLAND 871 CREDIBILITY 871 CONFIGURE 869 MOUSE 869 EXCLUSIVELY 869 WHOLESALER 867 PRODUCERS 864 ADC 863 CHARACTERS 863 TITLES 862 VIEWS 862 SUBSIDIARY 861 CLICKS 861 APPLICATION 861 PPI 861 CC 860 CONTESTS 860 SECTOR 860 BOOKMARK 859 FINANCING 858 JOIN 858 MARKETPLACE 856 CHARTING 855 MONITORS 855 INFORMING 855 RESTRICTIONS 854 REVENUES 854 ALTERNATIVE 854 CS 851 EXPERIENCED 851 MAINSOFT 851 SELLER 851 HISTORICAL 850 FIT 848 CRITERIA 847 TELEPHONY 847 CHECKS 847 TRADERS 846 PROFESSORS 845 TAXES 845 STABILITY 845 INTERVIEW 845 TRUSTMARK 843 FRAMEWORK 842 WRITERS 841 TUSCANY 841 FOLDER 841 FORMALLY 841 CLICKSHARE 840 IE 840 MARKER 840 CHARTERED 839 EXTRANET 838 PC 838 SEARCHES 838 CRASHES 838 ENFORCEMENT 837 FINISH 834 CODES 834 MEN 834 DEPENDING 834 RATING 834 STREAM 832 ANNOUNCE 831 HAWAII 831 TRAVELED 831 NEARLY 831 SPARCSYSTEM 830 ALLEVIATES 827 INO 826 DISPLAYS 826 IPO 825 ACTIONS 825 ADMINISTRATIVE 825 ERASE 824 INTRODUCED 824 CLOSELY 824 GENERATED 823 EXPRESSLY 822 HELPING 822 OWNED 822 EXPAND 821 ENTERED 821 JUDGE 820 CRISIS 820 SIGNED 820 PENTIUM 819 DISTRIBUTORS 819 AMERICAS 819 VENDING 818 BEOS 817 FORMER 817 PHONES 816 PANEL 816 PRESENTATIONS 815 RIO 814 JEEVES 813 TICKETING 812 CPU 811 REGISTRY 811 DEFINITION 810 OVERSEAS 809 INCREASING 807 SCRIPTING 807 PLAYERS 806 COMPATIBILITY 805 SRAM 805 EARN 805 FIRE 804 DOWNLOADING 804 SCHEDULED 804 PALM 804 OPTIMIZED 803 REFERENCES 802 INTERVIEWING 801 BIOS 800 ZAP 799 CONDUCT 799 CORPORATIONS 799 SHOWINGS 799 TIMETABLE 797 ATARI 797 PRIVILEGES 797 CONNECTOR 797 EXTENSION 796 DESKTRACKER 795 STORMTRACKER 794 UNIVERSAL 794 RISKS 794 EDUCATE 794 CHARACTER 794 VEGAS 793 COMPLICATED 793 ADAPTER 792 EXPENSIVE 792 APPROVED 792 CONCEPTS 792 IMPORTANCE 791 CONTINUED 791 PROMOTIONS 790 INDEPENDENCE 790 VOTE 790 CHEAP 790 PHOTOGRAPHS 789 BLOCK 789 FRONTPAGE 789 ADVISOR 788 HERO 788 CLOCK 788 DESIGNER 787 CONCEPT 785 AUTHORITY 784 DECISIONS 784 MATEO 784 PROMOTING 783 SETTLEMENT 783 MINDSPRING 783 QWEST 782 ASSIGNED 781 SERIALIZATION 781 POLITE 779 AFFILIATES 779 RESTAURANTS 778 LINKEXCHANGE 778 HOSPITAL 778 ACCURATE 778 ISSUED 777 CUSTOMIZE 776 BUREAU 776 EMPLOYEE 776 SESSIONS 776 DESIGNERS 775 REPORTED 775 MULTIPROCESSOR 775 IMPROVED 774 PRETTY 774 ADVISORS 773 REALTY 773 RFCS 772 BEAUTIFUL 772 BEDROOMS 771 LOCATE 770 COMMUNICATE 767 DEALING 765 ALTAVISTA 765 TRULY 764 PERMITS 764 SUPPLIER 763 COMPILING 763 PROGRESS 762 RECOGNIZED 760 REFER 759 PAPERBACK 759 COMBINATION 758 OPERATORS 756 COMMUNICATOR 755 UPLOADING 755 COMPACT 754 REPRESENTATIVES 754 NYSE 753 JAPANESE 753 AGREEMENTS 753 PRODIGY 753 DEVELOPMENTS 752 CONTRACTS 751 PERSPECTIVES 749 RESPECT 748 PUBLISH 748 WIDTH 748 INFORMATIONAL 748 MODERATORS 748 IRELAND 747 SEEK 747 ARTISTS 744 DC 744 JSP 743 EXEC 743 TELNET 741 RECEPTION 739 SORT 739 KERNEL 739 ANTITRUST 739 PRECIOUS 738 FORMATS 738 BROWSING 737 TOOLKIT 737 FUJITSU 737 FILM 737 INNOVATIONS 735 LIAISONS 734 OPERATOR 733 DEPOT 732 CARTRIDGES 731 NUMERICS 731 CONTRIBUTION 730 VB 730 UPCOMING 729 EMAILS 729 SERVICES 728 LAUNCHES 728 ASPECT 728 CANDIDATES 727 EASTERN 727 ENGAGING 726 PROTRACKER 726 METALS 725 NETWARE 725 TOOLBOXES 724 NOISETRACKER 723 PORTABLE 723 BATHROOM 723 OFPROCESSORS 723 SOUNDTRACKER 723 EXCHANGES 722 VIEWS 722 SUPERSPARCSERIES 721 INITIATIVES 720 CORRECTIONS 720 CAP 720 OUTSOURCE 719 TIMELY 719 POSITIVE 718 SEEMINGLY 718 DICTIONARY 717 PREFERRED 716 ACQUIRED 716 SPEAKING 715 KEYBOARD 713 PROSPECTIVE 713 NEWSGROUP 713 ANTICIPATES 712 HOSTED 712 ENGINEERCONTRACT 711 PILOT 711 INCORPORATEDSOFTWARE 711 LAYOUT 711 MIME 711 CARIBBEAN 710 BOOTABLE 710 ATTRACTIVE 710 ACTIVEX 710 EXPIRATION 710 EXCEL 710 SOLAR 709 RANDOM 709 DSN 709 HEADQUARTERED 709 LEADER 707 FA 707 REPRESENTS 706 ELECTRICAL 706 CONVENIENCE 706 PROPOSED 705 NEWS 705 CURRENCY 703 MAP 702 FOCUSING 701 STUDIO 701 ADVENTURE 701 RETRIEVE 700 SONY 700 ESTABLISH 699 TAGS 698 HOTBOT 698 ESSAYS 697 TRIALWARE 697 AUTHORITIES 696 VALID 696 DELAY 696 LATENCY 695 MILLIONS 694 REPLACED 694 PREVIEW 693 SCREAMIN 693 REMAIN 693 ADVANCE 693 COMMENTARY 692 ISLANDS 692 CLOSEST 692 GATE 690 FLAGSHIP 690 HOLDING 689 ORANGE 689 OPINIONS 689 APPROVAL 688 OWNERSHIP 687 WINNERS 687 POLLS 687 PARTNERSHIPS 686 INTERCONNECTED 685 DESTINATION 685 PROFITS 684 BYTE 684 LICENSEES 684 EXPENSES 683 TABLES 683 CELL 683 MALLS 682 ADVANCES 681 FLIGHT 680 ENG 680 PROGRAMATICALLY 680 CUTS 678 HTTPS 678 PREPARED 677 COMMANDS 677 BALANCING 675 ACREAGE 675 TICKER 674 SPECIALIST 674 TONER 674 LOBBY 674 IMMIGRATION 673 LITE 673 TYPICALLY 673 ACCURACY 673 GAP 672 ASSURED 672 CONVENIENT 672 ADDITIONALLY 672 FINALIZE 671 LIVES 671 LOSERS 671 PAGER 671 REVISED 670 QUANTITY 668 CMGI 668 ROUTED 668 PUSH 667 INFORMED 667 WITHDRAWN 666 ARRIVE 666 SPANISH 666 TAG 666 RELOCATING 666 RUSSIA 665 FUNDING 665 ACQUIRE 665 SE 664 CUTTING 664 FOXPRO 664 PGP 664 TYPICAL 663 EXPECTATIONS 663 RALLIES 663 CIRCUIT 662 LINKED 662 INTERMEDIA 662 VENTURA 662 RUMOR 661 TEMPLATE 661 ERP 660 SERVLET 660 SHOWCASE 660 INDEXED 660 JAVACONTRACT 659 LEE 659 COMPUTED 659 GRAND 659 TOWN 658 POSTPONED 658 RELOCATE 658 ARTWORK 658 VIDEOS 657 DISTRIBUTE 656 DREAM 656 NECX 655 POSTINGS 654 NOTED 654 MOCHA 653 WORKSTATIONS 653 EXCELLENCE 652 ECONOMICS 652 MULTIPLY 652 DIRECTION 652 PROCEDURE 651 PROXIMITY 651 NOTIFY 651 TREAT 651 RAISE 650 IMPRESSIVE 650 WILLING 649 SPEAK 648 SUCCESSFULLY 648 CLIMB 648 EXTENSIONS 648 STYLUS 647 ARRAY 647 SERVICESNEWS 647 HUMOR 646 BASICS 646 GRASSLAND 646 REVISION 646 NAMING 645 ADAPTERS 645 URLS 645 RESEARCHERS 645 ADVERTISEMENTS 645 ICQ 645 PACKS 643 PUTS 643 PARAMETERS 643 BUILDER 643 DEF 642 INSTRUMENTS 642 NIGHTLY 641 LAUNCHED 641 NOTIFICATION 640 IDENTIFICATION 640 LEGASPI 639 NATIONWIDE 639 UNCONVENTIONAL 639 DOTCOM 639 FACTS 639 FIXES 638 OPTIMIZATION 638 HTTPSERVLET 638 WEBMASTERS 637 DOOR 637 SITUATION 637 PRESUME 635 LUCRATIVE 634 DURATION 633 SUNSHINE 633 BECAME 633 LEGISLATIVE 633 SIGHTS 632 SEA 632 ROOMS 631 LOGGING 630 TEAMED 629 CASUAL 629 ADVANTAGES 627 PORTLAND 626 CONSIDERABLY 626 DEFINITIVE 624 SEX 621 DEALERS 621 OBJECTIVE 621 PRODUCER 621 BESIDES 621 DIALOG 620 DELICIOUS 620 CBS 620 EMBEDDING 619 RAFAEL 619 RECOGNIZE 619 INVENTORY 619 ENFORCE 619 CONSIDERATIONS 619 BROOKSIDE 618 GOVERNMENTS 617 SATISFIED 617 BUYER 617 ONLINEACCESS 617 PROGRAMMER 617 RANKS 616 REFLECT 615 RIGOROUS 615 LUIS 614 JRUN 614 RAVE 613 NANDO 613 SALT 612 CITIES 612 CONTEMPO 612 DISKS 611 BUYS 611 LIGHTWEIGHTS 610 EVOLUTION 610 COCKTAIL 609 AFTERWARDS 609 ACCESSIBLE 608 SUBJECTS 607 MAINBOARD 607 OPERATE 607 MEANING 606 PEACE 606 IMPROVISATION 606 NORTEL 604 DIALUP 604 DETERMINED 604 ELEVATION 603 DART 603 FORMERLY 602 DOMAINS 601 VIEWERS 601 DOLLAR 601 AUTOMOBILE 600 DRAWN 600 ENABLED 600 PERM 599 APPRECIATED 598 DISCOUNTS 597 WWDTS 597 ALAMITOS 597 INSIDER 596 RECRUITING 595 DEVELOPERPERMANENTSAN 595 PDA 595 MIAMI 595 CONTACTING 594 ESSENTIALLY 594 SYSTEMSJAVA 594 CROSS 594 PERSONS 594 SATISFACTION 593 DEV 593 LOGICAL 593 PANELS 593 RENTAL 592 MERGER 592 DEFENSE 592 EXPOSURE 592 NULLSOFT 591 PIZZA 591 NYC 591 ACCEPTANCE 591 TECHNOLOGYAPPLICATION 591 MISCELLANEOUS 590 VSTR 590 DEVELOPERPERMANENT 589 UVT 589 DEVELOPER PALM 589 VISIBILITY 589 HOUSED 588 SA 588 ENGINEER SAN 588 HEADERS 588 INTERVIEWER 587 EXPLICIT 587 PROGRAMMERPERMANENTBAY 586 REPRINTING 586 CLASSIC 586 ENGINEERPERMANENTBAY 585 AIMED 585 MPW 585 SANJOSE 585 SELLERS 584 BRITAIN 583 ENABLING 583 ACCESSED 583 LAGUNA 583 REPRESENTATION 582 FRENCH 582 GRAPHS 582 MYTRACK 582 IMPLEMENTED 581 COMPUSERVE 581 APPEARS 580 REMAINING 579 REBINDING 579 SUCCEED 579 UC 577 SALARY 577 CHINESE 576 COMPARABLE 575 AMAZON 575 PRECISELY 575 REPUTATION 572 FUNCTIONAL 572 REFERENCED 571 DHTML 571 PERIODIC 570 SEPARATING 569 ONLINEUNIVERSITY 569 EXPLAINS 568 PACIFICVIRTUAL 567 DIGITS 567 IMAGINE 566 GRANT 566 CONVERT 566 AUTOMOTIVE 565 CREATOR 565 POOL 565 HR 564 MT 564 AWARDED 563 GAINS 562 IMPOSED 562 SEARCHABLE 562 CRM 561 CLOROX 560 INTEGRATE 559 NON 559 BINARY 558 POWERHOUSE 558 ADDITIONS 557 ANALYZE 556 BOUNDS 555 RESET 555 IAB 555 MAKER 555 SCHEDULES 554 POPE 554 DOWNTOWN 554 EQUIVALENT 553 GULF 553 NNTP 553 REPORTER 553 OFFSHORE 552 OBISPO 552 SNAPSHOT 552 LENDER 552 BRANDS 552 CATEGORIZE 551 EQUAL 551 WIDELY 551 NUMERIC 550 PRESTIGIOUS 550 EASE 550 GENESIS 549 CONFIRMED 549 SPECIALIZES 548 MAPPING 548 BARBADOS 548 RICO 547 LOCKUP 547 RATINGS 547 APPRECIATE 547 FINISHED 545 ODP 545 BREAKING 545 CLARITY 545 ASSOCIATIONS 545 HOUSEHUNTING 543 EXACT 543 CONFIDENCE 543 ACCEPTABLE 542 COMPANYLEARN 542 NULL 542 SECRETS 542 MODERN 542 ADOPTION 541 PHYSICALLY 541 CONVENTION 541 AGGREGATION 540 HELSINKI 539 GREATEST 539 CAPTURING 538 ERA 538 ABROAD 538 SPECIALIZING 537 HONOLULU 537 TURNING 537 INDEXES 537 INFOSEEK 536 CHARACTERISTICS 536 ALERTS 535 THINKING 534 INTERVIEWS 533 GENERATES 533 USB 533 REMIND 532 MANUFACTURE 531 SELECTIONS 531 REPRESENTED 531 CUTE 531 AUTHORING 530 CONTEXT 530 SOPHISTICATED 530 EVALUATED 530 WDVL 529 FAMOUS 529 GUY 529 OTHER 529 DEEMED 529 MLS 529 CONNECTS 528 DEVELOPERFULLTIME 528 SOLVING 528 LBS 526 DELAYED 525 ROCK 525 COMPETITORS 524 BINDS 524 CONVINCED 524 VOIP 523 CREDITS 523 DOWNLOADED 522 NS 522 DISABLED 521 WINS 521 CAPTURE 521 IDE 521 TAGGED 519 CONSTRAINS 518 PROGRAMMERS 518 RELATION 518 SYNC 517 WIZARDS 517 ARUBA 517 EXPANDED 517 MAKERS 516 OPERATES 515 CONSOLES 513 SCENE 513 UPGRADING 512 KOOTENAY 511 STREAMS 510 STANFORD 509 ENDED 509 FILTERS 509 RPM 508 HUNDRED 506 BRIEFING 506 CONSISTENT 505 PARAMETRIC 505 META 505 COORDINATOR 504 TRAVELS 504 NEGOTIATING 504 DURABLE 503 ENUMERATE 503 JAPANDEVELOPERS 503 PUERTO 503 RESERVES 502 INSTITUTION 502 SOLICITATIONS 501 COMPLY 501 WORKFORCE 500 ORGANIZE 500 INFORMAL 500 REFERRALS 499 NEWEST 499 FORECLOSED 499 STRENGTH 498 INFINITY 498 ORLANDO 497 IMAGELOCK 497 TRACKER 497 MOTHERBOARDS 497 SWAP 495 LISTENERS 494 CLEARING 494 REPLACE 494 CULTURAL 494 OPTIMIZE 493 BEAR 493 LOSANGELES 492 BROADVISION 492 IMPRESSED 492 TRAVELERS 491 GLOSSARY 491 FOLDERS 489 SEEING 488 MASSIVE 488 ATTACHMENTS 488 SMAB 486 ADVENTURES 486 COUNTIES 486 ARCHIVED 485 PREMIERING 485 PATIENCE 485 QUALIFY 485 MODULENAME 483 WELCOMES 483 WAKE 483 DISTRIBUTING 482 CERENT 482 EXHIBITORS 482 PHILOSOPHY 481 WARS 481 MICROSYSTEMSJAVA 481 ESTATES 481 INVALID 481 SDSL 480 WORLDS 479 BREAKROOM 479 HOMEPAGES 479 CRAY 479 MECHANICAL 478 CLIP 478 CALCULATOR 477 OAHU 477 LAKES 477 CDS 476 QUIET 474 INNOVATION 472 SOUTHWEST 472 PERFORMING 471 POSITIONED 470 BERMUDA 470 ADAPTEC 470 DIALING 470 CONSTRAIN 470 FREELANCE 468 ADIRONDACKS 468 SPREAD 467 HELPDESK 467 FIGURES 466 EXPENDABLE 466 SITEMAP 466 REFERS 466 MANSION 466 PUBLISHES 465 BUENOS 465 REPLACEMENT 465 INSERT 465 RELIABLY 464 UNIVERSE 463 EVALUATE 463 AIRES 461 ENCLOSURES 460 INTRODUCTORY 460 ORLEANS 458 SUGGESTION 458 ASA 458 ARCHITECT 458 BENCHMARK 458 IDS 458 MSN 457 ANDY 457 TELEWEST 457 AMASSING 456 UPGRADED 456 TOT 456 XX 456 PD 455 DIMENSIONS 455 CATALOGS 454 PLUG 454 GUESS 454 STUNNING 454 BAHAMAS 454 DYNAMICS 454 COMPARATIVE 453 SPEAKER 453 DARE 453 LEASE 453 IDENTITY 453 MULTILINGUAL 453 FORAY 453 PLC 453 PENINSULA 453 WESTWOOD 452 INBOX 452 FLAT 451 CNN 451 CONTRIBUTED 450 SECTORS 450 SEARCHJAVA 449 FACTOR 449 DISC 449 ESTIMATES 449 POWERPOINT 449 PROGRAMMER LAS 449 PAYING 448 URBAN 447 PASSPORT 447 FIGHT 447 AMSTERDAM 447 DELL 446 NAVIGATE 446 DOT 445 VISUAL 445 BOOLEAN 444 SUSPENSION 444 PURE 444 TM 444 PRESSURE 444 RETAILERS 443 NODE 443 NEAT 443 TRADESHOWS 442 BUILDINGS 442 HTML 441 ROE 441 NEWER 441 NAMELY 440 REFERRED 440 ECONOMISTS 439 LEVERAGE 439 PURCHASES 439 PREFERENCE 438 INCORPORATION 438 ACADEMY 438 SAVED 438 GENESYS 438 ULTIMATELY 437 HEAT 437 ACHIEVED 437 PERIODS 437 EQUITIES 437 APARTMENTS 435 NOTEBOOK 435 RANCHO 434 PRIZE 434 EASIEST 434 INTERNIC 433 REVOLVING 433 ROCKY 433 ANNUALLY 433 DEMOGRAPHICS 432 STRICTLY 432 SHIFT 431 DEPTH 430 GENERALIZATION 430 EXCEEDED 429 CANCUN 429 VAST 428 POSTS 428 HEIGHT 427 INSTITUTIONAL 427 APPEARANCE 427 CONFIRMATION 426 PCQUOTE 426 ZACKS 426 INTRANETS 425 KNOWLEDGEABLE 425 MYTH 424 METACRAWLER 424 THRU 424 TECHNOTES 424 JAMAICA 424 ENTERTAINED 424 SUBMISSIONS 424 SUNNY 423 JUDICIARY 423 DRAM 423 ACAPULCO 423 DOME 423 ACCREDITATION 422 CALCULATORS 421 TRANSITION 421 SDK 421 SUPERPOWER 421 SUBMITTING 421 DESTINATIONS 421 COASTAL 420 DECADE 420 NETGUIDE 420 POSTURE 420 EDINBURGH 419 GENESTAR 419 ALAMEDA 418 BURLINGTON 417 REVERSE 417 MOUNTAINS 417 PRUDENTIAL 417 PERIPHERALS 416 REGIONS 416 KISS 416 DUBLIN 416 MBA 415 SPLIT 415 REVISIONS 415 IESG 414 RARE 413 FILED 413 RESTRICT 412 BARCELONA 412 SPACES 411 ARRANGEMENT 411 CAYMAN 411 NOTIFIED 411 LIENS 411 ADPT 410 PLACER 410 REALTICK 410 COMPASS 410 OFFLINE 409 OBLIGATION 409 MEDI 409 VIRUSES 409 INBOUND 408 SOLICITATION 407 INITIATED 407 AFM 406 APQ 406 ADBE 405 AEQ 404 SMOOTHLY 404 DISCUSSED 404 SFA 404 AMFM 403 USPS 403 LRCX 403 REVOLUTION 403 WEBMASTERING 403 INDICES 403 PRINTABLE 403 RECEIPT 402 MEDIMMUNE 402 NOTEBOOKS 402 ORIENTED 402 FINA 402 BOTS 401 COUPLED 401 VOICESTREAM 401 WIND 400 SELECTS 400 CME 400 LMQ 400 MEQ 399 AGREES 399 CLAIMED 399 PDG 399 TURBO 399 BLOOMBERGBLOOMBERG 399 APPROVE 399 SNAP 399 REMOTEACCESS 398 AGGRESSIVE 398 PARADISE 398 BANFF 397 CONTACTED 397 TRANSIENT 397 STOCKHOUSE 396 JOSHUA 396 DEADLINE 395 SLE 395 APPOINTMENT 394 PRICERONLINE 394 CENTER 394 YOHO 393 GIRLS 393 TRANSOCEAN 392 JAVALOBBY 392 FE 392 COMPLETION 392 PROFITABLE 392 COMMISSIONS 391 CROSSPOST 391 CLEAN 390 RETAIN 390 INTEGRAL 390 SPELL 389 ESCORT 389 APPLAUDED 389 CONTRA 388 SUNMICROSYSTEMS 388 FLOPPY 387 RES 387 ORIGIN 387 SCREENS 387 INFOSPACE 387 PRONOUNCE 386 CALCULATE 386 QUICKEST 386 LAPTOP 386 SOLELY 385 CONCRETE 385 NETWORKED 385 BUDDY 384 SYMBOLS 384 ISDEX 384 TESTIFIES 384 INDICATED 383 DIRECTX 383 INKTOMI 383 ISLE 383 CONSULTED 383 SHUTTLE 382 WARE 381 COMPUTERS 380 DIVERSE 380 HYPERTEXT 379 HONOR 379 AGENDA 379 MANHATTAN 379 STRIKE 379 NEGOTIATIONS 379 REGULATION 379 SHIPMENT 378 TI 377 REVIEWER 377 MORTGAGES 377 CAPISTRANO 377 CODING 375 RELOCATIONS 374 STAKE 374 MARINO 374 RAINIER 374 PRODUCING 374 ASSIGNMENT 373 DICTATE 373 ATTACHED 373 COURTESY 372 BACKED 372 COPENHAGEN 371 ASCII 371 REGISTRAR 371 GROUNDBREAKING 371 FUNDAMENTALS 371 ASSIGN 370 CRS 370 CAMPAIGNS 370 DEPEND 370 ACQUISITIONS 370 INSURES 369 MICROSPARC 369 ELITE 368 POPPING 368 VRML 368 IMPLEMENTATIONS 368 BUDAPEST 368 SCROLL 368 CAD 368 ORGANISE 367 PALMPILOT 367 SPECIALISTS 367 MAZE 367 CLIPBOARD 367 TIGHT 366 FLORENCE 366 DEFAULT 366 STANDARDIZED 365 GENERATOR 365 RESERVOIR 365 LOCATION 365 OBSERVE 365 PORTALS 364 HOSTNAME 364 PRICED 364 PRICE 363 WEBHOSTING 362 DBC 362 EXPLORING 362 RECIPROCAL 361 DESIRABLE 359 GATES 359 SHORTCUTS 359 UNDERGROUND 359 SUITABLE 358 ATMOSPHERE 358 GLOBE 358 FERTILE 358 TYPING 358 ENCODING 358 ROYALE 358 FRANCHISES 357 LOGONS 357 RECOMMENDATION 356 RETIRE 356 SPELLCHECKER 355 PROCESSED 355 NOTIFICATIONS 354 PASSAGES 354 ANAHEIM 354 DICTIONARIES 354 VALLARTA 354 FACILITATES 354 HANDY 352 BEIJING 352 DRUID 351 TESTIMONIALS 350 RECREATIONAL 349 DISCLAIMERS 348 CONDOMINIUMS 346 INTEGRATES 346 DIST 346 SIERRA 346 COMPETING 346 HANDLED 346 PTY 346 AIDED 346 ALTERED 346 COLD 346 EXPLORATION 345 REDWOOD 344 WARRANT 344 PATENTS 343 DRIVEWAY 342 NOISE 342 HANDLES 342 SHASTA 341 DISCOVERED 341 GX 341 ABSENCE 341 ENTITY 340 AFFLIATEPROGRAMS 340 SCANNING 340 SCREENSAVERS 339 NU 339 CONVERTED 339 TAHOE 338 AFFILIATEPROGRAMS 337 ENCLOSURE 337 LINKSHARE 337 UTILES 336 VODKAS 336 SHOPPERS 336 DANCE 335 PROOF 335 BOOST 335 REPUBLISHED 335 IMPERATIVE 334 FORTUNATELY 334 LAM 333 MNEMONICS 333 QUANTUM 333 VISIBLE 333 METAL 332 ESTIMATE 331 CENSUS 331 RECRUITER 331 LIMO 331 TELECOMMUNICATION 330 STRUCTURES 329 PROJECTED 329 PROMINENT 329 BVSN 329 IMPLICITLY 329 TÉLÉCHARGEMENTBOÎTES 329 ACCENT 328 CONTEXTS 328 INTERMEDIATE 328 BULLETINS 327 NEWPORT 327 SPAN 327 GRAMMAR 326 BANKER 326 REFUND 326 INTERVAL 326 EMPHASIS 325 DIALED 325 OFC 325 EXPRESSIONS 324 ATTEMPTING 324 BATTERIES 323 FREQUENT 322 ALLIANCES 321 EXPLAINED 321 DEADLINES 321 ENCYCLOPEDIA 321 GNP 321 LUXURY 320 GOTO 320 DOC 319 LOCATOR 319 TECHNOLOGICAL 319 CONVERSANT 318 DIFFICULTY 317 BOYS 317 KR 316 SUMMATION 315 STRATEGISTINFORMATIVE 315 WEBOBJECTS 314 REMAX 314 COMPILER 314 GATED 314 MOUNTING 314 MARKETCNN 314 SKYSCRAPERS 313 TOOLBAR 313 PERTAINING 312 RETREAT 312 COOPERATIVE 311 BANKRUPTCY 311 COLUMNISTS 311 EXPIRATIONS 310 PENDING 310 ACCELERATING 309 GUIDEBOOKS 309 OFFENDER 309 QVB 309 REVEAL 309 STRUCTURED 309 EASDAQ 308 HARDWORKING 308 SALARIED 308 RENEWED 307 EURO 307 DISPLAYING 307 FITS 306 SHANGHAI 306 TENS 306 HONORED 306 EXPLAINING 305 DETERMINING 305 MATHEMATICAL 305 USABLE 304 WITHDRAWALS 304 PROTECTING 304 WEBCRAWLER 304 COMPLEXES 304 SPA 304 PROFESSIONALISM 303 MULTIPROCESSING 303 EXTRACTOR 303 CITYLIFE 303 REGISTRANT 303 HOUSEHUNT 302 FAULT 302 FILERS 302 JOURNALISTS 301 FUNNY 301 SPLS 300 KNOWINGLY 300 CUSTOMS 300 AVERAGES 300 ECONOMIST 299 CPM 299 GUIDING 299 JAZZ 299 PADS 299 GUARDED 299 COUNSELING 298 BANKS 298 KMB 298 COLDWELL 298 PRINTS 297 INTENTION 297 KROGER 297 HIGHLIGHTED 297 PRICINGS 297 FUNK 297 PRIVATELY 296 SCREW 296 OKAY 296 FLUID 296 SNOW 295 GENERIC 295 EXPONENTIAL 295 PLQ 295 STOCKPOINT 294 QUICKEN 294 DOTS 293 ALPHABETICAL 293 INVOLVE 292 PHARMACEUTICALS 292 SUBSEQUENT 291 MONICA 291 DISTINCTIVE 291 THREADING 291 XEON 291 ACKNOWLEDGE 291 COPIED 290 PROFOUNDLY 290 INS 290 TOWNHOMES 290 THESTREET 289 REPLACING 289 EVALUATING 289 LEGENDARY 289 PARSED 289 MOTIVATED 288 ISPCON 288 CYBERHOMES 288 QUALITIES 288 BOF 288 ASSOCIATEPROGRAMS 288 INSPIRE 287 JPEG 287 REPRESENTATIONS 287 BROADEST 287 INTERNALLY 287 SURPRISED 286 GUITAR 286 FLEX 285 LASALLE 285 ADAPT 285 PRESIDENTIAL 285 FENCED 284 ASSISTED 284 ISOC 284 GROWS 283 TLD 283 SX 282 GIGABYTE 282 INTERACTIONS 282 BAYS 281 ROUNDING 281 BANGKOK 281 CONCERT 280 INTERNALS 280 EDGES 279 INTELLISEEK 279 INTERNETNEWS 279 FAME 278 SWIMMING 278 BRAINSTORMING 277 SCORES 277 FUSION 277 WELCOMED 276 HONESTY 275 INCORPORATE 275 STANDARDIZED 275 FREEPHONE 275 VODAFONE 274 APPROXIMATE 274 CLARIFICATIONS 273 PARADYNE 273 ARRANGING 272 EMPOWERED 271 DERIVATIVES 271 HILTON 271 CBOE 270 BULL 270 GRID 270 PMQ 270 WGS 270 GRAVITY 269 CATERING 269 DEFERRED 269 DAYTIME 268 REASONING 268 TOWNHOUSES 268 AIRWAYS 267 TERMINOLOGY 266 REPRINT 266 SIFT 265 ATTACHMENT 265 SP 265 CTI 265 WEBOPEDIA 265 FERNANDO 264 SMALLBUSINESS 264 SPONSORS 263 HOMES 263 WEBTRENDS 263 ADDICTION 263 ROTATING 262 COLLECTIVE 262 MARKETWATCHTHE 262 CDR 261 ENDURING 261 REFLECTS 261 APARTMENT 260 CITIZENSHIP 259 GRANADA 259 SRS 258 TRANSFORM 258 SOCKETED 258 ACCREDITED 258 ZURICH 257 BROKERAGES 257 HIDE 257 SAO 257 VENUE 257 RETIRING 256 SLOPE 256 REMARKS 256 FOOT 256 REGISTRANTS 256 DAILYGRAPHS 255 ROCKIES 255 GE 255 NSI 254 KYOTO 253 DEPENDENCIES 253 DWELLING 252 CHOOSES 252 HIDING 252 CLUES 250 SDRAM 250 AWT 250 PROPANE 249 PRICER 249 INTER 249 MATRIXVB 249 ACKNOWLEDGED 249 USD 249 SEARCHED 249 ACKNOWLEDGMENT 248 BLUES 248 RETENTION 248 DYNAMICALLY 248 WANG 248 NEWSCNNFN 248 CONFIDENT 247 SUMMARIES 247 FILTERCORP 247 FEND 247 SPECULATION 247 RESIDE 246 UCL 246 STRINGS 246 EXPEDITE 246 BALI 246 HONESTY 246 SKATEAGENCY 245 MEDITATION 245 NETFIND 245 REPEAT 245 ANTICIPATED 245 DELUXE 245 LOOKUPS 245 GPM 245 SANTIAGO 245 OCLI 245 ARTISTIC 244 LIBRARIE 244 INDEPENDENTLY 243 MERC 243 HTML 243 LOOKSMART 242 AOL 241 NOW 241 DELETED 241 CLEARINGHOUSE 241 AA 241 COMPRENANT 240 PRIVILEGE 240 TEXT 240 INTERPRÉTATEUR 239 DESKJET 239 INTRADAY 239 TAOS 239 ACRE 238 DETECTING 238 GLACIER 238 FORECLOSURE 238 MENUS 237 ROLLOVER 237 ADVISED 236 PREPAY 236 MAILINGS 236 SERIALIZE 236 USV 236 HOTTEST 236 PRODUCTIVE 235 SCROLLING 235 SCHOLAR 234 MARKETERS 234 DEJA 234 RUSSELL 233 SUNSET 233 WHITEWATER 233 CONSTRUCT 233 NIC 233 OUTLINE 232 COMMENTARIES 232 ONLINEFREE 231 CDROM 231 CALIFORNIANS 231 NEUTRAL 230 DISPUTES 230 NASDAQDAIL 230 TECHNICALLY 230 CONTINUALLY 229 FEELING 229 QUOTATION 229 VSIMM 228 JURISDICTION 228 MARKETWAVE 227 APPEALS 227 CLICKABLE 227 BRIEFS 227 OUTBOUND 226 SAVVY 226 CONSIDERABLE 226 JANEIRO 226 RARELY 225 ORIENTATION 225 DLL 225 BOOKMAN 225 FREDDIE 224 WEBOPAEDIA 224 MATRICES 222 HUNTINGTON 222 DATEK 222 STOCKMASTERINTRADAY 221 POWER 221 EXPRESSION 221 REFRESH 221 PAOLO 221 FUTURESFROM 221 POOLS 220 NETCENTER 220 TETON 220 OPTIONSFROM 220 HONEST 220 JOSÉ 220 PASADENA 220 MYTRACKTHIS 219 WAREHOUSING 218 PMTC 218 INITIATE 217 LAPTOPS 217 SELECTIVE 217 SEARCH SEARCH 217 LATES 217 DEFER 217 COMPOSITION 217 LEAPS 216 PEDIATRIX 216 CAPITALIZATION 216 HIERARCHY 216 CONTRACTOR 216 DETECT 214 SUPERSPARC 214 AVERAGESGIVES 214 HOLLYWOOD 214 EDITS 214 CONTINENTAL 213 COUNTRYWIDE 213 SARA 213 ESSENCE 212 YARD 211 QUALIFICATION 211 PREVENTED 211 LUMINARIES 210 FORTÉ 210 VERIFIED 210 ACCOUNTANTS 210 NEWSWEEK 209 FRE 209 FONCTIONS 209 FREEACCESS 209 AMERICAS 209 CEASE 208 AIRPORTS 208 CONTRIBUTOR 208 FN 208 SUPERCACHES 208 CELEBRATE 207 PROTOTYPE 206 MICROPORTAL 206 DIMENSION 206 MALIBU 206 REALVIDEO 206 LOGISTICS 206 DDK 206 PROBATE 206 ENERGETIC 206 SPX 205 DEVOTES 205 POSTMASTER 204 GABLE 204 RENEWAL 203 COMSAT 203 NEWSREADERS 203 REALESTATE 203 RELEVANCE 203 ACRONYMS 203 REBOL 202 OEX 202 CORDIAL 202 STOCKTRIGGERRECEIVE 202 PATHS 201 AC 201 ONSALE 201 IPOS 201 AVID 201 INDEMNIFY 201 REALNAMES 200 BUSES 200 APLINVESTMENT 200 MATHÉMATIQUES 199 SONICNET 199 TRADINGCNN 199 JAM 198 CONSTRUED 198 QUOTED 197 IMPORTED 197 VARIATIONS 197 REDONDO 196 OBLIGE 196 ANALOGUE 196 UNINSTALL 196 MENUWELCOME 196 EQUALLY 195 NORTHERNLIGHT 195 OLYMPUS 195 BR 195 ABCS 195 PERPETUAL 194 GIFTED 194 TSC 194 GOVERNED 194 FREEWAY 193 LOCALIZED 192 GEOMETRIC 192 TOOLBOX 192 CQ 192 HEDGE 191 THREADS 191 SEQUENCES 191 CYBERATLAS 191 AMENDED 190 GILEAD 190 WINTUNE 189 ACCUMULATION 189 IMAC 188 MOTELS 188 LIKEWISE 188 RIG 188 BRENTWOOD 186 TECHMARK 185 DJX 185 RAP 185 UTILIZES 185 SLEEP 185 UNCHANGED 185 EMPLOYS 185 CNBCTHE 184 CLX 184 GILD 184 REFINANCING 184 STRIP 184 SUPERSEDES 183 TOWNS 183 GDQ 183 COOPERATE 182 IDEC 181 VENUES 181 GLX 181 HLT 181 IDPH 180 PALISADES 179 IDQ 179 EXTENSIVELY 179 CWSAPPS 178 ICIX 178 IMMUNEX 178 COMPETITOR 178 ONLINEFEATURES 178 MASSE 178 FOLK 178 SECURELY 177 ROBOTS 177 HERMOSA 177 LIBRARYFINANCE 177 AUTHORITATIVE 177 VOLATILITY 177 PROS 177 SEARCH 176 BERNARDINO 176 QIX 176 INTUIT 176 LISTENING 175 DEBUGGED 175 SIMMS 174 PMCS 174 PDX 174 QLGC 174 BIGCHARTS 173 HARDDRIVE 173 SPECULATIVE 173 TECHNOLOGICALLY 173 QLC 173 QLOGIC 173 TASKED 173 MONOCHROME 172 BURBANK 172 NETHELP 172 LUCKILY 172 CENTERPOINT 171 UNOCAL 171 DIESEL 171 EARTHLINK 170 REEBOK 170 PRIVATEPROFESSIONAL 168 XA 168 PROFILER 168 SPAS 167 SYNDICATION 166 THRILLER 166 SPINNER 166 DISCONTINUE 166 NORCOM 165 BROWSERWATCH 165 REGISTRATIONS 165 RAMBUS 165 XOR 164 BITWISE 164 TOC 164 CITED 164 IMNX 163 IUQ 162 TESTIFY 162 HUMANITIES 162 ADIDAS 162 BIND 162 SANDIEGO 161 PROMPTS 161 CALABASAS 160 FUNCTIONING 160 ECL 159 TODAYDAILY 159 MSFT 159 DESIGNATION 159 MOVIEFONE 158 FSBO 158 MATLAB 158 OPTIMIZING 157 PROTECTIVE 157 ORG 157 HEXADECIMAL 157 MADRID 156 EZINES 156 PLAYA 156 EC 156 MARATHON 155 EXCEPTIONS 154 SOCAL 153 DREAMS 153 RESEARCHING 153 OZWEEGOS 152 PEERS 152 EXPIRE 152 INDIVIDUALISM 151 TIMELINE 151 BOARDWATCH 151 EQT 151 BEVERLYWOOD 150 ROOSTS 149 REWRITES 149 ONLINEPROVIDE 148 TRANSLATES 147 BINARIES 147 FORTE 147 LIABILITIES 147 PROMISING 146 SERIALIZED 146 SIGNIFICANCE 146 UNCOMMON 145 DECIDING 145 INFLUENTIAL 144 EXPANSE 142 OVERSEE 142 UPCLOSE 141 VENDO 141 ERNST 140 MATHEMATICIAN 140 SERVERWATCH 140 INTERWEST 140 NOTATION 139 PICKING 139 ADANTE 138 JOURNALSTOCKHOUSE 138 VERIFYING 136 WORLDNET 136 INNOVATOR 136 UNICODE 136 WINNT 135 IDENTIFIER 132 WATERMARK 132 MOSCOW 131 CODER 131 GADGET 131 JONESSEARCH 131 PROGRAMMES 130 PROLIANT 130 TECHNO 130 UNDERSTANDINGS 130 IMMENSE 130 INCENTIVE 129 JOBOPTIONS 129 CPI 129 CORONA 128 POSTPONEMENTS 128 COPERNIC 128 VIEWPOINTS 128 ZIPPED 128 PORTABLES 127 ICANN 127 INTERNET 126 SCRIPTSEARCH 126 RENAME 126 PLATE 126 BYLINES 125 IFS 125 WIDER 124 ZEROES 124 HONDA 124 LITERALS 124 GOOGOL 124 ACKNOWLEDGING 124 RADAR 123 ARCHIVAL 123 COMMITTING 123 HTM 122 RESPONDS 122 MANUSCRIPTS 121 WINDOWSNT 120 ALGEBRAIC 120 INCOMPLETE 119 JARGON 119 NETFINITY 119 WARRANTS 119 HOMESCOUT 118 LATITUDE 118 PRECEDING 117 PLEAS 117 BACKLINKS 117 FOREGOING 117 INSPIRATION 117 ALLOCATING 116 OPS 116 PROGRESSION 115 INFRASTRUCTURES 114 WAIVED 114 BOOKMARKLET 114 DISCO 113 TALENTS 112 DIMMS 111 REGGAE 111 CHANNELLING 111 THEMATICALLY 111 STREAMLAND 111 PERKS 110 ALLNETRESEARCH 109 JAMMING 108 MEADOW 108 REGISTRARS 107 ADVERTISES 106 ATARI 106 STRIKES 106 FREAKS 106 RENEWALS 106 VAULT 106 TOGGLE 105 BOTSPOT 105 PIONEERED 105 OTSBH 104 AMBIENT 104 WEBSITESTRANSPORTATION 102 CHATROOM 102 SITELAB 102 RAMIFICATIONS 101 DIAMONDS 101 GROUPED 100 EMERGED 100 UNIDEN 100 PREVAILING 99 MARINA 98 AFICIONADOS 98 GTLDS 95 NEWSRC 95 COMPLIMENT 95 VARIES 94 INF 94 PAXSON 92 LAWSUITS 89 PROTEGE 89 WEBDEVELOPER 89 IDENTITIES 89 FREELANCERS 88 ORBIT 88 TRIPLEXES 86 WINPLANET 86 SWAPPING 85 FOOTNOTE 85 PROFILE 85 EXPLODING 85 AFFILIATE PROGRAM 85 EXE 85 RECRUITED 85 EDUCATOR 84 GCTI 84 SAIL 83 LINUXPLANET 81 TSV 81 PARTNERS 81 PORTEGE 79 WET 79 WEBREFERENCE 76 MILAN 76 MINIDISC 75 HUNTERS 75 PROOFREAD 75 NDX 75 REFOCUSED 75 DENOTES 74 PROLINEA 74 ZSHOPS 74 WEB 74 SKA 74 INTERNETSTOCKS 74 EQUIVALENTS 73 AGENDAS 73 CHRONOLOGICAL 73 TERMS OF SERVICE 72 TESTBED 72 SPELLCHECK 72 ZOOMING 72 PRIVACY STATEMENT 72 EDU 71 TESTBED 71 MIDEVA 70 PHASE 70 BIWEEKLY 69 COSMOPOLITAN 69 POWERTRADERPROVIDE 68 HARDCORE 68 ACD 67 ROME 67 MSDN 67 TRANCE 66 REC 66 FILEFARM 66 SELLER 65 VIRTUALDR 65 DWELLINGS 65 BANK 65 SUBMITTAL 64 ATTRACTS 64 FIREPLACE 64 WORKAROUNDS 64 HARDWARECENTRAL 63 NEOPLANET 63 IMPRESS 62 GLITTERING 62 SEARCHENGINEWATCH 60 RTG 59 LEXUS 59 REGISTRIES 59 PREPAYMENT 59 INTERNETDAY 58 LOGICIEL 58 DETECTORS 57 MFILE 57 NEGOTIATES 56 CRAWLER 55 INTERNETSHOPPER 55 TIRELESSLY 55 WEBREF 55 OUTILS 54 CLOAKING 53 NEWSONLINE 53 EYEBALLS 53 COUNSELORS 53 JAVABOUTIQUE 53 RESIDUALS 52 TRADEMARKED 51 MATCOM 51 DOWNLOADS 50 CNNFN 50 ALPHABETICALLY 50 SANDS 47 ADVERTISING 47 BOOKMARKLETS 47 PLAY 46 VERS 46 MATHTOOLS 46 INTERNATIONAL 45 VENICE 44 CALCULATORMORTGAGE 44 CYBERCASTS 44 OUTIL 43 ADRESOURCES 42 SUBMIT 42 ALLNETDEVICES 42 INTERNETWORLD 41 GRATUIT 41 UNBELIEVABLE 41 ADJUDICATES 41 INTERNETPRODUCTWATCH 41 PARTICULARS 40 WFM 40 LLPAUTHOR 39 IDM 39 SOFTWARE 38 DONE 38 QUICK 38 VIX 38 SUFFIXES 37 STREAMINGMEDIAWORLD 37 EXPERT 37 REGISTER 37 INODE 36 WEBSERVERCOMPARE 36 WBMP 35 HYPHEN 35 FORTÉS 35 INTERNET TECHNOLOGY 35 ASTERISKS 34 EXCLAMATION 34 VENTURE 33 INTERNETCASINOLIST 33 COMPUTER 32 INTERNETRADIOLIST 32 SLOPES 32 TECH 31 BUILD 31 REQUEST 30 RELIEVED 30 CORPORATE 30 POWERSEARCH 30 ISP 29 VANITY 29 PRESS 29 ENCINO 28 MODIFIES 28 REPORT 28 CRAWLS 28 HACIENDA 26 CONTENT 24 SCIENTIFIQUE 22 UTILISER 22 TARZANA 21 INTERNET MARKETING 20 MAP 20 RAPIDES 19 WEBMSTR 19 CCTLD 19 INODES 18 INTERNET RESOURCES 18 PROGRAMMATIONS 17 SELL 17 LINÉAIRE 16 QUADRATIQUE 16 DEBOGEUR 16 COMPILATEUR 16 BANKING 15 EDITEUR 15 MATHÉMATIQUE 14 OPTIMISEUR 14 BOÎTES 13 DÉVELOPMENT 12 VSPACE 12 HSPACE 12 COREBUILDER 12 CONVERTIR 11 ENGLISH 10 MULTILAYER 9 JAPANESE 9 WUUG 9 POLICY TERMS 8 MARGINWIDTH 8 CONDITIONS 8 FRAMEBORDER 7 CALREALTOR 7 MARGINHEIGHT 6 UNREVISED 3 MEMBER ID 3 TRANSFEREES 2 NET 1 SITEPLAN 1 HOLLISTERPROPERTIES 1 QUALIFICATIONPROGRAMS WIRELESSDATA WELLSFARGO 401K PRICEDECLINE 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Search Results for: Ders
HydroDynamics Clonex Gel Packets 15 ml (18 each) (726004)
Clonex® Rooting Gel Packets
Clonex® is a high performance, water-based, rooting compound. It is a tenacious gel which will remain in contact around the stem, sealing the cut tissue and supplying the hormones needed to promote root cell development and vitamins to protect the delicate new root tissue. Clonex® has a full spectrum of mineral nutrients and trace elements to nourish the young roots during their important formative stages. Our scientific breakthrough puts Clonex® Rooting Gel years ahead of manufacturers of old fashioned hormones and powders.
Shipping & Returns
Note
Your use of this site constitutes your acceptance of these Shipping & Returns policies as well as Terms & Conditions.
Order pick up (will call) not possible. All orders must be shipped.
Orders generally leave the warehouses in 1 to 5 business days upon receipt of payment. Certain items may take longer. You can expect to receive your order within 7 business days unless there is a back order in which case you will be notified. Delivery times are not guaranteed.
Some orders or a part of your order may come directly from the manufacturer/vendor.
International orders: We can ship to a US based mail/freight forwarder of your choice.
We now offer Route package protection to help cover the cost of lost, damaged, or stolen packages and remove the carbon generated during the shipping process from the atmosphere!
All international sales, subscriptions, sales of items on special, and special orders are final/nonrefundable (including live items and seeds).
Some items and large orders may require shipment via Freight/LTL on pallet(s) via semi truck requiring accessibility to the shipping address.
Dimensions listed on product pages are for calculating shipping and my not necessary by the actual item measurements.
Items may not match the picture on the site exactly due to model year updates to color or shape, i.e. the photo may be older than the item shipped.
All fees (shipping, shipping protection, payment processing fees, etc.) are always displayed prior to finishing checkout.
Shipment Packaging
You may request discreet packaging in the Comments area while checking out. Generally shipments go in plain brown boxes or USPS/UPS boxes/envelopes. Unless otherwise specified large items may ship in manufacturer’s packaging w/ shipping label applied. Pallets are usually wrapped.
Shipping confirmation
Upon confirming your order and landing on the checkout success thank you page you may receive a confirmation email w/ your order invoice. A valid email address is required or you will not get any email status updates. When we receive payment or get an update from shipping we will update order status and email. We will update order status and email when the order is being processed for shipment. Orders usually ship within 1-3 business days of your payment clearing. Depending on the shipper selected, you may receive an email including a tracking number and a link to the website which you can use to track your shipment.
Tracking
In addition to the tracking we email, you can check your order status anytime by logging into your account or check the Track Your Order page. We’ve partnered with Route allowing you to visually track all your orders for FREE! Download Route’s mobile app for iOS or Android to visually track your package and receive real-time notifications on its estimated delivery.
Shipping
We offer Green Package Protection at checkout to protect your order from loss, damage, theft and offset carbon emissions.
We only ship to the address on the payment.
All freight and orders over $500 ship with Signature Required to provide proof of delivery.
Product weight is used to estimate shipping costs and is not necessarily accurate.
Oversized packages are charged as if they were heavier by all shippers. Extra shipping charges for large/heavy items may be charged to your card or a PayPal payment request may be sent.
Certain items cannot be shipped to all areas. Please see item description for details.
The best possible shipper/shipping method (as we deem fit) will be used per order.
Certain fragile items may ship via an equivalent USPS service so the shipment can be insured.
Your order will ship within 30 days from us receiving the order or you will be contacted about the back order.
We are not responsible for carrier lost/misdirected or carrier damaged shipments. All carrier lost/damaged claims must be handled directly with the freight carrier.
Shipment address corrections and changes will incur a $35 fee plus any reconsignment fees which the customer is liable for. If the fee isn’t paid in a timely manner the shipment will be restocked before storage fees accrue which the customer is a liable for.
Freight Shipments
Someone at the shipping address will have to receive & sign for the shipment. The Freight/ LTL carrier’s truck driver will need to contact you by phone or you may contact the shipper directly to schedule a time to deliver your order. Freight/LTL shipments are on pallet(s) which come on a semi truck which must have access to your location.
Post Office Boxes / PO Boxes
Only USPS can deliver to a PO Box. UPS, FedEx, LTL carriers, CalOver and all other carriers besides USPS cannot deliver to a PO Box.
Special Order Items
Special Order (SPO) items may be made to order by the manufacturer, can take 2-6 weeks (or more depending on quantity) to ship, and cannot be canceled, returned or exchanged once ordered (i.e. are nonrefundable). Built to order items, Leader pumps, KwiKool, Current Culture CCH2O, Grow Media, Pots, Probes, Bluelab, Seeds, Live items, International orders, Carbon filters, Power/extension cords, Netafim, Dosatron, Hydro-Logic, PPE (e.g. Gloves & Masks), Apparel & Mugs, Cords, Trimmers & Centurion, Pre-Rollers & King Kone, Robomist, True Liberty liners, Closeout and Discontinued items, Lenses, Brackets and Line sets, Vendors HGC & BFG items, printed on demand items, Horticulture Source branded merchandise, Drop shipped and items on Special are all Special Order items.
Order Additions
We do not store any credit card numbers. If you want to add something to an order please place another order and we will do our best to combine shipments and will refund for any difference in shipping.
Shipping Costs
Shipping prices and options are listed in the cart after providing a state and zip code as well as on the order confirmation page by providing a shipping address. If you circumvent the cart or checkout page via Apple/Google Pay or PayPal, shipping will still be added for the provided shipping address prior to finalizing the order.
Freight charges are calculated by shippers using weight, dimensions and distance.
The manufacturers packaging is placed into shipment boxes with packing products to protect your purchased items. This adds additional weight called tare weight. Our cost for this handling is $5 per package.
Orders weighing over 50 lbs and large items may be split into multiple boxes.
If we are shipping a large or heavy item, some services might not be available to you. These services may not appear on the shipping options list for your order. Freight/LTL shipping may be required for some items.
Undercharged or underestimated shipping costs may be charged to your card or a PayPal payment request may be sent. You will receive a notice via email if this is an issue.
International
We can ship to your US based freight forwarder. Customs and export is the responsibility of the buyer. Should customs return your shipment, you will be refunded product cost only (less restocking). As we have no way to collect international taxes, duties, VAT, etc. they are the responsibility of the buyer.
Warranty
All products come with a manufacturer’s standard warranty. Please consult the manufacturer’s literature for specifics.
Quantities
Particular items are available in only case/pack/bag quantities only. Please see item description for details. While items are sold individually case and/or palette sizes may be listed for customer convenience.
Green Package Protection
Horticulture Source is proud to partner with Route, the leader in package protection and tracking solutions. By selecting Route Protect at checkout, your order will be protected from loss, damage, or theft. In addition the carbon generated during the shipping process will be removed from the atmosphere! In the unfortunate case that your order never arrives or is broken upon arrival, you can easily file a shipping issue with Route and receive a replacement or be reimbursed. We are excited to offer this service to you and we highly recommend you use Route package protection at checkout.
Shipping issues for packages marked “delivered” yet not received and where there is no evidence of “porch piracy” can be approved no earlier than 5 days after “delivery date” and no later than 15 days to ensure it was not misdelivered or easily found around the premises.
Photos required for damaged shipping issues
Shipping issues for packages presumed to be lost (where the status is not “delivered”) can be after 7 days (20 days for international) and within 30 days from the last checkpoint.
Here is a brief summary of Route Shipping Protection coverage, but you can review the full policies here.
Lost – stuck in transit
Domestic: The issue must be filed between 7 and 30 days from the last shipping update.
International: The issue must be filed between 20 and 30 days from the last shipping update.
Stolen – marked as delivered
The issue must be filed between 5 and 15 days from when the order was marked delivered.
Stolen orders over $100 USD require a police report.
Damaged
The issue must be filed with photos of damaged package and item, no later than 15 days from when order was marked delivered.
Not only can you report an issue with Route by going to claims.route.com, but you can also check the status of your issue there.
Route package protection is not refundable on a shipped, partially shipped order or order which are being prepared for shipment.
Freight Damage and Shortages
UPS/FedEx/OnTrac
If the box is delivered open or torn, with the contents disturbed and obviously damaged, or if when lifting or lightly shaking an intact box, you can hear broken glass inside, refuse the delivery “due to damage.” UPS/FedEx will need to document a “refused due to damage” exception. This will email our warehouse that the package is returning, so they may ship a replacement order without needing to issue an RMA.
Freight/LTL
All claims must be made with the carrier. At the time of delivery, make sure there is no damage or any shortages. If there are, it must be noted in the Bill of Lading at the time of delivery. If the Bill of Lading is signed as complete / undamaged and at a later point damage or shortages are found, you will be unable to receive compensation.
IF THE ORDER ARRIVES AND IS NOT INTACT OR DAMAGED, PLEASE FOLLOW THE BELOW STEPS:Take a photo of the pallets for documentation as well as claim supporting documentation. Without photos, a carrier claim will not be honored. While the driver is still present do not sign the shipping BOL until you have thoroughly inspected the contents of the pallet for missing or damaged items. Any damage or missing items MUST BE NOTED on the Shipping BOL or delivery receipt. Without this documentation, a claim will not be approved. In addition to signing the shipping BOL, please also PRINT LEGIBLY the last name of the person receiving the order.ALSO NOTE – carriers will not approve claims that have the following verbiage “subject to inspection” or similar.
USPS
Should your shipment be lost or items were damaged in shipment and the shipment was sent insured, in order to file an insurance claim a signed and dated letter is required stating the following:
Date the package was mailed.
Invoice or order number.
Description of product.
If loss (after 21 days domestic or 45 days international or 60 days to Italy), state parcel never received; if damage, state description of damage and if repairable (most likely not).
Signature and date.
Missing/Wrong Items
We require notice about any missing/wrong item(s) within 24 hours after a package has been received.
Product Availability / Back Orders
All non-special order items are assumed to be in stock unless otherwise indicated.
Sometimes an order comes in before another, which wipes out the remaining inventory. So while an item may be in stock when you place your order, by the time shipping gets to filling your order the warehouse may run out.
Should an ordered item become unavailable you will be notified and it will be back ordered to ship upon arrival or you may be refunded or get an in store credit for orders order than 30 days.
As soon as we become aware of the unavailability of an item we will update the item/customer.
Order shipment will not be delayed due to a back order or discontinued item. All items in stock will ship and the customer will be notified about any back ordered or discontinued item(s). We will not delay/hold shipment of an order due to a back order or discontinued item. We usually will not know of a back order until the rest of the order ships.
Returns
Shipping errors/damage will be replaced free of charge if we are contacted within 24 hours of shipment receipt.
Returnable item returns accepted within 30 days from the date of receipt.
All returns to stock must be received in new, unopened, saleable condition.
Shipping paid on orders that shipped is not refundable under any circumstance.
There is a 20% manufacturer imposed restock charge for returnable items.
You will be credited on receipt, inspection and acceptance of the return.
Special order items, items on special, international orders, used trimmers/tumblers, live items, seeds and discontinued items are not returnable/refundable.
Please email us at store (at) horticulturesource (dot) com for a Returned Merchandise Authorization (RMA) number and the return address. We handle all returns via email to document it fully. Please write the return authorization number on the return label and include our order number inside.
Restocking
There is a manufacturer imposed 20% restocking fee for all non warranty related returns. Such as if the item ordered is undamaged and the customer returns for refund. This includes products returned for credit, returned refused or unclaimed or returned due to insufficient address. Return shipping is the customers responsibility.
– Vendor HGC only considers like kind exchange returns for credit.
– Vendor HRG accepts unopened items within 7 days of purchase.
– Vendor BFG does not accept returns unless mis-shipped, damaged or defective.
Cancellations, Refused Shipments & Delivery Failures
If you cancel your in-stock or available on backorder items order BEFORE it has been shipped or order items labeled as unavailable in your area, you will be assessed a 5% cancellation fee before credit is issued. This covers non-refundable card processing fees and administrative costs.
An order may not be canceled if it is being prepared for shipment (Preparing status) or has been shipped without incurring restocking fees and/or shipping charges. Our vendors charge restocking to put pulled products back on shelves. We cannot cancel shipped orders.
Vendor HGC has a 5 business day picking time. Once an order goes to the floor for picking we cannot cancel it. Orders in Preparing status cannot be canceled.
Special Order items are not cancelable, exchangeable, refundable or returnable.
Live items and seeds are not exchangeable, refundable or returnable.
Customer will be responsible for restocking and administrative fees as well as shipping both ways on all refused shipments not marked “due to damage” by carrier and shipments which come back due to failed delivery attempts (regardless of reason including invalid address).
Returned Merchandise Authorization (RMA)
Though very seldom, sometimes an order or part of an order needs to be returned. We will complete your Returned Merchandise Authorization form for any and all defective products (except for special and international orders). Usually return shipments will be covered if the following are met:
Returns without authorization will not be refunded.
Product returned without RMA approval or not sold by us will be refused and shipping charges and administrative fees applied.
If product is returned for Warranty Repair and is out of Warranty or is in Warranty but found to be working, shipping charges will be applied. Repairs are $65 / hour labor, plus parts when not in warranty.
Product should be returned in original packaging or equivalent. Damage due to poor packaging may void the warranty and will be the customers’ responsibility.
Warranty will be void if factory serial # has been tampered with or removed.
Shipped products should never be returned without prior approval.
Return products for credit are subject to a minimum 20% restocking fee. If the item is not in like new condition the restocking fee is 40% (or may not be restockable). Restocking is manufacturer imposed.
Always write your RMA number on the Shipping call tag and retain the receipt. Do not mark directly on the box.
All warranties are void outside of the U.S.A. and Canada.
Returns may not be accepted later than 30 days from the RMA issue date.
Lamp Returns
The code from the side of the lamp will be required to prove it was the one we sent and has a valid warranty. Eye Lighting has specified that glass shards inside of Hortilux lamps are not a defect and lamps will not be considered defective. They indicate the inside glass has no effect on the function of the lamp.
Meters and Probe Returns
The probe(s) sent back with or without the meter must match what we sent and not be expired or it will be returned at the customer’s expense. We keep careful track of the date codes on all probes.
The following Manufacturers require all returns go directly through them:
HorticultureSource.com cannot process returns for the above manufacturers (unless it is a mis-shipment or new return to stock — less restocking).
Most manufacturers on this list will require the dated invoice which was emailed upon your order checkout confirmation.
We advise our customers to contact these manufacturers directly. The vendors are equipped to help troubleshoot their products. We do not take returns for products from the manufacturers listed above.
Titan Controls and Ideal-Air Support Process
End user calls support line directly:
TITAN CONTROLS: 888-808-4826, 5:00 am to 4:30 pm PST
IDEAL-AIR: 877-9-IDEAL-1 (877-943-3251), 7:00 am to 5:00 pm PST
End user receives a case number and directions from support personnel.
Only if directed to do so by support personnel, the end user will bring the case number to the store where the item was originally purchased.
RMA Process Flow Examples
When the process is followed:
The RMA is inspected by the receiving department.
The RMA authorization / pack slip is present and filled out accurately & completely.
All items shipped match the packing slip in quantity and description.
The RMA goes directly to the repair department and is in the first in / first out of queue.
This process ensures that RMAs that have been submitted correctly will be handled in the most expeditious manner. A properly prepared RMA will no longer be delayed by an RMA that has been improperly prepared.
When the process is not followed:
The RMA is inspected by the Receiving Department.
Either the RMA authorization / pack slip is missing or it does not match the items shipped, and/or is not filled out accurately or completely.
The RMA shipment is placed in the quarantine area. The discrepancies are noted on the receiving checklist and given to the Customer Service Department.
Customer Service emails the customer and resolves the discrepancy.
Either the paperwork is created, corrected or a new RMA is made.
Receiving matches the corrected paperwork to the return and forwards it to the Repair Department.
When this situation is encountered it can delay the processing of the return. This delay could be anywhere from several hours to several days, or even weeks depending on the discrepancy (e.g. could not contact the customer, or there was no identification on the package, etc.)
Return Merchandise Authorization Program Terms & Conditions
If you have a product that needs to be returned to us, contact us for an RMA# (Return Merchandise Authorization number). Every product that is returned needs an RMA# in advance of return. Shortly after you contact us you will receive a written RMA confirmation via e-mail. This confirmation is provided for your records and a copy may be used as a packing slip. Credit will not be given if a product is returned without prior RMA authorization. Each item returned needs to be included in the RMA issued to you. Please do not send back ANY items not included on your original RMA. You will need to email us for a new RMA if you have additional items that you want to send back. When contacting us for an RMA be prepared to tell us the original invoice number that a product was purchased on (except warranty defective ballasts & lamps). Additionally, please advise us the reason for the return. Please clearly write the RMA # on the shipping label, not directly on the box.
Shipments back to our vendors — We have prepaid freight labels that have the address on them. Terms of use: These labels are only to be used if you have a defective product that you purchased from us, and it is currently under warranty. In addition, it must be a product that qualifies for return to us. In all other situations, you are responsible for the freight and shipment of a product back to us. Many products that we distribute need to be sent directly back to the manufacturer. See the included list of “The following Manufacturers require all RMAs go directly through them” above.
Whenever possible ship products back to us in protective over wrap boxes. If you send something to us, please do not affix the freight sticker directly on the original product box. If an over wrap box is not available, please put a couple short strips of clear tape on the box and attach the shipping label to the tape. In this way the original product box will not be destroyed when we try to remove the shipping label. All products that are damaged in transit because of deficient packaging may not be eligible for warranty credit or repair.
If you have a product that needs repair or replacement, we will turn the product around promptly. Please test all items and verify they are still in warranty before you return them. If we receive a unit and after thorough testing it is found to be fully functional, we will have to pass on a charge to you of $65.00 to cover the inbound and outbound freight. If you return a light system that is found to be out of warranty, Sunlight Supply will gladly fix it, but we will have to charge you inbound & outbound freight, parts and labor ($65.00 per hour).
If you are returning a product for credit (i.e. miss-ordered item), you will be responsible for paying the freight back to us. In addition, we will need to pass on a 20% manufacturer imposed restocking fee. The credit will be reduced by 20%. This restocking fee will be used to cover the original outbound freight (if applicable), administrative costs, labor, replacement packing, etc. The appropriate credit will be applied to your card (if valid), PayPal account, or we will send a check and in any case you will be emailed a receipt.
We are not able to offer credits or replacements on items that are outside of the manufacturers’ warranty. If you return one of the products that we sell (non-lighting products) and it is found to be out of warranty, we will contact you for resolution. When you return distributed items that are found to be defective and under warranty we will credit you.
Please allow up to 30 days of us receiving your returned goods and refund request for any credit to be issued.
Warranty Information: Warranty on all items will be the manufacturer’s standard warranty. Please consult the manufacturer’s packaging or literature for specifics. Most manufacturers’ will require a receipt and many will also need the original packaging.
If you are having difficulties with one of our other sold products, (i.e. missing parts, defective product, etc.) you can contact the manufacturer directly or email us. If you contact us, we will work with the manufacturer on your behalf when possible to get the problem resolved. In most cases, it will not make sense to bring the product all the way back to us. We will have the manufacturer send you a missing part, replacement product, return authorization, etc.
Refunds
– When issuing a refund we will credit your original form of payment when possible. When not possible and orders older than 30 days will receive an in store credit. If you prefer a refund instead you will be refunded via PayPal less 5% for card fees and administrative costs.
– Items ordered labeled as unavailable for the shipping address will be assessed a 5% fee before credit is issued, e.g. OR only items ordered outside of OR or Western States Only items ordered to the east or vise-versa.
– In stock items or items available on backorder which are requested canceled before they ship will be assessed a 5% cancellation fee. Restocking applies to any already pulled or packaged shipments.
– Refunds which come back unclaimed or are returned will be considered void and forfeit. In store credit will be assessed inactivity fees in 12 months.
– Special orders, Shipping, Route Protection, Payment Processing Fee and Subscriptions are non-refundable.
Terms & Conditions
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Changes to the HorticultureSource.com Conditions of Use
The Conditions of Use was last updated on March 29, 2019. Please check this page periodically for changes.
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Bot Verification
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https://us.ukessays.com/guides/swot-examples/microsoft-swot-2021.php
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SWOT Analysis of Microsoft
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Over the years, Microsoft has been the leading OS and software provider, which resulted in more than 90% market share for PC OS. Most of us grew up using its easy to use OS, are familiar with
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https://us.ukessays.com/guides/swot-examples/microsoft-swot-2021.php
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Info: 1073 words (4 pages) SWOT Example
Published: 2nd Nov 2020
Reference this
Strengths
Brand loyalty - Over the years, Microsoft has been the leading OS and software provider, which resulted in more than 90% market share for PC OS. Most of us grew up using its easy to use OS, are familiar with it and will keep using it. Few other brands are capable to compete with Microsoft for this reason. Even open source OS, which are completely free and well suited to use for common user, find it hard to attract users.
Brand reputation - According to Interbrand; (Interbrand.com, 2013) , Microsoft's brand is the 5th most valuable brand in the world, valued at $ 57.8 billion. Forbes listed the corporate as the 7th most reputable business in the world. Brand reputation leads to higher sales and greater market share.
Easy to use software - Windows OS and Office software products are so popular not just because Microsoft has great monopolistic power, strong distribution channels and good brand reputation but also because its products are of great quality and really easy to use.
Strong distribution channels - The company works with all the major computer hardware producers such as Lenovo, Dell, Toshiba and Samsung and major computer retailers to make sure computers would be sold with already pre-installed Windows software. The company also invested in Dell and Nokia to tighten its relationships with these companies.
Robust financial performance - Microsoft grew its revenues by 20% from 2008 to 2012 and holds more than $63 billion of cash and cash equivalents that can be used for acquisitions and substantial investments into R&D.
Acquisition of Skype - With nearly 300 million users, Skype is a significant boost to Microsoft's online presence and have a lot of potential in generating income from online advertising.
Weaknesses
Poor acquisitions and investments - Few of Microsoft's acquisitions were successful and brought not just revenues and products but new skills and competencies to the company. Massive, LinkExchange, WebTV, Danger are just few examples of multimillion dollar acquisitions made by Microsoft but soon shut down or divested.
Dependence on hardware manufacturers - Microsoft is a giant software corporation but it does not produce its own hardware and depends on computer hardware manufacturers to develop products that run Windows OS. If cheap and popular alternative OS would appear, hardware manufacturers may simple choose the alternative and Microsoft could do little to change the situation.
Criticism over security flaws - Windows Operating System ,which is the main Microsoft product has been heavily criticized for being so weak against various viruses' attacks. Compared to other OS, Windows is the least protected against such attacks.
Mature PC markets - Only recently has Microsoft entered the mobile technology sector and still heavily depends on its OS and software sales for standalone and laptop computers. The market for these products has matured and Microsoft will find it harder to grow revenues in these sectors.
Slow to innovate - Microsoft has huge R&D resources and great position to enter new markets with innovative products but constantly failed to do so , unknown why ?. It had an opportunity to be the first player in online advertising but missed the opportunity. It's entrance to mobile OS was also too late, while Google and Apple captured the market share.
Opportunities
Cloud based services - Microsoft could expand its range of cloud services and software as the demand for cloud-based services is expanding.
Mobile advertising - Mobile advertising markets are expected to grow in double digits over the next few years and Microsoft has a great opportunity to tap into these markets with its mobile OS.
Mobile device industry - Smartphones and tablets markets will grow steadily over the next few years and Microsoft could exploit this opportunity by introducing more of its own tablets and a new company phone. Which ultimately lead to their acquisition of Nokia. (BBC News, 2013)
Growth through acquisitions - With a huge reserve of cash Microsoft could start acquiring new startups that would bring new technology, skills and competences to the business.
Threats
Intense competition in software products - Microsoft is more than ever on the pressure to introduce successful OS both in PC and mobile markets as such competitors like Google and Apple have already established positions.
Changing consumer needs and habits - Customers shift from buying laptops and standalone PCs to buying smartphones and tablets, the markets, where Microsoft has only a modest market share and may never establish itself.
Open source projects - Many new open source projects are coming to the market and some of them became quite successful, such as new Linux Operating System and Open Source Office. Open source projects are free and so they can become an alternative to expensive Microsoft's products.
Potential lawsuits - Microsoft has already been sued for many times and lost quite a few large scale lawsuits. Lawsuits are expensive as they require time and money. And as Microsoft continues to operate more or less the same way, there is high probability for more expensive lawsuits to come.
SWOT Analysis Resources
BusinessTeacher.org provide free business resources and online learning tools, perfect for helping students and professionals to develop their knowledge and gain a better understanding of different aspects of business. If you are looking for additional support and resources related to SWOT Analysis, please find more SWOT Analysis resources below:
SWOT Analysis Examples
SWOT Analysis Guide
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https://www.horticulturesource.com/fresh/search/Ders/page/409/
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Search Results for: Ders
HydroDynamics Clonex Gel Packets 15 ml (18 each) (726004)
Clonex® Rooting Gel Packets
Clonex® is a high performance, water-based, rooting compound. It is a tenacious gel which will remain in contact around the stem, sealing the cut tissue and supplying the hormones needed to promote root cell development and vitamins to protect the delicate new root tissue. Clonex® has a full spectrum of mineral nutrients and trace elements to nourish the young roots during their important formative stages. Our scientific breakthrough puts Clonex® Rooting Gel years ahead of manufacturers of old fashioned hormones and powders.
Shipping & Returns
Note
Your use of this site constitutes your acceptance of these Shipping & Returns policies as well as Terms & Conditions.
Order pick up (will call) not possible. All orders must be shipped.
Orders generally leave the warehouses in 1 to 5 business days upon receipt of payment. Certain items may take longer. You can expect to receive your order within 7 business days unless there is a back order in which case you will be notified. Delivery times are not guaranteed.
Some orders or a part of your order may come directly from the manufacturer/vendor.
International orders: We can ship to a US based mail/freight forwarder of your choice.
We now offer Route package protection to help cover the cost of lost, damaged, or stolen packages and remove the carbon generated during the shipping process from the atmosphere!
All international sales, subscriptions, sales of items on special, and special orders are final/nonrefundable (including live items and seeds).
Some items and large orders may require shipment via Freight/LTL on pallet(s) via semi truck requiring accessibility to the shipping address.
Dimensions listed on product pages are for calculating shipping and my not necessary by the actual item measurements.
Items may not match the picture on the site exactly due to model year updates to color or shape, i.e. the photo may be older than the item shipped.
All fees (shipping, shipping protection, payment processing fees, etc.) are always displayed prior to finishing checkout.
Shipment Packaging
You may request discreet packaging in the Comments area while checking out. Generally shipments go in plain brown boxes or USPS/UPS boxes/envelopes. Unless otherwise specified large items may ship in manufacturer’s packaging w/ shipping label applied. Pallets are usually wrapped.
Shipping confirmation
Upon confirming your order and landing on the checkout success thank you page you may receive a confirmation email w/ your order invoice. A valid email address is required or you will not get any email status updates. When we receive payment or get an update from shipping we will update order status and email. We will update order status and email when the order is being processed for shipment. Orders usually ship within 1-3 business days of your payment clearing. Depending on the shipper selected, you may receive an email including a tracking number and a link to the website which you can use to track your shipment.
Tracking
In addition to the tracking we email, you can check your order status anytime by logging into your account or check the Track Your Order page. We’ve partnered with Route allowing you to visually track all your orders for FREE! Download Route’s mobile app for iOS or Android to visually track your package and receive real-time notifications on its estimated delivery.
Shipping
We offer Green Package Protection at checkout to protect your order from loss, damage, theft and offset carbon emissions.
We only ship to the address on the payment.
All freight and orders over $500 ship with Signature Required to provide proof of delivery.
Product weight is used to estimate shipping costs and is not necessarily accurate.
Oversized packages are charged as if they were heavier by all shippers. Extra shipping charges for large/heavy items may be charged to your card or a PayPal payment request may be sent.
Certain items cannot be shipped to all areas. Please see item description for details.
The best possible shipper/shipping method (as we deem fit) will be used per order.
Certain fragile items may ship via an equivalent USPS service so the shipment can be insured.
Your order will ship within 30 days from us receiving the order or you will be contacted about the back order.
We are not responsible for carrier lost/misdirected or carrier damaged shipments. All carrier lost/damaged claims must be handled directly with the freight carrier.
Shipment address corrections and changes will incur a $35 fee plus any reconsignment fees which the customer is liable for. If the fee isn’t paid in a timely manner the shipment will be restocked before storage fees accrue which the customer is a liable for.
Freight Shipments
Someone at the shipping address will have to receive & sign for the shipment. The Freight/ LTL carrier’s truck driver will need to contact you by phone or you may contact the shipper directly to schedule a time to deliver your order. Freight/LTL shipments are on pallet(s) which come on a semi truck which must have access to your location.
Post Office Boxes / PO Boxes
Only USPS can deliver to a PO Box. UPS, FedEx, LTL carriers, CalOver and all other carriers besides USPS cannot deliver to a PO Box.
Special Order Items
Special Order (SPO) items may be made to order by the manufacturer, can take 2-6 weeks (or more depending on quantity) to ship, and cannot be canceled, returned or exchanged once ordered (i.e. are nonrefundable). Built to order items, Leader pumps, KwiKool, Current Culture CCH2O, Grow Media, Pots, Probes, Bluelab, Seeds, Live items, International orders, Carbon filters, Power/extension cords, Netafim, Dosatron, Hydro-Logic, PPE (e.g. Gloves & Masks), Apparel & Mugs, Cords, Trimmers & Centurion, Pre-Rollers & King Kone, Robomist, True Liberty liners, Closeout and Discontinued items, Lenses, Brackets and Line sets, Vendors HGC & BFG items, printed on demand items, Horticulture Source branded merchandise, Drop shipped and items on Special are all Special Order items.
Order Additions
We do not store any credit card numbers. If you want to add something to an order please place another order and we will do our best to combine shipments and will refund for any difference in shipping.
Shipping Costs
Shipping prices and options are listed in the cart after providing a state and zip code as well as on the order confirmation page by providing a shipping address. If you circumvent the cart or checkout page via Apple/Google Pay or PayPal, shipping will still be added for the provided shipping address prior to finalizing the order.
Freight charges are calculated by shippers using weight, dimensions and distance.
The manufacturers packaging is placed into shipment boxes with packing products to protect your purchased items. This adds additional weight called tare weight. Our cost for this handling is $5 per package.
Orders weighing over 50 lbs and large items may be split into multiple boxes.
If we are shipping a large or heavy item, some services might not be available to you. These services may not appear on the shipping options list for your order. Freight/LTL shipping may be required for some items.
Undercharged or underestimated shipping costs may be charged to your card or a PayPal payment request may be sent. You will receive a notice via email if this is an issue.
International
We can ship to your US based freight forwarder. Customs and export is the responsibility of the buyer. Should customs return your shipment, you will be refunded product cost only (less restocking). As we have no way to collect international taxes, duties, VAT, etc. they are the responsibility of the buyer.
Warranty
All products come with a manufacturer’s standard warranty. Please consult the manufacturer’s literature for specifics.
Quantities
Particular items are available in only case/pack/bag quantities only. Please see item description for details. While items are sold individually case and/or palette sizes may be listed for customer convenience.
Green Package Protection
Horticulture Source is proud to partner with Route, the leader in package protection and tracking solutions. By selecting Route Protect at checkout, your order will be protected from loss, damage, or theft. In addition the carbon generated during the shipping process will be removed from the atmosphere! In the unfortunate case that your order never arrives or is broken upon arrival, you can easily file a shipping issue with Route and receive a replacement or be reimbursed. We are excited to offer this service to you and we highly recommend you use Route package protection at checkout.
Shipping issues for packages marked “delivered” yet not received and where there is no evidence of “porch piracy” can be approved no earlier than 5 days after “delivery date” and no later than 15 days to ensure it was not misdelivered or easily found around the premises.
Photos required for damaged shipping issues
Shipping issues for packages presumed to be lost (where the status is not “delivered”) can be after 7 days (20 days for international) and within 30 days from the last checkpoint.
Here is a brief summary of Route Shipping Protection coverage, but you can review the full policies here.
Lost – stuck in transit
Domestic: The issue must be filed between 7 and 30 days from the last shipping update.
International: The issue must be filed between 20 and 30 days from the last shipping update.
Stolen – marked as delivered
The issue must be filed between 5 and 15 days from when the order was marked delivered.
Stolen orders over $100 USD require a police report.
Damaged
The issue must be filed with photos of damaged package and item, no later than 15 days from when order was marked delivered.
Not only can you report an issue with Route by going to claims.route.com, but you can also check the status of your issue there.
Route package protection is not refundable on a shipped, partially shipped order or order which are being prepared for shipment.
Freight Damage and Shortages
UPS/FedEx/OnTrac
If the box is delivered open or torn, with the contents disturbed and obviously damaged, or if when lifting or lightly shaking an intact box, you can hear broken glass inside, refuse the delivery “due to damage.” UPS/FedEx will need to document a “refused due to damage” exception. This will email our warehouse that the package is returning, so they may ship a replacement order without needing to issue an RMA.
Freight/LTL
All claims must be made with the carrier. At the time of delivery, make sure there is no damage or any shortages. If there are, it must be noted in the Bill of Lading at the time of delivery. If the Bill of Lading is signed as complete / undamaged and at a later point damage or shortages are found, you will be unable to receive compensation.
IF THE ORDER ARRIVES AND IS NOT INTACT OR DAMAGED, PLEASE FOLLOW THE BELOW STEPS:Take a photo of the pallets for documentation as well as claim supporting documentation. Without photos, a carrier claim will not be honored. While the driver is still present do not sign the shipping BOL until you have thoroughly inspected the contents of the pallet for missing or damaged items. Any damage or missing items MUST BE NOTED on the Shipping BOL or delivery receipt. Without this documentation, a claim will not be approved. In addition to signing the shipping BOL, please also PRINT LEGIBLY the last name of the person receiving the order.ALSO NOTE – carriers will not approve claims that have the following verbiage “subject to inspection” or similar.
USPS
Should your shipment be lost or items were damaged in shipment and the shipment was sent insured, in order to file an insurance claim a signed and dated letter is required stating the following:
Date the package was mailed.
Invoice or order number.
Description of product.
If loss (after 21 days domestic or 45 days international or 60 days to Italy), state parcel never received; if damage, state description of damage and if repairable (most likely not).
Signature and date.
Missing/Wrong Items
We require notice about any missing/wrong item(s) within 24 hours after a package has been received.
Product Availability / Back Orders
All non-special order items are assumed to be in stock unless otherwise indicated.
Sometimes an order comes in before another, which wipes out the remaining inventory. So while an item may be in stock when you place your order, by the time shipping gets to filling your order the warehouse may run out.
Should an ordered item become unavailable you will be notified and it will be back ordered to ship upon arrival or you may be refunded or get an in store credit for orders order than 30 days.
As soon as we become aware of the unavailability of an item we will update the item/customer.
Order shipment will not be delayed due to a back order or discontinued item. All items in stock will ship and the customer will be notified about any back ordered or discontinued item(s). We will not delay/hold shipment of an order due to a back order or discontinued item. We usually will not know of a back order until the rest of the order ships.
Returns
Shipping errors/damage will be replaced free of charge if we are contacted within 24 hours of shipment receipt.
Returnable item returns accepted within 30 days from the date of receipt.
All returns to stock must be received in new, unopened, saleable condition.
Shipping paid on orders that shipped is not refundable under any circumstance.
There is a 20% manufacturer imposed restock charge for returnable items.
You will be credited on receipt, inspection and acceptance of the return.
Special order items, items on special, international orders, used trimmers/tumblers, live items, seeds and discontinued items are not returnable/refundable.
Please email us at store (at) horticulturesource (dot) com for a Returned Merchandise Authorization (RMA) number and the return address. We handle all returns via email to document it fully. Please write the return authorization number on the return label and include our order number inside.
Restocking
There is a manufacturer imposed 20% restocking fee for all non warranty related returns. Such as if the item ordered is undamaged and the customer returns for refund. This includes products returned for credit, returned refused or unclaimed or returned due to insufficient address. Return shipping is the customers responsibility.
– Vendor HGC only considers like kind exchange returns for credit.
– Vendor HRG accepts unopened items within 7 days of purchase.
– Vendor BFG does not accept returns unless mis-shipped, damaged or defective.
Cancellations, Refused Shipments & Delivery Failures
If you cancel your in-stock or available on backorder items order BEFORE it has been shipped or order items labeled as unavailable in your area, you will be assessed a 5% cancellation fee before credit is issued. This covers non-refundable card processing fees and administrative costs.
An order may not be canceled if it is being prepared for shipment (Preparing status) or has been shipped without incurring restocking fees and/or shipping charges. Our vendors charge restocking to put pulled products back on shelves. We cannot cancel shipped orders.
Vendor HGC has a 5 business day picking time. Once an order goes to the floor for picking we cannot cancel it. Orders in Preparing status cannot be canceled.
Special Order items are not cancelable, exchangeable, refundable or returnable.
Live items and seeds are not exchangeable, refundable or returnable.
Customer will be responsible for restocking and administrative fees as well as shipping both ways on all refused shipments not marked “due to damage” by carrier and shipments which come back due to failed delivery attempts (regardless of reason including invalid address).
Returned Merchandise Authorization (RMA)
Though very seldom, sometimes an order or part of an order needs to be returned. We will complete your Returned Merchandise Authorization form for any and all defective products (except for special and international orders). Usually return shipments will be covered if the following are met:
Returns without authorization will not be refunded.
Product returned without RMA approval or not sold by us will be refused and shipping charges and administrative fees applied.
If product is returned for Warranty Repair and is out of Warranty or is in Warranty but found to be working, shipping charges will be applied. Repairs are $65 / hour labor, plus parts when not in warranty.
Product should be returned in original packaging or equivalent. Damage due to poor packaging may void the warranty and will be the customers’ responsibility.
Warranty will be void if factory serial # has been tampered with or removed.
Shipped products should never be returned without prior approval.
Return products for credit are subject to a minimum 20% restocking fee. If the item is not in like new condition the restocking fee is 40% (or may not be restockable). Restocking is manufacturer imposed.
Always write your RMA number on the Shipping call tag and retain the receipt. Do not mark directly on the box.
All warranties are void outside of the U.S.A. and Canada.
Returns may not be accepted later than 30 days from the RMA issue date.
Lamp Returns
The code from the side of the lamp will be required to prove it was the one we sent and has a valid warranty. Eye Lighting has specified that glass shards inside of Hortilux lamps are not a defect and lamps will not be considered defective. They indicate the inside glass has no effect on the function of the lamp.
Meters and Probe Returns
The probe(s) sent back with or without the meter must match what we sent and not be expired or it will be returned at the customer’s expense. We keep careful track of the date codes on all probes.
The following Manufacturers require all returns go directly through them:
HorticultureSource.com cannot process returns for the above manufacturers (unless it is a mis-shipment or new return to stock — less restocking).
Most manufacturers on this list will require the dated invoice which was emailed upon your order checkout confirmation.
We advise our customers to contact these manufacturers directly. The vendors are equipped to help troubleshoot their products. We do not take returns for products from the manufacturers listed above.
Titan Controls and Ideal-Air Support Process
End user calls support line directly:
TITAN CONTROLS: 888-808-4826, 5:00 am to 4:30 pm PST
IDEAL-AIR: 877-9-IDEAL-1 (877-943-3251), 7:00 am to 5:00 pm PST
End user receives a case number and directions from support personnel.
Only if directed to do so by support personnel, the end user will bring the case number to the store where the item was originally purchased.
RMA Process Flow Examples
When the process is followed:
The RMA is inspected by the receiving department.
The RMA authorization / pack slip is present and filled out accurately & completely.
All items shipped match the packing slip in quantity and description.
The RMA goes directly to the repair department and is in the first in / first out of queue.
This process ensures that RMAs that have been submitted correctly will be handled in the most expeditious manner. A properly prepared RMA will no longer be delayed by an RMA that has been improperly prepared.
When the process is not followed:
The RMA is inspected by the Receiving Department.
Either the RMA authorization / pack slip is missing or it does not match the items shipped, and/or is not filled out accurately or completely.
The RMA shipment is placed in the quarantine area. The discrepancies are noted on the receiving checklist and given to the Customer Service Department.
Customer Service emails the customer and resolves the discrepancy.
Either the paperwork is created, corrected or a new RMA is made.
Receiving matches the corrected paperwork to the return and forwards it to the Repair Department.
When this situation is encountered it can delay the processing of the return. This delay could be anywhere from several hours to several days, or even weeks depending on the discrepancy (e.g. could not contact the customer, or there was no identification on the package, etc.)
Return Merchandise Authorization Program Terms & Conditions
If you have a product that needs to be returned to us, contact us for an RMA# (Return Merchandise Authorization number). Every product that is returned needs an RMA# in advance of return. Shortly after you contact us you will receive a written RMA confirmation via e-mail. This confirmation is provided for your records and a copy may be used as a packing slip. Credit will not be given if a product is returned without prior RMA authorization. Each item returned needs to be included in the RMA issued to you. Please do not send back ANY items not included on your original RMA. You will need to email us for a new RMA if you have additional items that you want to send back. When contacting us for an RMA be prepared to tell us the original invoice number that a product was purchased on (except warranty defective ballasts & lamps). Additionally, please advise us the reason for the return. Please clearly write the RMA # on the shipping label, not directly on the box.
Shipments back to our vendors — We have prepaid freight labels that have the address on them. Terms of use: These labels are only to be used if you have a defective product that you purchased from us, and it is currently under warranty. In addition, it must be a product that qualifies for return to us. In all other situations, you are responsible for the freight and shipment of a product back to us. Many products that we distribute need to be sent directly back to the manufacturer. See the included list of “The following Manufacturers require all RMAs go directly through them” above.
Whenever possible ship products back to us in protective over wrap boxes. If you send something to us, please do not affix the freight sticker directly on the original product box. If an over wrap box is not available, please put a couple short strips of clear tape on the box and attach the shipping label to the tape. In this way the original product box will not be destroyed when we try to remove the shipping label. All products that are damaged in transit because of deficient packaging may not be eligible for warranty credit or repair.
If you have a product that needs repair or replacement, we will turn the product around promptly. Please test all items and verify they are still in warranty before you return them. If we receive a unit and after thorough testing it is found to be fully functional, we will have to pass on a charge to you of $65.00 to cover the inbound and outbound freight. If you return a light system that is found to be out of warranty, Sunlight Supply will gladly fix it, but we will have to charge you inbound & outbound freight, parts and labor ($65.00 per hour).
If you are returning a product for credit (i.e. miss-ordered item), you will be responsible for paying the freight back to us. In addition, we will need to pass on a 20% manufacturer imposed restocking fee. The credit will be reduced by 20%. This restocking fee will be used to cover the original outbound freight (if applicable), administrative costs, labor, replacement packing, etc. The appropriate credit will be applied to your card (if valid), PayPal account, or we will send a check and in any case you will be emailed a receipt.
We are not able to offer credits or replacements on items that are outside of the manufacturers’ warranty. If you return one of the products that we sell (non-lighting products) and it is found to be out of warranty, we will contact you for resolution. When you return distributed items that are found to be defective and under warranty we will credit you.
Please allow up to 30 days of us receiving your returned goods and refund request for any credit to be issued.
Warranty Information: Warranty on all items will be the manufacturer’s standard warranty. Please consult the manufacturer’s packaging or literature for specifics. Most manufacturers’ will require a receipt and many will also need the original packaging.
If you are having difficulties with one of our other sold products, (i.e. missing parts, defective product, etc.) you can contact the manufacturer directly or email us. If you contact us, we will work with the manufacturer on your behalf when possible to get the problem resolved. In most cases, it will not make sense to bring the product all the way back to us. We will have the manufacturer send you a missing part, replacement product, return authorization, etc.
Refunds
– When issuing a refund we will credit your original form of payment when possible. When not possible and orders older than 30 days will receive an in store credit. If you prefer a refund instead you will be refunded via PayPal less 5% for card fees and administrative costs.
– Items ordered labeled as unavailable for the shipping address will be assessed a 5% fee before credit is issued, e.g. OR only items ordered outside of OR or Western States Only items ordered to the east or vise-versa.
– In stock items or items available on backorder which are requested canceled before they ship will be assessed a 5% cancellation fee. Restocking applies to any already pulled or packaged shipments.
– Refunds which come back unclaimed or are returned will be considered void and forfeit. In store credit will be assessed inactivity fees in 12 months.
– Special orders, Shipping, Route Protection, Payment Processing Fee and Subscriptions are non-refundable.
Terms & Conditions
Conditions of Use
Welcome to HorticultureSource.com (also HorticulturalSource.com). This Site is provided by Usisu, Inc. (referred to throughout this Site as “HorticultureSource.com”) as a service to our customers. Please review the following basic rules that govern your use of the HorticultureSource.com site (the “Agreement”). Please note that your use of the HorticultureSource.com site, including the Link Exchange or other parts of the site (collectively, the “Site”) constitutes your unconditional agreement to follow and be bound by these Conditions of Use and the Shipping & Returns policy; And by registering to be a Vendor you agree to our Vendor Agreement. Although you may “bookmark” a particular portion of this Site and thereby bypass this Agreement, your use of this Site still binds you to these Terms of Use. HorticultureSource.com reserves the right to update or modify these Terms of Use at any time without prior notice to you. For this reason, we encourage you to review these Terms of Use whenever you use this Site.
The use of this site, and the terms and conditions for our providing information, is governed by this our Conditions of Use and the Shipping & Returns policy. By using this site, you acknowledge that you have read the Conditions of Use and Shipping & Returns policy and that you accept and will be bound by the terms thereof.
This site contains links to other Internet sites. Such links are not endorsements of any products or services in such sites, and no information in such site has been endorsed or approved by Usisu, Inc. (the owner of HorticultureSource.com and HorticulturalSource.com).
Use of this Site
By placing an order you accept our Shipping & Returns policy.
By accepting these Conditions of Use through your use of the Site, you certify that you are 18 years of age or older. If you are under the age of 18 but at least 13 years of age you may use this Site only under the supervision of a parent or legal guardian who agrees to be bound by these Conditions of Use. HorticultureSource.com does not intentionally collect personal information about children under the age of 13. Children under the age of 13 may not use this Site other than for browsing, and parents or legal guardians may not agree to these Conditions of Use on their behalf. If you are a parent or legal guardian agreeing to these Conditions of Use for the benefit of a child between the ages of 13 and 18, be advised that you are fully responsible for his or her use of this Site, including all financial charges and legal liability that he or she may incur. If you do not agree to (or cannot comply with) any of these terms and conditions, do not use this Site. All billing and registration information provided must be truthful and accurate. Providing any untruthful or inaccurate information may constitute a breach of these Conditions of Use. By confirming your purchase at the end of the checkout process, you agree to accept and pay for the item(s) requested.
All materials, including images, text, illustrations, designs, icons, photographs, programs, music clips or downloads, video clips and written and other materials that are part of this Site (collectively, the “Contents”) are intended solely for personal, non-commercial use. You may download or copy the Contents and other downloadable materials displayed on the Site for your personal use only. No right, title or interest in any downloaded materials or software is transferred to you as a result of any such downloading or copying. You may not reproduce (except as noted above), publish, transmit, distribute, display, modify, create derivative works from, sell or participate in any sale of or exploit in any way, in whole or in part, any of the Contents, the Site or any related software. All software used on this Site is the property of HorticultureSource.com or its suppliers and protected by U.S. and international copyright laws. The Contents and software on this Site may be used only as a shopping resource. Any other use, including the reproduction, modification, distribution, transmission, republication, display, or performance, of the Contents on this Site is strictly prohibited.
Third Party Sites
References on this Site to any names, marks, products or services of third parties, or hypertext links to third party sites or information are provided solely as a convenience to you and do not in any way constitute or imply HorticultureSource.com’s endorsement, sponsorship or recommendation of the third party, its information, products or services. HorticultureSource.com is not responsible for the practices or policies of such third parties, nor the content of any third party sites, and does not make any representations regarding third party products or services, or the content or accuracy of any material on such third party sites. If you decide to link to any such third party web sites, you do so entirely at your own risk.
Security
Users are prohibited from violating or attempting to violate the security of the Site, including, without limitation, (a) accessing data not intended for such user or logging onto a server or an account which the user is not authorized to access; (b) attempting to probe, scan or test the vulnerability of a system or network or to breach security or authentication measures without proper authorization; (c) attempting to interfere with service to any user, host or network, including, without limitation, via means of submitting a virus to the Site, overloading, “flooding,” “spamming,” “mailbombing” or “crashing;” (d) sending unsolicited email, including promotions and/or advertising of products or services; or (e) forging any TCP/IP packet header or any part of the header information in any email or newsgroup posting. Violations of system or network security may result in civil or criminal liability. HorticultureSource.com will investigate occurrences that may involve such violations and may involve, and cooperate with, law enforcement authorities in prosecuting users who are involved in such violations. You agree not to use any device, software or routine to interfere or attempt to interfere with the proper working of this Site or any activity being conducted on this Site. You agree, further, not to use or attempt to use any engine, software, tool, agent or other device or mechanism (including without limitation browsers, spiders, robots, avatars or intelligent agents) to navigate or search this Site other than the search engine and search agents available from HorticultureSource.com on this Site and other than generally available third party web browsers (e.g., Netscape Navigator, Microsoft Explorer).
Currency
The purchase currency is USD.
Orders
Please note that there may be certain orders that we are unable to accept and must cancel. We reserve the right, at our sole discretion, to refuse or cancel any order for any reason. For your convenience, you will not be charged until your payment method is authorized, the order information is verified for accuracy and confirmed by you. Some situations that may result in your order being canceled include limitations on quantities available for purchase, inaccuracies or errors in product or pricing information, or problems identified by our credit and fraud avoidance department. We may also require additional verifications or information before accepting any order. We will contact you if all or any portion of your order is canceled or if additional information is required to accept your order. If your order is canceled after your credit card has been charged, we will issue a credit to your credit card in the amount of the charge.
Export Policy
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|
||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 6 |
https://community.spiceworks.com/t/how-to-gauge-exchange-server-load/728589
|
en
|
How to gauge Exchange server load?
|
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"https://zdbb.net/l/z0WVjCBSEeGLoxIxOQVEwQ/"
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[
"microsoft-exchange",
"question"
] | null |
[
"rod-it (Rod-IT)",
"leedavila (leedavila)",
"joz (Joz_)"
] |
2019-09-04T16:56:11+00:00
|
We have 3 Exchange boxes in our DAG (Each with 2 live and 4 passive mailbox DBs) and want to look at shifting to 2 Exchange boxes running 3 live and 3 DB copies and the 3rd box running ONLY passive mailbox copies for bac…
|
en
|
Spiceworks Community
|
https://community.spiceworks.com/t/how-to-gauge-exchange-server-load/728589
|
We have 3 Exchange boxes in our DAG (Each with 2 live and 4 passive mailbox DBs) and want to look at shifting to 2 Exchange boxes running 3 live and 3 DB copies and the 3rd box running ONLY passive mailbox copies for backup purposes. I need to figure out how much load each box is currently under - all 3 run all Exchange services - so I can tell if pulling out 1 of the DAG members from processing user requests will cause serious performance issues. We have them on PRTG, but I wanted to hear your ideas on how best to evaluate them. Are there specific PRTG sensors you’d use or MS perfmon gauges?
Thanks in advance!
You haven’t provided any details of the usage.
How many mailboxes, cached or non cached profiles, mailbox sizes or database sizes, do you archive or not?
We have 2 MBX servers, ~6000 mailboxes/rooms/resources and about 3000 users, no issues.
It also depends on your server spec, disk RAID level and spindle count, any mobile devices or OWA, is OWA proxied or directly NATted.
A larger ram allocation and cached mailboxes being used will reduce the load massively.
Oh and fYI, 85% of our users are VDI and used non-cached mode.
As Rod-IT said, you should provide more details about your environment for us. For example, what is your exchange version?
A tool called Exchange Load Generator 2013, which allows you to test how a server running Exchange 2013 responds to e-mail loads. Download link: Exchange Load Generator 2013
Another tool called Microsoft Exchange Server Jetstress 2013 Tool, which allows you to verify the performance and stability of the disk subsystem. Download link: Microsoft Exchange Server Jetstress 2013 Tool
For more details: Tools for Performance and Scalability Evaluation
In addition, If you need pull out 1 of the DAG members from processing user requests, you can follow the steps mentioned in the article .
I would say 2 boxes would be fine.
If I read correctly you are only using 2 drives mirrored, which would mean low IO anyway, so you would reduce IO, however do note both 2008 and 2010 Exchange need to be upgraded.
If this is your plan, build two new servers, migrate people over and if you need a third, it’s no trouble to make one.
Exchange is IO and ram intensive, but your workload doesn’t sound much different from ours.
To know for sure though you would have to get stats from the box
IO usage, network, CPU and ram usage - but if you are saying your exchange servers run on only 2 disks mirrored and you dont see any major negative impacts, then moving from 4 hosts to two, on new hardware (obviously upgrading the OS and Ex versions), then a minimum of RAID10 with at least 4 disks should be comparable, however, throw 4 x SSDs in RAID and you should be better specced…
Again, if you are using caching, this reduce the load massively.
Thanks Rod, we’ll soon virtualize the lot inside a new VxRail system, but for the next few months we’re trying to (greatly) simplify our Exchange backups and were contemplating shifting all of the current traffic and load to just 2 of our 3 servers so that the 3rd member of the DAG could hold only passive copies of the mailbox DBs for a MUCH quicker backup and easier offsite replications. To date we have Veeam backing up all 3 DAG members entire machines, OS and Database hard drives and all.
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 86 |
https://gist.github.com/cranelab/a0a37a63339229884bdcc1aea459ee54
|
en
|
software index
|
[
"https://avatars.githubusercontent.com/u/45187319?s=64&v=4"
] |
[] |
[] |
[
""
] | null |
[] | null |
software index. GitHub Gist: instantly share code, notes, and snippets.
|
en
|
Gist
|
https://gist.github.com/cranelab/a0a37a63339229884bdcc1aea459ee54
| ||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 69 |
https://startupnation.com/grow-your-business/reciprocal-marketing-growth-strategy/
|
en
|
How to Use Reciprocal Marketing as a Growth Strategy for Your Startup
|
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[
"Johannes Rastas"
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2020-10-22T09:00:15+00:00
|
Focus on three areas of marketing where you can apply reciprocal marketing: content and link building, social media and email newsletters.
|
en
|
StartupNation
|
https://startupnation.com/grow-your-business/reciprocal-marketing-growth-strategy/
|
Reciprocal marketing is a marketing strategy in which two businesses agree to promote each otherâs products or content for mutual benefit. In this article, we will look at how startups can apply the reciprocity principle as part of their overall growth strategy.
Level Up Your Digital Skills: Free This Week with Verizon Small Business
Why do you need reciprocity in marketing?
Also known as co-promotion, reciprocal marketing can take many forms. While many companies take advantage of co-promotion, they could benefit from a more systematic approach where reciprocal marketing is utilized to its fullest potential. Especially in content-related marketing activities, reciprocity presents a cost-effective scaling strategy for startups whose marketing budgets are limited.
How to apply the reciprocity strategy
Here, we will focus on three areas of marketing where you can apply the reciprocity strategy: content and link building, social media and email newsletters. The reason why these three were chosen is because none of them require any substantial investment up front. Most companies leverage these organic channels anyway, so adding reciprocity to the mix takes minimal effort.
Content and link building
The Pareto principle states that roughly 80 percent of consequences come from 20 percent of the causes. Similarly, we can apply it to content marketing, where you can expect around 80 percent of your results to come from 20 percent of your published content.
It’s important to invest enough time and resources in SEO, including keyword research and link building, as well as in the promotion of your content. In terms of reciprocity, making the most of your companyâs content means creating a network around it. With this network, you can boost your content by featuring relevant articles from guest writers on your website, getting your guest posts published on other websites in the same niche, and building backlinks with other companies to improve your domain authority.
As long as theyâre not used excessively, thereâs nothing sketchy about reciprocal links. In fact, 74 percent of websites have reciprocal links. Just make sure they actually add value to your content.
When building your content network and reaching out to other businesses, pay attention to the following.
Relevance: These companies should operate in the same niche as your business and share a similar target audience. Otherwise, the co-promotion would be of little value to both parties. Driving conversions is the ultimate goal of all your marketing activities. So, ask yourself if you could see their audience as potential customers of your business and vice versa.
Company size: To ensure you both get enough benefit from the exchange, it makes sense to cooperate with businesses that are more or less in the same stage of growth. This way, you will share the same content goals and find common ground more easily. Use a tool like SimilarWeb to check their website traffic statistics.
Domain authority: To make the exchange equal, also take domain authority (DA) into account. DA score shows how well a website ranks for keywords, so obviously a backlink from a high DA website is more valuable to you as a trust signal. So, enter your potential collaboratorâs domain on a website authority checker before you proceed.
Itâs hard to overstate the importance of relevance when talking about any content-related collaboration. Google takes relevance very seriously, and it remains one of the top ranking factors. Whether itâs about guest posting or link exchange, visitors must find value in the content and in whatever is behind those links. All of it needs to be topically relevant and match usersâ intent.
To get started, take the following steps.
Collect a list of potential collaborators:Â Find out who is responsible for content marketing and guest posts before reaching out to a potential partner. Also, try to evaluate the content to make sure the company is worth collaborating with.
Create outreach templates:Â Create separate templates for email and social media, where you explain your pitch. Be direct and concise and start with a value proposition. You may also create separate templates for guest posting and link building.
Reach out to prospects:Â Email is usually preferred if you have no previous contact with the person, but social media works, too. For example, you can start the interaction on LinkedIn or Twitter before reaching out.
Establish your own social media community
You may also want to consider creating a community on social media, like a Facebook or LinkedIn group. The benefit of having an actual community is that you donât have to contact those same collaborators one by one when you want to cooperate with them again. Everyone in the community can freely offer guest posting opportunities or suggest reciprocal links when they have an article in the works.
Related: 10 Reasons Why Micro-Influencer Campaigns Interest Gen Z
Social media
The reciprocity strategy lends itself to social media platforms in the form of content promotion groups and communities. Social shares and likes boost your companyâs organic visibility and contribute to building your brand. Itâs not an uncommon way to convert people into customers, either.
But the crux of social media is customer engagement.
When it comes to organic reach on social media, the numbers are far from impressive. On Facebook, for example, the average reach of an organic post is only 5.2 percent, while paid posts reach 28.5 percent of the total (page likes). The average engagement rate for all posts is 3.4 percent.
This has to do with the algorithm changes on social platforms and the increased overall volume of content. Most users have more than a thousand posts competing to appear in their newsfeed every time they log in. And the algorithms select only a portion of those posts based on their relevance to the user. The ranking now favors posts that spark âmeaningful interactionsâ between people.
One solution to the organic content challenge is to join or create an online community where members can share their newly published content and ask other members to like or share it.
But having a community on social media means that you also need to spend time managing it. So, establish guidelines and create qualification criteria for those who want to join. For example, you could accept people only from your niche and require everyone to be a regular contributor in the group. You might also want to evaluate their previously published content.
Hereâs an example of a few basic reciprocal marketing principles you could set up for your community and ask everyone to agree upon when joining:
No paid promotions are allowed, only reciprocity-based collaboration
Only promote relevant content that matches your target audience
No obligation to promote everyoneâs content in the community
Only high-quality content in select niches is accepted
Since thereâs no contractual agreement involved, all collaboration is based on mutual trust. Thatâs why all members should be encouraged to focus on building mutually beneficial relationships, instead of looking for quick wins and not giving back to the community.
Sign Up: Receive the StartupNation newsletter!
Email newsletters
One more channel where you can leverage reciprocal marketing is email newsletters. This means that two businesses agree to mention and link to a product, service or piece of content from each other in their newsletters that they send to their customers or email subscribers.
To make the co-promotion successful, itâs important that you both have a more or less equal number of subscribers and send your newsletters at similar intervals, for example, monthly. Even if you agree on a one-time promotion, those intervals usually impact the newsletter engagement metrics. You should share the results afterwards, including key metrics such as your open rate and CTR.
Evaluate the impact also by looking at your website traffic from email on that day:
If you send an email newsletter once a month, for example, you shouldnât have more than one collaborator per newsletter. Having multiple would damage your own newsletter results. See if you can agree to offer some special perks for each otherâs newsletter audience. That way, you avoid the risk of just promoting another business at the expense of your own audience.
Conclusion
For any startup to prosper in the competitive landscape, itâs better to partner up with others than to go solo. Many marketing channels, including SEO, content and social media, are dominated by the big players who possess more authority and resources.
When you have articles that are not ranking at the top of search results because competing articles have more referring domains and backlinks pointing to them, itâs time to find yourself a network of partners. Apply the reciprocity strategy systematically, make use of the advantages of being a small business, and invest in the relationships with your collaborators.
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 89 |
https://www.articlesfactory.com/articles/online-promotion/flipkartcom-an-e-commerce-company.html
|
en
|
Flipkart.com – an e-commerce company
|
[
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"https://cdn.articlesfactory.com/cdn/img/facebook.svg",
"https://cdn.articlesfactory.com/cdn/img/telegram.svg",
"https://cdn.articlesfactory.com/cdn/img/twitter.svg",
"https://cdn.articlesfactory.com/cdn/img/logo.webp",
"https://cdn.articlesfactory.com/cdn/img/facebook.svg",
"https://cdn.articlesfactory.com/cdn/img/telegram.svg",
"https://cdn.articlesfactory.com/cdn/img/twitter.svg",
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"https://cdn.articlesfactory.com/cdn/img/article2.webp",
"https://cdn.articlesfactory.com/cdn/img/article3.webp"
] |
[] |
[] |
[
"online shopping",
"flipkart coupons"
] | null |
[
"Nitu Sharma",
"www.facebook.com"
] |
2012-07-31T07:38:40+00:00
|
Flipkart.com is an e-commerce company based at Bangaluru in Karnataka. It offers a number of products which you can buy online.
|
en
|
/images/favicon.png
|
Articles Factory
|
https://www.articlesfactory.com/articles/online-promotion/flipkartcom-an-e-commerce-company.html
|
Flipkart.com is an e-commerce company based at Bangaluru in Karnataka. It offers a number of products which you can buy online.
Flipkart is an online shopping portal in India. They are offering a wide range of exciting products from different leading brands to the people planning to purchase anything without going to the market in person. The leading digital market operator for online shopping is putting a whole host of things & stuffs on sale which shoppers are going to like. At this time making online shopping more exciting and cost-cushy, they brings plenty of flipkart coupons which help shoppers to cut back significantly on their shopping costs.
Basically, flipkart.com is an e-commerce company growing rapidly largely because of its inorganic growth route. It is headquartered at Bangaluru in Karnataka. Founded by Sachin Bansal and Binny Bansal in 2007, the India’s leading e-retailer initially focused on online sales of books but expanded to electronic goods and variety of other products later.
The company was started five years before with the objective of making books easily on hand to everyone who could access to the internet. At the moment their presence is ubiquitous, including the categories of cameras, computers, electronics, games, healthcare, home appliances, music, movies, mobiles, stationery, perfumes and toys.
For the convenience of the customers, the company is offering multiple payment modes, including Credit Card, Debit Card, Net Banking, Cash-on-Delivery (CoD) and e-gift flipkart vouchers. Especially the facility of being cash-on-delivery has given shoppers feasibility in due payment for people unable to use credit/debit card.
Now, you have almost all facilities and potential feasibility of product purchasing with its path-breaking services like multiple-payment facility (including Cash-on-Delivery), an easy EMI payment option, a 30-day replacement policy, free shipping. There is a dedicated-team of Flipkart which gives fast delivery. The team works 24 x 7, round-the-clock. It makes sure packages may reach on time. At this moment in time, the e-commerce company is operating in about 37 cities in India. There are plans on the go to expand its service in to many other cities very soon.
It is a full-fledged digital retailer, catering to categories like mobiles, electronics, perfumes, books, footwear and lifestyle. Shoppers can trawl through books, laptops, computer accessories, mobile phones & mobile accessories, cameras, music, televisions, movies, refrigerators, washing-machines, MP3 players, air-conditioners and products from a host of other categories.
You can have those products from the top selling brands, including HTC, Nokia, Samsung, HP, Dell, Sony, Canon, Toshiba, Nikon, Philips, LG, Bajaj, Morphy Richards and Braun. The website is offering some of the best products at unbeatable prices. It is completely hassle-free shopping experience.
Flipkart.com offers over 11.5 million book titles in more than 14 different categories. There are more than 3 million registered users of the company. The e-retailer has put about 30,000 items on sale a day.
India’s leading e-commerce company is providing its customers a memorable online shopping experience.
Therefore, it's no bolt from the blue that Flipkart.com has become one of the best shopping portals in India giving potential opportunity to shoppers to get that all they want online. Check out flipkart coupons 2012 and find its latest offers. It’s made the place easy and friendly whereon you find no hassle in shopping.
|
||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
3
| 45 |
https://www.italysvolcanoes.com/ETNA_olds230101.html
|
en
|
23 JANUARY 2001
|
[
"https://www.italysvolcanoes.com/gifs/image/motion.gif",
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"http://www.sitesolutions.com/grafix/banners/sms-banner.gif",
"http://fastcounter.linkexchange.com/fastcounter?888546+1777099"
] |
[] |
[] |
[
"Italy",
"volcanoes",
"Italy's volcanoes",
"Sicily",
"Etna",
"Decade volcano",
"eruption",
"eruptive activity",
"eruption updates"
] | null |
[
"Boris Behncke",
"University of Catania"
] | null |
Informations on the ongoing activity of Etna volcano, Italy
| null |
Do you look for books or videos about volcanoes, volcanology, or in particular Mount Etna? Find and buy them at Amazon.com!
Search: Keywords:
These ads help to keep this site alive. Click on them to give a small contribution without paying anything (but for each click-through purchase made through the first and last links the contribution will be larger!)
NOTE.The most recent update (16 January 2001) is at the bottom of this page!.
9 January 2001 update.There has been no new eruptive activity at the summit craters of Etna since early December. All that has happened was the emission of gas from the Bocca Nuova, often condensing with white vapor (when the air was more humid). Beginning on 7 January 2001, the degassing from this crater has become more rhythmic, indicating that some explosive activity may be occurring deep in the conduit(s). Also, the Southeast Crater continues to emit heat. An incandescent fumarole continues to exist high on its southeastern flank, and following snowfalls, the snow rapidly melted on the southern and eastern flanks of the cone. By the way, very little snow has fallen so far on the mountain during this winter, and the expected skiing season has until now been a disaster. Before Christmas and again after New Year's Day, Catania enjoyed spring-like weather, with persistent clear sky and temperatures up to 25 degrees Celsius. This is the mildest winter recorded in recent years, and to this has to be added that the sparse rainfalls have caused a serious lack of fresh water in many areas of Sicily.
During the early morning hours of 9 January 2001, a significant episode of seismicity affected the southeastern flank of the volcano, shaking villages and towns including Catania and arousing some fear among residents. Tens of thousands of people were shaken awake by the strongest tremor, which registered 3.5 on the Richter scale (intensity V on the modified Mercalli scale). In towns closer to the volcano several weaker shocks were felt, but seismographs registered more than 30 single shocks. Their epicenters were located on the southeastern flank of the volcano. Press reports indicate that the focal depth was about 4 km below the surface and that scientists monitoring the volcanic and seismic activity in Sicily did not see any correlation of the seismicity with the eruptive activity. However, in the recent past, theories put forward by various scientists envisage a possible connection between magma movements within the volcano and seismic episodes on its unstable eastern flank.
The seismicity did not cause any significant damage, although cracks opened in some older buildings in towns closer to the epicentral area. The last shock was registered at about 1000 h, but as of 1330 h on 9 January there are no informations about any further seismicity since then. The summit craters continue to be quiet, even though a light dusting of snow which fell the preceding night has immediately melted on the Southeast Crater cone, and grayish gas is issuing from the Bocca Nuova.
11 January 2001 update.The seismic crisis of 9 January on the southeastern flank of Etna ended that same day after more than 50 shocks, most of them too small to be felt, had been registered by the seismic monitoring network. At least three of the tremors measured 3.0 or more on the Richter scale, and several were distinctly felt by the population of a large area between Nicolosi, Fornazzo and Catania. Cracks opened in the walls of numerous buildings, but only one uninhabited building in Zafferana partially collapsed. Many people who remembered the much more severe earthquakes of October 1984 (which killed two people and damaged almost all buildings in Zafferana and Fleri) left their homes, and some preferred to sleep in emergency shelters which were installed that same morning.
The seismicity had no immediate visible effect on the volcanic activity at the summit craters, and a direct connection with magma movements within the volcano was ecluded. However, two days after the earthquake swarm, gas emissions from the Bocca Nuova became more intense and came in distinct puffs. This might be indicative of deep-seated explosive activity deep in one of the two vents of that crater, which showed vigorous Strombolian activity between late September and early December 2000. No significant activity has been noted elsewhere in the summit area.
12 January 2001 update.On the evening of 11 January, very weak Strombolian activity was observed at the Bocca Nuova after one month of no activity. This activity was not visible to the naked eye, but Giuseppe Scarpinati was able to recognize it with the help of a night viewing amplifying telescope. Small bursts occurred at intervals of about 2 minutes, presumably from the eastern vent of the crater. A few hours earlier another earthquake (Magnitude 2.8) had occurred on the southeastern flank of Etna, in the same area affected by a swarm of more than 50 earthquakes on 9 January.
15 January 2001 update.Very intense degassing is occurring at the Bocca Nuova and at the Southeast Crater as of noon on 15 January, and gas seems to be coming also from the northern and southern flanks of the Southeast Crater cone. Researchers of the Dipartimento di Scienze Geologiche at Catania University reported to have heard detonations during the late forenoon. Clouds of white gas have also been observed expanding horizontally at the southern base of the Southeast Crater cone, which might be indicative of flowing lava. Visual observations are made difficult by bad weather, but what has been described above might be signs of a reawakening of the Southeast Crater after more than four months of quiet (if the emission of a very small lava flow from the fissure on its northern flank in late November and early December is not considered). So what may happen? If the Southeast Crater becomes active again, it might return to produce episodes of very violent eruptive activity with tall lava fountains, tephra columns and modest lava flows. Similar paroxysms occurred sixty-six times in 2000 and caused heavy tephra falls over many sectors of the volcano. The latest of these events occurred on 29 August 2000, only 24 hours after a stronger paroxysm, which followed two months of inactivity at the crater.
16 January 2001 update.Eruptive activity appears to be resuming at the Southeast Crater after one and a half month of inactivity. After nightfall on 16 January, very weak Strombolian bursts occurred at intervals of 5-10 minutes at the summit vent of the crater. The crater had emitted more gas than usually from its summit vent and from the southern flank of its cone throughout the day. Strong gas emissions, at times mixed with some ash, also occurred at the Bocca Nuova, and it is possible that Strombolian activity is occurring deep within its two vents.
The most recent eruptive activity at the Southeast Crater occurred in late November and early December, when a small lava flow was extruded from the fissure which cuts the NNE side of its cone. At that time it appeared that the buildup phase for a new paroxysmal eruptive episode had begun, but the lava flow ceased without being followed by a paroxysm. The new activity might once more be a forerunner of a paroxysm, but it is not possible to say if and when this will occur. The last time a paroxysm occurred at the Southeast Crater, in late August 2000, the buildup phase lasted almost two days.
19 January 2001 update.The following is based on visual observations made by Francesca Ghisetti (Dipartimento di Scienze Geologiche, University of Catania) from her home at Guardia, near Acireale, to the SW of Etna, on the morningo 18 January.
At around 0500 h loud detonations awakened residents of towns on the SE flank of Etna, and a dark ash plume was seen rising from the Bocca Nuova. Emissions of black ash continued for several hours until the summit area of Etna was covered by weather clouds and visual observations were rendered impossible. Bad weather has continued since then so that it is not known if eruptive activity continued.
23 January 2001 update.An active lava flow extending from the fissure on the N flank of the SE Crater has been observed on 21 and 22 January during clear weather. Observations were made by Giuseppe Scarpinati (Italian delegate of the Paris-based Association Volcanologique Européenne, L.A.V.E.) with the aid of a telescope and a night light amplification viewer from his home in Acireale. The first direct observation of the flow was made on the morning of 21 January after sunrise, when it was seen as a dark streak contrasting against the freshly fallen snow, and extending about 100 m towards the Valle del Bove. Steam was emitted from the sides of the flow, but its front appeared to be stagnating. On the evening of 22 January the flow was incandescent along its whole length and its front was actively advancing, with blocks tumbling frequently further down the steep slope. No explosive activity was observed at the fissure, but a fumarole high on the SE side of the SE Crater cone had become more luminous, and a weak persistent incancescence was also seen at the Bocca Nuova.
The new lava flow at the SE Crater is larger than the very small flow produced in late November to early December 2000. However, it is not clear whether the activity will eventually build up to culminate in an episode of vigorous explosive activity (a so-called paroxysm) with larger lava flows, like the 66 paroxysms that occurred in 2000. That impressive series of events began on 26 January, almost one year ago, and one might wonder whether the SE Crater is preparing to celebrate the first anniversary of that very special day...
Several other web pages covering the recent and ongoing eruptions of the Southeast Crater are now available; these contain photos and movie clips of some of the most spectacular moments of that period.
Etna in 2000 - a list of all paroxysms at the SE Crater since 26 January and photos (this site)
Etna in 2000 - various pages at Stromboli On-line with photos and movie clips of SE Crater paroxysms and Bocca Nuova gas rings: most photos are of Marco Fulle, the artist photographer among us
Extremely spectacular video clips, taken by British cameraman and film maker David Bryant on 15 February 2000
At "Italy's Volcanoes" - At Stromboli On-line
An interview with Boris Behncke, made in late February 2000 by a BBC team and a video clip (RealPlayer)
Photos of the eruptive activity, 15-23 February 2000, by Tom Pfeiffer (University of Arhus, Denmark) - scroll to bottom of page
Photos of an eruptive episode on 13 February 2000, posted on the web site of the Association Volcanologique Européenne, Paris, France
Thorsten Boeckel's web site (Germany) with photos and movie clips of several paroxysm of the SE Crater in February, April and June 2000
A small web page reporting on Etna's current activity - and check what happens to your cursor on that page...
|
|||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
2
| 3 |
https://saylordotorg.github.io/text_information-systems-a-managers-guide-to-harnessing-technology-v2.0/s05-02-it-s-your-revolution.html
|
en
|
It’s Your Revolution
|
[
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"https://saylordotorg.github.io/text_information-systems-a-managers-guide-to-harnessing-technology-v2.0/shared/images/batch-right.png"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
1.2 It’s Your Revolution
The intersection where technology and business meet is both terrifying and exhilarating. But if you’re under the age of thirty, realize that this is your space. While the fortunes of any individual or firm rise and fall over time, it’s abundantly clear that many of the world’s most successful technology firms—organizations that have had tremendous impact on consumers and businesses across industries—were created by young people. Consider just a few:
Bill Gates was an undergraduate when he left college to found Microsoft—a firm that would eventually become the world’s largest software firm and catapult Gates to the top of the Forbes list of world’s wealthiest people (enabling him to also become the most generous philanthropist of our time).
Michael Dell was just a sophomore when he began building computers in his dorm room at the University of Texas. His firm would one day claim the top spot among PC manufacturers worldwide.
Mark Zuckerberg founded Facebook as a nineteen-year-old college sophomore.
Steve Jobs was just twenty-one when he founded Apple.
Tony Hsieh proved his entrepreneurial chops when, at twenty-four, he sold LinkExchange to Microsoft for over a quarter of a billion dollars. He’d later serve as CEO of Zappos, eventually selling that firm to Amazon for $900 million.
Sergey Brin and Larry Page were both twenty-something doctoral students at Stanford University when they founded Google. So were Jerry Yang and David Filo of Yahoo! All would become billionaires.
Andrew Mason of Groupon and Steve Chen and Chad Hurley of YouTube were all in their late twenties when they launched their firms. Jeff Bezos hadn’t yet reached thirty when he began working on what would eventually become Amazon.
Of course, those folks would seem downright ancient to Catherine Cook, who founded MyYearbook.com, a firm that at one point grew to become the third most popular social network in the United States. Cook started the firm when she was a sophomore—in high school.
But you don’t have to build a successful firm to have an impact as a tech revolutionary. Shawn Fanning’s Napster, widely criticized as a piracy playground, was written when he was just nineteen. Fanning’s code was the first significant salvo in the tech-fueled revolution that brought about an upending of the entire music industry. Finland’s Linus Torvals wrote the first version of the Linux operating system when he was just twenty-one. Today Linux has grown to be the most influential component of the open source arsenal, powering everything from cell phones to supercomputers.
TechCrunch crows that Internet entrepreneurs are like pro athletes—“they peak around [age] 25.” BusinessWeek regularly runs a list of America’s Best Young Entrepreneurs—the top twenty-five aged twenty-five and under. Inc. magazine’s list of the Coolest Young Entrepreneurs is subtitled the “30 under 30.” While not exclusively filled with the ranks of tech start-ups, both of these lists are nonetheless dominated with technology entrepreneurs. Whenever you see young people on the cover of a business magazine, it’s almost certainly because they’ve done something groundbreaking with technology. The generals and foot soldiers of the technology revolution are filled with the ranks of the young, some not even old enough to legally have a beer. For the old-timers reading this, all is not lost, but you’d best get cracking with technology, quick. Junior might be on the way to either eat your lunch or be your next boss.
|
||||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 50 |
http://ftp.wayne.edu/ldp/pub/Linux/docs/ldp-archived/mail_archives/ldp-discuss/msg00799.html
|
en
|
Let's trade links!
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null |
To: [email protected]
Subject: Let's trade links!
From: Maia <[email protected]>
Date: Mon, 29 Nov 1999 19:09:35 -0500 (EST)
Resent-cc: recipient list not shown: ;
Resent-date: 30 Nov 1999 00:08:25 -0000
Resent-from: [email protected]
Resent-message-id: <XXZtJC.A.N7E.4VxQ4@murphy>
Resent-sender: [email protected]
I visited your web site and thought it was great. Our web site's themes match enough for us to be Link Partners. Please visit and let's trade reciprocal links. Email me and let me know what you decide. Our Link Partners receive preferential treatment with a listing at the TOP of each Theme page, a Link Partner graphic, bold print, etc. They also receive a lot more traffic than our regular listings. As of today, we have over 1,800 specific links in over 200 theme categories. Our link directory is growing quickly, and our hit count is growing by over 10% per week! When you visit our page, you'll see some sites which have already decided to join us as Link Partners. You are now listed as a regular listing but I hope you decide to be a Link Partner. Your web site address: http://metalab.unc.edu Your listing in my Link Directory is here: http://www.BreakRecords.com/links/themeindex.html I have your site listed in the COMPUTER RESOURCES theme. After reading your Link Directory listing, if you should wish any changes in Theme Category, Title or Description, please email me with the correct text. The link to my home page is http://www.BreakRecords.com/ My information about adding a link on your web site to my web site is here: http://www.BreakRecords.com/links/addlink.htm My Zeus robot searches the internet for web sites to trade links with. He's found the following key words in web sites similar to yours and mine. They are sorted according to the number of times they occur throughout the internet. I hope they help you to increase your traffic as much as they did for me. Thanks, Maia http://www.BreakRecords.com/ # Word 47069 INFORMATION 45637 WEB 44099 INTERNET 39586 SITE 29834 HOME 29186 SOFTWARE 28984 SEARCH 27836 SERVICES 26417 BUSINESS 24557 SERVICE 23046 FREE 22755 INC 21199 SUPPORT 20685 PRODUCTS 20621 ONLINE 20387 NETWORK 18918 CABLEMODEM 17845 COMPANY 17733 EMAIL 16904 SYSTEMS 16319 TECHNOLOGY 16160 SERVER 16118 LIST 15945 HELP 15547 DATA 15483 ACCESS 14957 OMWARE 14427 SYSTEM 14355 COMPUTER 14229 COPYRIGHT 14213 PRODUCT 13700 WINDOWS 13517 CLICK 12724 MANAGEMENT 12178 FIND 11750 LINKS 11662 SITES 11489 AIRTOUCH 11263 MARKET 11074 RIGHTS 11065 PROGRAM 10511 SOLUTIONS 10447 RESEARCH 10324 TCPIP 10258 WORLD 10111 PAGES 10052 MAIL 10038 FILE 10003 DESIGN 9968 USER 9739 SALES 9642 USERS 9601 RELEASES 9568 RESOURCES 9495 DEVELOPMENT 9437 WORK 9327 INFO 9131 MEDIA 9104 CUSTOMER 9051 RESERVED 9043 COMMUNICATIONS 9016 ORDER 9002 GROUP 8991 QUESTIONS 8979 INTERNATIONAL 8962 VERSION 8951 REAL 8883 DE 8820 EST 8593 PEOPLE 8501 CUSTOMERS 8499 COMPANIES 8482 SOLARIS 8453 FAX 8440 MARKETING 8439 INCLUDING 8419 FORM 8142 MICROSOFT 8025 DOWNLOAD 7926 RATIO 7909 CONTENT 7896 TECHNICAL 7850 UNIVERSITY 7803 APPLICATIONS 7802 OFFICE 7743 INSTEAD 7695 GO 7676 ACQUIRING 7675 PRICE 7673 NEWSFILES 7667 DIRECTORY 7639 TENDS 7613 ASP 7588 SECURITY 7554 INDUSTRY 7507 PHONE 7461 HEADLINE 7386 MESSAGE 7383 PC 7341 LOGIC 7279 FINANCIAL 7180 MODULES 7148 PROCESSORS 7139 TOOLS 7102 CALL 7026 HP 7006 LINK 6973 PENTIUMIII 6939 HTML 6923 SHIPPING 6868 PUBLIC 6858 BYTES 6807 BITS 6770 ARCHITECTURES 6716 YOUTH 6697 MOTHERBOARD 6687 ACCOUNT 6684 CONTROLLERS 6670 EQUIPPED 6660 STOCK 6594 COMBINATIONS 6580 CODE 6531 PARITY 6521 PRESUMABLY 6506 POWERMAC 6488 APPLICATION 6478 HYPERSPARC 6478 SUPERCACHE 6474 INTERLUDE 6449 GENERAL 6447 FILES 6399 CORPORATE 6387 COMMENTS 6341 PRINTERDRIVERS 6297 BROWSER 6265 PRIVACY 6242 CORPORATION 6205 JAVA 6169 DIGITAL 6161 NETWORKS 6156 PREPARE 6127 PERFORMANCE 6118 PROGRAMS 5995 RANKED 5953 TRUSTED 5923 COMMUNICATION 5912 YAHOO 5903 MEMBERS 5891 ADVERTISING 5868 ESTABLISHES 5862 VIDEO 5818 READ 5807 DELIVERS 5794 LINE 5783 TECHNOLOGIES 5744 INDEX 5692 ENTER 5669 SUN 5653 HARDWARE 5645 COMMUNITY 5553 EXPANSION 5525 SHIPPED 5506 EVENTS 5503 EXPERIENCE 5502 OFFERS 5488 IMAGES 5488 BROWSE 5432 POLICY 5412 INVESTMENT 5381 PST 5381 AR 5368 DATABASE 5341 WEBSITE 5316 TEXT 5313 GOOD 5277 EXCHANGE 5270 PRODUCTS� 5265 HIGH 5252 FEEDBACK� 5251 TODAY 5229 NATIONAL 5211 BELOW 5202 MAGAZINE 5151 NT 5114 IP 5072 LEGAL 5043 SPECIAL 5020 CREATE 5015 WORLDWIDEWEB 5006 RETURN 4991 SOLUTION 4980 PRESIDENT 4978 ADD 4960 CONTROL 4957 NET 4951 ESTATE 4929 RELEASE 4916 ISSUES 4897 PROJECT 4895 CITY 4850 CONNECTION 4840 COMPUTING 4827 TYPE 4793 MAP 4782 MESSAGES 4782 GREAT 4778 CALIFORNIA 4763 ELECTRONIC 4729 TERMS 4719 MANAGER 4707 FEEDBACK 4696 GRAPHICS 4693 MONEY 4683 ADVANCED 4672 OPTIONS 4670 STOCKOPTION 4658 WIDE 4653 ENTERPRISE 4650 SERVERS 4631 SECTION 4625 PROCESS 4601 GAMES 4585 ISDN 4583 STORE 4575 ASSOCIATION 4552 CREATES 4551 RESULTS 4550 QUALITY 4529 VISIT 4520 PARTNERS 4497 SPECTRUM 4480 GALAXY 4445 REPORTS 4443 NETWORKING 4441 TOUCH 4428 POWER 4414 HYPE 4379 SOURCE 4368 DISCLAIMER 4367 RELATED 4362 FAQ 4361 LINUX 4351 VIA 4337 DEPARTMENT 4313 SOUND 4311 TRAINING 4306 MENTORPOINT 4300 POST 4291 WEBSERVER 4276 WORKING 4266 CARDS 4265 SELECT 4260 NETSCAPE 4253 COMPLEXITY 4250 EDITOR 4243 DENSITY 4239 CA 4228 ISP 4206 UNIX 4178 FORUM 4178 AGIS 4171 PASSWORD 4170 ENGINEERING 4156 PROFESSIONAL 4142 UPDATED 4125 STREET 4118 HUMAN 4108 FINANCE 4106 LINES 4103 GLOBAL 4082 SEMANTICS 4051 MEMORY 4047 LIBRARY 4042 SCIENCE 4029 LEADING 4017 TIPS 4015 STANDARD 4012 SATISFYING 4008 IMAGE 4006 KEY 3993 CREDIT 3988 DOMAIN 3965 REQUEST 3960 TRADING 3950 REGISTER 3938 INTACT 3936 UNITED 3931 FUTURE 3930 FILING 3928 TELEPHONE 3927 RESOURCE 3908 PROGRAMMING 3900 STATES 3898 ISSUE 3895 HEALTH 3865 BUILT 3849 INTEREST 3848 MAIN 3845 VIRTUAL 3837 COMPUTERS 3817 PURCHASE 3817 TECH 3814 STATEMENT 3811 DESIGNED 3806 LONG 3802 TH 3798 PACKAGES 3788 ANALYSIS 3783 STOCKS 3751 STORAGE 3749 TEAM 3745 DOCUMENT 3730 WIRELESS 3724 OPERATING 3721 PROFESSION 3720 INTERACTIVE 3694 TRADE 3692 MULTIMEDIA 3691 CLIENT 3684 HOMES 3678 START 3676 TEST 3655 PROVIDERS 3653 REVIEW 3651 MILLION 3650 CONFERENCE 3649 DISCUSSION 3641 SIGN 3640 PLAN 3619 URL 3607 PRICES 3585 PROVIDER 3576 DIRECT 3571 LEARN 3570 DEVICE 3564 REGISTRATION 3555 INVESTOR 3549 NECESSARY 3537 INTRODUCTION 3524 CONFIGURATION 3520 PRACTICE 3490 LAW 3489 DIRECTOR 3489 INTERFACE 3484 MAJOR 3474 OPPORTUNITIES 3465 LEVEL 3434 POWERFUL 3433 CELLPHONE 3431 DOWNLOADS 3406 AMERICA 3402 SHOW 3402 BIGGEST 3389 ARTICLES 3383 GOVERNMENT 3379 EDGAR 3370 MARKETS 3358 MERCHANT 3352 TELECOMMUNICATIONS 3349 EDT 3342 VOICE 3337 ARCHIVE 3334 TRAFFIC 3328 MUSIC 3325 DOCUMENTS 3323 THINK 3321 DOWN 3316 HOSTING 3311 AWARD 3308 SUNOS 3296 UNDERWRITERS 3275 INSTANTLY 3232 COMMERCE 3229 GUARANTEES 3223 ERROR 3223 UPDATE 3215 REGISTERED 3204 ITEM 3202 CLIENTS 3193 INDIVIDUAL 3182 PM 3179 STARTED 3172 MBPS 3167 MULTIPLE 3165 FASTEST 3149 WORLDWIDE 3148 SCHOOLS 3144 PROVIDING 3140 QUESTION 3134 ARCHIVES 3126 TOTAL 3120 COPY 3112 SECURE 3100 CENTRAL 3098 KNOWLEDGE 3091 DETAILS 3087 POINT 3081 CONSUMER 3075 BUILD 3071 PRIVATE 3065 AUDIO 3060 CORP 3053 STANDARDS 3051 INTERNAL 3046 MHZ 3041 PROPERTY 3039 CHAT 3034 DROPS 3029 MANUFACTURER 3017 PRO 3015 AMERICAN 3009 EXECUTIVE 3007 PROPOSITION 3002 USENET 3001 SUITE 2994 WITNESS 2987 MEMBERSHIP 2983 SELL 2980 EQUIPMENT 2978 IMPLEMENT 2973 KB 2973 RENAMING 2962 DEVELOPER 2955 PENCHANT 2950 HISTORY 2948 RETROACTIVELY 2938 EXPRESS 2936 SALE 2934 PUBLISHING 2931 CONTENTS 2928 SHARE 2920 CONSULTING 2915 SAVE 2909 TRADEMARKS 2908 FUND 2901 CHANGES 2897 ENGINE 2894 LISTING 2893 AGENCY 2893 BENEFITS 2890 FORMAT 2881 SECURITIES 2874 USA 2872 INTELLIGENT 2870 CART 2868 ALPHA 2862 GROUPS 2862 NEWSGROUPS 2847 INVOLVED 2846 BUTTON 2840 COLOR 2840 EDITED 2839 OPERATIONS 2836 FTP 2833 ACCOUNTING 2832 SPORTS 2826 PAYS 2824 AD 2818 COMMERCIAL 2816 LANGUAGE 2813 ACCESSORIES 2813 SIZE 2811 OPTION 2811 LA 2810 LIVE 2810 REMOTE 2798 ORGANIZATION 2793 WORKS 2790 AUSTRALIA 2787 REVIEWS 2787 CABLE 2781 DEVELOP 2778 AGENT 2776 BASIC 2774 PROFILES 2771 BUSINESSES 2750 IBM 2748 INSURANCE 2746 TOOL 2744 TAX 2742 DISTRIBUTION 2735 CAMPUS 2733 ADDITION 2728 MACHINES 2721 CE 2719 SIDE 2706 PRINT 2699 DUAL 2698 PRINTING 2698 FEATURE 2695 RELATIONS 2689 OVERVIEW 2683 ARCHITECT�� 2683 UPDATES 2682 CONSULTINGSENIOR 2681 COSTS 2679 ACHIEVE 2677 FRAME 2661 GROWTH 2659 DEVELOPERS 2655 SOUNDS 2653 CATEGORY 2651 FEDERAL 2646 LISTED 2638 CHILDREN 2637 LOCATION 2635 ABILITY 2635 WEBMASTER 2635 MATERIALS 2635 INTELLIGENCE 2626 DATES 2623 PROTECTED 2607 WIN 2601 RATE 2598 HEADQUARTERS 2598 SUCCESS 2596 MEETING 2595 DEDICATED 2592 MODULE 2587 PARTNER 2586 CAPABLE 2577 ART 2571 PORTS 2559 RUNNING 2556 SERIAL 2551 FIXED 2550 DISK 2548 COMPREHENSIVE 2546 DESKTOP 2543 INTEL 2543 CYCLE 2534 LICENSE 2533 PRICING 2533 CAREER 2532 AFFILIATE 2527 INTEGRATED 2522 SHOP 2515 MODEL 2506 PROTOCOL 2499 EXISTING 2498 REFERENCE 2496 SERIES 2492 LIKELY 2485 REASONABLE 2483 BANK 2482 FORMS 2477 SPEED 2475 FIELD 2471 SCREEN 2470 PUBLICATIONS 2458 MANAGING 2455 UPGRADES 2453 HOMEPAGE 2452 INVESTING 2451 MICROPROCESSORS 2450 HOT 2446 PLANS 2445 CONTROLLER 2444 PREVIOUS 2444 GIS 2442 �PRIVACY 2440 SPORT 2437 MAC 2430 WORKSTATION 2427 TURBOSPARC 2426 ADS 2424 INFINITELY 2422 CREATED 2416 ORGANIZATIONS 2410 CO 2407 PARCEL 2405 SUNHELP 2395 LUCKY 2390 MICROELECTRONICS 2390 HOST 2388 UK 2387 PALM 2386 LEARNING 2385 ANNOUNCING 2384 PLATFORM 2384 TRAVELING 2382 DISPLAY 2378 ACTIVE 2375 MUTUAL 2367 ENTERTAINMENT 2364 PLANNING 2360 BUFFER 2360 AMOUNTS 2358 TV 2353 PROFESSIONALS 2348 POSITION 2341 COUNTERS 2338 SAVERS 2336 MEDICINE 2334 COLLECTION 2326 CONTACTS 2324 OFFERING 2321 CISC 2320 DEVELOPS 2316 GUITARS 2314 INCIDENTALLY 2313 CHIEF 2312 PRINCIPLES 2306 MANUFACTURED 2305 COMPILATION 2300 PRIOR 2295 WEST 2294 FPU 2293 PROCESSING 2290 DATASHEETS 2287 FACTORY 2286 MMU 2285 VISITS 2281 ROBUST 2279 STATUS 2273 TOPICS 2273 PORTFOLIO 2272 RATES 2270 MENU 2269 DISTRIBUTED 2268 SKILLS 2266 FUNDS 2259 TESTING 2259 INTRANET 2258 DATASHEET 2257 ET 2256 PDF 2256 CHANNEL 2255 INQUIRY 2253 PROJECTS 2251 ITEMS 2251 SENIOR 2248 II 2242 SUCCESSFUL 2239 COUNTRY 2238 OS 2238 AUTOMATICALLY 2237 BLOCKS 2236 PAY 2227 SIGNATURE 2224 CALIF 2222 MISSION 2220 BOOT 2218 ADVERTISERS 2215 FLEXIBILITY 2214 WRITING 2210 ARCHITECTURE 2210 SLOT 2208 CONNECTED 2205 VENDORS 2202 COMPONENTS 2201 INCREASE 2201 CONDITIONS 2197 RULES 2192 PERCENT 2191 LINKING 2188 DEBATING 2185 CATALOG 2184 LTD 2182 SLOTS 2179 CONSTRUCTION 2178 POWERUP 2177 PLATFORMS 2176 XDBUS 2176 DES 2172 QUICK 2168 MATH 2165 NOTES 2165 DELIVERING 2161 BREAK 2158 ORIGINAL 2154 LISTINGS 2149 LOG 2148 PREMIUM 2148 ACTION 2146 JAVASCRIPT 2143 TRACK 2138 MANAGERS 2135 TIED 2134 ACCOUNTS 2130 FRAMES 2130 �FEEDBACK 2127 BUNCH 2119 PLASTIC 2118 ELECTRONICS 2118 DEBUT 2117 NASDAQ 2110 TABLE 2109 GATEWAY 2108 INCLUDED 2103 OFFICIALLY 2102 STATEMENT� 2098 VARIETY 2093 CEO 2091 KIT 2089 PORTION 2086 DESIGNING 2084 RESUME 2081 OPPORTUNITY 2079 YIELDS 2078 SLOWER 2076 AGENTS 2073 RADIO 2073 NETBSD 2067 RENAMED 2067 VISITORS 2059 �LEGAL 2056 BOOTS 2051 PROBABLY 2051 WWW 2049 SMP 2048 UNIQUE 2047 MANAGE 2047 ALLTEL 2046 ADJACENT 2045 HAT� 2045 TRANSACTIONS 2043 EDUCATIONAL 2042 ORDERS 2042 EXEMPT 2041 MBUS 2039 EXTEND 2039 AUTHOR 2035 ADVERTISE 2035 SPARCSTATION 2035 HS 2034 CONDITION 2032 ACT 2032 COMMITTEE 2032 PACKAGE 2022 BRAND 2020 DR 2017 BATTERY 2016 ASSESSED 2015 LX 2013 SELECTED 2013 LOW 2012 SBUS 2008 SUNS 2008 MACHINE 2007 FILINGS 2004 PRINTER 2002 INVESTORS 2002 VOYAGER 1998 BROKERS 1996 SPARCSTATIONS 1994 MASTER 1991 SIMILAR 1991 SOCIETY 1987 PRINTED 1986 UPGRADABLE 1982 DRAWING 1981 FIXME 1980 ANNOUNCED 1980 AUTHENTICATION 1976 OPENBSD 1974 TRANSFER 1973 SPARCCLASSIC 1972 MERRILLLYNCH 1971 CAPABILITIES 1970 ENGINEERFULLTIMECARY 1970 PARTICIPANT 1969 EDITION 1969 PROGRAMMERCONTRACT 1964 WEEKLY 1962 PURDUE 1960 FREQUENTLY 1959 TRADEMARK 1957 ID 1956 CHALLENGE 1955 INNUMERABLE 1954 DISCRETE 1949 PASTE 1948 COM 1945 SPECIALTY 1944 PERSONALIZATION 1941 SUPPORTS 1928 INSTALLATION 1926 CREDITCARD 1925 ADVANTAGE 1925 VISUAL 1924 PUBLISHED 1922 BACKGROUND 1922 REPRODUCTION 1918 OBSERVATIONS 1917 CONNECTIONS 1916 UPGRADE 1913 COMMISSION 1913 ADMINISTRATION 1910 PAYEE 1910 BUYING 1910 APPARENTLY 1909 LOADS 1907 OPERATION 1902 EVERYTIME 1901 EUROPE 1895 RETRIEVAL 1894 INTEGRATION 1890 CALCULUS 1888 AFFAIRS 1885 MATHLAB 1883 SEMESTERS 1882 PRODUCE 1880 BLENDED 1877 ZIP 1877 OFFICES 1877 WEIGHTS 1877 DOCUMENTATION 1874 GROW 1872 FIRM 1870 COMPAQ 1869 SELLING 1868 NEGOTIABLE 1867 ADVERTISEMENT 1865 XML 1863 DISTRIBUTOR 1862 COMBINED 1857 STRATEGY 1855 CONTRACT 1852 FILTERING 1852 BANDWIDTH 1850 INCOME 1848 RECORD 1846 STYLE 1846 VERSIONS 1844 SHOWS 1843 RANKING 1841 AUTOMATIC 1840 CONTINUE 1839 WATCHDOG 1837 POPULAR 1837 TRADINGAN 1836 PAYMENT 1834 AVAILABILITY 1832 CD 1828 FAQS 1825 TRUSTMARKS 1819 ORDERING 1819 LIMITS 1812 CGI 1809 ACTIVITIES 1808 SGI 1801 WINDOW 1799 BELIEVE 1797 MAINTENANCE 1792 RECOMMENDATIONS 1792 COMMAND 1790 WONDERFUL 1788 CONTINUES 1788 MONITOR 1784 COMMANDS� 1782 FACT 1782 JAPAN 1777 BROKERMLS 1773 RESPONSE 1771 EFFECTIVELY 1771 EXPLORER 1770 DIRECTORIES 1769 RESPONSES 1769 IMPLEMENTATION 1769 IDEAS 1767 STRATEGIC 1767 ORACLE 1765 ENGINES 1764 ROCKIN 1763 HOTLINKS 1761 FOLLOW 1760 SHORT 1757 INSTALL 1755 TRANSACTION 1755 VPN 1753 MORTGAGE 1753 COMPLIANCE 1751 RISK 1751 PLANTS 1751 MS 1751 EFFECTIVE 1749 LEAD 1748 POTENTIAL 1747 ENSURE 1745 NECESSITY 1745 COMPETITIVE 1745 AOL 1743 EDIT 1741 CREATING 1739 SMART 1738 REALTORS 1732 AUCTIONS 1731 ISPS 1730 SQUARE 1726 LIBRARIES 1724 WOMEN 1722 MODERATED 1720 INSTALLED 1719 EDO 1719 CONFIDENTIAL 1718 DYNAMIC 1718 SHAREWARE 1718 CYGENT 1717 LIVING 1716 SELECTION 1716 READING 1716 CENTERS 1715 ARTS 1712 SPECIFY 1712 ASSIGNING 1712 SPECIFICATION 1710 MICROSYSTEMS 1709 INCORPORATES 1708 CIRCUITRY 1707 REVENUE 1707 FUNCTIONS 1705 DATAWAREHOUSE 1705 PENTIUMII 1704 INDEPENDENT 1703 MAX 1700 BASE 1700 COURSES 1699 PROFILE 1697 SPOTTING 1696 CATEGORIES 1695 ADDING 1695 HOLIDAY 1695 LOCATIONS 1692 CONCLUSION 1690 CONDOMINIUM 1689 ISR 1688 METHOD 1686 AGE 1685 BANKING 1684 MESSAGING 1684 SI 1684 EDITORS 1684 NATURALLY 1682 TELECOM 1682 STOCKTRACKER 1681 FUN 1681 ENCRYPTION 1678 FAVORITE 1676 FIX 1674 QUARTER 1670 WAREHOUSES 1669 HIGHER 1668 OBJECTIVES 1667 REGIONAL 1666 ADSL 1666 FOCUS 1665 OBJECT 1664 REPLY 1663 MODIFIED 1662 TRANSLATOR 1660 PURCHASING 1659 FACULTY 1655 PROTOCOLS 1655 MANSIONS 1653 SCRIPT 1652 MACINTOSH 1646 SPARC 1646 FOOTHILLS 1643 NEEDED 1643 MEDICAL 1642 IRON 1642 AUTOMATES 1640 GENERATION 1639 REPORTING 1639 PERFECT 1638 SYMBOL 1636 INTERVIEWEE 1635 MANAGEABLE 1635 GREATER 1635 BUDGETS 1633 CASH 1632 LOANS 1630 TOWNHOUSE 1629 MR 1627 RESIDENTIAL 1623 TRENDS 1623 STRONG 1622 HIGHLIGHT 1617 RETIREMENT 1614 ASPECTS 1612 FUNCTION 1611 GAMING 1611 UNLIMITED 1609 ASIA 1608 PROMOTION 1606 IMPACT 1604 VINTAGE 1603 PROPERTIES 1603 ENABLE 1601 WON 1597 FOOTPRINT 1595 SPONSOR 1590 SPARCSERVER 1589 DEFAULT 1580 SPARCCENTER 1579 BASIS 1576 BIT 1576 EMPIRE 1571 INTERFACES 1570 IDEA 1569 STATISTICS 1569 COOKIES 1568 GOOGLE�S 1568 LEADERS 1567 BROWSERS 1565 SOURCES 1563 TRANSPORTATION 1561 LEADER 1561 BUS 1552 INVESTMENTS 1551 AMOUNT 1551 PLEASANT 1551 GEOGRAPHIC 1550 PATCHES 1549 THANKS 1548 WEALTH 1547 SEARCHING 1547 EXCELLENT 1546 POP 1546 CHIP 1544 SHAPE 1543 HEFTY 1543 FEE 1542 SUGGESTIONS 1542 DEVELOPING 1541 DEAL 1538 ODBC 1538 TECHNIQUES 1536 CACHING 1536 REQUESTED 1535 DIRECTORS 1535 MINOR 1534 ENGINEER 1533 ANSWERS 1531 CLIMATE 1528 INDUSTRIES 1527 ENABLES 1526 ND 1524 DRIVING 1524 LOST 1522 EXPECTS 1522 CONSUMERS 1522 FUTURES 1521 VILLAGE 1520 STARTING 1520 JESUS 1516 APPROACH 1516 SNAPPIER 1514 PACIFIC 1512 UTILITIES 1509 WALL 1508 INT 1507 ASSETS 1503 APPROXIMATELY 1500 OFFICER 1499 STRATEGIES 1498 PORT 1498 HIT 1497 RECOMMENDED 1494 PERL 1493 EQUITY 1491 SYNCHRONOUS 1491 FLASH 1491 PRACTICES 1491 LB 1489 WONDER 1486 REPRINTS 1486 TROUBLESHOOTING 1484 OFFICIAL 1483 BROKER 1480 INDIVIDUALS 1480 DOWNLINK 1480 SWIMSUIT 1477 APACHE 1473 ENHANCEMENT 1473 CAPACITY 1469 RESIDENT 1465 VIEWED 1462 DRIVERS 1462 NEWSLETTERS 1461 PARTS 1460 SANTA 1460 CURRICULUM 1456 GENERATING 1455 AGRICULTURAL 1455 TERM 1453 METHODS 1449 BEYOND 1448 XEROX 1448 EXPERT 1446 UNIT 1446 ENHANCED 1445 ETHERNET 1445 FLOW 1444 POSTING 1443 PROTECTION 1440 PHOTO 1440 CLASSES 1439 DOUBLE 1434 GNOME 1434 INLAND 1432 NEWLY 1427 SEMINAR 1426 BROKERAGE 1422 ECONOMY 1419 GUIDES 1419 NOTICES 1418 DPI 1418 INFLUENCE 1418 PROPRIETARY 1417 DESCRIBE 1415 FREEWARE 1415 LONDON 1412 TOYOTA 1411 CORE 1408 EUROPEAN 1406 CHICAGO 1404 PCMCIA 1402 ASSOCIATED 1397 CHINA 1395 REQUESTS 1391 HOME� 1389 FORECLOSURES 1388 PURPOSE 1388 FORUMS 1387 OTHERWISE 1387 APPLE 1387 LETTER 1386 WHOLE 1386 TOUR 1385 CHUCKLED 1385 ALLIANCE 1384 PUBLICATION 1384 REPO 1384 PORTAL 1383 PROSPECTUS 1383 COMPLIANT 1381 DRIVER 1381 RFC 1380 RESELLERS 1379 PERMISSION 1378 THOUSANDS 1378 DISTINGUISHED 1378 STRUCTURE 1376 DATABASES 1375 POSITIONS 1369 DSL 1369 CHASSIS 1368 RESEARCHER 1365 OUTPUT 1364 NV 1362 ECONOMIC 1361 ASSISTANCE 1360 AVERAGE 1360 GIFT 1358 FLOOR 1358 PREEMPT 1356 INNOVATIVE 1356 VENDOR 1356 GEOGRAPHICAL 1356 CAMERAS 1354 DESIGNS 1353 EXPECTED 1353 TUTORIALS 1352 CISCO 1351 FREELY 1350 QUOTE 1349 STATIC 1348 FIXER 1348 ARCADIA 1345 ANGELES 1345 REDHAT 1343 ADOBE 1342 STUDY 1341 SHARING 1339 FUNCTIONALITY 1339 MARKETMAKERS 1339 USAGE 1337 AURORA 1336 SHIP 1335 COMPLETED 1335 FORMATTING 1334 REO 1333 SUPPLIES 1333 TRUSTEE 1332 RECOGNITION 1331 SUPPORTED 1330 JOURNALIST 1330 BENEFIT 1330 SETS 1326 SCIENTIFIC 1324 NEGOTIATE 1324 DECISION 1323 VENTURE 1321 RISES 1321 BILLING 1320 TRICKS 1316 QUERIES 1315 FONTS 1315 CENTURY 1314 EXCITE 1314 CHARGES 1314 FORWARD 1313 VISUALBASIC 1313 LIMITATION 1312 FACE 1311 ANNOUNCES 1308 CERTIFIED 1306 FEES 1306 ONGOING 1302 ACCEPT 1295 BUG 1293 CYBER 1293 TUTORIAL 1293 SSL 1292 RECRUITS 1291 RESELLER 1290 PLANNED 1289 SQL 1287 FOUNDED 1287 CRISPER 1283 ENTRY 1282 MANUAL 1282 LIGHT 1279 LECTURER 1279 READER 1278 AGREE 1278 IMMEDIATE 1278 INITIAL 1276 LASER 1275 HEADLINES 1273 FOOTAGE 1272 SESSION 1270 CREATIVE 1269 IETF 1268 BANKRUPTS 1268 WORKPLACE 1266 RECORDS 1264 PRESENTATION 1264 ACRES 1263 PARTICIPATES 1262 INCREASED 1262 NIGHT 1262 MOVIE 1260 BATHROOMS 1259 ZDNET 1259 HIRING 1253 GRAPHIC 1253 GOLD 1252 STREAMING 1252 LOAN 1251 WORTH 1251 SWITCH 1250 SMTP 1248 QUERY 1247 SERVICES� 1247 GOOGLE 1246 TRANSFERS 1246 WOODLAND 1245 IIS 1245 RESPECTIVE 1244 RECOVERY 1239 INDICATION 1239 SUPPORT� 1237 OPINION 1236 ASSOCIATES 1236 KEYWORDS 1236 ENGINEERFULLTIMENEW 1235 LLCSYSTEM 1235 MARKETPLACE 1235 PROCESSOR 1235 WORKSHOP 1233 LLCJAVA 1233 SECTIONS 1229 COMPETITION 1227 VARIETIES 1227 EXPERTS 1227 ACCEPTED 1227 WINSOCK 1226 FACILITY 1225 LATIN 1225 WESTLAKE 1224 ENHANCE 1221 ADMINISTRATOR 1220 EXPERTISE 1218 COMMENT 1218 PINES 1216 COUNT 1214 �PRODUCTS 1212 ALTERNATIVELY 1209 LAWYERS 1209 RELATIONSHIP 1208 THREAD 1207 COMPATIBLE 1206 IMPROVISE 1205 EARNINGS 1202 �PRODUCT 1201 BOND 1199 SERVE 1199 PATH 1198 CREATION 1197 �DOWNLOAD� 1197 LOOKS 1196 SPECIFICATIONS 1196 HELPED 1194 �PARTNERS 1192 SOLD 1192 ENJOYS 1191 PROGRAMMER�� 1191 ACTUAL 1191 TIME� 1191 SILICON 1190 CORPORATIONSENIOR 1189 REMOVE 1187 AUCTIONEERS 1186 SCALABILITY 1185 RELEVANT 1184 HIGHWAY 1182 HANDLE 1181 PROMOTE 1179 MAINTAINED 1178 MULTI 1176 �STORE� 1176 INPUT 1176 TRAINING� 1174 CONSULTANT 1173 TRUST 1173 NEWSPAPER 1171 REALTOR 1171 NOVELL 1171 SEALS 1170 RESORT 1170 ROLE 1170 QUALCOMM 1170 INITIATIVE 1168 PARKS 1168 ASSUME 1167 BUYERS 1166 REPRESENTATIVE 1165 UNMODIFIED 1165 AQUIRE 1164 EFFORTS 1163 ASSOCIATE 1163 COLUMN 1162 KEYWORD 1161 UTILITY 1159 CT 1157 MILLENNIUM 1155 OCC 1155 TARGET 1154 EXPLORE 1154 CACHE 1154 DUTIES 1153 RESOLUTION 1153 VP 1151 PLACEMENT 1150 GUIDELINES 1150 RESPECTED 1149 SCHEMES 1149 EXTERNAL 1149 HIGHLIGHTS 1146 FACILITATOR 1146 PARTNERSHIP 1144 GAVE 1143 UNDERSTANDING 1142 REGION 1142 EXTENSIVE 1141 DB 1140 UPLINK 1139 INTERESTING 1139 ATTENTION 1138 COLUMBIA 1138 LAWS 1138 MODELS 1137 MIND 1136 COMMUNITIES 1135 MEDIUM 1134 NOKIA 1134 NAVIGATION 1133 SCENIC 1132 PUBLISHER 1132 RELIABLE 1128 RAM 1128 PREPARING 1127 LAND 1126 FINE 1126 HOPE 1126 LEADERSHIP 1125 MATCH 1123 WEBSITES 1122 SCRIPTS 1121 ROUTE 1121 AMERICASOFTWARE 1120 PAID 1118 INTRODUCING 1116 INDUSTRIAL 1115 CONFERENCES 1115 SETTING 1115 EMPLOYER 1113 RICH 1113 BEGIN 1110 REPLIED 1110 INTENDED 1108 LABEL 1107 RESIDENCE 1107 PERSONALIZED 1106 RAW 1104 TRACKING 1104 ROUTING 1104 APPLET 1102 MALL 1102 SEC 1102 IDENTIFY 1102 EXECUTIVES 1102 VS 1101 DIGEST 1100 DHCP 1099 FIRMS 1099 ALGORITHMS 1097 GLANCE 1097 COMPILED 1096 PICTURE 1096 TCP 1095 CONSULTANTS 1095 DVD 1094 MANAGED 1093 HOPPED 1093 HERITAGE 1092 PARTIAL 1088 PROSPECTS 1087 CONNECTING 1086 DRIVES 1086 DETAIL 1085 CONSISTENCY 1085 FEATURED 1085 OPTIONAL 1082 SPECIFIED 1081 LIMIT 1080 CLEANER 1079 PROPOSAL 1078 TAXFREE 1078 DEPARTMENTS 1077 LEASING 1076 CONNECTIVITY 1076 CHARTS 1073 GARAGE 1072 EFFICIENT 1072 EARLIEST 1071 DEMAND 1070 IT�S 1069 THRIVE 1068 BROADBAND 1067 EVALUATION 1067 LOAD 1067 ACADEMIC 1067 SLIDES 1066 APP 1065 PRACTICAL 1064 DISTANCE 1063 MERCHANTS 1063 HTTP 1061 GENERATE 1061 RETURNED 1057 INTERACTION 1057 MILESTONES 1054 PLUGIN 1052 REDUCE 1052 BONDS 1050 CHART 1049 DESKTRACKER 1048 SAFE 1045 BIZARRE 1045 STORMTRACKER 1045 MAXIMUM 1045 GOAL 1044 CES 1044 SAVINGS 1044 SETTINGS 1043 OLDER 1043 MOVIES 1043 GUEST 1042 ANIMATION 1041 LAS 1040 MP 1039 ECOMMERCE 1039 DISCLOSURE 1038 PRINCIPALS 1036 ENTERPRISES 1032 RECEIVING 1032 GERMANY 1032 NATURAL 1030 SEPARATE 1029 DNS 1027 COMPARE 1027 INSTANT 1026 SCOPE 1025 PURCHASED 1024 BOLD 1024 SEMINARS 1024 AFRICA 1022 HOUSES 1022 ��ECLIPSE 1020 CLOSING 1018 BARNESANDNOBLE 1018 ACA 1018 CONSIDERED 1017 STOCKTON 1016 PR 1016 LLC 1014 NAVIGATOR 1014 AUTOMATED 1013 INVEST 1012 MOSAIC 1011 QUICKTIME 1010 POSTAL 1007 JDK 1007 ULTIMATE 1006 FRIENDLY 1005 DISCUSSIONS 1005 WATER 1005 VIEWING 1004 DEFINE 1004 IPX 1004 CASINO 1002 INCORPORATED 1001 ��PALM 1001 COMPARED 1000 EBAY 999 FITNESS 998 SKI 995 DROP 994 TASK 994 URGENT 993 SUBMITTED 993 MODE 992 GUI 992 CANADIAN 991 NAMED 990 SLOW 990 WAREHOUSE 990 JONES 989 ENDORSE 988 PERSONALLY 988 ISLAND 987 LICENSING 986 GALLERY 985 SHIPMENTS 983 EXCLUSIVE 983 ARCADE 982 EFFECT 981 CUSTOMIZED 981 KEYS 980 COPIES 980 CHARGED 979 DOLLARS 978 ULTRA 978 AUTHORIZED 978 SCALABLE 977 CONDO 977 LENDERS 977 MINING 976 PREMIER 974 GOODS 974 SHARED 973 ADDS 973 BEACH 972 RUSSIAN 972 GENERALLY 967 KEYBOARDS 965 PARAMETER 965 ATHLON 964 AFFORDABLE 964 PARALEGAL 960 OUTLOOK 960 FOCUSED 960 GUARANTEE 959 DISPLAYED 958 UPS 958 WARRANTIES 957 PROFOUND 957 ASSIST 957 HOMESEEKERS 956 GROUPINTERNET 955 ASSOCIATESJAVA 954 SHOCKWAVE 954 ADVERTISED 952 RELATIONSHIPS 950 FOUNDER 947 EXPOSING 946 FEET 946 PHOTOS 946 PROCEDURES 945 REGULARLY 945 HANDLING 945 STAPLES 942 CLICKING 942 EXTENDS 938 BRANDED 936 POWERED 935 EXCEPTION 934 UNITS 934 HIGHEST 933 EXPANDS 931 ARCHITECTURAL 931 COMMODITIES 930 ASTRAWARE 930 COMMITTED 928 REGULATIONS 927 IDEAL 927 APPLIED 927 AUTHORS 926 COUPLE 923 MAUI 923 ENDORSEMENT 923 SEATTLE 923 BAR 923 IANA 922 FIGURE 922 �COPYRIGHT 921 ADVERTISER 920 PROPERLY 918 CONFIGURATIONS 917 GIF 917 BACKUP 916 CENTS 915 RENTALS 914 LICENSED 914 COPYING 913 ELEMENTS 913 SPECIFICALLY 913 REPRESENTING 911 TEACHING 911 IPC 910 CHANNELS 910 LODGING 910 STATED 910 SUGGEST 909 SPENDING 908 NAVIGATING 908 ASTEROIDS 907 ASTRASOFT 907 ANDREW 906 WEBSPHERE 905 CHECKING 905 FINDERS 905 REALITY 904 COMMITMENT 904 LISTEN 904 COORDINATE 904 CMOS 902 CONVERSION 902 LYCOS 902 DUPLEXES 899 DOWNLOADABLE 899 EXPATRIATE 898 EXCITING 898 FOURPLEXES 897 PERCENTAGE 897 GLOSSARY 896 ALONGSIDE 895 ASSURANCE 895 ANALYST�� 894 DA 894 DEVELOPER�TAMPA 892 SCIENCES 892 DEVELOPERS�ATLANTA 892 GROUPSENIOR 891 SCSI 891 BID 889 OCEAN 889 MEDIAWIRELESS 889 MEDIASENIOR 888 SERVING 888 MEDIAJUNIOR 887 VIRTUALLY 887 LINK� 886 DEVELOPER�LOUISVILLE 886 HOSTS 885 CONSULTINGJAVA 885 ARCHITECTCONTRACT 885 TRANSPORT 884 EXCHANGING 884 INSUREMARKET 883 DIFFERENCE 883 TRANSACT 883 ENGINEER�� 882 STRATEGIST 882 TECHNOLOGYDISTRIBUTED 882 DEVELOPER�� 881 OBJECTS 881 DOW 881 DEVELOPER�PORTLAND 881 CORPORATIONJAVA 880 CULTURE 880 DISTANT 879 OVERSOLD 879 QUALIFIED 877 JUNCTION 876 RELOCATION 875 WORLDWIDEJAVA 875 PROCESSES 874 RAID 874 INVOLVING 874 PLACES 872 LICENSEE 872 HITS 872 ENGLAND 871 CREDIBILITY 871 CONFIGURE 869 MOUSE 869 EXCLUSIVELY 869 WHOLESALER 867 PRODUCERS 864 ADC 863 CHARACTERS 863 TITLES 862 VIEWS� 862 SUBSIDIARY 861 CLICKS 861 �APPLICATION 861 PPI 861 CC 860 CONTESTS 860 SECTOR 860 BOOKMARK 859 FINANCING 858 �JOIN� 858 MARKETPLACE� 856 CHARTING 855 MONITORS 855 INFORMING 855 RESTRICTIONS 854 REVENUES 854 ALTERNATIVE 854 CS 851 EXPERIENCED 851 MAINSOFT 851 SELLER 851 HISTORICAL 850 FIT 848 CRITERIA 847 TELEPHONY 847 CHECKS 847 TRADERS 846 PROFESSORS 845 TAXES 845 STABILITY 845 INTERVIEW 845 TRUSTMARK 843 FRAMEWORK 842 WRITERS 841 TUSCANY 841 FOLDER 841 FORMALLY 841 CLICKSHARE 840 IE 840 MARKER 840 CHARTERED 839 EXTRANET 838 �PC 838 SEARCHES 838 CRASHES 838 ENFORCEMENT 837 FINISH 834 CODES 834 MEN 834 DEPENDING 834 RATING 834 STREAM 832 ANNOUNCE 831 HAWAII 831 TRAVELED 831 NEARLY 831 SPARCSYSTEM 830 ALLEVIATES 827 INO 826 DISPLAYS 826 IPO 825 ACTIONS 825 ADMINISTRATIVE 825 ERASE 824 INTRODUCED 824 CLOSELY 824 GENERATED 823 EXPRESSLY 822 HELPING 822 OWNED 822 EXPAND 821 ENTERED 821 JUDGE 820 CRISIS 820 SIGNED 820 PENTIUM 819 DISTRIBUTORS 819 AMERICAS 819 VENDING 818 BEOS 817 FORMER 817 PHONES 816 PANEL 816 PRESENTATIONS 815 RIO 814 JEEVES 813 TICKETING 812 CPU 811 REGISTRY 811 DEFINITION 810 OVERSEAS 809 INCREASING 807 SCRIPTING 807 PLAYERS 806 COMPATIBILITY 805 SRAM 805 EARN 805 ��FIRE 804 DOWNLOADING 804 SCHEDULED 804 �PALM 804 OPTIMIZED 803 REFERENCES 802 INTERVIEWING 801 BIOS 800 ��ZAP 799 CONDUCT 799 CORPORATIONS 799 SHOWINGS 799 ��TIMETABLE 797 �ATARI 797 PRIVILEGES 797 CONNECTOR 797 EXTENSION 796 ��DESKTRACKER 795 ��STORMTRACKER 794 UNIVERSAL 794 RISKS 794 EDUCATE 794 CHARACTER 794 VEGAS 793 COMPLICATED 793 ADAPTER 792 EXPENSIVE 792 APPROVED 792 CONCEPTS 792 IMPORTANCE 791 CONTINUED 791 PROMOTIONS 790 INDEPENDENCE 790 VOTE 790 CHEAP 790 PHOTOGRAPHS 789 BLOCK 789 FRONTPAGE 789 ADVISOR 788 HERO 788 CLOCK 788 DESIGNER 787 CONCEPT 785 AUTHORITY 784 DECISIONS 784 MATEO 784 PROMOTING 783 SETTLEMENT 783 MINDSPRING 783 QWEST 782 ASSIGNED 781 SERIALIZATION 781 POLITE 779 AFFILIATES 779 RESTAURANTS 778 LINKEXCHANGE 778 HOSPITAL 778 ACCURATE 778 ISSUED 777 CUSTOMIZE 776 BUREAU 776 EMPLOYEE 776 SESSIONS 776 DESIGNERS 775 REPORTED 775 MULTIPROCESSOR 775 IMPROVED 774 PRETTY 774 ADVISORS 773 REALTY 773 RFCS 772 BEAUTIFUL 772 BEDROOMS 771 LOCATE 770 COMMUNICATE 767 DEALING 765 ALTAVISTA 765 TRULY 764 PERMITS 764 SUPPLIER 763 COMPILING 763 PROGRESS 762 RECOGNIZED 760 REFER 759 PAPERBACK 759 COMBINATION 758 OPERATORS 756 COMMUNICATOR 755 UPLOADING 755 COMPACT 754 REPRESENTATIVES 754 NYSE 753 JAPANESE 753 AGREEMENTS 753 PRODIGY 753 DEVELOPMENTS 752 CONTRACTS 751 PERSPECTIVES 749 RESPECT 748 PUBLISH 748 WIDTH 748 INFORMATIONAL 748 MODERATORS 748 IRELAND 747 SEEK 747 ARTISTS 744 DC 744 JSP 743 EXEC 743 TELNET 741 RECEPTION 739 SORT 739 KERNEL 739 ANTITRUST 739 PRECIOUS 738 FORMATS 738 BROWSING 737 TOOLKIT 737 FUJITSU 737 FILM 737 INNOVATIONS 735 LIAISONS 734 OPERATOR 733 DEPOT 732 CARTRIDGES 731 NUMERICS 731 CONTRIBUTION 730 VB 730 UPCOMING 729 EMAILS 729 SERVICES�� 728 LAUNCHES 728 ASPECT 728 CANDIDATES 727 EASTERN 727 ENGAGING 726 PROTRACKER 726 METALS 725 NETWARE 725 TOOLBOXES 724 NOISETRACKER 723 PORTABLE 723 BATHROOM 723 OFPROCESSORS 723 SOUNDTRACKER 723 EXCHANGES 722 VIEWS 722 SUPERSPARCSERIES 721 INITIATIVES 720 CORRECTIONS 720 CAP 720 OUTSOURCE 719 TIMELY 719 POSITIVE 718 SEEMINGLY 718 DICTIONARY 717 PREFERRED 716 ACQUIRED 716 SPEAKING 715 KEYBOARD 713 PROSPECTIVE 713 NEWSGROUP 713 ANTICIPATES 712 HOSTED 712 ENGINEERCONTRACT 711 PILOT 711 INCORPORATEDSOFTWARE 711 LAYOUT 711 MIME 711 CARIBBEAN 710 BOOTABLE 710 ATTRACTIVE 710 ACTIVEX 710 EXPIRATION 710 EXCEL 710 SOLAR 709 RANDOM 709 DSN 709 HEADQUARTERED 709 LEADER�� 707 FA 707 REPRESENTS 706 ELECTRICAL 706 CONVENIENCE 706 PROPOSED 705 �NEWS 705 CURRENCY 703 MAP� 702 FOCUSING 701 STUDIO 701 ADVENTURE 701 RETRIEVE 700 SONY 700 ESTABLISH 699 TAGS 698 HOTBOT 698 ESSAYS 697 TRIALWARE 697 AUTHORITIES 696 VALID 696 DELAY 696 LATENCY 695 MILLIONS 694 REPLACED 694 PREVIEW 693 SCREAMIN 693 REMAIN 693 ADVANCE 693 COMMENTARY 692 ISLANDS 692 CLOSEST 692 GATE 690 FLAGSHIP 690 HOLDING 689 ORANGE 689 OPINIONS 689 APPROVAL 688 OWNERSHIP 687 WINNERS 687 POLLS 687 PARTNERSHIPS 686 INTERCONNECTED 685 DESTINATION 685 PROFITS 684 BYTE 684 LICENSEES 684 EXPENSES 683 TABLES 683 CELL 683 MALLS 682 ADVANCES 681 FLIGHT 680 ENG 680 PROGRAMATICALLY 680 CUTS 678 HTTPS 678 PREPARED 677 COMMANDS 677 BALANCING 675 ACREAGE 675 TICKER 674 SPECIALIST 674 TONER 674 LOBBY 674 IMMIGRATION 673 LITE 673 TYPICALLY 673 ACCURACY 673 GAP 672 ASSURED 672 CONVENIENT 672 ADDITIONALLY 672 FINALIZE 671 LIVES 671 LOSERS 671 PAGER 671 REVISED 670 QUANTITY 668 CMGI 668 ROUTED 668 PUSH 667 INFORMED 667 WITHDRAWN 666 ARRIVE 666 SPANISH 666 TAG 666 RELOCATING 666 RUSSIA 665 FUNDING 665 ACQUIRE 665 SE 664 CUTTING 664 FOXPRO 664 PGP 664 TYPICAL 663 EXPECTATIONS 663 RALLIES 663 CIRCUIT 662 LINKED 662 INTERMEDIA 662 VENTURA 662 RUMOR 661 TEMPLATE 661 ERP 660 SERVLET 660 SHOWCASE 660 INDEXED 660 JAVACONTRACT 659 LEE 659 COMPUTED 659 GRAND 659 TOWN 658 POSTPONED 658 RELOCATE 658 ARTWORK 658 VIDEOS 657 DISTRIBUTE 656 DREAM 656 NECX 655 POSTINGS 654 NOTED 654 MOCHA 653 WORKSTATIONS 653 EXCELLENCE 652 ECONOMICS 652 MULTIPLY 652 DIRECTION 652 PROCEDURE 651 PROXIMITY 651 NOTIFY 651 TREAT 651 RAISE 650 IMPRESSIVE 650 WILLING 649 SPEAK 648 SUCCESSFULLY 648 CLIMB 648 EXTENSIONS 648 STYLUS 647 ARRAY 647 SERVICESNEWS 647 HUMOR 646 BASICS 646 GRASSLAND 646 REVISION 646 NAMING 645 ADAPTERS 645 URLS 645 RESEARCHERS 645 ADVERTISEMENTS 645 ICQ 645 PACKS 643 PUTS 643 PARAMETERS 643 BUILDER 643 DEF 642 INSTRUMENTS 642 NIGHTLY 641 LAUNCHED 641 NOTIFICATION 640 IDENTIFICATION 640 LEGASPI 639 NATIONWIDE 639 UNCONVENTIONAL 639 DOTCOM 639 FACTS 639 FIXES 638 OPTIMIZATION 638 HTTPSERVLET 638 WEBMASTERS 637 DOOR 637 SITUATION 637 PRESUME 635 LUCRATIVE 634 DURATION 633 SUNSHINE 633 BECAME 633 LEGISLATIVE 633 SIGHTS 632 SEA 632 ROOMS 631 LOGGING 630 TEAMED 629 CASUAL 629 ADVANTAGES 627 PORTLAND 626 CONSIDERABLY 626 DEFINITIVE 624 SEX 621 DEALERS 621 OBJECTIVE 621 PRODUCER 621 BESIDES 621 DIALOG 620 DELICIOUS 620 CBS 620 EMBEDDING 619 RAFAEL 619 RECOGNIZE 619 INVENTORY 619 ENFORCE 619 CONSIDERATIONS 619 BROOKSIDE 618 GOVERNMENTS 617 SATISFIED 617 �BUYER 617 ONLINEACCESS 617 PROGRAMMER 617 RANKS 616 REFLECT 615 RIGOROUS 615 LUIS 614 JRUN 614 RAVE 613 NANDO 613 SALT 612 CITIES 612 CONTEMPO 612 DISKS 611 BUYS 611 LIGHTWEIGHTS 610 EVOLUTION 610 COCKTAIL 609 AFTERWARDS 609 ACCESSIBLE 608 SUBJECTS 607 MAINBOARD 607 OPERATE 607 MEANING 606 PEACE 606 IMPROVISATION 606 NORTEL 604 DIALUP 604 DETERMINED 604 ELEVATION 603 DART 603 FORMERLY 602 DOMAINS 601 VIEWERS 601 DOLLAR 601 AUTOMOBILE 600 DRAWN 600 ENABLED 600 PERM 599 APPRECIATED 598 DISCOUNTS 597 WWDTS 597 ALAMITOS 597 INSIDER 596 RECRUITING 595 DEVELOPERPERMANENTSAN 595 PDA 595 MIAMI 595 CONTACTING 594 ESSENTIALLY 594 SYSTEMSJAVA 594 CROSS 594 PERSONS 594 SATISFACTION 593 DEV 593 LOGICAL 593 PANELS 593 RENTAL 592 MERGER 592 DEFENSE 592 EXPOSURE 592 NULLSOFT 591 PIZZA 591 NYC�� 591 ACCEPTANCE 591 TECHNOLOGYAPPLICATION 591 MISCELLANEOUS 590 VSTR 590 DEVELOPERPERMANENT 589 UVT 589 DEVELOPER�PALM 589 VISIBILITY 589 HOUSED 588 SA 588 ENGINEER�SAN 588 HEADERS 588 INTERVIEWER 587 EXPLICIT 587 PROGRAMMERPERMANENTBAY 586 REPRINTING 586 CLASSIC 586 ENGINEERPERMANENTBAY 585 AIMED 585 MPW 585 SANJOSE 585 SELLERS 584 BRITAIN 583 ENABLING 583 ACCESSED 583 LAGUNA 583 REPRESENTATION 582 FRENCH 582 GRAPHS 582 MYTRACK 582 IMPLEMENTED 581 COMPUSERVE 581 �APPEARS 580 REMAINING 579 REBINDING 579 SUCCEED 579 UC 577 SALARY 577 CHINESE 576 COMPARABLE 575 AMAZON 575 PRECISELY 575 REPUTATION 572 FUNCTIONAL 572 REFERENCED 571 DHTML 571 PERIODIC 570 SEPARATING 569 ONLINEUNIVERSITY 569 EXPLAINS 568 PACIFICVIRTUAL 567 DIGITS 567 IMAGINE 566 GRANT 566 CONVERT 566 AUTOMOTIVE 565 CREATOR 565 POOL 565 HR 564 MT 564 AWARDED 563 GAINS 562 IMPOSED 562 SEARCHABLE 562 CRM 561 CLOROX 560 INTEGRATE 559 NON 559 BINARY 558 POWERHOUSE 558 ADDITIONS 557 ANALYZE 556 BOUNDS 555 RESET 555 IAB 555 MAKER 555 SCHEDULES 554 POPE 554 DOWNTOWN 554 EQUIVALENT 553 GULF 553 NNTP 553 REPORTER 553 OFFSHORE 552 OBISPO 552 SNAPSHOT 552 LENDER 552 BRANDS 552 CATEGORIZE 551 EQUAL 551 WIDELY 551 NUMERIC 550 PRESTIGIOUS 550 EASE 550 GENESIS 549 CONFIRMED 549 SPECIALIZES 548 MAPPING 548 BARBADOS 548 RICO 547 LOCKUP 547 RATINGS 547 APPRECIATE 547 FINISHED 545 ODP 545 BREAKING 545 CLARITY 545 ASSOCIATIONS 545 HOUSEHUNTING 543 EXACT 543 CONFIDENCE 543 ACCEPTABLE 542 COMPANYLEARN 542 NULL 542 SECRETS 542 MODERN 542 ADOPTION 541 PHYSICALLY 541 CONVENTION 541 AGGREGATION 540 HELSINKI 539 GREATEST 539 CAPTURING 538 ERA 538 ABROAD 538 SPECIALIZING 537 HONOLULU 537 TURNING 537 INDEXES 537 INFOSEEK 536 CHARACTERISTICS 536 ALERTS 535 THINKING 534 INTERVIEWS 533 GENERATES 533 USB 533 REMIND 532 MANUFACTURE 531 SELECTIONS 531 REPRESENTED 531 CUTE 531 AUTHORING 530 CONTEXT 530 SOPHISTICATED 530 EVALUATED 530 WDVL 529 FAMOUS 529 GUY 529 ��OTHER 529 DEEMED 529 MLS 529 CONNECTS 528 DEVELOPERFULLTIME 528 SOLVING 528 LBS 526 DELAYED 525 ROCK 525 COMPETITORS 524 BINDS 524 CONVINCED 524 VOIP 523 CREDITS 523 DOWNLOADED 522 NS 522 DISABLED 521 WINS 521 CAPTURE 521 IDE 521 TAGGED 519 CONSTRAINS 518 PROGRAMMERS 518 RELATION 518 SYNC 517 WIZARDS 517 ARUBA 517 EXPANDED 517 MAKERS 516 OPERATES 515 CONSOLES 513 SCENE 513 UPGRADING 512 KOOTENAY 511 STREAMS 510 STANFORD 509 ENDED 509 FILTERS 509 RPM 508 HUNDRED 506 BRIEFING 506 CONSISTENT 505 PARAMETRIC 505 META 505 COORDINATOR 504 TRAVELS 504 NEGOTIATING 504 DURABLE 503 ENUMERATE 503 JAPANDEVELOPERS 503 PUERTO 503 RESERVES 502 INSTITUTION 502 SOLICITATIONS 501 COMPLY 501 WORKFORCE 500 ORGANIZE 500 INFORMAL 500 REFERRALS 499 NEWEST 499 FORECLOSED 499 STRENGTH 498 INFINITY 498 ORLANDO 497 IMAGELOCK 497 TRACKER 497 MOTHERBOARDS 497 SWAP 495 LISTENERS 494 CLEARING 494 REPLACE 494 CULTURAL 494 OPTIMIZE 493 BEAR 493 LOSANGELES 492 BROADVISION 492 IMPRESSED 492 TRAVELERS 491 GLOSSARY� 491 FOLDERS 489 SEEING 488 MASSIVE 488 ATTACHMENTS 488 SMAB 486 ADVENTURES 486 COUNTIES 486 ARCHIVED 485 PREMIERING 485 PATIENCE 485 QUALIFY 485 MODULENAME 483 WELCOMES 483 WAKE 483 DISTRIBUTING 482 CERENT 482 EXHIBITORS 482 PHILOSOPHY 481 WARS 481 MICROSYSTEMSJAVA 481 ESTATES 481 INVALID 481 SDSL 480 WORLDS 479 BREAKROOM 479 HOMEPAGES 479 CRAY 479 MECHANICAL 478 CLIP 478 CALCULATOR 477 OAHU 477 LAKES 477 CDS 476 QUIET 474 INNOVATION 472 SOUTHWEST 472 PERFORMING 471 POSITIONED 470 BERMUDA 470 ADAPTEC 470 DIALING 470 CONSTRAIN 470 FREELANCE 468 ADIRONDACKS 468 SPREAD 467 HELPDESK 467 FIGURES 466 EXPENDABLE 466 SITEMAP 466 REFERS 466 MANSION 466 PUBLISHES 465 BUENOS 465 REPLACEMENT 465 INSERT 465 RELIABLY 464 UNIVERSE 463 EVALUATE 463 AIRES 461 ENCLOSURES 460 INTRODUCTORY 460 ORLEANS 458 SUGGESTION 458 ASA 458 ARCHITECT 458 BENCHMARK 458 IDS 458 MSN 457 ANDY 457 TELEWEST 457 AMASSING 456 UPGRADED 456 TOT 456 XX 456 PD 455 DIMENSIONS 455 CATALOGS 454 PLUG 454 GUESS 454 STUNNING 454 BAHAMAS 454 DYNAMICS 454 COMPARATIVE 453 SPEAKER 453 DARE 453 LEASE 453 IDENTITY 453 MULTILINGUAL 453 FORAY 453 PLC 453 PENINSULA 453 WESTWOOD 452 INBOX 452 FLAT 451 CNN 451 CONTRIBUTED 450 SECTORS 450 SEARCHJAVA 449 FACTOR 449 DISC 449 ESTIMATES 449 POWERPOINT 449 PROGRAMMER�LAS 449 PAYING 448 URBAN 447 PASSPORT 447 FIGHT 447 AMSTERDAM 447 DELL 446 NAVIGATE 446 DOT 445 ��VISUAL 445 BOOLEAN 444 SUSPENSION 444 PURE 444 TM 444 PRESSURE 444 RETAILERS 443 NODE 443 NEAT 443 TRADESHOWS 442 BUILDINGS 442 HTML�� 441 ROE 441 NEWER 441 NAMELY 440 REFERRED 440 ECONOMISTS 439 LEVERAGE 439 PURCHASES 439 PREFERENCE 438 INCORPORATION 438 ACADEMY 438 SAVED 438 GENESYS 438 ULTIMATELY 437 HEAT 437 ACHIEVED 437 PERIODS 437 EQUITIES 437 APARTMENTS 435 NOTEBOOK 435 RANCHO 434 PRIZE 434 EASIEST 434 INTERNIC 433 REVOLVING 433 ROCKY 433 ANNUALLY 433 DEMOGRAPHICS 432 STRICTLY 432 SHIFT 431 DEPTH 430 GENERALIZATION 430 EXCEEDED 429 CANCUN 429 VAST 428 POSTS 428 HEIGHT 427 INSTITUTIONAL 427 APPEARANCE 427 CONFIRMATION 426 PCQUOTE 426 ZACKS 426 INTRANETS 425 KNOWLEDGEABLE 425 MYTH 424 METACRAWLER 424 THRU 424 TECHNOTES 424 JAMAICA 424 ENTERTAINED 424 SUBMISSIONS 424 SUNNY 423 JUDICIARY 423 DRAM 423 ACAPULCO 423 DOME 423 ACCREDITATION 422 CALCULATORS 421 TRANSITION 421 SDK 421 SUPERPOWER 421 SUBMITTING 421 DESTINATIONS 421 COASTAL 420 DECADE 420 NETGUIDE 420 POSTURE 420 EDINBURGH 419 GENESTAR 419 ALAMEDA 418 BURLINGTON 417 REVERSE 417 MOUNTAINS 417 PRUDENTIAL 417 PERIPHERALS 416 REGIONS 416 KISS 416 DUBLIN 416 MBA 415 SPLIT 415 REVISIONS 415 IESG 414 RARE 413 FILED 413 RESTRICT 412 BARCELONA 412 SPACES 411 ARRANGEMENT 411 CAYMAN 411 NOTIFIED 411 LIENS 411 ADPT 410 PLACER 410 REALTICK 410 COMPASS 410 OFFLINE 409 OBLIGATION 409 MEDI 409 VIRUSES 409 INBOUND 408 SOLICITATION 407 INITIATED 407 AFM 406 APQ 406 ADBE 405 AEQ 404 SMOOTHLY 404 DISCUSSED 404 SFA 404 AMFM 403 USPS 403 LRCX 403 REVOLUTION 403 WEBMASTERING 403 INDICES 403 PRINTABLE 403 RECEIPT 402 MEDIMMUNE 402 NOTEBOOKS 402 ORIENTED 402 FINA 402 BOTS 401 COUPLED 401 VOICESTREAM 401 WIND 400 SELECTS 400 CME 400 LMQ 400 MEQ 399 AGREES 399 CLAIMED 399 PDG 399 TURBO 399 BLOOMBERGBLOOMBERG 399 APPROVE 399 SNAP 399 REMOTEACCESS 398 AGGRESSIVE 398 PARADISE 398 BANFF 397 CONTACTED 397 TRANSIENT 397 STOCKHOUSE 396 JOSHUA 396 DEADLINE 395 SLE 395 APPOINTMENT 394 PRICERONLINE 394 CENTER� 394 YOHO 393 GIRLS 393 TRANSOCEAN 392 JAVALOBBY 392 FE 392 COMPLETION 392 PROFITABLE 392 COMMISSIONS 391 CROSSPOST 391 CLEAN 390 RETAIN 390 INTEGRAL 390 SPELL 389 ESCORT 389 APPLAUDED 389 CONTRA 388 SUNMICROSYSTEMS 388 FLOPPY 387 RES 387 ORIGIN 387 SCREENS 387 INFOSPACE 387 PRONOUNCE 386 CALCULATE 386 QUICKEST 386 LAPTOP 386 SOLELY 385 CONCRETE 385 NETWORKED 385 BUDDY 384 SYMBOLS 384 ISDEX 384 TESTIFIES 384 INDICATED 383 DIRECTX 383 INKTOMI 383 ISLE 383 CONSULTED 383 SHUTTLE 382 WARE 381 COMPUTER�S 380 DIVERSE 380 HYPERTEXT 379 HONOR 379 AGENDA 379 MANHATTAN 379 STRIKE 379 NEGOTIATIONS 379 REGULATION 379 SHIPMENT 378 TI 377 REVIEWER 377 MORTGAGES 377 CAPISTRANO 377 CODING 375 RELOCATIONS 374 STAKE 374 MARINO 374 RAINIER 374 PRODUCING 374 ASSIGNMENT 373 DICTATE 373 ATTACHED 373 COURTESY 372 BACKED 372 COPENHAGEN 371 ASCII 371 REGISTRAR 371 GROUNDBREAKING 371 FUNDAMENTALS 371 ASSIGN 370 CRS 370 CAMPAIGNS 370 DEPEND 370 ACQUISITIONS 370 INSURES 369 MICROSPARC 369 ELITE 368 POPPING 368 VRML 368 IMPLEMENTATIONS 368 BUDAPEST 368 SCROLL 368 CAD 368 ORGANISE 367 PALMPILOT 367 SPECIALISTS 367 MAZE 367 CLIPBOARD 367 TIGHT 366 FLORENCE 366 DEFAULT�� 366 STANDARDIZED 365 GENERATOR 365 RESERVOIR 365 LOCATION�� 365 OBSERVE 365 PORTALS 364 HOSTNAME 364 PRICED 364 PRICE�� 363 WEBHOSTING 362 DBC 362 EXPLORING 362 RECIPROCAL 361 DESIRABLE 359 GATES 359 SHORTCUTS 359 UNDERGROUND 359 SUITABLE 358 ATMOSPHERE 358 GLOBE 358 FERTILE 358 TYPING 358 ENCODING 358 ROYALE 358 FRANCHISES 357 LOGONS 357 RECOMMENDATION 356 RETIRE 356 SPELLCHECKER 355 PROCESSED 355 NOTIFICATIONS 354 PASSAGES 354 ANAHEIM 354 DICTIONARIES 354 VALLARTA 354 FACILITATES 354 HANDY 352 BEIJING 352 DRUID 351 TESTIMONIALS 350 RECREATIONAL 349 DISCLAIMERS 348 CONDOMINIUMS 346 INTEGRATES 346 DIST 346 SIERRA 346 COMPETING 346 HANDLED 346 PTY 346 AIDED 346 ALTERED 346 COLD 346 EXPLORATION 345 REDWOOD 344 WARRANT 344 PATENTS 343 DRIVEWAY 342 NOISE 342 HANDLES 342 SHASTA 341 DISCOVERED 341 GX 341 ABSENCE 341 ENTITY 340 AFFLIATEPROGRAMS 340 SCANNING 340 SCREENSAVERS 339 NU 339 CONVERTED 339 TAHOE 338 AFFILIATEPROGRAMS 337 ENCLOSURE 337 LINKSHARE 337 UTILES 336 VODKAS 336 SHOPPERS 336 DANCE 335 PROOF 335 BOOST 335 REPUBLISHED 335 IMPERATIVE 334 FORTUNATELY 334 LAM 333 MNEMONICS 333 QUANTUM 333 VISIBLE 333 METAL 332 ESTIMATE 331 CENSUS 331 RECRUITER 331 LIMO 331 TELECOMMUNICATION 330 STRUCTURES 329 PROJECTED 329 PROMINENT 329 BVSN 329 IMPLICITLY 329 T�L�CHARGEMENTBO�TES 329 ACCENT 328 CONTEXTS 328 INTERMEDIATE 328 BULLETINS 327 NEWPORT 327 SPAN 327 GRAMMAR 326 BANKER 326 REFUND 326 INTERVAL 326 EMPHASIS 325 DIALED 325 OFC 325 EXPRESSIONS 324 ATTEMPTING 324 BATTERIES 323 FREQUENT 322 ALLIANCES 321 EXPLAINED 321 DEADLINES 321 ENCYCLOPEDIA 321 GNP 321 LUXURY 320 GOTO 320 DOC 319 LOCATOR 319 TECHNOLOGICAL 319 CONVERSANT 318 DIFFICULTY 317 BOYS 317 KR 316 SUMMATION 315 STRATEGISTINFORMATIVE 315 WEBOBJECTS 314 REMAX 314 COMPILER 314 GATED 314 MOUNTING 314 MARKETCNN 314 SKYSCRAPERS 313 TOOLBAR 313 PERTAINING 312 RETREAT 312 COOPERATIVE 311 BANKRUPTCY 311 COLUMNISTS 311 EXPIRATIONS 310 PENDING 310 ACCELERATING 309 GUIDEBOOKS 309 OFFENDER 309 QVB 309 REVEAL 309 STRUCTURED 309 EASDAQ 308 HARDWORKING 308 SALARIED 308 RENEWED 307 EURO 307 DISPLAYING 307 FITS 306 SHANGHAI 306 TENS 306 HONORED 306 EXPLAINING 305 DETERMINING 305 MATHEMATICAL 305 USABLE 304 WITHDRAWALS 304 PROTECTING 304 WEBCRAWLER 304 COMPLEXES 304 SPA 304 PROFESSIONALISM 303 MULTIPROCESSING 303 EXTRACTOR 303 CITYLIFE 303 REGISTRANT 303 HOUSEHUNT 302 FAULT 302 FILERS 302 JOURNALISTS 301 FUNNY 301 SPLS 300 KNOWINGLY 300 CUSTOMS 300 AVERAGES 300 ECONOMIST 299 CPM 299 GUIDING 299 JAZZ 299 PADS 299 GUARDED 299 COUNSELING 298 BANK�S 298 KMB 298 COLDWELL 298 PRINTS 297 INTENTION 297 KROGER 297 HIGHLIGHTED 297 PRICINGS 297 FUNK 297 PRIVATELY 296 SCREW 296 OKAY 296 FLUID 296 SNOW 295 GENERIC 295 EXPONENTIAL 295 PLQ 295 STOCKPOINT 294 QUICKEN 294 DOTS 293 ALPHABETICAL 293 INVOLVE 292 PHARMACEUTICALS 292 SUBSEQUENT 291 MONICA 291 DISTINCTIVE 291 THREADING 291 XEON 291 ACKNOWLEDGE 291 COPIED 290 PROFOUNDLY 290 INS 290 TOWNHOMES 290 THESTREET 289 REPLACING 289 EVALUATING 289 LEGENDARY 289 PARSED 289 MOTIVATED 288 ISPCON 288 CYBERHOMES 288 QUALITIES 288 BOF 288 ASSOCIATEPROGRAMS 288 INSPIRE 287 JPEG 287 REPRESENTATIONS 287 BROADEST 287 INTERNALLY 287 SURPRISED 286 GUITAR 286 FLEX 285 LASALLE 285 ADAPT 285 PRESIDENTIAL 285 FENCED 284 ASSISTED 284 ISOC 284 GROWS 283 TLD 283 SX 282 GIGABYTE 282 INTERACTIONS 282 BAYS 281 ROUNDING 281 BANGKOK 281 CONCERT 280 INTERNALS 280 EDGES 279 INTELLISEEK 279 INTERNETNEWS 279 FAME 278 SWIMMING 278 BRAINSTORMING 277 SCORES 277 FUSION 277 WELCOMED 276 HONESTY 275 INCORPORATE 275 �STANDARDIZED 275 FREEPHONE 275 VODAFONE 274 APPROXIMATE 274 CLARIFICATIONS 273 PARADYNE 273 ARRANGING 272 EMPOWERED 271 DERIVATIVES 271 HILTON 271 CBOE 270 BULL 270 GRID 270 PMQ 270 WGS 270 GRAVITY 269 CATERING 269 DEFERRED 269 DAYTIME 268 REASONING 268 TOWNHOUSES 268 AIRWAYS 267 TERMINOLOGY 266 REPRINT 266 SIFT 265 ATTACHMENT 265 SP 265 CTI 265 WEBOPEDIA 265 FERNANDO 264 SMALLBUSINESS 264 �SPONSORS 263 �����HOMES 263 WEBTRENDS 263 ADDICTION 263 ROTATING 262 COLLECTIVE 262 MARKETWATCHTHE 262 CDR 261 ENDURING 261 REFLECTS 261 APARTMENT 260 CITIZENSHIP 259 GRANADA 259 SRS 258 TRANSFORM 258 SOCKETED 258 ACCREDITED 258 ZURICH 257 BROKERAGES 257 HIDE 257 SAO 257 VENUE 257 RETIRING 256 SLOPE 256 REMARKS 256 FOOT 256 REGISTRANTS 256 DAILYGRAPHS 255 ROCKIES 255 GE 255 NSI 254 KYOTO 253 DEPENDENCIES 253 DWELLING 252 CHOOSES 252 HIDING 252 CLUES 250 SDRAM 250 AWT 250 PROPANE 249 PRICER 249 INTER 249 MATRIXVB 249 ACKNOWLEDGED 249 USD 249 SEARCHED 249 ACKNOWLEDGMENT 248 BLUES 248 RETENTION 248 DYNAMICALLY 248 WANG 248 NEWSCNNFN 248 CONFIDENT 247 SUMMARIES 247 FILTERCORP 247 FEND 247 SPECULATION 247 RESIDE 246 UCL 246 STRINGS 246 EXPEDITE 246 BALI 246 �HONESTY 246 SKATEAGENCY 245 MEDITATION 245 NETFIND 245 REPEAT 245 ANTICIPATED 245 DELUXE 245 LOOKUPS 245 GPM 245 SANTIAGO 245 OCLI 245 ARTISTIC 244 LIBRARIE 244 INDEPENDENTLY 243 MERC 243 �HTML 243 LOOKSMART 242 AOL� 241 �NOW 241 DELETED 241 CLEARINGHOUSE 241 AA 241 COMPRENANT 240 PRIVILEGE 240 �TEXT 240 INTERPR�TATEUR 239 DESKJET 239 INTRADAY 239 TAOS 239 ACRE 238 DETECTING 238 GLACIER 238 FORECLOSURE 238 MENUS 237 ROLLOVER 237 ADVISED 236 PREPAY 236 MAILINGS 236 SERIALIZE 236 USV 236 HOTTEST 236 PRODUCTIVE 235 SCROLLING 235 SCHOLAR 234 MARKETERS 234 DEJA 234 RUSSELL 233 SUNSET 233 WHITEWATER 233 CONSTRUCT 233 NIC 233 OUTLINE 232 COMMENTARIES 232 ONLINEFREE 231 CDROM 231 CALIFORNIANS 231 NEUTRAL 230 DISPUTES 230 NASDAQDAIL 230 TECHNICALLY 230 CONTINUALLY 229 FEELING 229 QUOTATION 229 VSIMM 228 JURISDICTION 228 MARKETWAVE 227 APPEALS 227 CLICKABLE 227 BRIEFS 227 OUTBOUND 226 SAVVY 226 CONSIDERABLE 226 JANEIRO 226 RARELY 225 ORIENTATION 225 DLL 225 BOOKMAN 225 FREDDIE 224 WEBOPAEDIA 224 MATRICES 222 HUNTINGTON 222 DATEK 222 STOCKMASTERINTRADAY 221 ��POWER 221 EXPRESSION 221 REFRESH 221 PAOLO 221 FUTURESFROM 221 POOLS 220 NETCENTER 220 TETON 220 OPTIONSFROM 220 HONEST 220 JOS� 220 PASADENA 220 MYTRACKTHIS 219 WAREHOUSING 218 PMTC 218 INITIATE 217 LAPTOPS 217 SELECTIVE 217 SEARCH��SEARCH 217 LATES 217 DEFER 217 COMPOSITION 217 LEAPS 216 PEDIATRIX 216 CAPITALIZATION 216 HIERARCHY 216 CONTRACTOR 216 DETECT 214 SUPERSPARC 214 AVERAGESGIVES 214 HOLLYWOOD 214 EDITS 214 CONTINENTAL 213 COUNTRYWIDE 213 SARA 213 ESSENCE 212 YARD 211 QUALIFICATION 211 PREVENTED 211 LUMINARIES 210 FORT� 210 VERIFIED 210 ACCOUNTANTS 210 NEWSWEEK 209 FRE 209 FONCTIONS 209 FREEACCESS 209 AMERICA�S 209 CEASE 208 AIRPORTS 208 CONTRIBUTOR 208 FN 208 SUPERCACHES 208 CELEBRATE 207 PROTOTYPE 206 MICROPORTAL 206 DIMENSION 206 MALIBU 206 REALVIDEO 206 LOGISTICS 206 DDK 206 PROBATE 206 ENERGETIC 206 SPX 205 DEVOTES 205 POSTMASTER 204 GABLE 204 RENEWAL 203 COMSAT 203 NEWSREADERS 203 REALESTATE 203 RELEVANCE 203 ACRONYMS 203 REBOL 202 OEX 202 CORDIAL 202 STOCKTRIGGERRECEIVE 202 PATHS 201 AC 201 ONSALE 201 IPOS 201 AVID 201 INDEMNIFY 201 REALNAMES 200 BUSES 200 APLINVESTMENT 200 MATH�MATIQUES 199 SONICNET 199 TRADINGCNN 199 JAM 198 CONSTRUED 198 QUOTED 197 IMPORTED 197 VARIATIONS 197 REDONDO 196 OBLIGE 196 ANALOGUE 196 UNINSTALL 196 MENUWELCOME 196 EQUALLY 195 NORTHERNLIGHT 195 OLYMPUS 195 BR 195 ABCS 195 PERPETUAL 194 GIFTED 194 TSC 194 GOVERNED 194 FREEWAY 193 LOCALIZED 192 GEOMETRIC 192 TOOLBOX 192 CQ 192 HEDGE 191 THREADS 191 SEQUENCES 191 CYBERATLAS 191 AMENDED 190 GILEAD 190 WINTUNE 189 ACCUMULATION 189 IMAC 188 MOTELS 188 LIKEWISE 188 RIG 188 BRENTWOOD 186 TECHMARK 185 DJX 185 RAP 185 UTILIZES 185 SLEEP 185 UNCHANGED 185 EMPLOYS 185 CNBCTHE 184 CLX 184 GILD 184 REFINANCING 184 STRIP 184 SUPERSEDES 183 TOWNS 183 GDQ 183 COOPERATE 182 IDEC 181 VENUES 181 GLX 181 HLT 181 IDPH 180 PALISADES 179 IDQ 179 EXTENSIVELY 179 CWSAPPS 178 ICIX 178 IMMUNEX 178 COMPETITOR 178 ONLINEFEATURES 178 MASSE 178 FOLK 178 SECURELY 177 ROBOTS 177 HERMOSA 177 LIBRARYFINANCE 177 AUTHORITATIVE 177 VOLATILITY 177 PROS 177 ��SEARCH 176 BERNARDINO 176 QIX 176 INTUIT 176 LISTENING 175 DEBUGGED 175 SIMMS 174 PMCS 174 PDX 174 QLGC 174 BIGCHARTS 173 HARDDRIVE 173 SPECULATIVE 173 TECHNOLOGICALLY 173 QLC 173 QLOGIC 173 TASKED 173 MONOCHROME 172 BURBANK 172 NETHELP 172 LUCKILY 172 CENTERPOINT 171 UNOCAL 171 DIESEL 171 EARTHLINK 170 REEBOK 170 PRIVATEPROFESSIONAL 168 XA 168 PROFILER 168 SPAS 167 SYNDICATION 166 THRILLER 166 SPINNER 166 DISCONTINUE 166 NORCOM 165 BROWSERWATCH 165 REGISTRATIONS 165 RAMBUS 165 XOR 164 BITWISE 164 TOC 164 CITED 164 IMNX 163 IUQ 162 TESTIFY 162 HUMANITIES 162 ADIDAS 162 BIND 162 SANDIEGO 161 PROMPTS 161 CALABASAS 160 FUNCTIONING 160 ECL 159 TODAYDAILY 159 MSFT 159 DESIGNATION 159 MOVIEFONE 158 FSBO 158 MATLAB 158 OPTIMIZING 157 PROTECTIVE 157 ORG 157 HEXADECIMAL 157 MADRID 156 EZINES 156 PLAYA 156 EC 156 MARATHON 155 EXCEPTIONS 154 SOCAL 153 DREAMS 153 RESEARCHING 153 OZWEEGOS 152 PEERS 152 EXPIRE 152 INDIVIDUALISM 151 TIMELINE 151 BOARDWATCH 151 EQT 151 BEVERLYWOOD 150 ROOSTS 149 REWRITES 149 ONLINEPROVIDE 148 TRANSLATES 147 BINARIES 147 FORTE 147 LIABILITIES 147 PROMISING 146 SERIALIZED 146 SIGNIFICANCE 146 UNCOMMON 145 DECIDING 145 INFLUENTIAL 144 EXPANSE 142 OVERSEE 142 UPCLOSE 141 VENDO 141 ERNST 140 MATHEMATICIAN 140 SERVERWATCH 140 INTERWEST 140 NOTATION 139 PICKING 139 ADANTE 138 JOURNALSTOCKHOUSE 138 VERIFYING 136 WORLDNET 136 INNOVATOR 136 UNICODE 136 WINNT 135 IDENTIFIER 132 WATERMARK 132 MOSCOW 131 CODER 131 GADGET 131 JONESSEARCH 131 PROGRAMMES 130 PROLIANT 130 TECHNO 130 UNDERSTANDINGS 130 IMMENSE 130 INCENTIVE 129 JOBOPTIONS 129 CPI 129 CORONA 128 POSTPONEMENTS 128 COPERNIC 128 VIEWPOINTS 128 ZIPPED 128 PORTABLES 127 ICANN 127 ��INTERNET 126 SCRIPTSEARCH 126 RENAME 126 PLATE 126 BYLINES 125 IFS 125 WIDER 124 ZEROES 124 HONDA 124 LITERALS 124 GOOGOL 124 ACKNOWLEDGING 124 RADAR 123 ARCHIVAL 123 COMMITTING 123 HTM 122 RESPONDS 122 MANUSCRIPTS 121 WINDOWSNT 120 ALGEBRAIC 120 INCOMPLETE 119 JARGON 119 NETFINITY 119 WARRANTS 119 HOMESCOUT 118 LATITUDE 118 PRECEDING 117 PLEAS 117 BACKLINKS 117 FOREGOING 117 INSPIRATION 117 ALLOCATING 116 OPS 116 PROGRESSION 115 INFRASTRUCTURES 114 WAIVED 114 BOOKMARKLET 114 DISCO 113 TALENTS 112 DIMMS 111 REGGAE 111 CHANNELLING 111 THEMATICALLY 111 STREAMLAND 111 PERKS 110 ALLNETRESEARCH 109 JAMMING 108 MEADOW 108 REGISTRARS 107 ADVERTISES 106 ATARI 106 STRIKES 106 FREAKS 106 RENEWALS 106 VAULT 106 TOGGLE 105 BOTSPOT 105 PIONEERED 105 OTSBH 104 AMBIENT 104 WEBSITESTRANSPORTATION 102 CHATROOM 102 SITELAB 102 RAMIFICATIONS 101 DIAMONDS 101 GROUPED 100 EMERGED 100 UNIDEN 100 PREVAILING 99 MARINA 98 AFICIONADOS 98 GTLDS 95 NEWSRC 95 COMPLIMENT 95 VARIES 94 INF 94 PAXSON 92 LAWSUITS 89 PROTEGE 89 WEBDEVELOPER 89 IDENTITIES 89 FREELANCERS 88 ORBIT 88 TRIPLEXES 86 WINPLANET 86 SWAPPING 85 FOOTNOTE 85 PROFILE��� 85 EXPLODING 85 AFFILIATE�PROGRAM 85 EXE 85 RECRUITED 85 EDUCATOR 84 GCTI 84 SAIL 83 LINUXPLANET 81 TSV 81 ��PARTNERS 81 PORTEGE 79 WET 79 WEBREFERENCE 76 MILAN 76 MINIDISC 75 HUNTERS 75 PROOFREAD 75 NDX 75 REFOCUSED 75 DENOTES 74 PROLINEA 74 ZSHOPS 74 ��WEB 74 SKA 74 INTERNETSTOCKS 74 EQUIVALENTS 73 AGENDAS 73 CHRONOLOGICAL 73 TERMS�OF�SERVICE��� 72 TESTBED 72 SPELLCHECK 72 ZOOMING 72 PRIVACY�STATEMENT��� 72 EDU 71 �TESTBED 71 MIDEVA 70 PHASE� 70 BIWEEKLY 69 COSMOPOLITAN 69 POWERTRADERPROVIDE 68 HARDCORE 68 ACD 67 ROME 67 MSDN 67 TRANCE 66 REC 66 FILEFARM 66 �SELLER 65 VIRTUALDR 65 DWELLINGS 65 BANK� 65 SUBMITTAL 64 ATTRACTS 64 FIREPLACE 64 WORKAROUNDS 64 HARDWARECENTRAL 63 NEOPLANET 63 IMPRESS 62 GLITTERING 62 SEARCHENGINEWATCH 60 RTG 59 LEXUS 59 REGISTRIES 59 PREPAYMENT 59 INTERNETDAY 58 LOGICIEL 58 DETECTORS 57 MFILE 57 NEGOTIATES 56 CRAWLER 55 INTERNETSHOPPER 55 TIRELESSLY 55 WEBREF 55 OUTILS 54 CLOAKING 53 NEWSONLINE 53 EYEBALLS 53 COUNSELORS 53 JAVABOUTIQUE 53 RESIDUALS 52 TRADEMARKED 51 MATCOM 51 ��DOWNLOADS 50 CNNFN 50 ALPHABETICALLY 50 SANDS 47 ��ADVERTISING 47 BOOKMARKLETS 47 �����PLAY 46 VERS 46 MATHTOOLS 46 ��INTERNATIONAL 45 VENICE 44 CALCULATORMORTGAGE 44 CYBERCASTS 44 OUTIL 43 ADRESOURCES 42 ��SUBMIT 42 ALLNETDEVICES 42 INTERNETWORLD 41 GRATUIT 41 UNBELIEVABLE 41 ADJUDICATES 41 INTERNETPRODUCTWATCH 41 PARTICULARS 40 WFM 40 LLPAUTHOR 39 IDM 39 ��SOFTWARE 38 DONE� 38 ��QUICK 38 VIX 38 SUFFIXES 37 STREAMINGMEDIAWORLD 37 ��EXPERT 37 ��REGISTER 37 INODE 36 WEBSERVERCOMPARE 36 WBMP 35 HYPHEN 35 FORTɒS 35 ��INTERNET�TECHNOLOGY 35 ASTERISKS 34 EXCLAMATION 34 ��VENTURE 33 INTERNETCASINOLIST 33 ��COMPUTER 32 INTERNETRADIOLIST 32 SLOPES 32 ��TECH 31 ��BUILD 31 ��REQUEST 30 RELIEVED 30 ��CORPORATE 30 POWERSEARCH 30 ��ISP 29 VANITY 29 ��PRESS 29 ENCINO 28 MODIFIES 28 ��REPORT 28 CRAWLS 28 HACIENDA 26 ��CONTENT 24 SCIENTIFIQUE 22 UTILISER 22 TARZANA 21 ��INTERNET�MARKETING 20 ��MAP 20 RAPIDES 19 WEBMSTR 19 CCTLD 19 INODES 18 ��INTERNET�RESOURCES 18 PROGRAMMATIONS 17 ��SELL 17 LIN�AIRE 16 QUADRATIQUE 16 DEBOGEUR 16 COMPILATEUR 16 ��BANKING 15 EDITEUR 15 MATH�MATIQUE 14 OPTIMISEUR 14 BO�TES 13 D�VELOPMENT 12 VSPACE 12 HSPACE 12 COREBUILDER 12 CONVERTIR 11 ENGLISH� 10 MULTILAYER 9 JAPANESE� 9 WUUG 9 POLICY����TERMS 8 MARGINWIDTH 8 CONDITIONS��� 8 FRAMEBORDER 7 CALREALTOR 7 MARGINHEIGHT 6 UNREVISED 3 MEMBER�ID 3 TRANSFEREES 2 �NET 1 SITEPLAN 1 HOLLISTERPROPERTIES 1 QUALIFICATIONPROGRAMS WIRELESSDATA WELLSFARGO 401K PRICEDECLINE HEWLETTPACKARD GIBSONGUITARS INVESTORSBUSINESSDAILY EXTREMELYSUCCESSFULINVESTOR RAPIDGROWTH KARLJUNG WEBAPPLIANCE WIRELESSDATATRANSFER JDSUNIPHASE CHINACOM WIRELESSBROWSER WIN2000 SUCCESSFULSMALLBUSINESS EXTRAORDINARYAPPRECIATION WINDOWS95 INTERNETAFFILIATE SMALLBUSINESSADMINISTRATION WINDOWS98 WINDOWS2000 THEMASTERBUILDER WINDOWSNT5 VISUALINTERDEV EATINGDISORDER PRICEAPPRECIATION BERKSHIREHATHAWAY HOMESAVINGS CAPITALONE POSITIVEATTITUDE ZENMEDITATION CHASEBANK STOCKCHART LONGUPTRENDS HIGHNETWORTH RELATIVEPRICESTRENGTH MICROSOFTWINDOWS2000 SUPERIORSTOCKPERFORMANCE TOPPERFORMERS EDGARDATABASE 3COM SONOMANATIONALBANK POSITIVEINDICATOR LONGUPTREND COMPUTERPROGRAMMER HIGHESTAPPRECIATION WORLDMUSIC NETSCAPECOMMUNICATOR ROCKNROLL HIGHGROWTH TREMENDOUSGROWTH T3 T1 KDEGUI DUALPROCESSOR CDRW COMPUTERPROGRAMMING APPLEIMAC LOWINTERESTCREDITCARD NETBUI DECEMBER SILVER PRECIOUS METALS GOLD AND SILVER FUTURES TECHNOLOGY IS PROPRIETARY SENSITIVE EXPORTS MILITARY-RELATED TECHNOLOGY U.S. SECURITY TECHNICAL MILITARY ADVICE INTERNETSPECIALIST VISUALJ++ REMOVABLESTORAGE DESKTOPCONFERENCING STOCKMARKETRALLY FENDERGUITARS MARTINGUITARS GIBSONMANDOLIN GROSSNATIONALPRODUCT SUCCESSFULIPO HIGHSPEEDDATAKLINK HIGHSPEEDDATA FITSPIRITUALCONDITION SPIRITUALMAINTENANCE SERVERFARM EXPORT LICENSING DISTANCELEARNING STOCKMARKETDECLINE CONSTRUCTIONMANAGMENT CONSTRUCTIONACCOUNTING TOP10MUTUALFUNDS PARALEGALSERVICES TOP10PERFORMERS CHILDRENOFALCOHOLICS ALCOHOLADDICTION DRUGADDICTION TAMBURICA GUARANTEEDCREDIT LOWINTERESTCREDITCARDS DAILYPRAYER GUARANTEEDAPPROVAL TAXDEFERREDINCOME TAXDEFERRED TAXFREEINCOME NOLOADMUTUALFUND NOLOADFUND POTENTIALEARNINGSGROWTH GROWTHSTOCKS NOFEECREDITCARDS REGISTEREDPROGRAMS UNLIMITEDCAPITAL UNLIMITEDCREDIT CREDITCARDS SUPERIORRETURNONEQUITY SUPERIOREARNINGSGROWTH VALUESTOCKS VISUALFOXPRO LIVINGTRUST DREAMHOME REALESTATEBROKERS CALIFORNIAREALESTATEBROKERS CALIFORNIAREALTORS REALESTATENEEDS CALIFORNIAREALESTATENEEDS LUXURYHOME LUXURYHOMES SECTION125 CALIFORNIALUXURYHOMES SECTION125MEDICALPLAN DREAMHOMES CALIFORNIADREAMHOME CALIFORNIADREAMHOMES FLASHMEMORY REGISTEREDINVESTMENTADVISOR REGISTEREDINVESTMENTADVISER GROWTHSTOCK CALIFORNIALUXURYHOME LANDSALES MULTIPLELISTINGSERVICE MULTIPLELISTING ADVANCEDCHIPDESIGN HOMESALES RESIDENTIALSALES UNDEVELOPEDPROPERTY VALUESTOCK LOTSFORSALE INVESTMENTPROPERTY HOUSING STARTS HOUSINGDATA MICROSOFTACCESS MICROSOFTEXCEL MICROSOFTWORD DOLLARCOSTAVERAGING HYPERTEXTTRANSFERPROTOCOL LOTSALES PRODUCERSPRICEINDEX SOLIDEARNINGSGROWTH EXCELLENTRETURNONEQUITY RETURNONEQUITY STRUCTUREDQUERYLANGUAGE CONSUMERREPORTS UNEMPLOYMENTDATA UNEMPLOYMENTINDEX MULTIPLELISTINGSERVICES CONSUMERPRICEINDEX APARTMENTBUILDING COMMERCIALPROPERTIES COMMERCIALPROERTY OFFICEBUILDINGS OFFICEBUILDING CONDOMINIUMSFORSALE CONDOFORSALE CALIFORNIAHOUSESFORSALE 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Trouble? Contact [email protected]
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wrong_mix_range_subsidiary_00017
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FactBench
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3
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http://seo2.onreact.com/how-link-building-really-works
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en
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How Link Building Really Works for SEO
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[
"Tadeusz Szewczyk"
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2012-12-28T15:49:06+00:00
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* I don’t write a lot about link building on SEO 2. Why? I did for many years. Usually I attempted to expand the concept to go beyond “building”. I questioned the premise of “manual link building” from day one....
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en
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/apple-touch-icon.png
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SEO2.blog
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http://seo2.onreact.com/how-link-building-really-works
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*
I don’t write a lot about link building on SEO 2. Why? I did for many years.
Usually I attempted to expand the concept to go beyond “building”.
I questioned the premise of “manual link building” from day one. Why?
This is not how link building for SEO actually works! Really? Let me clarify.
What Does Link Building for SEO Even Mean?
In the past link building meant “inserting links to your site on other people’s websites”. It was often sneaky.
In most cases it did not add any value. In the worst case it was about hacking websites to insert links!
Instead I focused on sharing, engagement and outreach (SEO 2) or as many people refer to it: “social SEO”.
Essentially I was attracting links!
Why? These things actually make you get links from real people who link to you of their own accord!
Yes. You can build links without manually building them or link begging. It’s just not “building” really.
Link Building Does NOT Go Away
Yet the term link building doesn’t go away. That’s the problem!
No matter how often I and other people say that you have to
get links
earn links
attract links
People both from the SEO industry and clients always want you to build links or write about it.
They often even dismiss alternatives like content creation and building relationships in many cases.
Thus it’s important to update your view on what link building actually means for SEO and beyond.
It’s not what it used to be many years ago when the term was coined.
In essence you to create linkable assets to attract links organically.
Demand and Supply
The ongoing demand is not the only reason why I return to the topic of link building! What else?
Over the years some of my colleagues I value very much have linked to me in their link building resources:
Wayne Barker of Boom Online has added two of my link building posts to his selection of valuable link building articles.
Jason Acidre of Kaiser the Sage has mentioned me in his very insightful post on high-level link building techniques.
Despite my reluctance to deal with link building some people who know the SEO trade consider me worthy enough to point out my expertise in this arena.
That’s another reason why I decided to disclose how link building really works these days.
It’s such an in-depth tutorial like Jason writes. It’s a resource list like the amazing collection by Wayne.
I still hope it will help you to make sense of the current Internet landscape and the ways you can make other people link to your site.
Link Building vs Attracting Links
There are two kinds of link building: the one that I sell to clients and the other one, the one that I practice intuitively for myself and my blog here.
It’s not that I cheat my clients or something selling them second rate link building while I do the real thing for myself. It’s just that
Most clients haven’t adapted yet to the current state of SEO of today. Why?
Business people are still approaching link building with a traditional mindset. Many
clients want links right away and are ready to take short cuts
they want link building as a separate task that has not much to do with their website
they want link building without the effort needed to make it possible (e.g. content creation)
In contrast I take many things for granted that my clients do not have.
That’s why they contact me for link building services, otherwise they probably would not need me.
What are these things most clients and their websites lack?
having a name aka personal branding
having friends online aka relationship building
having linkable assets aka content creation
I do have all three to some extent. I’m not a SEO celebrity but the people who matter know who I am.
Many more have read my articles elsewhere but do not remember they were mine probably.
Nonetheless enough people recognize me. How do I measure “enough”?
I can see it by how many read and share what I write.
I notice how connected I am when my newly published content spreads by itself without me overtly pushing it.
In case you’re completely new to an industry people won’t even look at your content at first let alone spread it.
For a client I need to overcome the lack of a personal brand.
Even in case you have a brand name people won’t share your content just because they know you.
The person who actually writes and/or shares the content is pivotal.
People follow other people not companies unless the brands are really huge like Apple or Google.
Once you command a huge brand then no matter what you do most people will clap.
Average businesses can’t rely on such loyalty. They have to reach out instead or better make friends. That’s what I offer them.
Reaching out just for the link is a short cut. Especially cold mailing people out of the blue is one.
Ideally they know you for a while before you actually ask them for a favor.
Even getting people’s attention is a favor nowadays.
Once they know you it takes quite a while and some attention on your side before you become actual friends in the online sense.
How to Make Friends Online
You do not have to meet your online friends in person.
Wayne lives in the UK, Jason is based on the Philippines.
Meeting them is not that simple especially as I don’t travel much unlike some famous SEO spokespeople. Still
regular attention
exchange of ideas
mutual aid
respect
made us what I consider online friends beyond the meaning of that term on social media sites.
Do they link to me because they owe me a favor or because I ask them to? Not really.
They link to me because they know me, respect me and thus read my articles in the first place.
You Need to Know People to Become Known
When people like my content they link to them in their posts.
They link partly because they know me yet that often not enough.
They also know how I usually react: I will notice it and reciprocate by at least sharing their article or linking to it in some cases (see above!).
Yet it’s not like a link exchange or something.
Of course my posts have to be good enough to get the links as well. It’s natural give and take.
Without my friends listening to what I say I wouldn’t get the links and shares, or much fewer of them.
For clients in most cases I have to be quick.
Outreach campaigns usually are short term.
Business people want to see results ASAP. Whatever they might be.
It’s difficult to reach out and stay connected to the bloggers and influencers I have contacted on their behalf.
In the worst case it’s the dreaded “cold outreach” to strangers who are moszt likely to ignore you!
Don’t talk to strangers was a mantra our parents repeated too often!
Yet people do not go out of their way just because someone they have never talked to asks them for a favor out of the blue!
In a way neither I nor them have the online friends needed to get the traction needed.
This is how you attract the links you deserve though. At least I hope they deserve them.
Sadly in most cases clients don’t deserve to get links. Why? They don’t have the linkable assets I take for granted.
Then they approach me and want them over night. Here again there is no quick substitute for a strategy. You build up the assets one by one over time.
A blog is not a panacea for a site that does not have any content beyond sales copy and any assets beyond the products they sell.
Until recently potential clients like these would not get back to me after I told them about the things they need to do.
These people went to the next SEO expert who build them links by paying for them. Paid links get riskier with every Google update.
The so called Penguin update has killed off many sites that relied on paid links and other artificially built links. That clean-up was long overdue.
Until then many low quality sites ranked high without actual acknowledgement from real people. The links were literally made up or simply built.
I have lots of helpful content and even my content that is merely great gets also links. Why?
It’s because people know me and some of them are my friends who tell their friends and so on.
Being recommended by a friend makes me credible even among perceived strangers.
Valuable content by itself is only part of the equation. Just try three 3Cs:
connections
content
credibility
may already suffice to get enough other people to notice you.
Then for them to spread the word about you. This will ultimately result in social shares and editorial links.
It Takes Time to Do it Right
You need to understand that these three prerequisites I take for granted work only in the long run.
Once they work you do not even have to spend time on link building directly.
Give me half a year and I will lay the foundation for you to get those natural links.
Give me another half a year and I will make the links arrive this organic way by itself.
After a year you have a link building perpetuum mobile.
Give me just a few months and a number of links I have to generate instantly and I will have to resort to
cold outreach
one link stands
self-promotion
for merely great content nobody will see without me pushing it.
A modern link building strategy has to entail half a year of preparation before the links arrive naturally.
Anything faster will be less organic and ultimately not future-proof.
Invest time now to prepare for tomorrow or pay again next time once the current short cuts won’t work anymore.
Direct blogger outreach already does not yield the results you’d expect. Why that?
Bloggers are not readily waiting to work for you. They are busy!
Many bloggers want money even though you offer them free content.
You may end up paying for links again in the worst case.
Take your time and practice link building like it really works foe SEO and beyond.
Take the long road but the one that leads to the desired destination.
Attract links as part of a true organic reach approach. That’s how SEO works!
Additional Link Building Resources
You still haven’t read enough about link building or attracting links?
Then I recommend these additional guides below for further reading:
Link Building For SEO: The Definitive Guide by Backlinko
What is Link Building — A Beginner’s Guide by PageOnePower
Link Building for SEO: How to Do It Right by SEMrush
* Perpetuum mobile is a Creative Commons image by Thilo Hilberer.
|
||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 67 |
http://neginmirsalehi.com/beauty/on-the-go-beauty-essentials
|
en
|
Go Beauty Essentials — Negin Mirsalehi
|
http://neginmirsalehi.com/cache/images/2/0/0/5/3/2005366c1018b98324758c62cde97dbcf8fd32ef-on-the-go-beauty-essentials-720x960-1-.jpg
|
http://neginmirsalehi.com/cache/images/2/0/0/5/3/2005366c1018b98324758c62cde97dbcf8fd32ef-on-the-go-beauty-essentials-720x960-1-.jpg
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[
"wearejust.com"
] | null |
As most of you've noticed already we spent a lot of time on the road visiting one meeting to the other. So next to my food-on-the-go (usually a banana, nuts, and water) I always bring some beauty-on-the-go with me for a little touch-up.
Several of you guys were curious about these beauty items I always bring with me while...
|
nl
|
/apple-touch-icon-precomposed.png
|
Negin Mirsalehi
|
http://neginmirsalehi.com/on-the-go-beauty-essentials
| |||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 71 |
https://www.academia.edu/21669887/Management_PDF
|
en
|
Âráśhjôt Šhärmâ - Academia.edu
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
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[] |
[
""
] | null |
[
"Âráśhjôt Šhärmâ",
"independent.academia.edu"
] |
2016-02-07T00:00:00
|
Management PDF
|
https://www.academia.edu/21669887/Management_PDF
|
Academia.edu uses cookies to personalize content, tailor ads and improve the user experience. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy.
Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 85 |
https://www.kaggle.com/code/oleksiikucherenko/spam-data-extraction
|
en
|
Spam. Data extraction.
|
[] |
[] |
[] |
[
""
] | null |
[
"oleksiikucherenko"
] |
2021-01-03T21:50:50.576666+00:00
|
Explore and run machine learning code with Kaggle Notebooks | Using data from multiple data sources
|
en
|
/static/images/favicon.ico
|
https://www.kaggle.com/code/oleksiikucherenko/spam-data-extraction
| ||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 27 |
https://www.netjustice.com.au/ecommerce-strategy.htm
|
en
|
ECommerce Strategy
|
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E-Commerce The evolution of trade systems has progressed over time - from barter trading, to the introduction of currency to facilitate trading, to the use of credit cards, which were the beginnings of the era of e-commerce that is widely
|
en
|
Net Justice
|
https://www.netjustice.com.au/ecommerce-strategy.htm
|
E-Commerce
The evolution of trade systems has progressed over time –
from barter trading,
to the introduction of currency to facilitate trading,
to the use of credit cards, which were the beginnings of the era of e-commerce that is widely used today and
to E-commerce.
E-Commerce covers products and services that are bought and/or paid for over the Internet but are delivered physically, as well as products and services that are delivered as digital information over the Internet.
E-commerce – the production, advertising, sale and distribution of products and services via telecommunication networks – can be divided into five broad categories -:
the basic internet interface stage where producers and consumers, or buyers and sellers, first interact (often called business to consumer or B2C);
the ordering and payment stage once a transaction has been agreed upon (B2C);
the delivery stage;
the business to business or supply chain stages (B2B) and
the advertising and marketing stage.
The internet is not a bubble waiting to burst. However, there are differences which are already apparent between industries and across industries. Your competition is coming from new players with lower overheads, no bricks and mortar and no incumbent baggage. This paper will give you an overview of e-commerce in practice and is designed to help you use e-commerce in your business and your clients’ businesses. It will then deal with the law on the Internet and some common specific legal issues.
The Internet Strategy Plan
The first stage of the development of a Web strategy should be a carefully considered plan. It basically tries to address the following questions:
What types of suppliers exist and which are the most appropriate for me? ( buy versus make principles apply here)
How do I evaluate partners?
How do I use my (future) Website to develop relationships with my audiences?
How much should I expect to pay and how long might my initiative take?
What’s the process to (re)-develop my site?
How do I evaluate the experience users will have at my web site?
How do I drive traffic to my website?
What are my objectives and how will I measure their success?
What internal resources will I need and what information must I share?
What information does a partner need in order to supply a meaningful response and quote?
An internet strategy plan should give detailed answers to above questions which result in a deliverable report containing the following topics:
a defined internet strategy mapped with your (existing or to be enhanced) business plan. The strategy document should include topics like both upside and downside potential ( SWOT strategies, Return on Investment etc.)
an implementation plan including resources needed ( human effort, capital investment and so on)
Recent history shows us what has happened with e-commerce to date. Technology companies like Intel , Dell , and Cisco Systems were among the first to use the Net to overhaul their operations. At Intel Corp., Web-based automation liberated 200 salesclerks from entering orders. Now, they concentrate instead on analyzing sales trends and pampering customers. Cisco Systems Inc., handles 75% of sales online. And 45% of its online orders for networking gear never touch employees’ hands. They go directly from customers to the company’s software system and on to manufacturing partners. That helped Cisco increase productivity by 20% over the past two years. The 3 companies are doing a $70 million in online business each day.
The above examples show the benefits of supply chain management systems. They also reflect what is assumed to be a truism in internet strategies – cost savings and management efficiencies will exceed the value of business to consumer (B2C) sales on the internet ($1.3 trillion compared to $1.0 trillion in 2003 according to a recent U.S. estimate).
In June, 1999, the average value per unique internet user to one of the top 10 Web sites was estimated by Ameritrade to be $430 each. Ameritrade used the following market capitalisation values –
AOL.com (46.2 million users) $17,500 million
Yahoo (31.3 million users) $30,707 million
Excite@Home (17.2 million users) $12,944 million
Amazon.com (10.8million users) $18,963 million
http://www.internetnews.com/stocks/article/0,1087,11_160411,00.html
This type of analysis assumes that users or customers have an intrinsic value. However, Amazon.com lost $400 million last quarter (Q4 1999) in the course of growing its customer base. And recent data shows that some 3 to 4 million customers have used Amazon only once and/or not revisted in the last 12 months (AFR 28 February, 2000). Moreover, Amazon’s business model assumes sales per customer will increase but that does not appear to be the case. In effect, Amazon.com is selling everything from flowers to books but does not yet appear to haver a profitable line. By contrast, AOL sells internet access and eBay auctions other peoples’ goods and makes a margin as a middleman. eBay is also differentiated from Amazon because it makes a profit, which is suggestive of an emerging e-commerce trend.
Customer service savings on the internet have been estimated to exceed the value of sales, thereby leading to increased productivity and profitability. A Forrester Research Inc. study of financial institutions says internet service costs companies 4 cents per customer on average for a simple Web page query, vs. $1.44 per live phone call. Shifting service to the Net, says Forrester, could let companies handle up to one-third more service queries at 43% of the cost.
The ultimate money-saver, though, is automating service. The idea is to let the Web do for customer service what automated tellers did for dispensing cash. Using software from Motive Communications Inc. in Austin, Tex., companies including Netscape (NSCP) and Dell (DELL) take a digital ”snapshot” of a customer’s troubled computer system, pinpoint the problem, and send repairs over the Web–all without human intervention.
And bricks and mortar is not dead! The Ecomomist said in September, 1999,
“Today, much of that thinking has changed. Convergence is the new religion. With e-commerce in America
alone set to rise from $12 billion this year to $41 billion by 2002, according to Jupiter Communications,
traditional retailers can no longer ignore it. At the same time, and against all expectations, Internet retailers
are being forced to recognise the importance of having a physical presence. Many firms are now betting on
the power of integrated shopping—combining stores, the Internet, catalogues, the telephone and eventually
television.
Already, bricks-and-mortar or catalogue companies that sell online—known as multi-channel
retailers—account for 62% of e-commerce. That is mostly because these retailers are selling
high-value goods such as computers, tickets and financial services. But most of the high-street retailers
have been slow to get online……”
http://www.economist.com/editorial/freeforall/21-8-99/index_wb0036.html
Types of website
direct sales
Dell.com
On the Web, shopping is easy. Buyers can quickly compare information about products and vendors almost anywhere. Suppliers are only a click apart and an E-mail message away, giving buyers unprecedented influence to demand lower prices, better service–even a direct say in product design. Dell Computer Corp. lets buyers configure their own personal computers and track them through manufacturing and shipping–all online.
Dell said net revenue for the fourth quarter, 1999 grew 31 percent, to $6.8 billion. Fourth-quarter net earnings increased to $436 million. For the full year, net revenue was $25.3 billion, up 38 percent. Sales through dell.com reached nearly 50 percent of revenue and averaged $40 million per day-up from $14 million a year ago-by the end of the quarter. Chief Executive Officer Michael Dell, said,
“Customers are increasingly demanding the type of direct relationship we pioneered in this industry, and the Internet is enhancing that preference. They’re insisting on the efficiency and value of our direct Internet business model, and we believe we’re widening our fundamental competitive advantage in the process.”
“Analysts estimate that U.S. companies alone will spend $200 billion annually on their Internet infrastructures by 2003, a sizeable portion of which will be for server and storage hardware.”
Dell closed the period with six days of inventory, the same as at the end of Q2, 1999.
http://www.dell.com/us/en/gen/corporate/press/pressoffice_us_2000-02-10-rr-000.htm
Compaq Computers drives its customers to its on-line partners’ stores.
http://www.compaq.com/smb/mail.html
Amazon.com -see above
EMU Media
EMUMEDIA is a division of Entertainment World Limited, who have been in educational video distribution to educational institutions for the past 30 years- “Over the years we have added excellent educational products to our collection and now would like to take this opportunity to offer that product for use in the home. We have carefully selected items from the collection making up an exciting mix of video, CD-ROM’s and books covering a wide variety of topics for all age groups.”
http://www.emumedia.com.au/
auction houses
eBay
eBay claims to be the world’s first, biggest, and best person-to-person online trading community.
eBay is “a giant marketplace, right at your fingertips. Looking for vintage Barbies® or toy
soldiers? Need a faster modem? How about a leather jacket—and a Harley® to go with it?
Whatever you need, odds are you’ll find it at eBay: there are over 1,000 categories and more than
a million auctions a day.”
eBay has not been without its problems –
“Andrew, 13, placed roughly $3.1 million worth of bids on merchandise on the San Jose, Calif.-based Internet auction site eBay.
Contacted at his Warwick Road home yesterday afternoon, the eighth grader said: “It’s sort of weird that it’s so open to everyone. They don’t ask you for your credit card or any proof that you’re over 18.”….
Kevin Pursglove, an eBay spokesman, dubbed Andrew a “deadbeat bidder” and said the company closed the account Monday. Pursglove said eBay had conducted 49 million auctions since its inception in 1994. He said that from January through March, the company auctioned about $541 million of merchandise.
Pursglove said deadbeat bidders — people who bid but have no intention of paying — occasionally use the site. He said credit cards are not required to open an account, and payment is conducted between the winning bidder and the seller. Children younger than 18 are not permitted to bid on merchandise without their parents’ consent, he said.
However, he said, because eBay does not require money up front to open an account, people not willing to pay can bid on merchandise. Successful bidders then negotiate a shipping date with the seller. He said eBay had no plans to update its site.”
http://www.phillynews.com/inquirer/99/Apr/29/city/CEBAY29.htm
PriceLine.com
Priceline.com is “a revolutionary new buying service where you can save money by naming your own price for the things you need.
Let’s say you want a hotel room in New York City, but you only want to pay $100.Priceline will take your offer to our participating, name-brand hotels in New York City to see if any will agree to your price. If we’re successful, you’ve got the room you want at the price you want to pay!
Since airlines fly with over 500,000 seats empty every day, and thousands of hotel rooms go unsold every night, you can understand why companies would be willing to consider your price. It makes sense for them, and you benefit by getting a great deal! Airline tickets and hotel rooms are just the beginning. At priceline, you can also name your own price for home mortgages, home equity loans, mortgage refinancing, even new cars and trucks!”
FreeMarkets creates
“customized business-to-business online auctions for the world’s largest buyers of industrial parts, raw materials, and commodities.
We created online auctions covering approximately $1 billion in 1998, and estimate we saved clients 2-25%.
Since 1995, we have created online auctions for more than 30 buyers in over 50 product categories. More than 1,800 suppliers from more than 30 countries have participated in our auctions. These online markets are real-time interactive bidding events between pre-qualified suppliers that enable buyers to purchase industrial materials and components at true market prices.”
http://www.freemarkets.com/
E-Trade
http://dellauction.com/
shopping malls
Excite shopping
http://www.excite.com/shopping/
http://catalogs.excite.com/viewtopcatalogs.cfm
comparative shopping
Comparenet
“If you’re thinking of buying anything from a VCR to a new Sport
Utility Vehicle, and want to do some in-depth comparison
shopping first — you’ve come to the right place.
CompareNet has the largest most up-to-date product
comparison information on the Internet. Categories include:
Automotive, Electronics, Home & Garden, Home
Office,Services, Computing, and Sports & Leisure
With more on the way! Anyone can tap into this huge
storehouse of data by simply selecting a product category and
checking off options from a menu of features. A
comprehensive listing of all the available products and models
that meet your criteria will be displayed — including suggested
retail prices.”
http://www.comparenet.com/
portals
A portal is a gateway that passes a user through to other destinations. It is a term used for sites that gather links to Internet resources in one place, and are designed to be the first destination on the Web surfer’s journey, the first page automatically loaded when the user double-clicks on their Internet browser icon. Increasingly, all manner of online services, search engines and Web directories are vying to become the all-purpose portal to the Internet — the one-stop shop.
Excite shopping
http://www.excite.com/shopping/
Yahoo!
http://www.yahoo.com/
Lycos
Looksmart
hubs
A summary of thr portal/hub distinction is in the Technology and the Law
Report
“Portals
2.25 To give the information on the Internet structure and make it easier to use, portals
and hubs have begun to proliferate. ……. Portals
generally have customisable news, sports, weather, stocks, yellow and white pages,
driving directions, horoscopes, and shopping.
2.26 While portals have been the trend in the last few years, we are now moving towards
hubs. A hub is a central position from which everything radiates. While portals provide
general interest information without any specific general focus, hubs are more narrowly
organised. To succeed as a hub, a site must surround itself with content, commerce and
community appropriate to one particular audience. The near future will see more and
more specialised legal portals and hubs that are customisable and contain all the
information an individual lawyer would require. ”
AOL
Netscape
Getting paid – SSL, credit cards, direct debits and smartcards.
SSL
Most e-commerce sites use SSL (short for Secure Sockets Layer), a protocol developed by Netscape for transmitting private documents via the Internet. SSL works by using a private key to encrypt data that’s transferred over the SSL connection. Both Netscape Navigator and Internet Explorer support SSL, and many Web sites use the protocol to obtain confidential user information, such as credit card numbers. By convention, Web pages that require an SSL connection start with https: instead of http:.
Another protocol for transmitting data securely over the World Wide Web is Secure HTTP (S-HTTP). Whereas SSL creates a secure connection between a client and a server, over which any amount of data can be sent securely, S-HTTP is designed to transmit individual messages securely. SSL and S-HTTP, therefore, can be seen as complementary rather than competing technologies. Both protocols have been approved by the Internet Engineering Task Force (IETF) as a standard.
Encryption
Encryption is the translation of data into a secret code. Encryption is the most effective way to achieve data security. To read an encrypted file, you must have access to a secret key or password that enables you to decrypt it. Unencrypted data is called plain text ; encrypted data is referred to as cipher text.
There are two main types of encryption: asymmetric encryption (also called public-key encryption) and symmetric encryption. Public-key encryption is a cryptographic system that uses two keys — a public key known to everyone and a private or secret key known only to the recipient of the message. When the customer wants to send a secure message to the vendor, he uses the vendor’s public key to encrypt the message. The vendor then uses his private key to decrypt it.
An important element to the public key system is that the public and private keys are related in such a way that only the public key can be used to encrypt messages and only the corresponding private key can be used to decrypt them.
digital certificates
A digital certificate is an attachment to an electronic message used for security purposes. The most common use of a digital certificate is to verify that a user sending a message is who he or she claims to be, and to provide the receiver with the means to encode a reply.
An individual wishing to send an encrypted message applies for a digital certificate from a Certificate Authority (CA). The CA issues an encrypted digital certificate containing the applicant’s public key and a variety of other identification information. The CA makes its own public key readily available through print publicity or perhaps on the Internet.
The recipient of an encrypted message uses the CA’s public key to decode the digital certificate attached to the message, verifies it as issued by the CA and then obtains the sender’s public key and identification information held within the certificate. With this information, the recipient can send an encrypted reply.
http://webopedia.internet.com/TERM/d/digital_certificate.html
eBay SSL payment methodology
An example of SSL payment methodology is contained at eBay.
http://pages.ebay.com/help/basics/n-account.html
When you register with eBay and you plan on listing items for sale you have two ways to pay:
Credit Card on File: You can place your credit card (Visa or MasterCard) on your eBay
account for regular monthly payment. This allows unlimited access to list items as long as eBay
is able to authorize your card for each month’s payment amount.
Pay-As-You-Go: You can “pay as you go” by check, money order or one-time credit card
request. This option allows you to accumulate up to $10 in fees before payment is due. Once
your account accumulates $10 in fees, you will be unable to list any new items until payment is
made or a credit card is placed on your account for regular monthly payment.
To set up automatic billing, the steps are:
1.Go to the credit card submission form.
2.Submit your User ID or email address, password, and credit card billing information.
3.Click the “Submit” button.
4.Your credit card information will be placed on your eBay account within 24 hours of receipt.
You can view your account information online. If you would like to pay by check or money order or
submit a one-time credit card request, you can print out a payment coupon online.
Place or update your credit card on your eBay account
Use this secure form to place your credit card on your eBay account or to update your credit card information for automatic payment of your monthly invoice. The
transmitted credit card information is protected by the industry standard SSL.
Your credit card information will be placed on your eBay account within 24 hours of receipt.
When you place your credit card on eBay for the first time, eBay will attempt to authorize your card. The response from your credit card company will appear
on your account status page as either approved or declined. If approved, eBay will bill your credit card each month for your previous month’s fees.
If you already have a credit card on file with us, you can change or update your credit card information at anytime.
Your credit card will normally be charge 7 to 10 days after receipt of your invoice for the previous mounth’s invoice amount.
Security issues, hackers and firewalls
Security is always an issue, as demonstrated by President Clinton’s February, 2000 online interview at CNN –
“Personally, I would like to see more porn on the Internet.”
http://www.boredom.org/cnn/oops.txt
However, there has not yet been any recorded case of interception of credit card details during internet transmission. In any event, credit card holders’ contractual arrangements with their bank usually place the risk for unauthorised transactions with the bank provided the unauthorised use is detected by the cardholder in a specified period – usually 6 months.
However, credit card details may be kept on computers which are on the web and are therefore susceptible to attack from hackers. It is advisable to retain credit card databases on stand alone machines or behind secure firewalls
A firewall is a system designed to prevent unauthorized access to or from a private network. Firewalls can be implemented in both hardware and software, or a combination of both. Firewalls are frequently used to prevent unauthorized Internet users from accessing private networks connected to the Internet, especially intranets. All messages entering or leaving the intranet pass through the firewall, which examines each message and blocks those that do not meet the specified security criteria.
There are several types of firewall techniques:
Packet filter: Looks at each packet entering or leaving the network and accepts or rejects it based on
user-defined rules. Packet filtering is fairly effective and transparent to users, but it is difficult to configure. In
addition, it is susceptible to attack.
Application gateway: Applies security mechanisms to specific applications, such as FTP and Telnet servers.
This is very effective, but can impose a performance degradation.
Circuit-level gateway: Applies security mechanisms when a TCP or UDP connection is established. Once the
connection has been made, packets can flow between the hosts without further checking.
Proxy server: Intercepts all messages entering and leaving the network. The proxy server effectively hides the
true network addresses.
In practice, many firewalls use two or more of these techniques in concert. They are a necessary investment for any e-commerce company if it does its own hosting. The alternative is to have your e-commerce servers hosted behind secure firewalls provided by third party e-commerce hosts such as Infobrokers and ECforU.
http://www.infobroker.com.au
http://www.ecforu.com
Insurance
Insurance may be required by the customer, to insure the goods purchased; the vendor to ensure payment; or the business itself, sometimes to insure the customer against credit card fraud or non-delivery of goods.
FAI Technology Business Insurance is
“A policy which builds on our past innovation in the provision of insurance solutions for small and medium technology businesses. The unique attributes of the policy are based on the “ISR Mk. IV” policy wording with specific extensions such as Computer Virus Cover and Computer Hacker Cover to reflect the unique exposures that the Technology Industry encounters on a day to day operational level. The Technology Business Insurance policy also has the capability of replacing its standard Broadform Public & Product Liability section with the FAI Information Technology Liability Policy for a more comprehensive technology specific insurance package.”
The cover includes:-
Computer Virus Cover – an automatic benefit under the Material
Damage section of the policy that reimburse the cost of reinstating
lost data of up to $10,000, due to a “Computer Virus”.
Computer Hacker Cover – an automatic benefit under the Material
Damage section of the policy that provides cover for loss up to
$10,000, as a result of unauthorised access to the computer system.
Substantiation of Loss – a $1,000 automatic cover for the costs of
substantiating a claim under the policy.
Counterfeit Currency Or Money Orders – a $2,500 automatic cover
in the case of loss due to the use of counterfeit currency or money
orders.
http://www.fai.com.au/general/businsur.html
Another site is Quicken Insuremarket, where you can get instant auto and life insurance quotes in just a few minutes.
http://www.insuremarket.com/landing/landing.htm?AD_COOKIE=QBIQUICKHOME
At the Getaway Travel site, insurance is completed online –
“Plan, book and pay for your next business or holiday travel online. Getaway Travel brings you discount fares, accommodation, holiday packages, car
hire, insurance and travel advice.”
http://getaway.com.au/daily/au/insurance/
The eBay site contains the following FAQ –
“Is every auction/item covered by insurance?
All auctions beginning on or after March 1,1999 will be covered. Final bid amount must exceed $25 to qualify for the program. Only auctions in which both seller and buyer have a non-negative feedback will qualify. The item must be in accordance with eBay’s User Agreement. What is the maximum amount of coverage that I can receive per auction? $200 is the maximum amount of insurance per auction (less a $25 deductible). If a claim is approved, a claimant will receive the lesser of $200 or the final bid amount (less a $25 deductible). ”
Insweb allows the user (in the US) to obtain car insurance quotes online-
“Simply fill out driver, car, and coverage information. Use
our QuotePad to review quotes from leading insurance
companies. Then select your quote and send your data
securely to the company you choose.
Helpful Hints:
Your current policy and vehicle registration have most of
the information you’ll need to complete the form. ”
https://secure1.insweb.com/cgi-bin/bozellauto.exe?bid=371155
A number of internet warranty products are available which offer comfort to the user to use his credit card over the internet. Effectively, they are insurance policies purchased by the merchant so they can guarantee if your credit card is used fraudulently as a result of purchasing through the merchant on the Internet, or your goods are not delivered, you will be protected up to a specified value for any one claim.
https://www.netjustice.com.au/cgi-bin/wsisa.dll/memlogin?id=vscl,0,103253,102066
Advertising and Marketing
No e-commerce plan would be complete without a comprehensive advertising and marketing plan – it would not make any sense to develop or purchase the best web site in the world if no-one knew it was there. There are numerous marketing companies which should be vetted to determine if they can satisfy your needs. the marketing contract should contain specific measurable criteria.
An example of a marketing company is internet.com (http://www.internet.com/mediakit/), which makes the following claims –
“The internet.com Network allows you to target the Internet audience you’re looking for–a hi-tech community of Internet industry professionals, developers, and Web managers. The Network’s Internet specific content assures that your ad dollars are well spent. With 65 award-winning Web sites, 45 e-mail newsletters, 55 online discussion forums, and 52 moderated e-mail discussion lists advertisers can be sure that they can target their marketing message to their desired audience. More than 1.8 million unique users generate over 47 million page views monthly. ”
An alternative is a link exchange arrangement with a company such as LinkExchange ( http://www.linkexchange.com)-
“The web provides advertisers with an unprecedented opportunity to build brand, create new customers and sell products. The LinkExchange suite of advertising services delivers on this promise because each of its offerings is specially customized to meet the needs of unique clients. LinkExchange offers an advertiser unparalleled reach (source:MediaMetrix), an affluent demographic, deep targeting capabilities, quality assurance, convenient reporting, measurable results and the ability to save time.
The key to success on the internet is to have access to the best technology which allows extensive datamining (subject to the relevant privacy laws) and targeted advertising.
Where do internet sales come from?
A report released in August 1999 by Jupiter
Communications shows that less than 10 percent of online commerce
dollars in 2002 will be incremental, and anticipated sales gains will largely
occur in lieu of sales that traditional channels would have captured
otherwise. The research advises that traditional merchants must build
unified ventures that take advantage of their off-line assets—an existing
customer base, a trusted brand name, customer data, and sales and
distribution infrastructure—or risk losing sales to Internet-only merchants.
“With few notable exceptions, traditional merchants’ Internet strategies
have been paralyzed by indecision and the merchants continue to watch
Web upstarts seize the early momentum,” explains Ken Cassar, an
analyst with Jupiter’s Digital Commerce Strategies. “Business leaders have
rationalized that sales generated through their Web site will cannibalize
sales that they otherwise would have captured in their traditional channel,
negating the value of their Internet investment. Since Internet sales largely
represent sales shifted from traditional channels, the Internet is a threat to
existing businesses and must be evaluated accordingly. Merchants must
accept that cannibalized sales are better than lost sales.”
According to Jupiter’s research, only 6.0 percent (or $720 million of the
expected $11.9 billion) of online commerce in 1999 will represent
incremental sales—those that would not have occurred otherwise. Jupiter
estimates that the percentage of incremental sales will grow only slightly,
to 6.5 percent (or $3 billion of the expected $41.01 billion) by 2002, with
growth dependent on merchants’ ability to target offers and promotions.
Product categories, with the following characteristics will become the most
likely to drive incremental sales: maturity, a low price point, high
discretionary basis, high likelihood of impulse purchase, and high product
counts.
http://www.jup.com/jupiter/press/releases/1999/0804.html
Business to business supply-chains
E-commerce between businesses is five times as much as consumer E-commerce, or about $43 billion in 1998. And by 2003, Forrester Research Inc. figures it will balloon to $1.3 trillion. That’s 10 times consumer E-commerce, constituting 9% of all U.S. business trade–and more than the gross domestic product of either Britain or Italy. Around 2006 or so, it might reach up to 40% of all U.S. business.
http://www.businessweek.com/cgi-bin/ebiz/ebiz_frame.pl?url=/ebiz/9907/ep0726.htm
United Technologies Corp. (UTX) decided to try something new in 1998. Once, it would have spent months haggling individually with dozens of vendors to supply printed circuit boards for various subsidiaries worldwide. Instead, UTC put the contract out on FreeMarkets OnLine Inc., a Web marketplace for industrial goods. Bids from 39 suppliers poured in–and the winners managed to slash $10 million off the initial $24 million estimate. Says Ed Williams, vice-president for supply management at UTC subsidiary Carrier Corp.: ”The technology drives to the lowest price in a hurry.”
The internet allows consumers and corporate buyers from all over the world to band together, pool their purchasing power, and get volume discounts. By pooling purchases over the Web, GE divisions get price reductions from suppliers of up to 20% on more than $1 billion worth of goods purchased online.
Specialist suplly chain software houses such as SC21, a Singapore company, create supply chains on the internet –
“The main goal of supply chain management is to integrate and optimize the business and operational functions of an enterprise. With the current business driver for Globalization, shorter time-to-market, higher customer expectations and environmentally “green” products, companies are forced to re-think the way in which they do business in order to streamline their supply chain and be more competitive.”
http://www.sc21.com/
The Law On The Internet
One of the most useful search engines is found at AustlII, which also happens to be one of the best legal sites in the world. The AustlII site has comprehensively published and indexed all High Court cases since 1947, all Federal Court cases considered by the Court to be worthy of reporting, and most State and Territory statute and case law databases. The AustlII site can be used to search for and find primary content and allows you to either bookmark it or to retain the link in your own interactive data base.
Other useful legal search engines are those contained at
FindLaw (United States Supreme Court),
FarisLaw,
Cornell University,
House of Lords
European Court of Justice ,
the Supreme Court of the United States of America and the list goes on……………………
Some useful NetJustice knowledge database links are –
1. NetJustice Legal Index
2. Intellectual Property and Internet Law
3. Electronic Commerce
4. Resources
5. Resources/Information Technology
6. Intellectual property /Copyright / Computer Programs
7. Professional indemnity insurance
8. Taxation
9. Contracts
10. Contract / Terms / Implied terms
11. Injunctions / Mareva / General
12. Maritime Union of Australia Dispute
13 Legal search engines
14 Australian Statutes (Companies and Corporations)
15 Practice and Procedure
16 Register of the Available Technologies which may be used by Courts.
17 How to use NetJustice
Globalisation in a shrinking world
Globalisation was well summarised in an article in BusinessWeek e.biz –
“Now You Can Sell Anywhere — and Get Sued Anywhere
Courts are starting to grant jurisdiction for lawsuits far from an E-merchant’s home turf, and that can be costly
While the legal standards in this area are still a bit murky, some guidelines are starting to emerge. For starters, it’s
clear that a passive informational Web site is unlikely to create jurisdiction in distant courthouses. Several judges
have declined to haul companies into their courthouses based on such simple sites. At the same time, however, it
is equally clear that an active E-commerce site that interacts with customers and sells goods will almost certainly
create jurisdiction.”
http://www.businessweek.com/cgi-bin/ebiz/ebiz_frame.pl?url=/ebiz/9907/ep0726.htm
In August, 1997 in its “Tax and the Internet” report, the Australian Taxation Office summarised some of the challenges of the internet
“The application of the existing jurisdictional rules is doubtful
Concepts of jurisdiction based largely on geography, on the domain of nations over land (and sea) are likely to erode.
9.18.2 Existing fundamental tax concepts such as source, residence and permanent establishment can be applied in the Internet environment, but they provide a high potential for tax planning, particularly from defects such as over reliance on form and geographical location. These key concepts are also very uncertain in their application and difficult to administer in a self assessment environment. The Internet provides ample opportunity for jurisdiction shopping in relation to the parking of important sources of wealth (and power) such as intellectual property in low tax jurisdictions.”
(http://www.ato.gov.au/ecp/index.html)
Many jurisdictions enact legislation which regulates internet content and would appear to have cross-jurisdictional, indeed, global, reach. For, example, Malaysia enacted the Communications and Multimedia Act, which requires licensing of content providers who provide content to Malaysia.
The law of contract on the web
The general principle is that the source of income derived from a contract is usually where the contract is made. Where an offer is accepted in a particular jurisdiction, the source of income would usually be the place of acceptance. If the offer is accepted by an e-commerce server, the physical location of the server will usually determine the source of the income. However, external factors such as residence of the contracting parties, place of manufacture of the goods or delivery of the service will also play a role. Like “residence”, the issue of “source” is a mixed question of fact and law.
Distributing software via a web site – click wrap licenses
A shrink wrap licence usually comes with packaged software (often encased in shrink wrap plastic). These licences usually state that if you have opened the packaging and have loaded the software onto your computer, then you are deemed to have accepted the terms of the agreement. Arguments have been raised that the contract is actually created when the purchase is made and so the supplier should not be allowed to impose additional contractual terms on the customer, at a later time.
In ProCD v Matthew Zeidenberg & Silken Mountain Web Services Inc, United States Court of Appeals For the Seventh Circuit JUNE 20, 1996 , the Court held,
“Must buyers of computer software obey the terms of shrinkwrap licenses? The district court held not, for two reasons: first, they
are not contracts because the licenses are inside the box rather than printed on the outside; second, federal law forbids enforcement even if the licenses are contracts. 908 F. Supp. 640 (W.D. Wis. 1996). The parties and numerous amici curiae have briefed many other issues, but these are the only two that matter–and we disagree with the district judge’s conclusion on each. Shrinkwrap licenses are enforceable unless their terms are objectionable on grounds applicable to contracts in general (for example, if they violate a rule of positive law, or if they are un- conscionable).”
http://laws.findlaw.com/7th/961139.html
Similar issues arise in relation to click wrap contracts, usually used in Internet transactions. Click wrap contracts are commonly created by e-mail when a customer who must indicate his agreement to the terms of the contract clicks on a button stating “I agree” or similar.
Traditionally, two or more parties enter into a contract before the customer takes possession of the purchased goods. The terms of the contract are negotiated and sometimes recorded in a written agreement. In comparison, the licence terms and conditions for a click wrap agreement are often not provided until the time of installation of the software that has been previously purchased. It is debatable whether the contract arose when the software was purchased or later when the customer agrees to the terms of the click wrap agreement, which may not be displayed until the software is installed. The notion of agreeing to contractual terms by clicking your mouse rather than by written signature challenges the traditional concepts of contractual agreement.
An example of clickwrap Terms and Conditions of use is at the Getaway site.
“Your access to the Network is conditional upon your acceptance and compliance with the terms, conditions, notices and disclaimers contained in this document and elsewhere on the Network (known collectively as “Terms of Use”). Your use of, and/or access to, the Network constitutes your agreement to the Terms of Use. ninemsn reserves the right to amend the Terms of Use at any time. Since you are bound by these Terms of Use, you should periodically refer to them in this document and elsewhere on the Network.
Intellectual property and restrictions on use of content on the network
Communication facilities
User licence to ninemsn
Advertising, links to third party websites and e-commerce offers
Disclaimer and limitation of liability
Termination
Use of information gathered on the Network
Trademarks of ninemsn and its Affiliates
Miscellaneous
Specific terms relating to ninemsn’s partners and suppliers….”
http://support.ninemsn.com.au/terms_of_use.asp
In Hotmail Corporation (“Hotmail”) v Van Money Pie Inc (“VMP”) decided in April 1998, a Californian Court found that customers were bound by terms and conditions detailed at Hotmail’s web site as a result of having clicked on a button marked “I agree”. The Court issued a preliminary injunction to prevent VMP from using Hotmail’s services as a result of VMP’s breach of Hotmail’s terms and conditions, which it had an opportunity to review.
VMP sent spam advertising allegedly pornographic material and configured the return address for their e-mails to falsely indicate that they were sent from a Hotmail e-mail address. Hotmail provides free e-mail services subject to the term that, amongst others, that Hotmail e-mail accounts will not be used to send spam. As a result of receiving complaints from recipients of the spam, Hotmail sued VMP to stop them from sending spam that stated it came from a Hotmail account, and from using Hotmail accounts as mail boxes to receive to replies to the spam. More recently, Hotmail is infamously known for the fact that the same email system allows hackers to easily access other users’ mail (“the worst security breach in Internet history”)
http://www.pathfinder.com/time/digital/daily/0,2822,30287,00.html
Another US case which discusses the validity of contracts formed online is CompuServe Inc v Patterson 89 F.3d at 1265. The US constitution requires that there is more than a minimal connection between the defendant and the place where a law suit is filed. In this matter, Patterson, a software developer who lived in Texas, entered into a Shareware Registration Agreement with CompuServe, who are based in Ohio by typing “Agree” at various places in the on-line agreement. The Court found that non residents can be sued in a State if they transact business there. It was held that although Patterson had never been to Ohio, that there were substantial ties between Patterson and Ohio due to computer transactions such as Patterson’s subscription to CompuServe and its shareware registration agreement. The Court decided that the contracts should be governed by Ohio law. The case was distinguished in MILLENNIUM ENTERPRISES, INC. v. . MILLENNIUM MUSIC, LP, where the defendants “consummated no transaction” and have made no “deliberate and repeated” contacts with Oregon through their Web site.
http://www.perkinscoie.com/resource/ecomm/netcase/milleniu.htm
In the US, revisions to the Uniform Commercial Code are being drafted, which will enable easier enforcement of shrink wrap and click wrap licences. Of particular relevance to software transactions is the proposed new Article 2B. It is anticipated that, if adopted, this article will serve as guidance for Courts interpreting various types of electronic software licences. The UCC can be viewed at
http://fatty.law.cornell.edu/ucc/ucc.table.html
Draft Article 2B SOFTWARE CONTRACTS AND LICENSES OF INFORMATION is at
http://www.law.uh.edu/ucc2b/080198/080198.html
The electronic commerce rules are contained in Sections 2B-105 through 2B-120, in addition to some definitions (e.g., Section 2B-102, conspicuous) and various contract formation rules (e.g., Section 2B-204). This group of sections reflects several policies.
1.The parties must be able to use electronic authentication (Section 2B-102(3): authentication encompasses the idea of signature) and electronic records, rather than just signed papers, and to engage in transactions all or part of which will be established by automated systems (“electronic agents” as defined in 2B-102).
2.There must be fair allocation of risk reflecting that licensors and licensees of information will vary in terms of their sophistication and economic power. Thus, while Article 2B creates an important new consumer protection in 2B-118, there are no stated dollar limits limiting risk and favoring one or the other party. The “deep pocket” here may be either the licensor or the licensee. The risk allocation is, in part, in Section 2B-116 and 2B-115.
3.The legal protections for electronic commerce must be technologically neutral. This is reflected in the rules on what is the effect of an agreement to follow a procedure to identify a party (described as an “attribution procedure”) or to detect errors in electronic records (Section 2B-118).
Further information at White SW Computer Law
Bullet Proofing your Internet Contracts
The customer should be made aware as early as possible that any transaction between the parties is subject to the terms and conditions of the click wrap agreement. The terms and conditions should be prominently displayed to the customer in a clear and concise way so that an average person can understand the nature and terms of the agreement, before they have agreed to same;
The customer should be requested to accept or reject the terms and conditions by typing “I agree” or “I do not agree” or by clicking on buttons stating “I agree” or “I do not agree”;
If the customer does not accept the terms and conditions by a positive act, the sale should not proceed;
The customer should be given notice at the time of purchase that the transaction is subject to the click wrap agreement.
The supplier’s terms and conditions should include all standard contract terms such as limitation of liability, warranties etc to limit its contractual obligations.
Resolution of disputes and arbitration
The purpose of the WIPO Arbitration and Mediation Center, which was established in 1994 as part of the International Bureau of the World Intellectual Property Organization (WIPO) in Geneva, is to offer arbitration and mediation services for the resolution of commercial disputes between private parties involving intellectual property. The dispute resolution procedures offered by the Center, which lend themselves also to other types of commercial disputes, constitute alternatives to court litigation.
http://www.arbiter.wipo.int/
The Australian Commercial Disputes Centre website contains many standard arbitration clauses –
“Any dispute arising out of or in connection with this contract, including any question regarding its existence, validity or termination, shall be referred to and finally resolved by arbitration under the United Nations Commission on International Trade Law (UNCITRAL) arbitration rules [or the Rules of the London Court of International Arbitration (LCIA) or the International Chamber of Commerce Rules of Arbitration (ICC) or Sydney Maritime Arbitration Rules and Terms (SMART)], which Rules are deemed to be incorporated with reference to this clause….”
http://www.austlii.edu.au/au/other/acdc/
Taxation on the Net
This topic is dealt with comprehensively by Robert Gordon, Barrister -at -Law, in a paper at http://www.ecforu.com/
However, it is worthwhile noting the following observation in the ATO Tax and the Internet Report:
“Disintermediation eliminates intermediate “middlemen” businesses which are a significant leverage point for tax collection. These intermediaries are also sources of independent information about transaction values and the identities of parties to a transaction. A reduction in tax collections from permanent establishments and foreign subsidiaries is also probable.
Disintermediation and the reduction of leverage
In the physical distribution chain from a foreign manufacturer, through an Australian importer to an Australian customer, the Australian importer is an intermediary who would be responsible to paying Sales Tax, Royalty withholding tax, if appropriate, and Customs duties.
Using electronic commerce technologies the Australian customer could make direct contact with the foreign manufacturer via the Internet and arrange for the goods to be shipped, by mail or courier, directly to the customer. In this circumstance the Australian customer would be responsible for the Sales Tax, Withholding Taxes and Customs Duties that might be payable.
However it would be practically difficult to enforce the payments of the taxes and duties if the number of consumers was very large. The leverage point of the Australian importer has been removed.”
These concerns about the disintermediation effect created by the internet were a powerful policy consideration behind the drive to replace the Sales Tax regime with a GST imposed on retail sales. Whether the new regime cures the problem is yet to be seen, but at least the problem from a revenue perspective has been clearly identified –
“The practicalities of enforcing sales tax and customs duty differ considerably between the case of a container load of goods imported via a registered importer / wholesaler on the one hand, and several thousand end users who have ordered goods from overseas websites because of cheaper prices on the other.”
http://www.ato.gov.au/ecp/index.html
Copyright, Trademark and other Intellectual Property issues
This topic is dealt with by Mr Julian Ding of Zaid Ibrahim in a paper at http://www.ecforu.com/
One should have regard to the liability of Internet Service Providers in copyright infringement cases. In A & A Records Inc and Ors v Internet Site known as Fresh Kutz and Anor various record companies applied for an order that the Internet Service Provider which hosts the web site prevent any access to the site to prevent further copyright infringement and to prevent destruction of evidence. Fresh Kutz provided illegal copies of musical recordings at no fee and enabled visitors to the
site to download and create further illegal copies. Despite the fact that the owner of the web site was unknown at the time, the Court ordered, amongst other things, that the owner of the web site or its agents cease infringing the record companies’ copyright, from destroying any record and computer files connected to the web site, and to block access to all infringing copies of musical recordings on the web site.
Web site hosts should expect that Courts will prohibit activities on web sites which involve infringement of copyright. The potential orders against web site hosts for the loss and damage caused by their actions should be borne in mind when adding any material to your web site which may potentially be infringing someone else’s copyright. The host’s insurance policy should cover same.
Postscript
The NetJustice database which hosts this paper uses PROGRESS WebSpeed, a thin client/intelligent web server based system that allows users to update the database with their own links. Many of the links used in this paper are also classified in the NetJustice database according to subject matter. You can look for the subject matter by navigating the tree structure (click on the folders to open and close them). Alternatively, you can find the subject matter by clicking the Find button.
The NetJustice database enables you to add your own folders by clicking on the Folder button. You can also add more links by clicking on the document button (try it with your favourite link if it is not already there). You can use the standard CTRL-C / CTRL-V keystrokes to copy and paste data into the data fields presented.
Peter Searle
29 February, 2000
http://www.ecforu.com
https://www.netjustice.com.au
http://www.infobroker.com.au
http://www.smartcover.com.au
http://www.pipeworks.com.au
[email protected]
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LinkedIn (/lɪŋktˈɪn/) is an American business and employment-oriented service that operates via websites and mobile apps. Founded on December 28, 2002,[4] and launched on May 5, 2003,[5] it is mainly used for professional networking, including employers posting jobs and job seekers posting their...
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Ultimate Pop Culture Wiki
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https://ultimatepopculture.fandom.com/wiki/LinkedIn
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LinkedIn (/lɪŋktˈɪn/) is an American business and employment-oriented service that operates via websites and mobile apps. Founded on December 28, 2002,[4] and launched on May 5, 2003,[5] it is mainly used for professional networking, including employers posting jobs and job seekers posting their CVs. As of 2015, most of the company's revenue came from selling access to information about its members to recruiters and sales professionals.[6] Since December 2016 it has been a wholly owned subsidiary of Microsoft. As of June 2019, LinkedIn had 630 million registered members in 200 countries.
LinkedIn allows members (both workers and employers) to create profiles and "connections" to each other in an online social network which may represent real-world professional relationships. Members can invite anyone (whether an existing member or not) to become a connection.[7] LinkedIn participated in the EU's International Safe Harbor Privacy Principles.[8]
Company overview[]
LinkedIn is headquartered in Sunnyvale, California, with offices in Omaha, Chicago, Los Angeles, New York, San Francisco, Washington, D.C., São Paulo, London, Dublin, Amsterdam, Graz, Milan, Paris, Munich, Madrid, Stockholm, Singapore, Hong Kong, China, Japan, Australia, Canada, India and Dubai. In January 2016, the company had around 9,200 employees.[9]
LinkedIn's CEO is Jeff Weiner,[10] previously a Yahoo! Inc. executive. Founder Reid Hoffman, previously CEO of LinkedIn, is Chairman of the Board.[10][11] It is funded by Sequoia Capital, Greylock, Bain Capital Ventures,[12] Bessemer Venture Partners and the European Founders Fund.[13] LinkedIn reached profitability in March 2006.[14] Through January 2011, the company had received a total of $103 million of investment.[15]
The site has an Alexa Internet ranking as the 28th most popular website (December 2018 ).[3] According to the New York Times, US high school students are now creating LinkedIn profiles to include with their college applications.[16] Based in the United States, the site is, as of 2013, available in 24 languages,[10] including Arabic, Chinese, English, French, German, Italian, Portuguese, Spanish, Dutch, Swedish, Danish, Romanian, Russian, Turkish, Japanese, Czech, Polish, Korean, Indonesian, Malay, and Tagalog.[17][18] LinkedIn filed for an initial public offering in January 2011 and traded its first shares on May 19, 2011, under the NYSE symbol "LNKD".[19]
History[]
Founding to 2010[]
The company was founded in December 2002 by Reid Hoffman and founding team members from PayPal and Socialnet.com (Allen Blue, Eric Ly, Jean-Luc Vaillant, Lee Hower, Konstantin Guericke, Stephen Beitzel, David Eves, Ian McNish, Yan Pujante, Chris Saccheri).[20] In late 2003, Sequoia Capital led the Series A investment in the company.[21] In August 2004, LinkedIn reached 1 million users.[22] In March 2006, LinkedIn achieved its first month of profitability.[22] In April 2007, LinkedIn reached 10 million users.[22] In February 2008, LinkedIn launched a mobile version of the site.[23]
In June 2008, Sequoia Capital, Greylock Partners, and other venture capital firms purchased a 5% stake in the company for $53 million, giving the company a post-money valuation of approximately $1 billion.[24] In November 2009, LinkedIn opened its office in Mumbai[25] and soon thereafter in Sydney, as it started its Asia-Pacific team expansion. In 2010, LinkedIn opened an International Headquarters in Dublin, Ireland,[26] received a $20 million investment from Tiger Global Management LLC at a valuation of approximately $2 billion,[27] announced its first acquisition, Mspoke,[28] and improved its 1% premium subscription ratio.[29] In October of that year, Silicon Valley Insider ranked the company No. 10 on its Top 100 List of most valuable start ups.[30] By December, the company was valued at $1.575 billion in private markets.[31]
2011 to present[]
LinkedIn filed for an initial public offering in January 2011. The company traded its first shares on May 19, 2011, under the NYSE symbol "LNKD", at $45 per share. Shares of LinkedIn rose as much as 171% on their first day of trade on the New York Stock Exchange and closed at $94.25, more than 109% above IPO price. Shortly after the IPO, the site's underlying infrastructure was revised to allow accelerated revision-release cycles.[10] In 2011, LinkedIn earned $154.6 million in advertising revenue alone, surpassing Twitter, which earned $139.5 million.[32] LinkedIn's fourth-quarter 2011 earnings soared because of the company's increase in success in the social media world.[33] By this point, LinkedIn had about 2,100 full-time employees compared to the 500 that it had in 2010.[34]
In April 2014, LinkedIn announced that it had leased 222 Second Street, a 26-story building under construction in San Francisco's SoMa district, to accommodate up to 2,500 of its employees,[35] with the lease covering 10 years.[9] The goal was to join all San Francisco-based staff (1,250 as of January 2016) in one building, bringing sales and marketing employees together with the research and development team.[9] They started to move in in March 2016.[9] In February 2016, following an earnings report, LinkedIn's shares dropped 43.6% within a single day, down to $108.38 per share. LinkedIn lost $10 billion of its market capitalization that day.[36][37]
On June 13, 2016, Microsoft announced that it would acquire LinkedIn for $196 a share, a total value of $26.2 billion and the largest acquisition made by Microsoft to date. The acquisition would be an all-cash, debt-financed transaction. Microsoft would allow LinkedIn to "retain its distinct brand, culture and independence", with Weiner to remain as CEO, who would then report to Microsoft CEO Satya Nadella. Analysts believed Microsoft saw the opportunity to integrate LinkedIn with its Office product suite to help better integrate the professional network system with its products. The deal was completed on December 8, 2016.[38]
In late 2016, LinkedIn announced a planned increase of 200 new positions in its Dublin office, which would bring the total employee count to 1,200.[39]
As of 2017, 94% of B2B marketers use LinkedIn to distribute content.[40]
Acquisitions[]
In July 2012, LinkedIn acquired 15 key Digg patents for $4 million including a "click a button to vote up a story" patent.[41]
Number Acquisition date Company Business Country Price Description Ref. 1 August 4, 2010 mspoke Adaptive personalization of content USA $0.6 million[42] LinkedIn Recommendations [43] 2 September 23, 2010 ChoiceVendor Social B2B Reviews USA $3.9 million[citation needed] Rate and review B2B service providers [44] 3 January 26, 2011 CardMunch Social Contacts USA $1.7 million[42] Scan and import business cards [45] 4 October 5, 2011 Connected Social CRM USA - LinkedIn Connected [46] 5 October 11, 2011 IndexTank Social search USA - LinkedIn Search [47] 6 February 22, 2012 Rapportive Social Contacts USA $15 million[48] - [49] 7 May 3, 2012 SlideShare Social Content USA $119 million Give LinkedIn members a way to discover people through content [50] 8 April 11, 2013 Pulse Web / Mobile newsreader USA $90 million Definitive professional publishing platform [51] 9 February 6, 2014 Bright.com Job Matching USA $120 million [52] 10 July 14, 2014 Newsle Web application USA - Allows users to follow real news about their Facebook friends, LinkedIn contacts, and public figures. [53] 11 July 22, 2014 Bizo Web application USA $175 million Helps advertisers reach businesses and professionals [54] 12 March 16, 2015 Careerify Web application Canada - Helps businesses hire people using social media [55] 13 April 2, 2015 Refresh.io Web application USA - Surfaces insights about people in your networks right before you meet them [56] 14 April 9, 2015 Lynda.com eLearning USA $1.5 billion[57] Lets users learn business, technology, software, and creative skills through videos [58] 15 August 28, 2015 Fliptop Predictive Sales and Marketing Firm USA - Using data science to help companies close more sales [59] 16 February 4, 2016 Connectifier Web application USA - Helps companies with their recruiting [60] 17 July 26, 2016 PointDrive Web application USA - Lets salespeople share visual content with prospective clients to help seal the deal [61] 18 September 16, 2018 Glint Inc. Web application USA - Employee engagement platform. [62]
Perkins Lawsuit[]
In 2013, a class action lawsuit entitled Perkins vs. LinkedIn Corp was filed against the company, accusing it of automatically sending invitations to contacts in a member's email address book without permission. The court agreed with LinkedIn that permission had in fact been given for invitations to be sent, but not for the two further reminder emails.[63] LinkedIn settled the lawsuit in 2015 for $13 million.[64] Many members should have received a notice in their email with the subject line "Legal Notice of Settlement of Class Action". The Case No. is 13-CV-04303-LHK.[65]
hiQ Lawsuit[]
In May of 2017, LinkedIn sent a Cease-And-Desist letter to hiQ Labs, a Silicon Valley startup that collects data from public profiles and provides analysis of this data to its customers. The letter demanded that hiQ immediately cease "scraping" data from LinkedIn's servers, claiming violations of the CFAA (Computer Fraud and Abuse Act) and the DMCA (Digital Millenium Copyright Act).
In response, hiQ sued LinkedIn in the Northern District of California in San Francisco, asking the court to prohibit LinkedIn from blocking its access to public profiles while the court considered the merits of its request. The court served a preliminary injunction against LinkedIn, which was then forced to allow hiQ to continue to collect public data. LinkedIn appealed this ruling; in September of 2019, the appeals court rejected LinkedIn's arguments and the preliminary injunction was upheld.[66] The dispute is ongoing.
Membership[]
As of 2015, LinkedIn had more than 400 million members in over 200 countries and territories.[10][67] It is significantly ahead of its competitors Viadeo (50 million as of 2013)[68] and XING (11 million as of 2016).[69] In 2011, its membership grew by approximately two new members every second.[70] As of 2019, there are over 600 million LinkedIn members.[71]
User profile network[]
Basic functionality[]
The basic functionality of LinkedIn allows users (workers and employers) to create profiles, which for employees typically consist of a curriculum vitae describing their work experience, education and training, skills, and a personal photo. The site also enables members to make "connections" to each other in an online social network which may represent real-world professional relationships. Members can invite anyone (whether a site member or not) to become a connection. However, if the invitee selects "I don't know" or "Spam", this counts against the inviter. If the inviter gets too many of such responses, the member's account may be restricted or closed.[7]
A member's list of connections can then be used in a number of ways:
Users can obtain introductions to the connections of connections (termed second-degree connections) and connections of second-degree connections (termed third-degree connections)
Users can search for second-degree connections who work at a specific company they are interested in, and then ask a specific first-degree connection in common for an introduction[72]
Users can find jobs, people and business opportunities recommended by someone in one's contact network.
Employers can list jobs and search for potential candidates.
Job seekers can review the profile of hiring managers and discover which of their existing contacts can introduce them.
Users can post their own photos and view photos of others to aid in identification.
Users can follow different companies.
Users can save (i.e. bookmark) jobs that they would like to apply for.
Users can "like" and "congratulate" each other's updates and new employments.
Users can wish each other a happy birthday.
Users can see who has visited their profile page.
Users can share video with text and filters with the introduction of LinkedIn Video.[73][74]
Users can write posts and articles[75] within the LinkedIn platform to share with their network.
The "gated-access approach" (where contact with any professional requires either an existing relationship, or the intervention of a contact of theirs) is intended to build trust among the service's users. LinkedIn participated in the EU's International Safe Harbor Privacy Principles.[8]
Personal branding[]
LinkedIn is particularly well-suited for personal branding which, according to Sandra Long, entails "actively managing one's image and unique value" to position oneself for career opportunities.[76] LinkedIn has evolved from being a mere platform for job searchers into a social network which allows users a chance to create a personal brand.[77] Career coach Pamela Green describes a personal brand as the "emotional experience you want people to have as a result of interacting with you," and a LinkedIn profile is an aspect of that.[78] A contrasting report suggests that a personal brand is a "a public-facing persona, exhibited on LinkedIn, Twitter and other networks, that showcases expertise and fosters new connections."[79]
LinkedIn allows professionals to build exposure for their personal brand within the site itself as well as in the World Wide Web as a whole. With a tool that LinkedIn dubs a Profile Strength Meter, the site encourages users to offer enough information in their profile to optimize visibility by search engines. A basic profile should include a person's industry and location, an up-to-date job description, two past positions, education, at least three skills, a profile picture, and at least fifty connections.[76] Web activity such as liking and commenting on content, as well as publishing LinkedIn blog articles and being involved in LinkedIn groups can increase views of one's profile, according to Long.[76] Advisor Kristin Sherry agrees, who recommended that users should engage with commenters and "give give give".[80] Profiles should be written in first person and have well-chosen keywords and list relevant skills, according to Long.[76] In 2016, user profiles with five or more relevant skills were viewed seventeen times more often than those with fewer skills.[76] These skills could be enhanced with recommendations and endorsements to solidify one's social proof.[76] A profile should have internal consistency, so that the headline and image and skills mesh into an easy-to-grasp picture.[76] Long recommends that users update their profiles regularly; a survey by Post Road Consulting found that over two-thirds of respondents spent two or more hours updating their profile every year.[76] LinkedIn's Shiva Kumar advised users to have a good profile picture and showcase one's achievements "without buzzwords".[81] It can strengthen a user's LinkedIn presence if he or she belongs to professional groups in the site.[82][76] The site enables users to add video to their profiles.[80] Some users hire a professional photographer for one's profile photo.[83] Video presentations can be added to one's profile.[84] LinkedIn's capabilities have been expanding so rapidly that a cottage industry of outside consultants has grown up to help users navigate the system.[85][80][86] A particular emphasis is helping users with their LinkedIn profiles. [85]
There’s no hiding in the long grass on LinkedIn ... The number one mistake people make on the profile is to not have a photo.
—Sandra Long of Post Road Consulting, 2017[87]
The value of connections[]
LinkedIn enables job-seekers and employers to connect. According to Jack Meyer, the site has become the "premier digital platform" for professionals to network online.[82] For example, in Australia, which has approximately twelve million working professionals, ten million of them are on LinkedIn, according to Anastasia Santaraneos, suggesting that the probability was high that one's "future employer is probably on the site."[81] According to one estimate based on worldwide figures, 122 million users got job interviews via LinkedIn and 35 million were hired by a LinkedIn online connection.[88] Not only helping job applicants meet employers, LinkedIn can help small businesses connect with customers.[89] Connections are important in boosting a user's standing and presence in LinkedIn. In the site's parlance, two users have a "first-degree connection" when one accepts an invitation from another.[88] People connected to each of them are "second-degree connections" and persons connected to the second-degree connections are "third-degree connections."[88] This forms a user's internal LinkedIn network. As these connections get stronger and deeper, the user's profile is more likely to appear in searches by employers and others.
For job applicants, cold call messaging on LinkedIn generally is ineffective.[76] So messages should have a personal touch, such as the person read their book or heard them speak at a conference or have a common contact, according to Maddy Osman.[88] The message header should be short and specific.[88]
Security and technology[]
In June 2012, cryptographic hashes of approximately 6.4 million LinkedIn user passwords were stolen by hackers who then published the stolen hashes online.[90] This action is known as the 2012 LinkedIn hack. In response to the incident, LinkedIn asked its users to change their passwords. Security experts criticized LinkedIn for not salting their password file and for using a single iteration of SHA-1.[91] On May 31, 2013 LinkedIn added two-factor authentication, an important security enhancement for preventing hackers from gaining access to accounts.[92] In May 2016, 117 million LinkedIn usernames and passwords were offered for sale online for the equivalent of $2,200.[93] These account details are believed to be sourced from the original 2012 LinkedIn hack, in which the number of user IDs stolen had been underestimated. To handle the large volume of emails sent to its users every day with notifications for messages, profile views, important happenings in their network, and other things, LinkedIn uses the Momentum email platform from Message Systems.[94]
In 2014, Dell SecureWorks Counter Threat Unit (CTU) discovered that Threat Group-2889, an Iran-based group, created 25 fake LinkedIn accounts. The accounts were either fully developed personas or supporting personas, and they use spearphishing or malicious websites to comprise victims' information.[95]Template:Third-party inline
According to reporting by Le Figaro, France's General Directorate for Internal Security and Directorate-General for External Security believe that Chinese spies have used LinkedIn to target thousands of business and government officials as potential sources of information.[96]
In 2017, Germany's Federal Office for the Protection of the Constitution (BfV) published information alleging that Chinese intelligence services had created fake social media profiles on sites such as LinkedIn, using them to gather information on German politicians and government officials.[97][98]
Applications[]
LinkedIn 'applications' often refers to external third party applications that interact with LinkedIn's developer API. However, in some cases it could refer to sanctioned applications featured on a user's profile page.
External, third party applications[]
On February 12, 2015 LinkedIn released an updated terms of use for their developer API.[99] The developer API allows both companies and individuals the ability to interact with LinkedIn's data through creation of managed third party applications. Applications must go through a review process and request permission from the user before accessing a user's data.
Normal use of the API is outlined in LinkedIn's developer documents,[100] including:
Sign into external services using LinkedIn
Add items or attributes to a user profile
Share items or articles to user's timeline
Embedded in profile[]
In October 2008, LinkedIn enabled an "applications platform" which allows external online services to be embedded within a member's profile page. Among the initial applications were an Amazon Reading List that allows LinkedIn members to display books they are reading, a connection to Tripit, and a Six Apart, WordPress and TypePad application that allows members to display their latest blog postings within their LinkedIn profile.[101] In November 2010, LinkedIn allowed businesses to list products and services on company profile pages; it also permitted LinkedIn members to "recommend" products and services and write reviews.[102] Shortly after, some of the external services were no longer supported, including Amazon's Reading List.[citation needed]
Mobile[]
A mobile version of the site was launched in February 2008, which gives access to a reduced feature set over a mobile phone. The mobile service is available in six languages: Chinese, English, French, German, Japanese and Spanish.[103] In January 2011, LinkedIn acquired CardMunch, a mobile app maker that scans business cards and converts into contacts.[104] In June 2013, CardMunch was noted as an available LinkedIn app.[10] In August 2011, LinkedIn revamped its mobile applications on the iPhone, Android and HTML5. At the time, mobile page views of the application were increasing roughly 400% year over year according to CEO Jeff Weiner.[105] In October 2013, LinkedIn announced a service for iPhone users called "Intro", which inserts a thumbnail of a person's LinkedIn profile in correspondence with that person when reading mail messages in the native iOS Mail program.[106] This is accomplished by re-routing all emails from and to the iPhone through LinkedIn servers, which security firm Bishop Fox asserts has serious privacy implications, violates many organizations' security policies, and resembles a man-in-the-middle attack.[107][108]
Groups[]
LinkedIn also supports the formation of interest groups, and as of March 29, 2012 there are 1,248,019 such groups whose membership varies from 1 to 744,662.[109][110] The majority of the largest groups are employment related, although a very wide range of topics are covered mainly around professional and career issues, and there are currently[when?] 128,000 groups for both academic and corporate alumni.[citation needed] Groups support a limited form of discussion area, moderated by the group owners and managers.[111] Since groups offer the functionality to reach a wide audience without so easily falling foul of anti-spam solutions, there is a constant stream of spam postings, and there now exist a range of firms who offer a spamming service for this very purpose. LinkedIn has devised a few mechanisms to reduce the volume of spam,[112] but recently[when?] took the decision to remove the ability of group owners to inspect the email address of new members in order to determine if they were spammers.[citation needed] Groups also keep their members informed through emails with updates to the group, including most talked about discussions within your professional circles.[109][113] Groups may be private, accessible to members only or may be open to Internet users in general to read, though they must join in order to post messages.
In December 2011, LinkedIn announced that they are rolling out polls to groups.[114] In November 2013, LinkedIn announced the addition of Showcase Pages to the platform.[115] In 2014, LinkedIn announced they were going to be removing Product and Services Pages[116] paving the way for a greater focus on Showcase Pages.[117]
Job listings[]
LinkedIn allows users to research companies, non-profit organizations, and governments they may be interested in working for. Typing the name of a company or organization in the search box causes pop-up data about the company or organization to appear. Such data may include the ratio of female to male employees, the percentage of the most common titles/positions held within the company, the location of the company's headquarters and offices, and a list of present and former employees. In July 2011, LinkedIn launched a new feature allowing companies to include an "Apply with LinkedIn" button on job listing pages.[118] The new plugin allowed potential employees to apply for positions using their LinkedIn profiles as resumes.[118]
Online recruiting[]
Job recruiters, head hunters, and personnel HR are increasingly using LinkedIn as a source for finding potential candidates. By using the Advanced search tools, recruiters can find members matching their specific key words with a click of a button. They then can make contact with those members by sending a request to connect or by sending InMail about a specific job opportunity he or she may have. Recruiters also often join industry-based groups on LinkedIn to create connections with professionals in that line of business.[119]
Skills[]
Since September 2012, LinkedIn has enabled users to "endorse" each other's skills. This feature also allows users to efficiently provide commentary on other users' profiles – network building is reinforced. However, there is no way of flagging anything other than positive content.[120] LinkedIn solicits endorsements using algorithms that generate skills members might have. Members cannot opt out of such solicitations, with the result that it sometimes appears that a member is soliciting an endorsement for a non-existent skill.[121]
Publishing platform[]
LinkedIn continues to add different services to its platform to expand the ways that people use it. On May 7, 2015, LinkedIn added an analytics tool to its publishing platform. The tool allows authors to better track traffic that their posts receive.[122]
Influencers[]
The LinkedIn Influencers program launched in October 2012 and features global thought leaders who share their professional insights with LinkedIn's members. As of May 2016, there are 750+ Influencers, approximately 74% of which are male.[123] The program is invite-only and features leaders from a range of industries including Richard Branson, Narendra Modi, Arianna Huffington, Greg McKeown, Rahm Emanuel, Jamie Dimon, Martha Stewart, Deepak Chopra, Jack Welch, and Bill Gates.[124][125]
Top Companies[]
LinkedIn Top Companies is a series of lists published by LinkedIn, identifying companies in the United States, Australia, Brazil, Canada, China, France, Germany, India, Japan, Mexico and the United Kingdom that are attracting the most intense interest from job candidates. The 2019 lists identified Google's parent company, Alphabet, as the most sought-after U.S. company, with Facebook ranked second and Amazon ranked third.[126] The lists are based on more than one billion actions by LinkedIn members worldwide. The Top Companies lists were started in 2016 and are published annually.
Advertising and for-pay research[]
In mid-2008, LinkedIn launched LinkedIn DirectAds as a form of sponsored advertising.[127] In October 2008, LinkedIn revealed plans to open its social network of 30 million professionals globally as a potential sample for business-to-business research. It is testing a potential social network revenue model – research that to some appears more promising than advertising.[128] On July 23, 2013, LinkedIn announced their Sponsored Updates ad service. Individuals and companies can now pay a fee to have LinkedIn sponsor their content and spread it to their user base. This is a common way for social media sites such as LinkedIn to generate revenue.[129]
Future plans[]
Economic graph[]
Inspired by Facebook's "social graph", LinkedIn CEO Jeff Weiner set a goal in 2012 to create an "economic graph" within a decade.[130] The goal is to create a comprehensive digital map of the world economy and the connections within it.[131] The economic graph was to be built on the company's current platform with data nodes including companies, jobs, skills, volunteer opportunities, educational institutions, and content.[132][133][134] They have been hoping to include all the job listings in the world, all the skills required to get those jobs, all the professionals who could fill them, and all the companies (nonprofit and for-profit) at which they work.[132] The ultimate goal is to make the world economy and job market more efficient through increased transparency.[130] In June 2014, the company announced its "Galene" search architecture to give users access to the economic graph's data with more thorough filtering of data, via user searches like "Engineers with Hadoop experience in Brazil."[135][136]
LinkedIn has used economic graph data to research several topics on the job market, including popular destination cities of recent college graduates,[137] areas with high concentrations of technology skills,[138] and common career transitions.[139] LinkedIn provided the City of New York with data from economic graph showing "in-demand" tech skills for the city's "Tech Talent Pipeline" project.[140]
New user interface in 2017[]
Soon after LinkedIn's acquisition by Microsoft, on January 19, 2017, LinkedIn's new desktop version was introduced.[141] The new version was meant to make the user experience seamless across mobile and desktop. Some of the changes were made according to the feedback received from the previously launched mobile app. Features that were not heavily used were removed. For example, the contact tagging and filtering features are not supported any more.[142]
User reaction[]
Following the launch of the new user interface (UI), some users, including blogger Zubair Abbas, complained about the missing features which were there in the older version, slowness, and bugs in it.[143] The issues were faced by both free and premium users, and with both the desktop version and the mobile version of the site.
Discontinued features[]
In January 2013, LinkedIn dropped support for LinkedIn Answers, and cited a new 'focus on development of new and more engaging ways to share and discuss professional topics across LinkedIn' as the reason for the retirement of the feature. The feature had been launched in 2007, and allowed users to post question to their network and allowed users to rank answers.
On September 1, 2014 LinkedIn retired InMaps, a feature which allowed you to visualize your professional network.[144] The feature had been in use since January 2011.
According to the company's website, LinkedIn Referrals will no longer be available after May 18, 2018 [145]
Business units[]
LinkedIn derives its revenues from four business divisions:[146]
Talent Solutions, through which recruiters and corporations pay for branded corporation and career listing pages, pay-per-click targeted job ads, and access to the LinkedIn database of users and resumes
Marketing Solutions, which advertisers pay for pay per click-through targeted ads
Premium Subscriptions, through which LinkedIn users can pay for advanced services, such as LinkedIn Business, LinkedIn Talent (for recruiters), LinkedIn JobSeeker, and LinkedIn Sales for sales professions
Learning Solutions, through which users can learn various skills related to their job function or personal learning goals, on the Lynda.com or LinkedIn Learning platforms
Some elements of the various subscription services are also on a pay per use basis like InMail.Template:Definition needed
Reception[]
LinkedIn has been described by online trade publication TechRepublic as having "become the de facto tool for professional networking".[147] LinkedIn has also been praised for its usefulness in fostering business relationships.[148] "LinkedIn is, far and away, the most advantageous social networking tool available to job seekers and business professionals today," according to Forbes.[149] LinkedIn has also received criticism, primarily regarding e-mail address mining and auto-update.
The sign-up process includes a step for users to enter their email password (there is an opt-out feature). LinkedIn will then offer to send out contact invitations to all members in that address book or that the user has had email conversations with. When the member's email address book is opened it is opened with all email addresses selected and the member is advised invitations will be sent to "selected" email addresses, or to all. LinkedIn was sued for sending out another two follow-up invitations to each contact from members to link to friends who had ignored the initial, authorized, invitation. In November 2014, LinkedIn lost a motion to dismiss the lawsuit, in a ruling that the invitations were advertisements not broadly protected by free speech rights that would otherwise permit use of people's names and images without authorization.[150][151][152][153] The lawsuit was eventually settled in 2015 in favor of LinkedIn members.[64]
Changing the description below a member's name is seen as a change in a job title, even if it is just a wording change or even a change to "unemployed". Unless a member opts to "turn off activity updates", an update is sent to all of that person's contacts, telling them to congratulate the member on the "new job".[154]
The feature that allows LinkedIn members to "endorse" each other's skills and experience has been criticized as meaningless, since the endorsements are not necessarily accurate or given by people who have familiarity with the member's skills.[155] In October 2016, LinkedIn acknowledged that it "really does matter who endorsed you" and began highlighting endorsements from "coworkers and other mutual connections" to address the criticism.[156]
LinkedIn has inspired the creation of specialised professional networking opportunities, such as co-founder Eddie Lou's Chicago startup, Shiftgig (released in 2012 as a platform for hourly workers).[157]
International restrictions[]
In 2009, Syrian users reported that LinkedIn server stopped accepting connections originating from IP addresses assigned to Syria. The company's customer support stated that services provided by them are subject to US export and re-export control laws and regulations and "As such, and as a matter of corporate policy, we do not allow member accounts or access to our site from Cuba, Iran, North Korea, Sudan, or Syria."[158]
In February 2011, it was reported that LinkedIn was being blocked in China after calls for a "Jasmine Revolution". It was speculated to have been blocked because it is an easy way for dissidents to access Twitter, which had been blocked previously.[159] After a day of being blocked, LinkedIn access was restored in China.[160]
In February 2014, LinkedIn launched its Simplified Chinese language version named "领英" (pinyin: Lǐngyīng; lit.: 'leading elite'), officially extending their service in China.[161][162] LinkedIn CEO Jeff Weiner acknowledged in a blog post that they would have to censor some of the content that users post on its website in order to comply with Chinese rules, but he also said the benefits of providing its online service to people in China outweighed those concerns.[161][163] Since Autumn 2017 job postings from western countries for China aren't possible anymore.[164]
On 4 August 2016, a Moscow court ruled that LinkedIn must be blocked in Russia for violating a new data retention law, which requires the user data of Russian citizens to be stored on servers within the country. This ban was upheld on 10 November 2016, and all Russian ISPs began blocking LinkedIn thereafter. LinkedIn's mobile app was also banned from Google Play Store and iOS App Store in Russia in January 2017.[165][166]
SNA LinkedIn[]
The Search, Network, and Analytics (SNA) team at LinkedIn has a website[167] that hosts the open source projects built by the group. Notable among these projects is Project Voldemort,[168] a distributed key-value structured storage system with low-latency similar in purpose to Amazon.com's Dynamo and Google's Bigtable.
Surveillance and NSA program[]
In the 2013 global surveillance disclosures, documents released by Edward Snowden revealed that British Government Communications Headquarters (GCHQ) (an intelligence and security organisation) infiltrated the Belgian telecommunications network Belgacom by luring employees to a false LinkedIn page.[169]
Criticism[]
Use of e-mail accounts of members for spam sending[]
LinkedIn sends "invite emails" to Outlook contacts from its members' email accounts, without obtaining their consent. The "invitations" give the impression that the e-mail holder himself has sent the invitation. If there is no response, the answer will be repeated several times ("You have not yet answered XY's invitation.") LinkedIn was sued in the United States on charges of hijacking e-mail accounts and spamming. The company argued with the right to freedom of expression. In addition, the users concerned would be supported in building a network.[170][171][172]
Moving Outlook mails on LinkedIn servers[]
At the end of 2013, it was announced that the LinkedIn app intercepted users' emails and silently moved them to LinkedIn servers for full access.[173] LinkedIn used man-in-the-middle attacks.[174]
Privacy policy[]
The German Stiftung Warentest has criticized that the balance of rights between users and LinkedIn is disproportionate, restricting users' rights excessively while granting the company far-reaching rights.[175] It has also been claimed that LinkedIn does not respond to consumer protection center requests.[176]
In November 2016, Russia announced its intention to block the network in its own country, as it "illegally stores data of Russian users on servers abroad." The relevant law had been in force there since 2014.[177][178]
Potential new breach, or extended impacts from earlier incidents[]
In July 2018, Credit Wise reported "dark web" email and password exposures from LinkedIn. Shortly thereafter, users began receiving extortion emails, using that information as "evidence" that users' contacts had been hacked, and threatening to expose pornographic videos featuring the users. LinkedIn asserts that this is related to the 2012 breach; however, there is no evidence that this is the case.[179]
Science[]
Massive amounts of data from LinkedIn allows scientists and machine learning researchers to extract insights and build product features.[180] For example, the data from this resource can help to shape patterns of deception in resumes.[181] Another example shows, how to use signals from LinkedIn to assess quality of Wikipedia articles and their sources.[182]
See also[]
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Business network
Employment website
List of social networking websites
Reputation systems
Social network
Social software
Timeline of social media
References[]
[]
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Template:LinkedIn navbox
Page Template:Hlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext").Page Module:Navbox/styles.css has no content.
Template:Social network Template:Microblogging
|
||
wrong_mix_range_subsidiary_00017
|
FactBench
|
0
| 82 |
https://www.fargo3dprinting.com/nozzle-sizes-materials-shapes-3d-printers/
|
en
|
Nozzle Sizes, Materials, and Shapes for 3D Printers – Fargo 3D Printing
|
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[] |
2017-12-14T15:04:08-06:00
|
en
|
https://www.fargo3dprinting.com/nozzle-sizes-materials-shapes-3d-printers/
|
An important part of desktop FDM printers is the nozzle. Nozzles are categorized in several ways. Some of the most important factors to consider when choosing a nozzle are the size, material, and shape of the nozzle.
Nozzle Diameter
The diameter of the nozzle is, perhaps, the most important factor when choosing a nozzle. This is because of how much it affects the resolution of the print. The size directly dictates the horizontal resolution and affects the layer thickness, which determines vertical resolution.
Standard Sized Nozzles
The most common nozzle size, which is included with most printers, is .4 mm. This size is a good trade-off between resolution and speed. As a nozzle gets larger, the layer thickness increases, which decreases resolution but increases the print speed. As a nozzle gets smaller, the layer thickness decreases, which increases resolution but decreases print speed. A .4 mm nozzle rests between these two sides, which gives it both decent print speed and resolution.
Larger Sized Nozzles
While .4 mm is a more standard size, nozzles with much larger diameters are commercially available. A .8 mm nozzle is considered very large, but there are companies that make nozzles with diameters up to 1.2 mm.
Increased Speed and Composite Filaments
With a larger nozzle, it takes less layers to complete a print, which makes for quicker printing. This makes larger nozzles better for rapid prototyping. In addition, larger nozzles can be extremely useful when printing with composite filaments such as glass-fill, wood-fill, metal-fill, or other exotic filaments. This is because the large particles within the filament can easily clog smaller nozzles. A larger nozzle is also easier to unclog.
Loss of Resolution and Heat
The main disadvantage of a larger nozzle diameter is the loss of resolution. Since the nozzle is large, the vertical resolution decreases, which make larger nozzles more feasible for projects where details are less important. One other factor with large nozzles is the loss of heat. For nozzles larger than 1.0 mm, the filament may not heat thoroughly due to the wide nozzle diameter and the quicker flow rate.
Smaller Sized Nozzles
These nozzles are typically sized around .35 mm and can be as small as .15 mm. In fact, some companies are now experimenting with nozzles as small as .1 mm.
Increased Resolution
The main advantages for smaller nozzles are the increased resolution. Since smaller nozzles print with a thinner layer thickness, the printer can print with much finer details. However, certain printers are not always compatible with a smaller nozzle diameter. Some printers cannot print with the lower layer thickness that a smaller nozzle requires.
Better Infills and Supports
The smaller nozzle also allows for better infills and better support removal. A smaller nozzle can print much finer walls for a print, which results in infills that use less filament. Additionally, a smaller nozzle can print supports that are very fine. This allows for a clean and easy separation of the supports.
Slower Print Speed
The print speed for smaller nozzles is a large disadvantage. A smaller nozzle has a smaller layer thickness, which means that a print will require more layers and will take more time to print. For example, printing with a .25 mm nozzle could take up to three times longer than printing with a standard .4 mm nozzle.
Clogs
Smaller nozzles are also much more likely to clog, especially when using low quality filaments or filaments that are not pure plastic such as glass-fill, wood-fill, and metal-fill. High quality PLA is needed when printing with a smaller nozzle to ensure that it does not clog.
Nozzle Materials
Another important factor in the selection of 3D printer nozzles is the material that the nozzles are made from. Some of the most popular options are brass and steel, but there are also other options.
Brass
One of the most common nozzle materials is brass. Most printers come with a brass nozzle, and there are a few reasons for this. For one, brass nozzles are generally cheaper than most other nozzles. Fargo 3D Printing lists most brass nozzles at $7-9. This is because brass is relatively easy to machine.
Additionally, brass is a good thermal conductor, which means it is easy to maintain a consistent extrusion temperature. Brass is also corrosion resistant. This helps lengthen the lifespan of the nozzle.
Brass is a reasonably durable metal as well. It is a soft metal, but can hold up very well when non-abrasive filaments are used. However, these nozzles will easily wear down if used with abrasive materials such as glass-fill, fiberglass-fill, or carbon fiber filaments. In fact, brass nozzles can wear down significantly after printing as little as half a kilogram of abrasive filament.
Steel
The next most common nozzle material is steel. There are two different types of steel nozzles: hardened and stainless. These nozzles are a step above brass nozzles and are specially designed for abrasive filaments. They are best used with filled filaments or carbon fiber filaments. This allows them to use a wider range of filaments more effectively than brass nozzles.
Additionally, stainless steel nozzles have the added benefit of being able to print both medical grade and food grade prints. However, very few filaments are food or medical safe. There are a few filaments that have been approved by the FDA, and if you are looking for food safe prints, this would be the way to go.
While steel nozzles do hold up to abrasion much better than brass nozzles do, they do have one disadvantage. Steel nozzles cannot conduct heat as well. However, this is generally not a problem unless a very large nozzle diameter is being used.
Other Materials
In addition to Brass and Steel, there are also several other nozzle materials. These include copper, aluminum, tungsten, and ruby. While these do have different properties, they do not necessarily print any better than a brass or steel nozzle.
Nozzle Shape
The last key factor with determining which nozzle to choose is the shape of the nozzle. Some different shape styles include the length and the width of the nozzle nose. One factor that can be important for some printers is the mass of the nozzle. Some nozzle shapes use less metal than others, which reduces the weight of the print head. This can be beneficial for Delta printers or other printers that need a lighter print head.
Nose Length
There are two different nose lengths when it comes to nozzles: short and long. With a short nose, the filament must travel a shorter distance after it is melted and before it is extruded. This gives the filament less time to cool before it leaves the nozzle. Conversely, a long-nosed nozzle has more distance for the filament to travel before it is extruded, which gives it more time to cool. A long nose will also result in a print that is slightly more ridged because the filament cools quicker once it is extruded.
Nozzle Width
There are two different nozzle widths: broad and narrow. When using a broad nose, there is a slight change in the surface quality of the top of the print. However, there is also some detail lost with a broader nose since the nozzle is wide enough to transfer heat to the already extruded filament. With a narrow nose, there is only one disadvantage. The extruded filament may bulge outwards and upwards, especially when using a low layer height.
Which Should You Choose?
Ultimately, which type of nozzle you choose depends on what you are looking to do with your printer. Projects that need finer details are best done with a smaller nozzle diameter, while a larger nozzle diameter would work well with project where speed is needed. Otherwise, a standard .4 mm nozzle should work.
If printing with abrasives, then a steel nozzle would be the best choice. If you want you print food safe objects, then stainless steel is the best option. For most other filaments or projects, a brass nozzle will do the job nicely.
As for nozzle shape, it depends mostly on what printer you are using and what nozzles are available for that printer. However, nozzle shape is the least important of these three categories. Choosing a nozzle based solely on the diameter and the material is the best option most of the time.
[sexy_author_bio]
|
|||||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 76 |
https://link.springer.com/content/pdf/10.1007/978-3-642-34497-8.pdf
|
en
|
Service Science in China
|
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[
""
] | null |
[
"Jiazhen Huo",
"Zhisheng Hong"
] | null |
en
|
/oscar-static/img/favicons/darwin/apple-touch-icon-92e819bf8a.png
|
SpringerLink
|
https://link.springer.com/book/10.1007/978-3-642-34497-8
|
A service economy era is coming! As the basic discipline of service dominant era, service science mainly studies common rules of service activities, aiming to provide theoretical bases for creating service value in the new era. The book, which integrates knowledge of service management, operational management, logistics and supply chain management, constructs a research system for this emerging discipline. Service science research system constitutes service philosophy, resource allocation, operational management and service technology. Many cases about China’s service enterprises are incorporated in the book, in the hope of providing readers an insight into not only service science but also the development of China’s service economy.
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|
|||||
wrong_mix_range_subsidiary_00017
|
FactBench
|
1
| 99 |
https://edwardbetts.com/monograph/PageRank
|
en
|
Books: PageRank
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Digital Wars: Apple, Google, Microsoft and the Battle for the Internet by Charles Arthur
activist fund / activist shareholder / activist investor, AltaVista, Andy Rubin, Build a better mousetrap, Burning Man, cloud computing, commoditize, credit crunch, crowdsourcing, disintermediation, don't be evil, en.wikipedia.org, Firefox, gravity well, Jeff Bezos, John Gruber, Mark Zuckerberg, Menlo Park, Network effects, PageRank, PalmPilot, pre–internet, Robert X Cringely, Silicon Valley, Silicon Valley startup, skunkworks, Skype, slashdot, Snapchat, software patent, speech recognition, stealth mode startup, Steve Ballmer, Steve Jobs, Susan Wojcicki, the long tail, the new new thing, the scientific method, Tim Cook: Apple, Tony Fadell, turn-by-turn navigation, upwardly mobile, vertical integration
(i), (ii), (iii) see also Microsoft Bang & Olufsen (i) Bartz, Carol (i) Basillie, Jim (i) Battelle, John (i), (ii) Bauer, John (i) BBC iPlayer (i) Bechtolsheim, Andy (i), (ii) Beckham, David and Victoria (i) BenQ (i) Berg, Achim (i) Berkowitz, Steve (i), (ii) Best Buy (i), (ii), (iii), (iv) Bezos, Jeff (i) Bilton, Nick (i) BlackBerry (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi) BlackBerry Messenger (i) BlackBerry Storm (i), (ii) Block, Ryan (i) Blodget, Henry (i) Bloomberg (i), (ii) BMG (i) Boeing (i) Boies, David (i), (ii) Bondcom (i) Bountii.com (i) Bowman, Douglas (i) Bracken, Mike (i) Brass, Richard (i) Brin, Sergey (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) see also Google; Page, Larry Bronfman, Edgar (i) Brunner, Robert (i) Buffett, Warren (i) BusinessWeek (i), (ii), (iii), (iv), (v), (vi), (vii) Bylund, Anders (i) Carr, Nick (i) Chafkin, Max (i) Chambers, Mike (i) China (i), (ii), (iii) and Apple (i), (ii), (iii), (iv) and Google (i), (ii), (iii), (iv), (v), (vi), (vii) and Microsoft (i) mobile web browsing (i) China Mobile (i), (ii), (iii) China Unicom (i), (ii) Chou, Peter (i) CinemaNow (i) Cingular and the iPhone (i), (ii), (iii), (iv), (v) and the ROKR (i), (ii) Cisco Systems (i) ClearType (i) Cleary, Danika (i), (ii) CNET (i), (ii), (iii) Colligan, Ed (i), (ii), (iii) Compaq (i), (ii) ComScore (i), (ii), (iii) Cook, Tim (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x) Creative Strategies (i) Creative Technologies (i), (ii), (iii), (iv), (v), (vi), (vii) Creative Labs (i), (ii) Cringely, Robert X (i), (ii), (iii), (iv) Crothall, Geoffrey (i) Daisey, Mike (i), (ii) Dalai Lama (i) Danyong, Sun (i) Daring Fireball (i), (ii) Deal, Tim (i) Dean, Jeff (i) DEC (i) Dediu, Horace (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv) ’Dediu’s Law’ (i) Dell Computer (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii) Dell DJ (i), (ii), (iii) Dell, Michael (i), (ii), (iii), (iv) Design Crazy (i) Deutschman, Alan (i) Digital Equipment Corporation (i) Divine, Jamie (i) Dogfight (i), (ii) Dowd, Maureen (i) Drance, Matt (i), (ii), (iii), (iv) Drummond, David (i), (ii) Dunn, Jason (i) EarthLink (i), (ii) eBay (i) Edwards, Doug (i), (ii), (iii), (iv), (v), (vi), (vii), (viii) Eisen, Bruce (i) Electronic Arts (i) Elop, Stephen (i), (ii), (iii), (iv) EMI (i) eMusic (i) Engadget (i), (ii) Ericsson (i) European Patent Office (i) Evangelist, Mike (i) Evans, Benedict (i) Evslin, Tom (i) Facebook (i), (ii), (iii), (iv), (v), (vi) Fadell, Tony (i), (ii), (iii) Fester, Dave (i), (ii), (iii), (iv) FingerWorks (i), (ii) Fiorina, Carly (i), (ii) Flash (i), (ii), (iii), (iv), (v), (vi) Flowers, Melvyn (i), (ii) Foley, Mary Jo (i), (ii), (iii) Forrester Research (i), (ii) Forstall, Scott (i), (ii), (iii), (iv) Fortune (i), (ii), (iii), (iv), (v) Foundem (i) Foxconn Technology (i), (ii), (iii) Fried, Ina (i) Galaxy Tab (i), (ii) Galvin, Chris (i) Gartenberg, Michael (i), (ii), (iii), (iv) Gartner (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi) Gates, Bill (i), (ii), (iii) SPOT watch (i) and Steve Jobs (i), (ii), (iii) see also Ballmer, Steve; Microsoft; Sculley, John Gateway (i), (ii) Gemmell, Matt (i) Ghemawat, Sanjay (i) Gibbons, Tom (i) Gilligan, Amy K (i) Gladwell, Malcolm (i), (ii), (iii) Glass, Ira (i) Glazer, Rob (i) Golvin, Charles (i), (ii) Google (i), (ii), (iii) ‘40 shades of blue’ (i), (ii) AdSense (i) and advertising (i), (ii), (iii) AdWords (i), (ii), (iii), (iv), (v), (vi) Android (i), (ii), (iii), (iv) 4G patent auction (i) China, manufacturing in (i), (ii) and Flash (i) and the iPhone (i), (ii) and Microsoft (i), (ii), (iii), (iv) Oracle patent dispute (i) origins of (i), (ii) and standardization (i) and tablets (i), (ii), (iii) antitrust investigation (i) and AOL (i) Bigtable (i), (ii) Buzz (i) Checkout (i) Chinese market (i), (ii), (iii), (iv) google.cn (i) ’Great Firewall’ (i) hacking (i) Chrome (i), (ii), (iii), (iv), (v) Compete (i) confrontation with Microsoft (i), (ii) data, importance of (i) Gmail (i), (ii) Goggles (i) Google Now (i) Google Play (i), (ii) Google+ (i), (ii) hiring policy (i), (ii) Instant (i) Maps (i), (ii), (iii), (iv) location data (i), (ii) users, loss of (i) vector vs raster images (i) market capitalization (i) Music All Access (i) Nest (i) and the New York terrorist attacks 2001 (i) Overture lawsuit (i) PageRank (i), (ii) and porn (i), (ii) profitability of (i) public offering (i) QuickOffice (i) and selling (i) Street View (i), (ii) and Yahoo (i), (ii), (iii), (iv) see also Brin, Sergey; Kordestani, Omid; Meyer, Marissa; Page, Larry; Schmidt, Eric; Silverstein, Craig Googled (i) GoTo.com (i), (ii), (iii) Gou, Terry (i) Grayson, Ian (i) Greene, Jay (i), (ii), (iii), (iv) Griffin, Paul (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x) Griffin Technology (i), (ii) Grokster (i), (ii) Gross, Bill (i), (ii) Gruber, John (i), (ii), (iii), (iv), (v) Guardian (i), (ii), (iii) Gundotra, Vic (i), (ii) Hachamovitch, Dean (i) Handango (i) Handspring (i) Harlow, Jo (i) Hase, Koji (i), (ii), (iii) Hauser, Hermann (i) Hedlund, Marc (i) Heiner, Dave (i) Heins, Thorsten (i) Hewlett-Packard (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv) Hitachi (i) Hockenberry, Craig (i) Hölzle, Urs (i), (ii), (iii), (iv) Hotmail (i) HTC (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) Huawei (i) Hwang, Suk-Joo (i) I’m Feeling Lucky (i) IBM (i), (ii), (iii), (iv), (v), (vi) IDC (i), (ii), (iii), (iv) Idealab (i) i-mode (i) Inktomi (i), (ii), (iii) Instagram (i) Intel (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) Intellectual Ventures (i) Iovine, Jimmy (i) iRiver (i), (ii), (iii) Ive, Jonathan (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) Jackson, Thomas Penfield (i), (ii), (iii) Java (i), (ii) Jefcoate, Kevin (i) Jha, Sanjay (i) Jintao, Hu (i) Jobs, Steve (i), (ii), (iii) and Bill Gates (i), (ii) death (i) departure from Apple (i) see also Apple; Cook, Tim; Forstall, Scott; Ive, Jonathan; Schiller, Phil Johnson, Kevin (i) Johnson, Ron (i) Jones, Nick (i) Joswiak, Greg (i), (ii) Jupiter Research (i), (ii), (iii), (iv) Kallasvuo, Oli-Pekka (i), (ii), (iii), (iv), (v) Khan, Irene (i) Khan, Sabih (i) King, Brian (i), (ii) King, Shawn (i) Kingsoft (i) Kleinberg, Jonathan (i) Knook, Pieter (i), (ii) and competition from China (i) and Microsoft’s antitrust judgment (i) and Pink (i), (ii) and Steve Ballmer (i) and Windows Mobile (i), (ii), (iii), (iv), (v) and the Xbox (i) and Zune (i), (ii), (iii), (iv), (v) Komiyama, Hideki (i) Kordestani, Omid (i), (ii), (iii) Kornblum, Janet (i) Krellenstein, Marc (i) Laakmann, Gayle (i), (ii), (iii), (iv) Lawton, Chris (i) Lazaridis, Mike (i), (ii), (iii), (iv) Lees, Andy (i), (ii), (iii), (iv), (v), (vi), (vii), (viii) Lenovo (i), (ii) LG (i), (ii), (iii), (iv), (v), (vi) LimeWire (i), (ii) LinkExchange (i), (ii) Linux (i), (ii), (iii), (iv), (v), (vi), (vii) Lodsys (i), (ii) Lotus (i), (ii) Lucovsky, Marc (i) Lynn, Matthew (i) Ma, Bryan (i) MacroSolve (i), (ii) Madrigal, Alexis (i) Mapquest (i) Mayer, Marissa (i), (ii), (iii), (iv), (v) Media Metrix (i), (ii), (iii) MeeGo (i) Mehdi, Yusuf (i), (ii), (iii), (iv), (v), (vi), (vii) Meisel, Ted (i) Microsoft antitrust trial (i), (ii) APIs (i) company split (i) impact of (i) and Apple QuickTime (i) Azure (i) Bing Maps (i) ’Cashback’ (i) China, manufacturing in (i) Chinese market (i) censorship (i) pirating of software (i) confrontation with Google (i), (ii) Courier (i), (ii) Danger (i), (ii), (iii) acquisition by Microsoft (i), (ii), (iii) disintegration of the team (i), (ii), (iii) digital rights management (DRM) of music (i) DirectX (i) and Facebook (i) horizontal system (i) Internet Explorer (i), (ii) Janus (i), (ii), (iii), (iv) ’Keywords’ (i) market capitalization (i) and Netscape (i), (ii) and Nokia (i), (ii), (iii), (iv), (v), (vi), (vii) ’Pink’ (i), (ii) announcement (i) failure of (i) PlaysForSure (i), (ii), (iii) failure of (i) problems with (i), (ii), (iii) rebranding and end (i) and the Zune (i) Portable Media Center (PMC) (i) potential acquisition of Overture (i), (ii), (iii) ’roadmap’ (i) search (i), (ii), (iii), (iv), (v) and antitrust (i) Bing (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x) launch and crash (i) and Office (i) page design (i) profitability of (i) Project Underdog (i), (ii), (iii), (iv) rebranding (i) Surface tablets (i), (ii), (iii) and tablets (i), (ii), (iii), (iv) Flash (i) Windows and ARM (i), (ii) WebTV (i) Windows (i), (ii) Windows Media Audio (i), (ii) Windows Media Player (i), (ii), (iii) Windows Mobile (i), (ii), (iii), (iv), (v), (vi) and Android (i), (ii) decline (i) peak (i) Windows Phone (i), (ii), (iii), (iv), (v) and tablets (i) Windows RT (i) Windows Server (i), (ii), (iii) Xbox (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) Xbox 360 (ii) Xbox Live Music Marketplace (i) Xbox Music (i) and the Zune (i) and Yahoo search (i), (ii) Zune (i), (ii), (iii), (iv), (v) Christmas 2006 (i) demise of (i) failings of (i) market position (i), (ii) and music in the cloud (i), (ii) and the Xbox (i) Zune Music Store (i), (ii) see also Allard, J; Ballmer, Steve; Gates, Bill; Knook, Pieter; Sculley, John; Sinofsky, Steve; Spolsky, Joel Milanesi, Carolina (i), (ii), (iii) Miller, Trudy (i) Mobile World Congress (i) Morris, Doug (i), (ii) Moss, Ken (i), (ii) Mossberg, Walt (i) Motorola (i), (ii), (iii), (iv), (v), (vi) and Android (i) and the iPhone (i) and iTunes (i), (ii) Motorola Mobility (MMI) (i), (ii) Q phone (i) ROKR (i), (ii), (iii) Mozilla Firefox (i), (ii) Mudd, Dennis (i) Mundie, Craig (i) MusicMatch (i), (ii), (iii), (iv), (v), (vi), (vii) MusicNet (i), (ii) Myerson, Terry (i) Myhrvold, Nathan (i) Nadella, Satya (i) Namco (i) Napster (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi) Narayen, Shantanu (i) Navteq (i), (ii) Netscape (i), (ii), (iii), (iv), (v), (vi), (vii) and Google (i), (ii), (iii), (iv) and Windows (i) (ii), (iii) New York Times (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) New Yorker (i), (ii) NeXT Computer (i), (ii), (iii), (iv), (v) Nintendo (i), (ii), (iii) and 4G (i) Nokia (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii) Apple patent dispute (i), (ii) Communicator (i) and the iPhone (i), (ii), (iii), (iv), (v), (vi), (vii), (viii) Lumia (i), (ii) and Microsoft (i), (ii), (iii), (iv), (v), (vi), (vii) N91 (i) and Navteq (i), (ii) and Steve Ballmer (i) and Symbian (i), (ii), (iii), (iv), (v), (vi) touchscreen development (i), (ii) Norlander, Rebecca (i) Norman, Don (i), (ii), (iii) Northern Light (i) Novell (i), (ii), (iii) NPD Group (i), (ii), (iii) O2 (i) Observer (i) Ohlweiler, Bob (i), (ii), (iii), (iv), (v), (vi), (vii) Ojanpera, Tero (i) Open Handset Alliance (OHA) (i) Oracle (i), (ii), (iii), (iv) Overture (i), (ii), (iii) acquisition by Yahoo (i) Google lawsuit (i), (ii) potential acquisition by Microsoft (i), (ii), (iii) Ozzie, Ray (i), (ii) PA Semi (i) Page, Larry (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii) see also Brin, Sergey; Google Palm (i), (ii), (iii), (iv) acquisition by Hewlett-Packard (i) Pilot (i) Pre (i) profitability (i), (ii) Treo (i), (ii) Pandora (i) Partovi, Ali (i) Parvez, Shaun (i), (ii) Payne, Chris (i), (ii), (iii), (iv), (v), (vi) see also Microsoft PC World (i) PeopleSoft (i) Pepsi (i), (ii), (iii) Peterschmidt, David (i) Peterson, Matthew (i) ’phablets’ (i) Pixar (i), (ii), (iii) Placebase (i) PressPlay (i), (ii), (iii) Qualcomm (i) Quanta (i) Raff, Shivaun (i), (ii), (iii) Real Networks (i), (ii), (iii) Helix (i) Red Hat (i), (ii) Reindorp, Jason (i) Research In Motion (RIM) (i), (ii), (iii), (iv), (v), (vi), (vii), (viii) and Android (i), (ii), (iii) and Bing (i), (ii) and the iPhone (i), (ii), (iii), (iv) PlayBook (i), (ii), (iii), (iv) renaming to BlackBerry (i) Rockstar Bidco (i) writeoffs (i) see also BlackBerry Rockstar Bidco (i), (ii) Rosenberg, Scott (i) Rubin, Andy (i), (ii), (iii), (iv), (v) and Flash (i) and Google phones (i) and Motorola Mobility (i), (ii) and touch-based devices (i) see also Google; Microsoft Rubinstein, Jon (i), (ii), (iii), (iv), (v), (vi), (vii) Samsung (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii) SanDisk (i) SAP (i) Sasse, Jonathan (i) Sasser, Cabel (i) Savander, Niklas (i) Schiller, Phil (i), (ii), (iii), (iv), and apps (i) and the iPhone (i) and iPod nano (i), (ii) and Wal-Mart (i) and 4G (i) Schmidt, Eric (i), (ii), (iii), (iv), (v), (vi), (vii) and Android (i), (ii) and AOL (i) and Google Goggles (i) and the iPhone (i), (ii), (iii), (iv) Schmitz, Rob (i) Schoeben, Rob (i) Schofield, Jack (i) Sculley, John (i), (ii), (iii), (iv), (v), (vi) Search (i) SEC (i), (ii) Second Coming of Steve Jobs, The (i) Sega (i) Shaw, Frank (i) Siemens (i) Sigman, Stan (i), (ii), (iii), (iv) Silverstein, Craig (i) Sinofsky, Steven (i), (ii), (iii), (iv), (v), (vi), (vii) see also ARM architecture; Microsoft Slashdot (i), (ii) Snapchat (i) Sony (i), (ii), (iii), (iv), (v), (vi) and digital rights management (DRM) (i) MiniDisc (i), (ii), (iii) PressPlay (i), (ii) Rockstar Bidco (i) Walkman (i), (ii), (iii) Sony Ericsson (i), (ii), (iii), (iv), (v), (vi), (vii) SoundJam (i) Spindler, Michael (i) Spolsky, Joel (i), (ii), (iii) Spotify (i) Sprint (i) Stac Electronics (i) standards-essential patents (SEPs) (i) Starbucks (i) StatCounter (i) Stephens, Mark (i), (ii) Stringer, Howard (i) Sullivan, Danny (i) Sun Microsystems (i), (ii), (iii), (iv), (v), (vi), (vii) Super Monkey Ball (i) Symbian (i), (ii), (iii), (iv), (v) apps (i), (ii) and Flash (i) licencing (i) loss of market share (i), (ii), (iii), (iv) Tao, Shi (i) Telefónica (i) Thompson, Rick (i) Time Warner (i), (ii) T-Mobile (i), (ii) TomTom (i) Topolsky, Joshua (i) Toshiba (i), (ii), (iii), (iv), (v), (vi) traffic acquisition costs (TACs) (i), (ii) Twitter (i), (ii), (iii), (iv) Universal (i), (ii), (iii) US Patent Office (i) Usenet (i) Vanjoki, Anssi (i) Varian, Hal (i) Verizon (i), (ii), (iii), (iv), (v) Virgin Electronics (i), (ii) Visa (i) Vodafone (i), (ii), (iii) Vogelstein, Fred (i), (ii), (iii), (iv), (v), (vi), (vii), (viii) Wall Street Journal (i), (ii) Wal-Mart (i), (ii), (iii), (iv) Wapner, Scott (i) Warner Music (i) Warren, Todd (i) Washington Post (i), (ii) Watsa, Prem (i) Waze (i) WebM (i), (ii) Wilcox, Joe (i), (ii) Wildstrom, Steve (i), (ii), (iii), (iv) Williamson, Richard (i) Windsor, Richard (i) Winfrey, Oprah (i), (ii) Wired (i), (ii), (iii), (iv), (v), (vi) Wojcicki, Susan (i) WordPerfect (i), (ii) Xiaomi (i) Yahoo (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix) Flickr (i) and Google (i), (ii), (iii), (iv) and GoTo (i) and Inktomi (i) and LinkExchange (i) localization (i) and Microsoft (i), (ii) and Overture (i), (ii) Tao, Shi (i) Yandex (i) Yang, Jerry (i), (ii), (iii), (iv) see also Yahoo YouTube (i), (ii), (iii), (iv), (v), (vi), (vii) Zander, Ed (i), (ii) ZTE (i), (ii), (iii) Zuckerberg, Mark (i), (ii) see also Facebook Publisher’s note Every possible effort has been made to ensure that the information contained in this book is accurate at the time of going to press, and the publishers and author cannot accept responsibility for any errors or omissions, however caused.
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This ebook published in 2014 by Kogan Page Limited 2nd Floor, 45 Gee Street London EC1V 3RS UK www.koganpage.com © Charles Arthur, 2012, 2014 E-ISBN 978 0 7494 7204 7 Full imprint details Contents Introduction 01 1998 Bill Gates and Microsoft Steve Jobs and Apple Bill Gates and Steve Jobs Larry Page, Sergey Brin and Google Internet search Capital thinking 02 Microsoft antitrust Steve Ballmer The antitrust trial The outcome of the trial 03 Search: Google versus Microsoft The beginnings of search Google Search and Microsoft Bust Link to money Boom Random access Google and the public consciousness Project Underdog Preparing for battle Do it yourself Going public Competition Cultural differences Microsoft’s relaunched search engine Friends Microsoft’s bid for Yahoo Google’s identity The shadow of antitrust Still underdog 04 Digital music: Apple versus Microsoft The beginning of iTunes Gizmo, Tokyo iPod design Marketing the new product Meanwhile, in Redmond: Microsoft iPods and Windows Music, stored Celebrity marketing iTunes on Windows iPod mini The growth of iTunes Music Store Apple and the mobile phone Stolen!
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They had wanted to call it ‘Googol’ (an enormous number –10 to the hundredth power – to represent the vastness of the net, but also as a mathematical in-joke; Page and Brin love maths jokes). But that was taken. They settled on ‘Google’. Had Gates known about them, he might have worried, briefly. But there was no way Gates could have easily known about it – except by spending lots and lots of time surfing the web. The scientific paper describing how Google chose its results wasn’t formally published until the end of December 1998; a paper describing how ‘PageRank’, the system used to determine what order the search results should be delivered in – with the ‘most relevant’ (as determined by the rest of the web) first – wasn’t deposited with Stanford University’s online publishing service until 1999.15 The duo incorporated Google as a company on 4 September 1998, while they were renting space in the garage of Susan Wojcicki.
Thinking Machines: The Inside Story of Artificial Intelligence and Our Race to Build the Future by Luke Dormehl
"World Economic Forum" Davos, Ada Lovelace, agricultural Revolution, AI winter, Albert Einstein, Alexey Pajitnov wrote Tetris, algorithmic management, algorithmic trading, AlphaGo, Amazon Mechanical Turk, Apple II, artificial general intelligence, Automated Insights, autonomous vehicles, backpropagation, Bletchley Park, book scanning, borderless world, call centre, cellular automata, Charles Babbage, Claude Shannon: information theory, cloud computing, computer vision, Computing Machinery and Intelligence, correlation does not imply causation, crowdsourcing, deep learning, DeepMind, driverless car, drone strike, Elon Musk, Flash crash, Ford Model T, friendly AI, game design, Geoffrey Hinton, global village, Google X / Alphabet X, Hans Moravec, hive mind, industrial robot, information retrieval, Internet of things, iterative process, Jaron Lanier, John Markoff, John Maynard Keynes: Economic Possibilities for our Grandchildren, John Maynard Keynes: technological unemployment, John von Neumann, Kickstarter, Kodak vs Instagram, Law of Accelerating Returns, life extension, Loebner Prize, machine translation, Marc Andreessen, Mark Zuckerberg, Menlo Park, Mustafa Suleyman, natural language processing, Nick Bostrom, Norbert Wiener, out of africa, PageRank, paperclip maximiser, pattern recognition, radical life extension, Ray Kurzweil, recommendation engine, remote working, RFID, scientific management, self-driving car, Silicon Valley, Skype, smart cities, Smart Cities: Big Data, Civic Hackers, and the Quest for a New Utopia, social intelligence, speech recognition, Stephen Hawking, Steve Jobs, Steve Wozniak, Steven Pinker, strong AI, superintelligent machines, tech billionaire, technological singularity, The Coming Technological Singularity, The Future of Employment, Tim Cook: Apple, Tony Fadell, too big to fail, traumatic brain injury, Turing machine, Turing test, Vernor Vinge, warehouse robotics, Watson beat the top human players on Jeopardy!
In this way, working towards achieving consciousness in a machine is a little like the way Google is perfecting their search engine. Larry Page and Sergey Brin began at Stanford with their PageRank algorithm, which remains the kernel of the Google empire. PageRank ranked pages according to the quality and number of incoming links to each page. But while PageRank remains a crucially important algorithm, Google has since enhanced it with 200 different unique signals, or what it refers to as ‘clues’, which make informed guesses about what it is that users are looking for. As Google engineers explain, ‘These signals include things like the terms on websites, the freshness of content [and] your region,’ in addition to PageRank.
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To find a specific word or phrase from the index, please use the search feature of your ebook reader. 2001: A Space Odyssey (1968) 2, 228, 242–4 2045 Initiative 217 accountability issues 240–4, 246–8 Active Citizen 120–2 Adams, Douglas 249 Advanced Research Projects Agency (ARPA) 19–20, 33 Affectiva 131 Age of Industry 6 Age of Information 6 agriculture 150–1, 183 AI Winters 27, 33 airlines, driverless 144 algebra 20 algorithms 16–17, 59, 67, 85, 87, 88, 145, 158–9, 168, 173, 175–6, 183–4, 186, 215, 226, 232, 236 evolutionary 182–3, 186–8 facial recognition 10–11, 61–3 genetic 184, 232, 237, 257 see also back-propagation AliveCor 87 AlphaGo (AI Go player) 255 Amazon 153, 154, 198, 236 Amy (AI assistant) 116 ANALOGY program 20 Analytical Engine 185 Android 59, 114, 125 animation 168–9 Antabi, Bandar 77–9 antennae 182, 183–5 Apple 6, 35, 56, 65, 90–1, 108, 110–11, 113–14, 118–19, 126–8, 131–2, 148–9, 158, 181, 236, 238–9, 242 Apple iPhone 108, 113, 181 Apple Music 158–9 Apple Watch 66, 199 architecture 186 Artificial Artificial Intelligence (AAI) 153, 157 Artificial General Intelligence (AGI) 226, 230–4, 239–40, 254 Artificial Intelligence (AI) 2 authentic 31 development problems 23–9, 32–3 Good Old-Fashioned (Symbolic) 22, 27, 29, 34, 36, 37, 39, 45, 49–52, 54, 60, 225 history of 5–34 Logical Artificial Intelligence 246–7 naming of 19 Narrow/Weak 225–6, 231 new 35–63 strong 232 artificial stupidity 234–7 ‘artisan economy’ 159–61 Asimov, Isaac 227, 245, 248 Athlone Industries 242 Atteberry, Kevan J. 112 Automated Land Vehicle in a Neural Network (ALVINN) 54–5 automation 141, 144–5, 150, 159 avatars 117, 193–4, 196–7, 201–2 Babbage, Charles 185 back-propagation 50–3, 57, 63 Bainbridge, William Sims 200–1, 202, 207 banking 88 BeClose smart sensor system 86 Bell Communications 201 big business 31, 94–6 biometrics 77–82, 199 black boxes 237–40 Bletchley Park 14–15, 227 BMW 128 body, machine analogy 15 Bostrom, Nick 235, 237–8 BP 94–95 brain 22, 38, 207–16, 219 Brain Preservation Foundation 219 Brain Research Through Advanced Innovative Neurotechnologies 215–16 brain-like algorithms 226 brain-machine interfaces 211–12 Breakout (video game) 35, 36 Brin, Sergey 6–7, 34, 220, 231 Bringsjord, Selmer 246–7 Caenorhabditis elegans 209–10, 233 calculus 20 call centres 127 Campbell, Joseph 25–6 ‘capitalisation effect’ 151 cars, self-driving 53–56, 90, 143, 149–50, 247–8 catering 62, 189–92 chatterbots 102–8, 129 Chef Watson 189–92 chemistry 30 chess 1, 26, 28, 35, 137, 138–9, 152–3, 177, 225 Cheyer, Adam 109–10 ‘Chinese Room, the’ 24–6 cities 89–91, 96 ‘clever programming’ 31 Clippy (AI assistant) 111–12 clocks, self-regulating 71–2 cognicity 68–9 Cognitive Assistant that Learns and Organises (CALO) 112 cognitive psychology 12–13 Componium 174, 176 computer logic 8, 10–11 Computer Science and Artificial Intelligence Laboratory (CSAIL) 96–7 Computer-Generated Imagery (CGI) 168, 175, 177 computers, history of 12–17 connectionists 53–6 connectomes 209–10 consciousness 220–1, 232–3, 249–51 contact lenses, smart 92 Cook, Diane 84–6 Cook, Tim 91, 179–80 Cortana (AI assistant) 114, 118–19 creativity 163–92, 228 crime 96–7 curiosity 186 Cyber-Human Systems 200 cybernetics 71–4 Dartmouth conference 1956 17–18, 19, 253 data 56–7, 199 ownership 156–7 unlabelled 57 death 193–8, 200–1, 206 Deep Blue 137, 138–9, 177 Deep Knowledge Ventures 145 Deep Learning 11–12, 56–63, 96–7, 164, 225 Deep QA 138 DeepMind 35–7, 223, 224, 245–6, 255 Defense Advanced Research Projects Agency (DARPA) 33, 112 Defense Department 19, 27–8 DENDRAL (expert system) 29–31 Descartes, René 249–50 Dextro 61 DiGiorgio, Rocco 234–5 Digital Equipment Corporation (DEC) 31 Digital Reasoning 208–9 ‘Digital Sweatshops’ 154 Dipmeter Advisor (expert system) 31 ‘do engines’ 110, 116 Dungeons and Dragons Online (video game) 197 e-discovery firms 145 eDemocracy 120–1 education 160–2 elderly people 84–6, 88, 130–1, 160 electricity 68–9 Electronic Numeric Integrator and Calculator (ENIAC) 12, 13, 92 ELIZA programme 129–30 Elmer and Elsie (robots) 74–5 email filters 88 employment 139–50, 150–62, 163, 225, 238–9, 255 eNeighbor 86 engineering 182, 183–5 Enigma machine 14–15 Eterni.me 193–7 ethical issues 244–8 Etsy 161 Eurequa 186 Eve (robot scientist) 187–8 event-driven programming 79–81 executives 145 expert systems 29–33, 47–8, 197–8, 238 Facebook 7, 61–2, 63, 107, 153, 156, 238, 254–5 facial recognition 10–11, 61–3, 131 Federov, Nikolai Fedorovich 204–5 feedback systems 71–4 financial markets 53, 224, 236–7 Fitbit 94–95 Flickr 57 Floridi, Luciano 104–5 food industry 141 Ford 6, 230 Foxbots 149 Foxconn 148–9 fraud detection 88 functional magnetic resonance imaging (fMRI) 211 Furbies 123–5 games theory 100 Gates, Bill 32, 231 generalisation 226 genetic algorithms 184, 232, 237, 257 geometry 20 glial cells 213 Go (game) 255 Good, Irving John 227–8 Google 6–7, 34, 58–60, 67, 90–2, 118, 126, 131, 155–7, 182, 213, 238–9 ‘Big Dog’ 255–6 and DeepMind 35, 245–6, 255 PageRank algorithm 220 Platonic objects 164, 165 Project Wing initiative 144 and self-driving cars 56, 90, 143 Google Books 180–1 Google Brain 61, 63 Google Deep Dream 163–6, 167–8, 184, 186, 257 Google Now 114–16, 125, 132 Google Photos 164 Google Translate 11 Google X (lab) 61 Government Code and Cypher School 14 Grain Marketing Adviser (expert system) 31 Grímsson, Gunnar 120–2 Grothaus, Michael 69, 93 guilds 146 Halo (video game) 114 handwriting recognition 7–8 Hank (AI assistant) 111 Hawking, Stephen 224 Hayworth, Ken 217–21 health-tracking technology 87–8, 92–5 Healthsense 86 Her (film, 2013) 122 Herd, Andy 256–7 Herron, Ron 89–90 High, Rob 190–1 Hinton, Geoff 48–9, 53, 56, 57–61, 63, 233–4 hive minds 207 holograms 217 HomeChat app 132 homes, smart 81–8, 132 Hopfield, John 46–7, 201 Hopfield Nets 46–8 Human Brain Project 215–16 Human Intelligence Tasks (HITs) 153, 154 hypotheses 187–8 IBM 7–11, 136–8, 162, 177, 189–92 ‘IF THEN’ rules 29–31 ‘If-This-Then-That’ rules 79–81 image generation 163–6, 167–8 image recognition 164 imagination 178 immortality 204–7, 217, 220–1 virtual 193–8, 201–4 inferences 97 Infinium Robotics 141 information processing 208 ‘information theory’ 16 Instagram 238 insurance 94–5 Intellicorp 33 intelligence 208 ambient 74 ‘intelligence explosion’ 228 top-down view 22, 25, 246 see also Artificial Intelligence internal combustion engine 140–1, 150–1 Internet 10, 56 disappearance 91 ‘Internet of Things’ 69, 70, 83, 249, 254 invention 174, 178, 179, 182–5, 187–9 Jawbone 78–9, 92–3, 254 Jennings, Ken 133–6, 138–9, 162, 189 Jeopardy!
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The result was surrealistic landscapes which seemed to owe more to Salvador Dalí or H. P. Lovecraft than Google co-founders Larry Page and Sergey Brin. The team allowed the neural network to accentuate whatever eccentricities it discovered. Instructed to maximise the elements found in each image, Deep Dream created trippy flights of fancy. Given an image and asked to classify it and then add more detail, the neural network became trapped in strange, fascinating feedback loops. Clouds were associated with birds, and Deep Dream sought to make them ever more ‘birdlike’. A photograph of a clear sky would rapidly be filled with Google’s idealised avians, as though the world’s most powerful search engine had suddenly decided to become a graffiti artist.
Automate This: How Algorithms Came to Rule Our World by Christopher Steiner
23andMe, Ada Lovelace, airport security, Al Roth, algorithmic trading, Apollo 13, backtesting, Bear Stearns, big-box store, Black Monday: stock market crash in 1987, Black-Scholes formula, call centre, Charles Babbage, cloud computing, collateralized debt obligation, commoditize, Credit Default Swap, credit default swaps / collateralized debt obligations, delta neutral, Donald Trump, Douglas Hofstadter, dumpster diving, financial engineering, Flash crash, G4S, Gödel, Escher, Bach, Hacker News, High speed trading, Howard Rheingold, index fund, Isaac Newton, Jim Simons, John Markoff, John Maynard Keynes: technological unemployment, knowledge economy, late fees, machine translation, Marc Andreessen, Mark Zuckerberg, market bubble, Max Levchin, medical residency, money market fund, Myron Scholes, Narrative Science, PageRank, pattern recognition, Paul Graham, Pierre-Simon Laplace, prediction markets, proprietary trading, quantitative hedge fund, Renaissance Technologies, ride hailing / ride sharing, risk tolerance, Robert Mercer, Sergey Aleynikov, side project, Silicon Valley, Skype, speech recognition, Spread Networks laid a new fibre optics cable between New York and Chicago, transaction costs, upwardly mobile, Watson beat the top human players on Jeopardy!, Y Combinator
This model of ranking things based on small clues of influence is the same calculus that drives PageRank, Google’s algorithm, named after cofounder Larry Page, which steers Web traffic to sites the Web regards as authoritative on the subject being searched. Important Web sites are called hubs and influencers. Google gives more credence in its search results to sites that are often linked to by influential sites and hubs. If these sites commonly refer to, say, a particular flight-booking search engine as the best one while concurrently linking to it, it’s likely that this Web site will rise to the top of Google’s results. By looking at where the influential sites link, Google’s algorithm can quickly determine what to show for any query a user might type in.
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., 3, 218 “Explanation of Binary Arithmetic” (Leibniz), 58 ExxonMobil, 50 Facebook, 198–99, 204–6, 214 graph theory and, 70 face-reading algorithms, 129, 161 Falchuk, Myron, 157 Farmville, 206 fat tails, 63–64 FBI, 137 FedEx, 116 Ferguson, Lynne, 87 Fermat, Pierre, 66–67 fiber: dark, 114–20, 122 lit, 114 fiber optic cables, 117, 124, 192 Fibonacci, Leonardo, 56–57 Fibonacci sequence, 57 Fidelity, 50 finance, probability theory and, 66 financial markets, algorithms’ domination of, 24 financial sector, expansion of, 184, 191 see also Wall Street Finkel, Eli, 145 Finland, 130 First New York Securities, 4 Fisher, Helen, 144 Flash Crash of 2010, 2–5, 48–49, 64, 184 Forbes magazine, 8 foreign exchange, golden mean and, 57 Fortran, 12, 38 Fortune 500 companies, Kahler’s methods at, 176 Fourier, Joseph, 105–6 Fourier series, 105–7 Fourier transforms, 82 401K plans, 50 Fox News, 137 fractal geometry, 56 France, 61, 66, 80, 121, 147 Frankfurt, 121 fraud, eLoyalty bots and, 193 French-English translation software, 178–79 From Darkness, Light, 99 galaxies, orbital patterns of, 56 gambling: algorithms and, 127–35 probability theory and, 66, 67 game theory, 58 algorithms and, 129–31 and fall of Soviet Union, 136 in organ donor networks, 147–49 in politics, 136 sports betting and, 133–35 terrorism prevention by, 135–40 gastroenterology, 157 Gauss, Carl Friedrich, 61–65 Gaussian copula, 65, 189 Gaussian distributions, 63–64 Gaussian functions, 53 GE, 209, 213 Geffen, 87 General Mills, 130 General Motors, 201 genes, algorithmic scanning of, 159, 160 geometry, 55 of carbon, 70 fractal, 56 George IV, king of England, 62 Germany, 26, 61, 90 West, 19 Getco, 49, 116, 118 Glenn, John, 175 gluten, 157 Gmail, 71, 196 Gödel, Escher, Bach: An Eternal Golden Braid (Hofstadter), 97 gold, 21, 27 Gold and Stock Telegraph Company, 123 Goldberg, David, 219 golden mean, 56–57 Goldman Sachs, 116, 119, 204, 213 bailout of, 191 engineering and science talent hired by, 179, 186, 187, 189 Hull Trading bought by, 46 Peterffy’s buyout offer from, 46 Gomez, Dominic, 87 goodwill, 27 Google, 47, 71, 124, 192, 196, 207, 213, 219 algorithm-driven cars from, 215 PageRank algorithm of, 213–14 Gorbachev, Mikhail, 136 Göttingen, 122 Göttingen, University of, 59, 65 grain prices, hedging algorithm for, 130 grammar, algorithms for, 54 Grammy awards, 83 graph theory, 69–70 Great Depression, 123 Greatest Trade Ever, The (Zuckerman), 202 Greece, rioting in, 2–3 Greenlight Capital, 128 Greenwich, Conn., 47, 48 Griffin, Blake, 142 Griffin, Ken, 128, 190 Groopman, Jerome, 156 Groupon, 199 growth prospects, 27 Guido of Arezzo, 91 guitars: Harrison’s twelve–string Rickenbacker, 104–5, 107–9 Lennon’s six–string, 104, 107–8 hackers: as algorithm creators, 8, 9, 178 chat rooms for, 53, 124 as criminals, 7–8 for gambling, 135 Leibniz as, 60 Lovelace as, 73 online, 53 poker played by, 128 Silicon Valley, 8 on Wall Street, 17–18, 49, 124, 160, 179, 185, 201 Wall Street, dawn of hacker era on, 24–27 haiku, algorithm-composed, 100–101 Haise, Fred, 165–67 Hal 9000, 7 Hammerbacher, Jeffrey, 201–6, 209, 216 Handel, George Frideric, 68, 89, 91 Hanover, 62 Hanto, Ruthanne, 151 Hardaway, Penny, 143 “Hard Day’s Night, A,” opening chord of, 104–10 hardware: escalating war of, 119–25 Leibniz’s binary system and, 61 Harrah’s, 135 Harrison, George, 103–5, 107–10 on Yahoo!
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., 140, 165 Nobel Prize, 23, 106 North Carolina, 48, 204 Northwestern University, 145, 186 Kellogg School of Management at, 10 Novak, Ben, 77–79, 83, 85, 86 NSA, 137 NuclearPhynance, 124 nuclear power, 139 nuclear weapons, in Iran, 137, 138–39 number theory, 65 numerals: Arabic-Indian, 56 Roman, 56 NYSE composite index, 40, 41 Oakland Athletics, 141 Obama, Barack, 46, 218–19 Occupy Wall Street, 210 O’Connor & Associates, 40, 46 OEX, see S&P 100 index Ohio, 91 oil prices, 54 OkCupid, 144–45 Olivetti home computers, 27 opera, 92, 93, 95 Operation Match, 144 opinions-driven people, 173, 174, 175 OptionMonster, 119 option prices, probability and statistics in, 27 options: Black-Scholes formula and, 23 call, 21–22 commodities, 22 definition of, 21 pricing of, 22 put, 22 options contracts, 30 options trading, 36 algorithms in, 22–23, 24, 114–15 Oregon, University of, 96–97 organ donor networks: algorithms in, 149–51, 152, 214 game theory in, 147–49 oscilloscopes, 32 Outkast, 102 outliers, 63 musical, 102 outputs, algorithmic, 54 Pacific Exchange, 40 Page, Larry, 213 PageRank, 213–14 pairs matching, 148–51 pairs trading, 31 Pakistan, 191 Pandora, 6–7, 83 Papanikolaou, Georgios, 153 Pap tests, 152, 153–54 Parham, Peter, 161 Paris, 56, 59, 121 Paris Stock Exchange, 122 Parse.ly, 201 partial differential equations, 23 Pascal, Blaise, 59, 66–67 pathologists, 153 patient data, real-time, 158–59 patterns, in music, 89, 93, 96 Patterson, Nick, 160–61 PayPal, 188 PCs, Quotron data for, 33, 37, 39 pecking orders, social, 212–14 Pennsylvania, 115, 116 Pennsylvania, University of, 49 pension funds, 202 Pentagon, 168 Perfectmatch.com, 144 Perry, Katy, 89 Persia, 54 Peru, 91 Peterffy, Thomas: ambitions of, 27 on AMEX, 28–38 automated trading by, 41–42, 47–48, 113, 116 background and early career of, 18–20 Correlator algorithm of, 42–45 early handheld computers developed by, 36–39, 41, 44–45 earnings of, 17, 37, 46, 48, 51 fear that algorithms have gone too far by, 51 hackers hired by, 24–27 independence retained by, 46–47 on index funds, 41–46 at Interactive Brokers, 47–48 as market maker, 31, 35–36, 38, 51 at Mocatta, 20–28, 31 Nasdaq and, 11–18, 32, 42, 47–48, 185 new technology innovated by, 15–16 options trading algorithm of, 22–23, 24 as outsider, 31–32 profit guidelines of, 29 as programmer, 12, 15–16, 17, 20–21, 26–27, 38, 48, 62 Quotron hack of, 32–35 stock options algorithm as goal of, 27 Timber Hill trading operation of, see Timber Hill traders eliminated by, 12–18 trading floor methods of, 28–34 trading instincts of, 18, 26 World Trade Center offices of, 11, 39, 42, 43, 44 Petty, Tom, 84 pharmaceutical companies, 146, 155, 186 pharmacists, automation and, 154–56 Philips, 159 philosophy, Leibniz on, 57 phone lines: cross-country, 41 dedicated, 39, 42 phones, cell, 124–25 phosphate levels, 162 Physicians’ Desk Reference (PDR), 146 physicists, 62, 157 algorithms and, 6 on Wall Street, 14, 37, 119, 185, 190, 207 pianos, 108–9 Pincus, Mark, 206 Pisa, 56 pitch, 82, 93, 106 Pittsburgh International Airport, security algorithm at, 136 Pittsburgh Pirates, 141 Pius II, Pope, 69 Plimpton, George, 141–42 pneumonia, 158 poetry, composed by algorithm, 100–101 poker, 127–28 algorithms for, 129–35, 147, 150 Poland, 69, 91 Polyphonic HMI, 77–79, 82–83, 85 predictive algorithms, 54, 61, 62–65 prescriptions, mistakes with, 151, 155–56 present value, of future money streams, 57 pressure, thriving under, 169–70 prime numbers, general distribution pattern of, 65 probability theory, 66–68 in option prices, 27 problem solving, cooperative, 145 Procter & Gamble, 3 programmers: Cope as, 92–93 at eLoyalty, 182–83 Peterffy as, 12, 15–16, 17, 20–21, 26–27, 38, 48, 62 on Wall Street, 13, 14, 24, 46, 47, 53, 188, 191, 203, 207 programming, 188 education for, 218–20 learning, 9–10 simple algorithms in, 54 Progress Energy, 48 Project TACT (Technical Automated Compatibility Testing), 144 proprietary code, 190 proprietary trading, algorithmic, 184 Prussia, 69, 121 PSE, 40 pseudocholinesterase deficiency, 160 psychiatry, 163, 171 psychology, 178 Pu, Yihao, 190 Pulitzer Prize, 97 Purdue University, 170, 172 put options, 22, 43–45 Pythagorean algorithm, 64 quadratic equations, 63, 65 quants (quantitative analysts), 6, 46, 124, 133, 198, 200, 202–3, 204, 205 Leibniz as, 60 Wall Street’s monopoly on, 183, 190, 191, 192 Queen’s College, 72 quizzes, and OkCupid’s algorithms, 145 Quotron machine, 32–35, 37 Rachmaninoff, Sergei, 91, 96 Radiohead, 86 radiologists, 154 radio transmitters, in trading, 39, 41 railroad rights-of-way, 115–17 reactions-based people, 173–74, 195 ReadyForZero, 207 real estate, 192 on Redfin, 207 recruitment, of math and engineering students, 24 Redfin, 192, 206–7, 210 reflections-driven people, 173, 174, 182 refraction, indexes of, 15 regression analysis, 62 Relativity Technologies, 189 Renaissance Technologies, 160, 179–80, 207–8 Medallion Fund of, 207–8 retirement, 50, 214 Reuter, Paul Julius, 122 Rhode Island hold ‘em poker, 131 rhythms, 82, 86, 87, 89 Richmond, Va., 95 Richmond Times-Dispatch, 95 rickets, 162 ride sharing, algorithm for, 130 riffs, 86 Riker, William H., 136 Ritchie, Joe, 40, 46 Rochester, N.Y., 154 Rolling Stones, 86 Rondo, Rajon, 143 Ross, Robert, 143–44 Roth, Al, 147–49 Rothschild, Nathan, 121–22 Royal Society, London, 59 RSB40, 143 runners, 39, 122 Russia, 69, 193 intelligence of, 136 Russian debt default of 1998, 64 Rutgers University, 144 Ryan, Lee, 79 Saint Petersburg Academy of Sciences, 69 Sam Goody, 83 Sandberg, Martin (Max Martin), 88–89 Sandholm, Tuomas: organ donor matching algorithm of, 147–51 poker algorithm of, 128–33, 147, 150 S&P 100 index, 40–41 S&P 500 index, 40–41, 51, 114–15, 218 Santa Cruz, Calif., 90, 95, 99 satellites, 60 Savage Beast, 83 Saverin, Eduardo, 199 Scholes, Myron, 23, 62, 105–6 schools, matching algorithm for, 147–48 Schubert, Franz, 98 Schwartz, Pepper, 144 science, education in, 139–40, 218–20 scientists, on Wall Street, 46, 186 Scott, Riley, 9 scripts, algorithms for writing, 76 Seattle, Wash., 192, 207 securities, 113, 114–15 mortgage-backed, 203 options on, 21 Securities and Exchange Commission (SEC), 185 semiconductors, 60, 186 sentence structure, 62 Sequoia Capital, 158 Seven Bridges of Königsberg, 69, 111 Shannon, Claude, 73–74 Shuruppak, 55 Silicon Valley, 53, 81, 90, 116, 188, 189, 215 hackers in, 8 resurgence of, 198–211, 216 Y Combinator program in, 9, 207 silver, 27 Simons, James, 179–80, 208, 219 Simpson, O.
Machine, Platform, Crowd: Harnessing Our Digital Future by Andrew McAfee, Erik Brynjolfsson
"World Economic Forum" Davos, 3D printing, additive manufacturing, AI winter, Airbnb, airline deregulation, airport security, Albert Einstein, algorithmic bias, AlphaGo, Amazon Mechanical Turk, Amazon Web Services, Andy Rubin, AOL-Time Warner, artificial general intelligence, asset light, augmented reality, autism spectrum disorder, autonomous vehicles, backpropagation, backtesting, barriers to entry, behavioural economics, bitcoin, blockchain, blood diamond, British Empire, business cycle, business process, carbon footprint, Cass Sunstein, centralized clearinghouse, Chris Urmson, cloud computing, cognitive bias, commoditize, complexity theory, computer age, creative destruction, CRISPR, crony capitalism, crowdsourcing, cryptocurrency, Daniel Kahneman / Amos Tversky, data science, Dean Kamen, deep learning, DeepMind, Demis Hassabis, discovery of DNA, disintermediation, disruptive innovation, distributed ledger, double helix, driverless car, Elon Musk, en.wikipedia.org, Erik Brynjolfsson, Ethereum, ethereum blockchain, everywhere but in the productivity statistics, Evgeny Morozov, fake news, family office, fiat currency, financial innovation, general purpose technology, Geoffrey Hinton, George Akerlof, global supply chain, Great Leap Forward, Gregor Mendel, Hernando de Soto, hive mind, independent contractor, information asymmetry, Internet of things, inventory management, iterative process, Jean Tirole, Jeff Bezos, Jim Simons, jimmy wales, John Markoff, joint-stock company, Joseph Schumpeter, Kickstarter, Kiva Systems, law of one price, longitudinal study, low interest rates, Lyft, Machine translation of "The spirit is willing, but the flesh is weak." to Russian and back, Marc Andreessen, Marc Benioff, Mark Zuckerberg, meta-analysis, Mitch Kapor, moral hazard, multi-sided market, Mustafa Suleyman, Myron Scholes, natural language processing, Network effects, new economy, Norbert Wiener, Oculus Rift, PageRank, pattern recognition, peer-to-peer lending, performance metric, plutocrats, precision agriculture, prediction markets, pre–internet, price stability, principal–agent problem, Project Xanadu, radical decentralization, Ray Kurzweil, Renaissance Technologies, Richard Stallman, ride hailing / ride sharing, risk tolerance, Robert Solow, Ronald Coase, Salesforce, Satoshi Nakamoto, Second Machine Age, self-driving car, sharing economy, Silicon Valley, Skype, slashdot, smart contracts, Snapchat, speech recognition, statistical model, Steve Ballmer, Steve Jobs, Steven Pinker, supply-chain management, synthetic biology, tacit knowledge, TaskRabbit, Ted Nelson, TED Talk, the Cathedral and the Bazaar, The Market for Lemons, The Nature of the Firm, the strength of weak ties, Thomas Davenport, Thomas L Friedman, too big to fail, transaction costs, transportation-network company, traveling salesman, Travis Kalanick, Two Sigma, two-sided market, Tyler Cowen, Uber and Lyft, Uber for X, uber lyft, ubercab, Vitalik Buterin, warehouse robotics, Watson beat the top human players on Jeopardy!, winner-take-all economy, yield management, zero day
Page and Brin added a clever twist by weighting the importance of each link by the number of pages that in turn linked to each of the pages that originated the links, and so on, and so on. The algorithm that Page and Brin developed created a rank of every page and was called “PageRank.” Their paper describing this approach, titled “The Anatomy of a Large-Scale Hypertextual Web Search Engine,” was presented in April 1998 at the Seventh International World-Wide Web Conference in Brisbane, Australia. The company that the pair created to put this approach into practice—initially called BackRub, but later renamed Google—was founded in September 1998 in Silicon Valley. Google changed the world with the realization that even though the crowd’s online content was uncontrolled, it wasn’t disorganized.
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Google changed the world with the realization that even though the crowd’s online content was uncontrolled, it wasn’t disorganized. It, in fact, had an extremely elaborate and fine-grained structure, but not one that was consciously decided on by any core group of humans. Instead, it was a structure that emerged from the content itself, once it was analyzed by the company’s PageRank algorithm and all of its relatives. This emergent structure changes and grows as the content itself does, and lets us smoothly and easily navigate all the content that the crowd comes up with. The second problem that inevitably comes with an uncontrolled crowd is that some of its members misbehave in hurtful ways. The core can evict bad actors—from the company, the library, or the payroll—but the web really can’t; it’s too easy to come in by employing another user name or IP address,‡ or to hide behind anonymity.
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Bertram’s Mind, The” (AI-generated prose), 121 MySpace, 170–71 Naam, Ramez, 258n Nakamoto, Satoshi, 279–85, 287, 296–97, 306, 312 Nakamoto Institute, 304 Nappez, Francis, 190 Napster, 144–45 NASA, 15 Nasdaq, 290–91 National Association of Realtors, 39 National Enquirer, 132 National Institutes of Health, 253 National Library of Australia, 274 Naturalis Historia (Pliny the Elder), 246 natural language processing, 83–84 “Nature of the Firm, The” (Coase), 309–10 Navy, US, 72 negative prices, 216 Nelson, Ted, 33 Nelson, Theodore, 229 Nesbitt, Richard, 45 Netflix, 187 Netscape Navigator, 34 network effects, 140–42 defined, 140 diffusion of platforms and, 205–6 O2O platforms and, 193 size of network and, 217 Stripe and, 174 Uber’s market value and, 219 networks, Cambrian Explosion and, 96 neural networks, 73–74, 78 neurons, 72–73 Newell, Allen, 69 Newmark, Craig, 138 New Republic, 133 news aggregators, 139–40 News Corp, 170, 171 newspapers ad revenue, 130, 132, 139 publishing articles directly on Facebook, 165 Newsweek, 133 New York City Postmates in, 185 taxi medallion prices before and after Uber, 201 UberPool in, 9 New York Times, 73, 130, 152 Ng, Andrew, 75, 96, 121, 186 Nielsen BookScan, 293, 294 99Degrees Custom, 333–34 99designs, 261 Nixon, Richard, 280n Nokia, 167–68, 203 noncredentialism, 241–42 Norman, Robert, 273–74 nugget ice, 11–14 Nuomi, 192 Nupedia, 246–48 Obama, Barack, election of 2012, 48–51 occupancy rates, 221–22 oDesk, 188 Office of Personnel Management, US, 32 oil rigs, 100 on-demand economy, future of companies in, 320 online discussion groups, 229–30 online payment services, 171–74 online reviews, 208–10 O2O (online to offline) platforms, 185–98 business-to-business, 188–90 consumer-oriented, 186–88 defined, 186 as engines of liquidity, 192–96 globalization of, 190–92 interdisciplinary insights from data compiled by, 194 for leveraging assets, 196–97 and machine learning, 194 Opal (ice maker), 13–14 Open Agriculture Initiative, 272 openness (crowd collaboration principle), 241 open platforms curation and, 165 downsides, 164 importance of, 163–65 as key to success, 169 open-source software; See also Linux Android as, 166–67 development by crowd, 240–45 operating systems, crowd-developed, 240–45 Oracle, 204 O’Reilly, Tim, 242 organizational dysfunction, 257 Oruna, 291 Osindero, Simon, 76 Osterman, Paul, 322 Ostrom, Elinor, 313 outcomes, clear (crowd collaboration principle), 243 outsiders in automated investing, 270 experts vs., 252–75 overall evaluation criterion, 51 Overstock.com, 290 Owen, Ivan, 273, 274 Owen, Jennifer, 274n ownership, contracts and, 314–15 Page, Larry, 233 PageRank, 233 Pahlka, Jennifer, 163 Painting Fool, The, 117 Papa John’s Pizza, 286 Papert, Seymour, 73 “Paperwork Mine,” 32 Paris, France, terrorist attack (2015), 55 Parker, Geoffrey, 148 parole, 39–40 Parse.ly, 10 Paulos, John Allen, 233 payments platforms, 171–74 peer reviews, 208–10 peer-to-peer lending, 263 peer-to-peer platforms, 144–45, 298 Peloton, 177n Penthouse magazine, 132 People Express, 181n, 182 Perceptron, 72–74 Perceptrons: An Introduction to Computational Geometry (Minsky and Papert), 73 perishing/perishable inventory and O2O platforms, 186 and revenue management, 181–84 risks in managing, 180–81 personal drones, 98 perspectives, differing, 258–59 persuasion, 322 per-transaction fees, 172–73 Pew Research Center, 18 p53 protein, 116–17 photography, 131 physical environments, experimentation in development of, 62–63 Pindyck, Robert, 196n Pinker, Steven, 68n piracy, of recorded music, 144–45 Plaice, Sean, 184 plastics, transition from molds to 3D printing, 104–7 Platform Revolution (Parker, Van Alstyne, and Choudary), 148 platforms; See also specific platforms business advantages of, 205–11 characteristics of successful, 168–74 competition between, 166–68 and complements, 151–68 connecting online and offline experience, 177–98; See also O2O (online to offline) platforms consumer loyalty and, 210–11 defined, 14, 137 diffusion of, 205 economics of “free, perfect, instant” information goods, 135–37 effect on incumbents, 137–48, 200–204 elasticity of demand, 216–18 future of companies based on, 319–20 importance of being open, 163–65; See also open platforms and information asymmetries, 206–10 limits to disruption of incumbents, 221–24 multisided markets, 217–18 music industry disruption, 143–48 network effect, 140–42 for nondigital goods/services, 178–85; See also O2O (online to offline) platforms and perishing inventory, 180–81 preference for lower prices by, 211–21 pricing elasticities, 212–13 product as counterpart to, 15 and product maker prices, 220–21 proliferation of, 142–48 replacement of assets with, 6–10 for revenue management, 181–84 supply/demand curves and, 153–57 and unbundling, 145–48 user experience as strategic element, 169–74 Playboy magazine, 133 Pliny the Elder, 246 Polanyi, Michael, 3 Polanyi’s Paradox and AlphaGo, 4 defined, 3 and difficulty of comparing human judgment to mathematical models, 42 and failure of symbolic machine learning, 71–72 and machine language, 82 and problems with centrally planned economies, 236 and System 1/System 2 relationship, 45 Postmates, 173, 184–85, 205 Postmates Plus Unlimited, 185 Postrel, Virginia, 90 Pratt, Gil, 94–95, 97, 103–4 prediction data-driven, 59–60 experimentation and, 61–63 statistical vs. clinical, 41 “superforecasters” and, 60–61 prediction markets, 237–39 premium brands, 210–11 presidential elections, 48–51 Priceline, 61–62, 223–24 price/pricing data-driven, 47; See also revenue management demand curves and, 154 elasticities, 212–13 loss of traditional companies’ power over, 210–11 in market economies, 237 and prediction markets, 238–39 product makers and platform prices, 220 supply curves and, 154–56 in two-sided networks, 213–16 Principia Mathematica (Whitehead and Russell), 69 print media, ad revenue and, 130, 132, 139 production costs, markets vs. companies, 313–14 productivity, 16 products as counterpart to platforms, 15 loss of profits to platform providers, 202–4 pairing free apps with, 163 platforms’ effect on, 200–225 threats from platform prices, 220–21 profitability Apple, 204 excessive use of revenue management and, 184 programming, origins of, 66–67 Project Dreamcatcher, 114 Project Xanadu, 33 proof of work, 282, 284, 286–87 prose, AI-generated, 121 Proserpio, Davide, 223 Prosper, 263 protein p53, 116–17 public service, 162–63 Pullman, David, 131 Pullum, Geoffrey, 84 quantitative investing firms (quants), 266–70 Quantopian, 267–70 Quinn, Kevin, 40–41 race cars, automated design for, 114–16 racism, 40, 51–52, 209–10 radio stations as complements to recorded music, 148 in late 1990s, 130 revenue declines (2000–2010), 135 Ramos, Ismael, 12 Raspbian, 244 rationalization, 45 Raymond, Eric, 259 real-options pricing, 196 reasoning, See System 1/System 2 reasoning rebundling, 146–47 recommendations, e-commerce, 47 recorded music industry in late 1990s, 130–31 declining sales (1999-2015), 134, 143 disruption by platforms, 143–48 Recording Industry Association of America (RIAA), 144 redlining, 46–47 Redmond, Michael, 2 reengineering, business process, 32–35 Reengineering the Corporation (Hammer and Champy), 32, 34–35, 37 regulation financial services, 202 Uber, 201–2, 208 Reichman, Shachar, 39 reinforcement learning, 77, 80 Renaissance Technologies, 266, 267 Rent the Runway, 186–88 Replicator 2 (3D printer), 273 reputational systems, 209–10 research and development (R&D), crowd-assisted, 11 Research in Motion (RIM), 168 residual rights of control, 315–18 “Resolution of the Bitcoin Experiment, The” (Hearn), 306 resource utilization rate, 196–97 restaurants, robotics in, 87–89, 93–94 retail; See also e-commerce MUEs and, 62–63 Stripe and, 171–74 retail warehouses, robotics in, 102–3 Rethinking the MBA: Business Education at a Crossroads (Datar, Garvin, and Cullen), 37 revenue, defined, 212 revenue management defined, 47 downsides of, 184–85 O2O platforms and, 193 platforms for, 181–84 platform user experience and, 211 problems with, 183–84 Rent the Runway and, 187 revenue-maximizing price, 212–13 revenue opportunities, as benefit of open platforms, 164 revenue sharing, Spotify, 147 reviews, online, 208–10 Ricardo, David, 279 ride services, See BlaBlaCar; Lyft; Uber ride-sharing, 196–97, 201 Rio Tinto, 100 Robohand, 274 robotics, 87–108 conditions for rapid expansion of, 94–98 DANCE elements, 95–98 for dull, dirty, dangerous, dear work, 99–101 future developments, 104–7 humans and, 101–4 in restaurant industry, 87–89 3D printing, 105–7 Rocky Mountain News, 132 Romney, Mitt, 48, 49 Roosevelt, Teddy, 23 Rosenblatt, Frank, 72, 73 Rovio, 159n Roy, Deb, 122 Rubin, Andy, 166 Ruger, Ted, 40–41 rule-based artificial intelligence, 69–72, 81, 84 Russell, Bertrand, 69 Sagalyn, Raphael, 293n Saloner, Garth, 141n Samsung and Android, 166 and Linux, 241, 244 sales and earnings deterioration, 203–4 San Francisco, California Airbnb in, 9 Craigslist in, 138 Eatsa in, 87 Napster case, 144 Postmates in, 185 Uber in, 201 Sanger, Larry, 246–48 Sato, Kaz, 80 Satoshi Nakamoto Institute, 304 scaling, cloud and, 195–96 Schiller, Phil, 152 Schumpeter, Joseph, 129, 264, 279, 330 Scott, Brian, 101–2 second machine age origins of, 16 phase one, 16 phase two, 17–18 secular trends, 93 security lanes, automated, 89 Sedol, Lee, 5–6 self-checkout kiosks, 90 self-driving automobiles, 17, 81–82 self-justification, 45 self-organization, 244 self-selection, 91–92 self-service, at McDonald’s, 92 self-teaching machines, 17 Seychelles Trading Company, 291 Shanghai Tower, 118 Shapiro, Carl, 141n Shaw, David, 266 Shaw, J.
The Signal and the Noise: Why So Many Predictions Fail-But Some Don't by Nate Silver
airport security, Alan Greenspan, Alvin Toffler, An Inconvenient Truth, availability heuristic, Bayesian statistics, Bear Stearns, behavioural economics, Benoit Mandelbrot, Berlin Wall, Bernie Madoff, big-box store, Black Monday: stock market crash in 1987, Black Swan, Boeing 747, book value, Broken windows theory, business cycle, buy and hold, Carmen Reinhart, Charles Babbage, classic study, Claude Shannon: information theory, Climategate, Climatic Research Unit, cognitive dissonance, collapse of Lehman Brothers, collateralized debt obligation, complexity theory, computer age, correlation does not imply causation, Credit Default Swap, credit default swaps / collateralized debt obligations, cuban missile crisis, Daniel Kahneman / Amos Tversky, disinformation, diversification, Donald Trump, Edmond Halley, Edward Lorenz: Chaos theory, en.wikipedia.org, equity premium, Eugene Fama: efficient market hypothesis, everywhere but in the productivity statistics, fear of failure, Fellow of the Royal Society, Ford Model T, Freestyle chess, fudge factor, Future Shock, George Akerlof, global pandemic, Goodhart's law, haute cuisine, Henri Poincaré, high batting average, housing crisis, income per capita, index fund, information asymmetry, Intergovernmental Panel on Climate Change (IPCC), Internet Archive, invention of the printing press, invisible hand, Isaac Newton, James Watt: steam engine, Japanese asset price bubble, John Bogle, John Nash: game theory, John von Neumann, Kenneth Rogoff, knowledge economy, Laplace demon, locking in a profit, Loma Prieta earthquake, market bubble, Mikhail Gorbachev, Moneyball by Michael Lewis explains big data, Monroe Doctrine, mortgage debt, Nate Silver, negative equity, new economy, Norbert Wiener, Oklahoma City bombing, PageRank, pattern recognition, pets.com, Phillips curve, Pierre-Simon Laplace, Plato's cave, power law, prediction markets, Productivity paradox, proprietary trading, public intellectual, random walk, Richard Thaler, Robert Shiller, Robert Solow, Rodney Brooks, Ronald Reagan, Saturday Night Live, savings glut, security theater, short selling, SimCity, Skype, statistical model, Steven Pinker, The Great Moderation, The Market for Lemons, the scientific method, The Signal and the Noise by Nate Silver, The Wisdom of Crowds, Thomas Bayes, Thomas Kuhn: the structure of scientific revolutions, Timothy McVeigh, too big to fail, transaction costs, transfer pricing, University of East Anglia, Watson beat the top human players on Jeopardy!, Wayback Machine, wikimedia commons
Bill Wyman, “The 100 Greatest Moments in Rock History,” Chicago Reader, September 28, 1995. http://www.chicagoreader.com/chicago/the-100-greatest-moments-in-rock-history/Content?oid=888578. 44. Campbell, Hoane Jr., and Feng-hsiung, “Deep Blue.” 45. Larry Page, “PageRank: Bringing Order to the Web,” Stanford Digital Library Project, August 18, 1997. http://web.archive.org/web/20020506051802/www-diglib.stanford.edu/cgi-bin/WP/get/SIDL-WP-1997-0072?1. 46. “How Search Works,” by Google via YouTube, March 4, 2010. http://www.youtube.com/watch?v=BNHR6IQJGZs. 47. Per interview with Vasik Rajlich. 48. “Amateurs beat GMs in PAL / CSS Freestyle,” ChessBase News. http://www.chessbase.com/newsdetail.asp?
…
Then they see which statistical measurements are best correlated with these human judgments about relevance and usefulness. Google’s best-known statistical measurement of a Web site is PageRank,45 a score based on how many other Web pages link to the one you might be seeking out. But PageRank is just one of two hundred signals that Google uses46 to approximate the human evaluators’ judgment. Of course, this is not such an easy task—two hundred signals applied to an almost infinite array of potential search queries. This is why Google places so much emphasis on experimentation and testing. The product you know as Google search, as good as it is, will very probably be a little bit different tomorrow.
…
., 396 O’Meara, Christopher, 36 Omori’s Law, 477 On-base percentage (OBP), 95, 106, 314, 471 O’Neal, Shaquille, 233–34, 235, 236, 237 options traders, 364 order, complexity and, 173 outliers, 65, 425–28, 452 out of sample, 43–44, 420 Overcoming Bias (blog), 201 overconfidence, 179–83, 191, 203, 323–24, 386, 443, 454 in stock market trading, 359–60, 367 overeating, 503 overfitting, 163–68, 166, 191, 452n, 478 earthquake predictions and, 168–71, 185 over-under line, 239–40, 257, 286 ozone, 374 Ozonoff, Alex, 218–19, 223, 231, 483 Pacific countries, 379 Pacific Ocean, 419 Pacific Poker, 296–97 Page, Clarence, 48, 467 PageRank, 291 Pakistan, 434–35 Palin, Sarah, 59 Palm, 361, 362 panics, financial, 38, 195 Papua New Guinea, 228 Pareto principle, 312–13, 314, 315, 316n, 317, 496 Paris, 2 Parkfield, Calif., 158–59, 174 partisanship, 13, 56, 57, 58, 60, 64, 92, 130, 200, 378, 411, 452 Party Poker, 296, 319 patents, 7–8, 8, 411, 411n, 460, 514 pattern detection, 12, 281, 292 Pearl Harbor, 10, 412–13, 414, 415–17, 419–20, 423, 426, 444, 510 Pearl Harbor: Warning and Decisions (Wohlstetter), 415, 416, 418, 419–20 PECOTA, 9, 74–75, 78, 83, 84, 85–86 scouts vs., 88–90, 90, 91, 102, 105, 106–7 Pecota, Bill, 88 Pedroia, Dustin, 74–77, 85, 89, 97, 101–5 penicillin, 119 pensions, 24, 27, 34, 356, 463 P/E (price-to-earnings) ratio, 348, 349, 350–51, 354, 365, 369, 500 Perry, Rick, 59, 217 persistence, 131, 132, 132 personal income, 481 Peru, 210 Petit, Yusemiro, 89 Petty, William, 212 pharmaceuticals, 411 Philadelphia Phillies, 286 Pielke, Roger, Jr., 177n pigs, 209 Pippen, Scottie, 235, 236 pitchers, 88, 90, 92 Pitch f/x, 100–101, 106–7 Pittsburgh, Pa., 207–8, 228, 230 Pittsburgh, University of, 225–26 plate discipline, 96 Plato, 2 pneumonia, 205 Poe, Edgar Allan, 262–64, 282, 289 Poggio, Tomaso, 12, 231 point spread, 239 poker, 10, 16, 59–60, 63, 66, 256, 284, 294–328, 343, 362, 494–95 Bayesian reasoning in, 299, 301, 304, 306, 307, 322–23 boom in, 294, 296, 314–15, 319, 323 competition in, 313 computer’s playing of, 324 fish in, 312, 316, 317–19 inexperience of mid-2000s players in, 315 limit hold ’em, 311, 322, 322 luck vs. skill in, 321–23 no-limit hold ’em, 300–308, 309–11, 315–16, 316, 318, 324n, 495 online, 296–97, 310 plausible win rates in, 323 predictions in, 297–99, 311–15 random play in, 310 results in, 327 river in, 306, 307, 494 signal and noise in, 295 suckers in, 56, 237, 240, 317–18, 320 Texas hold ’em, 298–302 volatility of, 320, 322, 328 PokerKingBlog.com, 318 PokerStars, 296, 320 Poland, 52 Polgar, Susan, 281 polio vaccine, 206 political partisanship, see partisanship political polls, see polls politics, political science, 11, 14–15, 16, 53, 426 failures of predictions on, 11, 14–15, 47–50, 49, 53, 55–59, 64, 67–68, 157, 162, 183, 249, 314 small amount of data in, 80 polls, 61–63, 62, 68, 70, 426 biases in, 252–53 frequentist approach to, 252 individual vs. consensus, 335 margin of error in, 62, 65, 176, 252, 452 outlier, 65 prediction interval in, 183n Popper, Karl, 14, 15 Population Bomb, The (Ehrlich and Ehrlich), 212–13 pork, 210 Portland Trail Blazers, 234, 235–37, 489 positive feedback, 38, 39, 368 posterior possibility, 244 power-law distribution, 368n, 427, 429–31, 432, 437, 438, 441, 442 precision, accuracy vs., 46, 46, 225 predestination, 112 Predicting the Unpredictable: The Tumultuous Science of Earthquake Prediction (Hough), 157 prediction, 1, 16 computers and, 292 consensus, 66–67, 331–32, 335–36 definition of, 452n Enlightenment debates about, 112 in era of big data, 9, 10, 197, 250 fatalism and, 5 feedback on, 183 forecasting vs., 5, 149 by foxes, see foxes of future returns of stocks, 330–31, 332–33 of global warming, 373–76, 393, 397–99, 401–6, 402, 507 in Google searches, 290–91 by hedgehogs, see hedgehogs human ingenuity and, 292 of Hurricane Katrina, 108–10, 140–41, 388 as hypothesis-testing, 266–67 by IPCC, 373–76, 389, 393, 397–99, 397, 399, 401, 507 in Julius Caesar, 5 lack of demand for accuracy in, 202, 203 long-term progress vs. short-term regress and, 8, 12 Pareto principle of, 312–13, 314 perception and, 453–54, 453 in poker, 297–99, 311–15 probability and, 243 quantifying uncertainty of, 73 results-oriented thinking and, 326–28 scientific progress and, 243 self-canceling, 219–20, 228 self-fulfilling, 216–19, 353 as solutions to problems, 14–16 as thought experiments, 488 as type of information-processing, 266 of weather, see weather forecasting prediction, failures of: in baseball, 75, 101–5 of CDO defaults, 20–21, 22 context ignored in, 43 of earthquakes, 7, 11, 143, 147–49, 158–61, 168–71, 174, 249, 346, 389 in economics, 11, 14, 40–42, 41, 45, 53, 162, 179–84, 182, 198, 200–201, 249, 388, 477, 479 financial crisis as, 11, 16, 20, 30–36, 39–42 of floods, 177–79 of flu, 209–31 of global cooling, 399–400 housing bubble as, 22–23, 24, 25–26, 28–29, 32–33, 42, 45 overconfidence and, 179–83, 191, 203, 368, 443 overfitting and, 185 on politics, 11, 14–15, 47–50, 49, 53, 55–59, 64, 67–68, 157, 162, 183, 249, 314 as rational, 197–99, 200 recessions, 11 September 11, 11 in stock market, 337–38, 342, 343–46, 359, 364–66 suicide bombings and, 424 by television pundits, 11, 47–50, 49, 55 Tetlock’s study of, 11, 51, 52–53, 56–57, 64, 157, 183, 443, 452 of weather, 21–22, 114–18 prediction interval, 181-183, 193 see also margin of error prediction markets, 201–3, 332–33 press, free, 5–6 Price, Richard, 241–42, 490 price discovery, 497 Price Is Right, 362 Principles of Forecasting (Armstrong), 380 printing press, 1–4, 6, 13, 17, 250, 447 prior probability, 244, 245, 246, 252, 255, 258–59, 260, 403, 406–7, 433n, 444, 451, 490, 497 probability, 15, 61–64, 63, 180, 180, 181 calibration and, 134–36, 135, 136, 474 conditional, 240, 300; see also Bayes’s theorem frequentism, 252 and orbit of planets, 243 in poker, 289, 291, 297, 302–4, 302, 306, 307, 322–23 posterior, 244 predictions and, 243 prior, 244, 245, 246, 252, 255, 258–59, 260, 403, 406–7, 433n, 444, 451, 490, 498 rationality and, 242 as waypoint between ignorance and knowledge, 243 weather forecasts and, 195 probability distribution, of GDP growth, 201 probability theory, 113n productivity paradox, 7–8 “Programming a Computer for Playing Chess” (Shannon), 265–66 progress, forecasting and, 1, 4, 5, 7, 112, 243, 406, 410–11, 447 prospect theory, 64 Protestant Reformation, 4 Protestant work ethic, 5 Protestants, worldliness of, 5 psychology, 183 Public Opinion Quarterly, 334 PURPLE, 413 qualitative information, 100 quantitative information, 72–73, 100 Quantum Fund, 356 quantum mechanics, 113–14 Quebec, 52 R0 (basic reproduction number), 214–15, 215, 224, 225, 486 radar, 413 radon, 143, 145 rain, 134–37, 473, 474 RAND database, 511 random walks, 341 Rapoport, David C., 428 Rasskin-Gutman, Diego, 269 ratings agencies, 463 CDOs misrated by, 20–21, 21, 22, 26–30, 36, 42, 43, 45 housing bubble missed by, 22–23, 24, 25–26, 28–29, 42, 45, 327 models of, 13, 22, 26, 27, 29, 42, 45, 68 profits of, 24–25 see also specific agencies rationality, 183–84 biases as, 197–99, 200 of markets, 356–57 as probabilistic, 242 Reagan, Ronald, 50, 68, 160, 433, 466 RealClimate.org, 390, 409 real disposable income per capita, 67 recessions, 42 double dip, 196 failed predictions of, 177, 187, 194 in Great Moderation, 190 inflation-driven, 191 of 1990, 187, 191 since World War II, 185 of 2000-1, 187, 191 of 2007-9, see Great Recession rec.sport.baseball, 78 Red Cross, 158 Red River of the North, 177–79 regression analysis, 100, 401, 402, 498, 508 regulation, 13, 369 Reinhart, Carmen, 39–40, 43 religion, 13 Industrial Revolution and, 6 religious extremism, 428 religious wars of sixteenth and seventeenth centuries, 2, 6 Remote Sensing Systems, 394 Reno, Nev., 156–57, 157, 477 reserve clause, 471 resolution, as measure of forecasts, 474 results-oriented thinking, 326–28 revising predictions, see Bayesian reasoning Ricciardi, J.
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wrong_mix_range_subsidiary_00017
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https://dokumen.pub/information-systems-a-managers-guide-to-harnessing-technology-91nbsped-9781453341698.html
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Information Systems: A Manager's Guide to Harnessing Technology [9.1 ed.] 9781453341698
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Information Systems: A Manager’s Guide to Harnessing Technology is suitable for undergraduate or MBA-level courses on bu...
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en
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dokumen.pub
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https://dokumen.pub/information-systems-a-managers-guide-to-harnessing-technology-91nbsped-9781453341698.html
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Table of contents :
Brief Contents
Contents
About the Author
Acknowledgments
Dedication
Preface
Chapter 1: Setting the Stage: Technology and the Modern Enterprise
1.1: Tech’s Tectonic Shift: Radically Changing Business Landscapes
1.2: It’s Your Revolution
1.3: Geek Up—Tech Is Everywhere and You’ll Need It to Thrive
Finance
Accounting
Marketing
Operations
Human Resources
The Law
Information Systems Careers
Your Future
1.4: The Pages Ahead
Endnotes
Chapter 2: Strategy and Technology: Concepts and Frameworks for Achieving Success
2.1: Introduction
The Danger of Relying on Technology
Different Is Good: FreshDirect Redefines the Grocery Landscape in New York City and Beyond
But What Kinds of Differences?
2.2: Powerful Resources
Imitation-Resistant Value Chains
Brand
Scale
Switching Costs and Data
Differentiation
Network Effects
Distribution Channels
What about Patents?
2.3: Barriers to Entry, Technology, and Timing
2.4: Key Framework: The Five Forces of Industry Competitive Advantage
Endnotes
Chapter 3: FreshDirect: A Tech-Heavy Online Grocer Succeeds Where Others Fail
3.1: Tech-Driven Strategic Positioning for Market Dominance
Ordering Online—Challenges but Advantages, Too
Cost Cutting and Fresher Food through a Tech-Enabled Supply Chain
Work with Suppliers, Don't Squeeze Them
Advantages Pay Off
3.2: The Model Moves Forward
The Botched Bronx Move—Even the Skilled Screw Up
COVID-19: Crisis and Opportunity
Better than Traditional Grocers, but Other Rivals?
Future Deliveries?
Endnotes
Chapter 4: Zara: Fast Fashion from Savvy Systems
4.1: Introduction
Why Study Zara?
Gap: An Icon in Crisis
4.2: Don’t Guess, Gather Data—Make Small Batches of What Customers Want and Ship It Fast!
Design
Manufacturing and Logistics
Stores
Integrating E-Commerce: Omnichannel = More Sales + Better Customer Experience
COVID-19 Response: Tech-Centric Operations + E-Commerce + Omnichannel in a Crisis
4.3: Moving Forward
Endnotes
Chapter 5: Netflix in Two Acts: Sustaining Leadership in an Epic Shift from Atoms to Bits
5.1: Introduction
Why Study Netflix?
5.2: Act I: David Becomes Goliath: Crafting Killer Assets for DVD-by-Mail Dominance
Brand Strength from Best-in-Class Customer Experience
Scale from the Distribution Network
Scale from Selection: The Long Tail
The Big Customer Base—Delivering True Economies of Scale
Leveraging the Data Asset: Collaborative Filtering and Beyond
Winning Act I
5.3: Act II: Netflix and the Shift from Mailing Atoms to Streaming Bits
Content Acquisition: Escalating Costs, Limited Availability, and the “Long-Enough Tail”
Exclusives and Original Content
Streaming and the Data Asset
Streaming Changes Viewing Habits and Frees Creative Constraints
Customer Experience, Complexity, Pricing, and Brand Strength
Streaming and Scale Advantages
The March to Global Dominance
It’s a Multiscreen World: Getting to Netflix Everywhere
A Crowded Field of Rivals and Other Challenges
No Turning Back
Endnotes
Chapter 6: Moore's Law and More: Fast, Cheap Computing, and What This Means for the Manager
6.1: Introduction
Some Definitions
Get Out Your Crystal Ball
6.2: The Death of Moore’s Law?
Buying Time
6.3: The Power of Parallel: Supercomputing, Grids, Clusters, and Putting Smarts in the Cloud
6.4: E-waste: The Dark Side of Moore’s Law
Yes, You Do Have to Pay Attention to This Garbage, But the “Internet of Trash” May Help
6.5: Mickey’s Wearable: Disney’s MagicBand
Experience Examples
Big Data and Big Benefits
Magical Experiences Cost Serious Coin
Magical Experiences Can Require Magical Coordination
Look to the Future
Endnotes
Chapter 7: Disruptive Technologies: Understanding Giant Killers and Tactics to Avoid Extinction
7.1: Understanding Truly Disruptive Innovation
The Characteristics of Disruptive Technologies
Why Big Firms Fail
7.2: Recognizing and Responding to Disruptive Innovation
Don’t Fly Blind: Improve Your Radar
Potential Disruptor Spotted: Now What?
No Easy Answers
7.3: From Bitcoin to Blockchain and Beyond: A Disruptive Innovation for Money and More?
How It Works
Benefits
Examples of Blockchains in Action
Concerns
What Do You Think?
Endnotes
Chapter 8: Amazon: An Empire Stretching from Cardboard Box to Kindle to Cloud
8.1: Introduction
Why Study Amazon?
8.2: The Emperor of E-Commerce
Fulfillment Operations—Driving Selection, Customer Convenience, and Low Price
Amazon’s Cash Conversion Cycle—Realizing Financial Benefits from Tech-Enabled Speed
Internet Economics, Scale, and Pricing Power
The Advantage of Being Big:€Realizing Scale Advantages as the Retail E-Commerce Leader
Customer Obsession
Leveraging the Data Asset—A/B Testing, Personalization, and Even an Ad Business
Selection and Network Effects
Acquisitions and Category Expansion: Fewer Rivals, More Markets, and More Customer Choice
8.3: The Lord of Logistics
Building a Delivery and Logistics Business Inside the Business
8.4: Beyond Clicks: More Bricks
Amazon as Your Campus Bookstore
Amazon’s “Brick-Based” Bookstores
Hello Machine Learning, Goodbye Checkout Line
More “Green” from High Tech Grocery Shopping?
8.5: Amazon’s Disruptive Consumer Hardware Businesses: Kindle, Fire, Alexa, and More
The Kindle Line: Igniting Possibilities on eBook and Tablet
Amazon for Your TV
Echo, Alexa, and the Breakout Success of Amazon’s Voice Interface and AI-Powered Assistant
Amazon—Now a Major Content Publisher
Channel Conflict and Consolidated Power
8.6: Amazon and the Cloud: From Personal Storage to AWS
The Consumer Cloud Is Everywhere
About AWS
Understanding the Corporate Cloud
So What, Really, Is This AWS Stuff?
Endnotes
Chapter 9: Platforms, Network Effects, and Competing in a Winner-Take-All World
9.1: Introduction
9.2: Platforms Are Powerful, But Where Does All That Value Come From?
Exchange
Staying Power
Complementary Benefits
9.3: One-Sided or Two-Sided Markets?
Understanding Network Structure
9.4: How Are These Markets Different?
9.5: Competing When Network Effects Matter
Move Early
Subsidize Adoption
Leverage Viral Promotion
Expand by Redefining the Market
Alliances and Partnerships
Leverage Distribution Channels
Seed the Market
Encourage the Development of Complementary Goods
Leverage Backward Compatibility
Rivals: Be Compatible with the Leading Network
Incumbents: Close Off Rival Access and Constantly Innovate
Large, Well-Known Followers: Preannouncements
9.6: The Zoom Boom—Big Guys Can Be Beat
Endnotes
Chapter 10: Social Media, Peer Production, and Leveraging the Crowd
10.1: Introduction
10.2: Blogs
10.3: Wikis
10.4: Social Networks
Corporate Use of Social Networks
10.5: Twitter and the Rise of Microblogging
Organic Reach and Advertising
Twitter and Platform Challenges
Tackling Trolls and Battling Bots
Challenges: So How Big Is This Thing Gonna Be?
10.6: Prediction Markets and the Wisdom of Crowds
Blockchain for Better and Unrestricted Prediction Markets
10.7: Crowdsourcing
10.8: Get SMART: The Social Media Awareness and Response Team
Creating the Team
Responsibilities and Policy Setting
Monitoring
Establishing a Presence
Engage and Respond
Endnotes
Chapter 11: The Sharing Economy, Collaborative Consumption, and Efficient Markets through Tech
11.1: Introduction
11.2: Boom Times and Looming Challenges in the Sharing Economy
Share On! Factors Fueling the Rise of Collaborative Consumption
Winning in Electronic Markets
Social Media for Virality and Trust Strengthening
Share Everything? The Myth of the Market for Your Neighbor’s Power Drill
Can You Share Nice? Challenges of Safety and Regulation
11.3: Future Outlook: Established Players Get Collaborative
11.4: Airbnb—Hey Stranger, Why Don’t You Stay at My Place?
At Airbnb, Big Data Is a Big Deal
A Phenomenal Start, but Not Without Challenges
11.5: Uber's Wild Ride: Sharing Economy Success, Public Company Concerns, and Lessons from a Fallen Founder
Driven by Data
APIs to Expand Reach
How Big Can This Thing Get?
Endnotes
Chapter 12: Facebook: Platforms, Privacy, and Big Business from the Social Graph
12.1: Introduction
The Rise of Facebook and Growing Concerns
Why Study Facebook?
12.2: Lengthening Leaders, Quick Catch-Ups, and the Challenging Rise of Mobile
The Social Graph and Why Facebook’s Is So Strong
Facebook Feed: Viral Sharing Accelerated
Facebook’s Dominance on the Desktop
Facebook Takes On Search€
Why Mobile Is Different and in Some Ways Better than the Desktop
Snapping Snapchat’s Lead with Stories
Big Bets: Bringing Potential Rivals and Platform Powerhouses into the Facebook Family
Instagram
WhatsApp
Oculus VR
12.3: Lessons from Platform Facebook: Big Growth, Bad Partners, APIs, and a Mobile Melee
Mobile Is Tougher, But Global Players Have Big Mobile Platforms
Messenger: A Pillar Business Building Facebook’s Future
APIs, Playing Well with Others, and Value Added: The Success and Impact of Open Graph
Strategic Concerns for Platform Builders: Asset Strength, Free Riders, and Security
12.4: Advertising and Social Networks: A Challenging Landscape but a Big Payoff
Content Adjacency Challenges: Do You Really Want Your Brand Next to That?
Attention Challenges: The Hunt versus The Hike
Facebook Ads: The Massive Potential Upside Is Realized
Precise Targeting
Ads in Feeds: Better Performance Even as Fewer Ads Are Shown
Beyond “Right Margin” Display Ads: Big, New Winners Emerge
An Ad Network for Facebook. Can It Best Google?
Content Providers, Step Deeper Inside My Walled Garden
Better Advertisement Everywhere. What’s Up Next?
12.5: Move Fast and Break Things: Fumbles, Fake News, and Global Growth Challenges
Beacon Busted—Management Lessons on Tech Planning and Deployment
Faked Out by Fake News
Challenges of Going Global: Low ARPUs, Legitimate Rivals, and Unreachable Users
The Admirable Goals and Unintended Consequences of Internet.org
Endnotes
Chapter 13: Rent the Runway: Entrepreneurs Expanding an Industry by Blending Tech with Fashion
13.1: Introduction
Rental and Subscription: Here’s How It Works
A Fashion Company with a Technology Soul
13.2: Founding the Business: Are We On to Something?
Customers Like It—But What about Suppliers? Growing the Customer Base and Creating a Win-Win
Customer Evolution
13.3: Customer Engagement (Mobile, Social, and Physical Storefronts)
Mobile
Social
13.4: Data
13.5: Operations and Logistics
HyperGrowth and Hiccups
Fulfillment as a Service—Here Come the Competitors
13.6: Subscription: Bigger than Rental
13.7: Surviving and Thriving Post-Pandemic
COVID-19 Kills Fashion For a Year—Hyman Fights for Her Firm’s Survival
Leaders in the Growing Club of Tech-Focused, Female Founders
Endnotes
Chapter 14: Understanding Software: A Primer for Managers
14.1: Introduction
What Is Software?
14.2: Operating Systems
14.3: Application Software: Apps, Desktop Products, and Enterprise Systems
And That’s Just the Start
14.4: Distributed Computing, Web Services, and APIs: The Platform Builders
Formats to Facilitate Sharing Data
14.5: Writing Software
14.6: Software Development Methodologies: From Waning Waterfall to Ascending Agile, plus a Sprint through Scrum
A Brief Introduction to Popular Approaches to Developing Software
14.7: Beyond the Price Tag: Total Cost of Ownership and the Cost of Tech Failure
Why Do Technology Projects Fail?
Endnotes
Chapter 15: Software in Flux: Open Source, Cloud, Virtualized, and App-Driven Shifts
15.1: Introduction
15.2: Open Source
15.3: Why Open Source?
15.4: Examples of Open Source Software
15.5: Why Give It Away? The Business of Open Source
15.6: Defining Cloud Computing
15.7: Software in the Cloud: Why Buy When You Can Rent?
The Benefits of SaaS
15.8: SaaS: Not without Risks
15.9: Understanding Cloud Computing Models: PaaS, IaaS, and Motivations and Risks
Challenges Remain
15.10: Clouds and Tech Industry Impact
15.11: Virtualization: Software That Makes One Computer Act Like Many
15.12: Apps and App Stores: Further Disrupting the Software Industry on Smartphones, Tablets, and Beyond
15.13: Make, Buy, or Rent
Endnotes
Chapter 16: Data and Competitive Advantage: Databases, Analytics, AI, and Machine Learning
16.1: Introduction
16.2: Data, Information, and Knowledge
Understanding How Data Is Organized: Key Terms and Technologies
Serverless Computing: Can Someone Else Manage This Complexity?
16.3: Where Does Data Come From?
Transaction Processing Systems
Enterprise Software (CRM, SCM, and ERP)
Surveys
External Sources
16.4: Data Rich, Information Poor
Incompatible Systems
Operational Data Can’t Always Be Queried
16.5: Data Warehouses, Data Marts, Data Lakes, and the Technology behind “Big Data”
Even More Speed and Flexibility from Data Lakes and the Data Cloud
It’s Not One or The Other
Implementing Large-Scale Data Projects
Know Data Science? Firms Need Your Skill!
16.6: The Business Intelligence Toolkit
Query and Reporting Tools
Data Mining
16.7: Artificial Intelligence, Big Data, and Machine Learning: It’s Now Everywhere!
Understanding Popular€Types of AI
Examples of AI in Action
It’s Not as Easy as the Press Might State: Technical, Organizational, Legal, and Societal Challenges of AI and Machine Learning
16.8: Ethical Information Systems: Understanding Risks and Building More Responsible Technology
What If We Can’t Understand How It Thinks?
Is Your Algorithm Racist or Sexist?
Used for Good and Evil
Recognizing Risks and Setting Standards
Steps in Developing and Deploying More Ethical, Less Risk-Prone Systems
16.9: Data Asset in Action: Technology and the Rise of Walmart
A Data-Driven Value Chain
Data Mining Prowess
Sharing Data, Keeping Secrets
HR, Meet VR
In-Store Innovations: Keeping Pace with Amazon Go and Leading with Skills and Scale
Betting Big on E-Commerce: Acquiring Jet.com, Bonobos, Flipkart, and More
Challenges Abound
Endnotes
Chapter 17: Advertising Technologies: Balancing Personalization with Privacy as Technology and Regulation Evolve
17.1: Understanding Online Advertising
Online Advertising is Booming: Here’s Why
Ad Formats and Ad Purchasing
17.2: Web Tracking: The Cookie Crumbles and Ad Tech Evolves
Introduction
Want a Cookie? Great—Now I Can Track You!
Retiring the Third-Party Cookie and Figuring Out What Comes Next
Browser Profiling After Third-Party Cookies
17.3: App Tracking: Apple and Facebook Go to War Over In-App Tracking
The Battle over iOS Privacy
The IDFA in China
17.4: Device Profiling: From Geotargeting to Televisions That Watch You
IP Addresses and Geotargeting
Geotargeting Beyond IP Address
Your TV is Probably Watching You Back
17.5: Privacy Regulation: A Moving Target
17.6: Privacy, Data Protection, Governance, and Management Policies
Endnotes
Chapter 18: A Manager’s Guide to the Internet and Telecommunications
18.1: Introduction
18.2: Internet 101: Understanding How the Internet Works
The URL: “What Are You Looking For?”
Hosts and Domain Names
Path Name and File Name
IP Addresses and the Domain Name System: “Where Is It? And How Do We Get There?”
The IP Address
The DNS: The Internet’s Phone Book
18.3: Getting Where You’re Going
TCP/IP: The Internet’s Secret Sauce
What Connects the Routers and Computers?
18.4: Last Mile: Faster Speed, Broader Access
Cable Broadband
DSL: Phone Company Copper
Fiber: A Light-Filled Glass Pipe to Your Doorstep
Wireless
5G: A Slow Rollout to a Faster Wireless Network
Satellite Wireless and Schemes to Reach the Remote
Wi-Fi and Other Hotspots
Net Neutrality: What’s Fair?
Summing Up
Endnotes
Chapter 19: Information Security: Barbarians at the Gateway (and Just About Everywhere Else)
19.1: Introduction
Got a Bank Account or Credit Card? You’ve Been Hacked!
A Look at the Target Hack
19.2: Why Is This Happening? Who Is Doing It? And What’s Their Motivation?
19.3: Where Are Vulnerabilities? Understanding the Weaknesses
User and Administrator Threats
Bad Apples
Social Engineering
Phishing
Passwords
Technology Threats (Client and Server Software, Hardware, and Networking)
Malware
Compromising Poorly Designed Software
Push-Button Hacking
Network Threats
Physical Threats
19.4: Taking Action
Taking Action as a User
Taking Action as an Organization
Frameworks, Standards, and Compliance
Education, Audit, and Enforcement
What Needs to Be Protected, and How Much Is Enough?
Technology’s Role
Endnotes
Chapter 20: Google in Three Parts: Search, Online Advertising, and an Alphabet of Opportunity
20.1: Introduction
Why Study Google?
20.2: Understanding Search
20.3: Search Advertising
How Much Do Advertisers Pay per Click?
Mobile Apps and the Challenge for Google Search
20.4: The Google Ad Network: Distribution beyond Search
Ad Networks and Competitive Advantage
20.5: The Battle Unfolds
Strategic Issues
Google Rules Search, But It Isn’t Over
Android Everywhere
YouTube
Google Pay
Google and Social
Apps, Cloud, and the Post-Hard-Drive World
Endnotes
Appendix A: Essential Skills for Excel
A.1: Introduction and Using Formulas
A.2: Basic Formatting and Understanding References
A.3: Manipulating Sheets
A.4: Freezing Panes, Sorting, and Using Filters
A.5: Tables and Autofill
A.6: Paste Special and Copy as Picture
A.7: Column, Bar, Pie, Line, and Scatter Charts
A.8: Functions Related to IF
A.9: The VLOOKUP and HLOOKUP Functions
A.10: Conditional Formatting
A.11: Pivot Tables and Slicers
A.12: Excel for Mac versus Excel for Windows
Index
Citation preview
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wrong_mix_range_subsidiary_00017
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FactBench
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3
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https://blog.codinghorror.com/why-estimate-when-you-can-measure/
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en
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Why Estimate When You Can Measure?
|
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"Jeff Atwood",
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2005-08-02T12:00:00+00:00
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a blog by Jeff Atwood on programming and human factors
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Coding Horror
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https://blog.codinghorror.com/why-estimate-when-you-can-measure/
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Wanna lower the noise of your computer? Stop burning 450 WATTS of power to browse the web or send email.
Don't see any moving parts on your gameboy do you? Or your PDA for that matter. If desktop computers were made of APPROPRIATE parts instead of the "my computer has to be faster than yours" parts we'd have silent desktops that run in under 20 Watts of power that cost 150$ and run whatever OS you choose.
Anything short of this and you're doing to noise what we do to heat, moving the problem elsewhere. You could [for example] pump ice cold water over the heatsinks and keep the pump outside, in the basement, etc...
But that's just moving the problem elsewhere and not really solving it.
The solution is more scalable computing or appropriate choices. There is no reason, for example, why the P4 idles at 400Mhz and the AMD64 at 1Ghz other than the design can only scale so far. This matters a bit more in laptops where every mW counts.
-- slashdot poster
I don't really read Slashdot, but someone forwarded this post to me, and I had to laugh. Pointing out the direct relationship between power consumption and noise is accurate enough, but.. 450 watts? I don't think you can realistically build a desktop computer that uses 450 watts!
We don't need back of the envelope estimates to show how ridiculous that figure actually is. We can just measure the power usage with our trusty $30 Kill-a-watt watt meter.
For my work PC, which currently contains the following items:
Athlon X2 4800+
GeForce 6600 video
Maxtor 300gb SATA HDD
GeForce 5200 PCI video (for 3rd display)
2gb PC3200 DDR RAM
generic DVD-ROM
The Kill-a-Watt tells me I'm pulling this much power from the wall socket:
Idle windows desktop118w Defragmenting hard drive122w 1 instance of Prime95147w 2 instances of Prime95 (affinity set)177w Battlefield 2 demo172w
Now, that's power draw at the wall socket. About 25 percent of this energy is lost in the power supply as it converts from wall power to something the PC can use. So the actual peak power usage of my work PC is around 132 watts. And that's a fairly beefy PC, probably unrepresentative of the vast majority of current desktops.
It's amazing how much you can infer from such simple, basic data collection:
Each "core" of the X2 4800+ consumes 30 watts
The GeForce 6600 video card consumes 25 watts
The 300gb SATA hard drive consumes 4 watts
We could go a lot farther, but the whole point is that we don't have to. As estimates go, these are backed by supporting data. And that's a lot more useful than the unsubstantiated wild guessing of random Slashdot posters.
Even outside Slashdot there are still plenty of people who will swear up and down that you absolutely must use a 500+ watt power supply for a new high-end computer. Why spread guesstimated misinformation when you can simply measure the power usage with a widely available $30 device?
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https://www.govinfo.gov/content/pkg/FR-1996-10-03/html/96-25041.htm
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Federal Register, Volume 61 Issue 193 (Thursday, October 3, 1996)
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[Federal Register Volume 61, Number 193 (Thursday, October 3, 1996)] [Notices] [Pages 51746-51750] From the Federal Register Online via the Government Publishing Office [www.gpo.gov] [FR Doc No: 96-25041] ======================================================================= ----------------------------------------------------------------------- UNITED STATES INFORMATION AGENCY College and University Affiliations Program ACTION: Notice--request for proposals. ----------------------------------------------------------------------- SUMMARY: The Office of Academic Programs of the United States Information Agency's Bureau of Educational and Cultural Affairs announces an open competition for an assistance award program. Accredited, post-secondary educational institutions meeting the provisions described in IRS regulation 26 CFR 1.501(c)(3)-1 may apply to develop a partnership with (a) foreign institution(s) of higher education in specified fields and themes within the humanities, arts, and social sciences. Proposed projects must be eligible in terms of country(ies)/regions and themes as described in the section entitled ``Guidelines'' below. Participating institutions exchange faculty and administrators for a combination of teaching, lecturing, faculty and curriculum development, collaborative research, and outreach, for periods ranging from one week (for planning visits) to an academic year. The FY 97 program will also support the establishment and maintenance of internet communication facilities at foreign partner institutions. The program awards up to $120,000 for a three-year period to defray the cost of travel and per diem with an allowance for educational materials and some aspects of project administration. At this writing, prospects for Congressional appropriations in support of USIA's exchange programs are very uncertain and may result in reduced funding. Subject to the availability of funding, awards will be made under each of the following thematic categories: Democracy and Human [[Page 51747]] Rights, International Trade Policy and Economic Security, and the Environment and Sustainable Development. Overall grant making authority for this program is contained in the Mutual Educational and Cultural Exchange Act of 1961, Public Law 87- 256, as amended, also known as the Fulbright-Hays Act. The purpose of the Act is ``to enable the Government of the United States to increase mutual understanding between the people of the United States and the people of other countries * * *; to strengthen the ties which unite us with other nations by demonstrating the educational and cultural interests, developments, and achievements of the people of the United States and other nations * * * and thus to assist in the development of friendly, sympathetic and peaceful relations between the United States and the other countries of the world.'' The funding authority for the program cited above is provided through the Fulbright-Hays Act. Projects must conform with Agency requirements and guidelines outlined in the Solicitation Package. USIA projects and programs are subject to the availability of funds. Announcement Title and Number: All communications with USIA concerning this announcement should refer to the College and University Affiliations Program and reference number E/ASU-97-01. Deadline for Proposals: All copies must be received at the U.S. Information Agency by 5 p.m. Washington, DC time on Friday, January 17, 1997. Faxed documents will not be accepted, nor will documents postmarked on January 17, 1997, but received on a later date. It is the responsibility of each applicant to ensure compliance with the deadline. Approximate program dates: Grants should begin on or about September 1, 1997. Duration: September 1, 1997-August 31, 2000. FOR FURTHER INFORMATION CONTACT: Office of Academic Programs; Advising, Teaching, and Specialized Programs Division; College and University Affiliations Program (CUAP), (E/ASU), Room 349, U.S. Information Agency, 301 4th Street, SW., Washington, DC 20547, phone: (202) 619- 5289, fax: (202) 401-1433. Send a message via internet to: [email protected] to request a Solicitation Package. The Solicitation Package includes more detailed award criteria; all application forms; and guidelines for preparing proposals, including specific criteria for preparation of the proposal budget. To Download a Solicitation Package via Internet: The Solicitation Package may be downloaded from USIA's website at http://www.usia.gov/ or from the Internet Gopher at gopher:// gopher.usia.gov. Under the heading ``International Exchanges/Training Select ``Education and Cultural Exchanges,'' select ``Request for Proposals (RFPs).'' Please read ``About the Following RFPs'' before downloading. Please specify ``College and University Affiliations Program Officer'' on all inquires and correspondence. Prospective applicants should read the complete Federal Register announcement before addressing inquiries to the College and University Affiliations Program staff or submitting their proposals. Once the RFP deadline has passed, the staff may not discuss this competition in any way with applicants until the Bureau proposal review process has been completed. Submissions: Applicants must follow all instructions given in the Solicitation Package. The original and 10 copies of the complete application should be sent to: U.S. Information Agency, Ref.: E/ASU-97- 01, Office of Grants Management, E/XE, Room 336, 301 4th St., SW., Washington, DC 20547. Applicants must also submit the ``Executive Summary,'' ``Proposal Narrative,'' and budget sections of the proposal on a 3.5'' diskette, formatted for DOS. This material must be provided in ASCII text (DOS) format with a maximum line length of 65 characters. USIA will transmit these files electronically to U.S. Information Service (USIS) posts overseas for their review, with the goal of reducing the time it takes to get posts' comments for the Agency's grants review process. Diversity Guidelines Pursuant to the Bureau's authorizing legislation, projects must maintain a non-political character and should be balanced and representative of the diversity of American political, social, and cultural life. ``Diversity'' should be interpreted in the broadest sense and encompass differences including, but not limited to ethnicity, race, gender, religion, geographic location, socio-economic status, and physical challenges. Applicants are strongly encouraged to adhere to the advancement of this principal both in program administration and in program content. Please refer to the review criteria under the `Support for Diversity' section for specific suggestions on incorporating diversity into the total proposal. SUPPLEMENTARY INFORMATION: Overview Objectives The CUAP's short-term goal is to provide partial funding of linkages between U.S. and foreign institutions of higher education featuring exchanges of faculty and administrators for the purpose of teaching, lecturing, faculty and curriculum development, collaborative research, administrative reform and modernization, and outreach. The program's long-term goals are to: (1) Advance mutual understanding between the U.S. and other countries or regions by supporting linkages which provide true reciprocity and significant mutual benefit. (2) Diversify and expand international educational exchanges by: Supporting linkages involving academic institutions in various locations throughout the U.S. and abroad; Targeting academic disciplines and countries/regions which are not otherwise significantly represented in privately funded exchanges; Increasing the participation of two-year/community colleges, small four-year schools, and schools with significant (over 25%) minority student enrollment; and Complementing the individual lectureships, research and graduate study fellowships, and training programs available under Fulbright and other Agency auspices. (3) Foster post-secondary institutional academic development by supporting linkages which promise to develop appropriate expertise and advance scholarship and teaching. (4) Further U.S. foreign policy objectives by supporting linkages which correspond to the Agency's geographic and thematic programming priorities. (5) Encourage long-term impact on all partner institutions by supporting linkages which promise sustainability beyond the three-year grant term. (6) Expand U.S. government/private sector cooperation by leveraging significant cost sharing from both the U.S. and foreign partner(s). Guidelines The ideal and most competitive proposal is reciprocal, with mutual goals and benefits for all partner institutions. While the goals and benefits should be mutual, they do not need to be identical for each partner institution or precisely balanced among partner institutions. One-way, technical assistance projects are not acceptable. [[Page 51748]] The ideal and most competitive proposal includes a series of year- round, faculty and administrator exchange visits involving a well- reasoned combination of teaching, lecturing, faculty and curriculum development, collaborative research, and outreach. Projects involving administrative reform or modernization, such as distance learning, are also invited. These activities must address and support stated project goals, develop expertise, advance scholarship and teaching, and promote reliable, long-term communication between partner campuses. They may vary in emphasis within the project. For example, collaborative research may play a lesser role than curriculum development. Library support and development should be included if deemed critical to the success and sustainability of the project. The proposal should demonstrate that an internet communication link between partners has been planned or already established; grant funds may be requested to initiate or enhance that link. Exchange visits should be for a minimum of one month with the exception of planning visits, which may be for a shorter period. The non-planning visits in a competitive proposal range from one month to an academic year in length, preferably including one, quarter or semester-long visit each year from each of the U.S. and the foreign partner(s). Proposals featuring multiple visits of one quarter or semester in length will be more competitive. Visits by the U.S. and foreign project coordinators as well as other key exchanges should be identified and justified in the proposal narrative. An ideal project builds upon previous contacts and interaction between the proposed partners, such as individual faculty or student exchanges, and has the support and the knowledge and encouragement of the relevant USIS post and/or Fulbright commission, to help ensure a solid foundation for the linkage. Acceptable proposals must either establish new institutional affiliations or innovate existing partnerships and must not merely extend projects previously funded by the College and University Affiliations Program (formerly the ``University Affiliations Program''), other USIA or U.S. government linkage programs. Proposals of feasibility studies to plan affiliations will not be considered. The ideal and most competitive proposal provides significant institutional support and cost sharing from both the U.S. and foreign institution(s) and promises sustainability beyond the grant term. The U.S. institution(s) should collaborate with the foreign partner(s) in planning and preparation. When planning the project, U.S. and foreign institutions are strongly encouraged to consult with the Cultural Affairs Officer (CAO) or Public Affairs Officer (PAO) at the appropriate U.S. Information Service (USIS) office at the U.S. Embassy or U.S. Consulate and with the Fulbright Commission, if one exists, in the relevant country. U.S. Partner and Participant Eligibility In the U.S., participation in the program is open to accredited two- and four-year colleges and universities, including graduate schools. Applications from consortia of U.S. colleges and universities are eligible. Secondary U.S. partners may include relevant non- governmental organizations, non-profit service or professional organizations. The lead U.S. institution in the consortium is responsible for submitting the application and each application from a consortium must document the lead school's stated authority to represent the consortium. Participants representing the U.S. institution who are traveling under USIA grant funds must be faculty or staff from the participating institution(s) and must be U.S. citizens. Foreign Partner and Participant Eligibility Overseas, participation is open to recognized, degree-granting institutions of post-secondary education, which may include internationally recognized and established independent research institutes. Secondary foreign partners may include relevant governmental and non-governmental organizations, non-profit service or professional organizations. Participants representing the foreign institutions must be citizens, nationals, or permanent residents of the country of the foreign partner and be qualified to hold a valid passport and U.S. J-1 visa. Ineligibility A proposal will be deemed technically ineligible if: (1) It does not fully adhere to the guidelines established herein and in the Solicitation Package; (2) It is not received by the deadline; (3) The length of the proposed project is less than three years; (4) It is not submitted by the U.S. partner; (5) One of the partner institutions is ineligible; (6) The foreign geographic location is ineligible; (7) The project involves a partnership with more than one country with the exception of trilateral APEC (Asia Pacific Economic Cooperation) projects under Theme II: International Trade Policy & Economic Security; (8) The theme or academic discipline is ineligible; (9) The amount requested of USIA exceeds $120,000 for the three- year project. Eligible Themes, Academic Disciplines, and Countries The FY 97 competition is limited to the following three themes which reflect USIA's foreign policy priorities: (I) Democracy and Human Rights, (II) International Trade Policy and Economic Security, (III) The Environment and Sustainable Development. Eligible academic disciplines and countries are listed under each theme. Inclusion of U.S./Area, Ethnic, and Cultural Studies U.S./Area, Ethnic, and Cultural Studies are included as eligible academic disciplines in order to allow for the development of a broader cultural understanding and context in which to pursue a linkage project within one of the stated themes. U.S./Area, Ethnic, and Cultural Studies may be incorporated into a given project but only in conjunction with one or more of the eligible academic disciplines listed under a given theme. U.S./Area, Ethnic, and Cultural Studies includes U.S. and partner country history, literature, and social sciences. Bilateral Projects Except for APEC and Canada/Mexico Environment and Sustainable Development Projects The program invites proposals for bilateral projects only, involving the U.S. and one foreign country, with the exception of proposals submitted for trilateral projects under Theme II: International Trade Policy and Economic Security regarding APEC (Asia Pacific Economic Cooperation) member economies and under Theme III: The Environment and Sustainable Development with regard to Mexico and Canada. Theme I: Democracy and Human Rights Projects are solicited which promote democracy building and human rights and reinforce U.S. interests overseas. U.S. interests are most secure in a world where accountable governments and rule of law strengthen stability and project both political rights and free market economies. Within this context, Affiliation projects under Theme I should help [[Page 51749]] build democratic institutions, promote civic education, and increase expertise in the rule of law and the administration of justice through faculty and curriculum development, teaching and lecturing, and outreach. It is anticipated that college and university faculty, administrators, and students involved in cross-cultural democracy- building partnerships will generate ideas and projects which will contribute to modernization and reform in the university community, public policy arena, NGO's, and the private sector. Sub Theme: Civics Education USIA has a particular interest in reviewing proposals whose goal is to nurture the culture of democracy by focusing on the role of civics education in a democratic society. A linkage project incorporating a focus on civics education might include topics and issues such as the philosophy of democratic institutions; the philosophy and goals of public and private education; the role of citizen behavior and social responsibility in a democracy; the role of volunteerism, public interest groups, and major players such as public and private schools, government, religious institutions, public libraries, private organizations, and parents. A civics education linkage might also address political practices such as the balance of individual rights and group rights; reconciliation and compromise within the democratic process; and the philosophy of majority rule and minority rights. Projects in civic education may combine one or more of the academic disciplines listed below in order to pursue an affiliation whose objectives are those of the overall College and University Affiliations Program, namely teaching, lecturing, faculty development, curriculum development (e.g. for teacher training), collaborative research, and outreach (e.g. community outreach). Eligible Academic Disciplines Law (including Conflict Resolution, Intellectual Property Rights) Political Science/Government/Public Policy/Public Administration Journalism/Communications Higher Education/Higher Education Administration U.S./Area, Ethnic, and Cultural Studies (in combination with one or more of the academic disciplines above) Eligible Countries Africa: Botswana, Cote D'Ivoire, Kenya, South Africa, Uganda; American Republics: Argentina, Bolivia, Chile, Colombia, Ecuador, Peru, Venezuela; East Asia and Pacific: Cambodia, China (due to limited funding, China projects are limited to Law and U.S./Area Ethnic, and Cultural Studies in combination with Law), Vietnam, Mongolia; East Europe, Central Europe, and the New Independent States: Belarus (partnerships are encouraged with private, independent universities there), Bulgaria, Kazakhstan, Romania, Russia (outside Moscow, St. Petersburg, and Nizhniy Novgorod), Slovakia, Ukraine; North Africa, Near East, and South Asia: India, Pakistan, Sri Lanka, Gaza/West Bank; Western Europe: Turkey. Theme II: International Trade Policy and Economic Security Projects are solicited which promote economic reform and the development of market economies, trade, and investment overseas in support of U.S. interests in a global economy through faculty and curriculum development, teaching and lecturing, and outreach. Affiliation projects under Theme II are anticipated to establish or expand mutually beneficial academic programs in business and economics and promote international investment by strengthening institutional links to the private sector. Similarly, campuses should engage in international business affiliations which make their training, personnel, and research available to government and contribute to the formulation of more open and responsible trade policy. Eligible Academic Disciplines Economics Business/Business Administration/Business Management Commercial Law (including Intellectual Property Rights) U. S. Studies/Area, Ethnic, and Cultural Studies (in combination with one or more of the academic fields above) Eligible Countries Africa: Botswana, Cote D'Ivoire, Kenya, South Africa, Uganda; American Republics: Venezuela, Uruguay; (Note: Chile and Mexico are eligible under the East Asia and Pacific trilateral APEC category (below)) East Asia and Pacific: The following Asia Pacific Economic Cooperation (APEC) member economies are eligible within a trilateral affiliation between the U.S. and two APEC member economies: Australia, Canada, China, Chile, Hong Kong, Indonesia, Japan, South Korea, Malaysia, Mexico, New Zealand, Papua New Guinea, Philippines, Singapore, Taiwan, Thailand, Vietnam; Western Europe: (Note: Canada is eligible under the East Asia and Pacific Trilateral APEC category above) Theme III: The Environment and Sustainable Development Projects are solicited which address environmental issues having an impact on U.S. and global interests. Academic exchanges which support responsible management of the Earth's natural resources is a key USIA priority. Given this priority, the vision for Affiliation projects under Theme III is to establish or expand environmental studies programs through faculty and curriculum development, teaching and lecturing, and outreach. Faculty, administrators, and students involved in international environmental studies ventures should make their training and personnel resources, as well as results of their collaborative research, available to government, NGOs, and business. These kinds of environmental linkage activities contribute to sound policy-making and long-term, global environmental sustainability. Eligible Academic Disciplines Environmental Sciences/Natural Resource Sciences Environmental Policy and Resource Management Sustainable Development U.S. Studies/Area, Ethnic, and Cultural Studies (in combination with one or more of the academic fields above) Eligible Countries Africa: South Africa, Uganda; American Republics: Chile, Mexico (only as a trilateral with Canada); Western Europe: Canada (only as a trilateral with Mexico). Visa Requirements Programs must comply with J-1 exchange visitor visa regulations. Please refer to program specific guidelines in the Solicitation Package (POGI) for further details. Travel The assistance award recipient must arrange all travel through their own travel agent. Proposed Budget No funding award will exceed a total of $120,000 for the three-year grant term. Support for direct administrative costs associated with grant activities will not exceed 15% of the total grant [[Page 51750]] amount. All indirect costs are unallowable. Grants awarded to eligible organizations with less than four years of experience in conducting international exchange programs will be limited to $60,000. Applicants must submit a comprehensive, line-item budget for the entire project. There must be a summary budget as well as a breakdown, by year, reflecting both the administrative budget and the program budget. Please refer to the Solicitation Package (POGI) for complete budget format instructions. Review Process USIA will acknowledge receipt of all proposals and will review them for technical eligibility. Proposals will be deemed ineligible if they do not fully adhere to the guidelines stated herein and in the Solicitation Package. Eligible proposals will be forwarded to outside academicians and Agency officers for advisory review. Proposals will also be reviewed by the appropriate regional office, i.e., the USIA Office of African Affairs (AF), Office of American Republics Affairs (AR), Office of East Asian and Pacific Affairs (EA), Office of East European and NIS Affairs (EEN), Office of West European and Canadian Affairs (WEU) and the Office of North African, Near Eastern, and South Asian Affairs (NEA) and relevant USIA posts overseas, where appropriate. Proposals may also be reviewed by the Office of the General Counsel or by other Agency elements. Funding decisions are at the discretion of the USIA Associate Director for Educational and Cultural Affairs. Final technical authority for assistance awards (grants or cooperative agreements) resides with the USIA contracts officer. Review Criteria Technically eligible applications will be competitively reviewed according to the criteria stated below. These criteria are not rank- ordered and all carry equal weight in proposal evaluation: Academic Review Criteria Proposals are reviewed by independent academic peer panels, with geographic and disciplinary expertise, which make comments and recommendations to the Agency based on the following criteria: (1) Reasonable and feasible project objectives which are clearly related to the project plan and activities. (2) Appropriate and feasible project plans and a detailed schedule which must include a well-reasoned combination of useful and appropriate teaching, lecturing, faculty development, curriculum development, collaborative research, and outreach. The various activities should be clearly related to project objectives, but not need be equally emphasized within the proposal. (3) Inclusion of exchange visits of a length which will further the project goals and activities. Except for planning visits, stays of one month or more should be balanced with visits of an academic quarter, semester, or year. (4) Promise of the development of expertise and the advancement of scholarship and teaching in the eligible academic disciplines or themes. (5) Quality of exchange participants' academic credentials, skills, and experience relative to the goals and activities of the project plan (e.g., language skills). (6) Institutional resources adequate and appropriate to achieve the project's goals. Relevant factors are: The match between partners; the financial and political stability of the institutions; and availability of a critical mass of faculty willing and able to participate. (7) Evidence of strong institutional commitment by all participating institutions, including demonstration of relevant and successful prior interactions between institutions and an indication of collaborative proposal planning. (8) Evidence of a strong commitment to internationalization by participating institutions (i.e., developing other international projects and/or building upon past international activities). (9) An effective evaluation plan which defines and articulates a list of anticipated outcomes clearly related to the project goals and activities and procedures for on-going monitoring and mid-term corrective action. Agency Review Criteria (1) Clear indication that the proposal seeks to establish a truly reciprocal and mutually beneficial institutional affiliation overseas or to innovate an existing affiliation. The benefits do not have to be the same for each partner or precisely balanced, but must be essentially mutual. (2) Positive assessment of program need, feasibility, and potential impact by the relevant USIA post overseas. (3) Academic quality, reflected in the academic review panel's comments and recommendations. (4) Institutional and geographic diversity of the U.S. and overseas institutions (i.e., racial, ethnic, and gender composition of student enrollments; small underrepresented institutions, two-year/community colleges, and institutions in underrepresented geographic locations). (5) The promise of sustainability and long-term impact which should be reflected in a plan for continued, non-U.S. government support and follow-on activities. (6) Cost-effectiveness (i.e., competitive cost sharing, sufficient number of participant exchanges relative to the project goals and plan). (7) Institutional track record and ability. The Agency will consider the past performance of prior recipients and the demonstrated potential of new applicants. Notice The terms and conditions published in this RFP are binding and may not be modified by any USIA representative. Explanatory information provided by the Agency that contradicts published language will not be binding. Issuance of the RFP does not constitute an award commitment on the part of the Government. The Agency reserves the right to reduce, revise, or increase proposal budgets in accordance with the needs of the program and the availability of funds. Awards made will be subject to periodic reporting and evaluation requirements. Notification Final awards cannot be made until funds have been appropriated by Congress, allocated and committed through internal USIA procedures. Dated: September 25, 1996. Dell Pendergrast, Deputy Associate Director for Educational and Cultural Affairs. [FR Doc. 96-25041 Filed 10-2-96; 8:45 am] BILLING CODE 8230-01-M
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Information Systems: A Manager's Guide to Harnessing Technology [9.1 ed.] 9781453341698
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Information Systems: A Manager’s Guide to Harnessing Technology is suitable for undergraduate or MBA-level courses on bu...
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dokumen.pub
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https://dokumen.pub/information-systems-a-managers-guide-to-harnessing-technology-91nbsped-9781453341698.html
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Table of contents :
Brief Contents
Contents
About the Author
Acknowledgments
Dedication
Preface
Chapter 1: Setting the Stage: Technology and the Modern Enterprise
1.1: Tech’s Tectonic Shift: Radically Changing Business Landscapes
1.2: It’s Your Revolution
1.3: Geek Up—Tech Is Everywhere and You’ll Need It to Thrive
Finance
Accounting
Marketing
Operations
Human Resources
The Law
Information Systems Careers
Your Future
1.4: The Pages Ahead
Endnotes
Chapter 2: Strategy and Technology: Concepts and Frameworks for Achieving Success
2.1: Introduction
The Danger of Relying on Technology
Different Is Good: FreshDirect Redefines the Grocery Landscape in New York City and Beyond
But What Kinds of Differences?
2.2: Powerful Resources
Imitation-Resistant Value Chains
Brand
Scale
Switching Costs and Data
Differentiation
Network Effects
Distribution Channels
What about Patents?
2.3: Barriers to Entry, Technology, and Timing
2.4: Key Framework: The Five Forces of Industry Competitive Advantage
Endnotes
Chapter 3: FreshDirect: A Tech-Heavy Online Grocer Succeeds Where Others Fail
3.1: Tech-Driven Strategic Positioning for Market Dominance
Ordering Online—Challenges but Advantages, Too
Cost Cutting and Fresher Food through a Tech-Enabled Supply Chain
Work with Suppliers, Don't Squeeze Them
Advantages Pay Off
3.2: The Model Moves Forward
The Botched Bronx Move—Even the Skilled Screw Up
COVID-19: Crisis and Opportunity
Better than Traditional Grocers, but Other Rivals?
Future Deliveries?
Endnotes
Chapter 4: Zara: Fast Fashion from Savvy Systems
4.1: Introduction
Why Study Zara?
Gap: An Icon in Crisis
4.2: Don’t Guess, Gather Data—Make Small Batches of What Customers Want and Ship It Fast!
Design
Manufacturing and Logistics
Stores
Integrating E-Commerce: Omnichannel = More Sales + Better Customer Experience
COVID-19 Response: Tech-Centric Operations + E-Commerce + Omnichannel in a Crisis
4.3: Moving Forward
Endnotes
Chapter 5: Netflix in Two Acts: Sustaining Leadership in an Epic Shift from Atoms to Bits
5.1: Introduction
Why Study Netflix?
5.2: Act I: David Becomes Goliath: Crafting Killer Assets for DVD-by-Mail Dominance
Brand Strength from Best-in-Class Customer Experience
Scale from the Distribution Network
Scale from Selection: The Long Tail
The Big Customer Base—Delivering True Economies of Scale
Leveraging the Data Asset: Collaborative Filtering and Beyond
Winning Act I
5.3: Act II: Netflix and the Shift from Mailing Atoms to Streaming Bits
Content Acquisition: Escalating Costs, Limited Availability, and the “Long-Enough Tail”
Exclusives and Original Content
Streaming and the Data Asset
Streaming Changes Viewing Habits and Frees Creative Constraints
Customer Experience, Complexity, Pricing, and Brand Strength
Streaming and Scale Advantages
The March to Global Dominance
It’s a Multiscreen World: Getting to Netflix Everywhere
A Crowded Field of Rivals and Other Challenges
No Turning Back
Endnotes
Chapter 6: Moore's Law and More: Fast, Cheap Computing, and What This Means for the Manager
6.1: Introduction
Some Definitions
Get Out Your Crystal Ball
6.2: The Death of Moore’s Law?
Buying Time
6.3: The Power of Parallel: Supercomputing, Grids, Clusters, and Putting Smarts in the Cloud
6.4: E-waste: The Dark Side of Moore’s Law
Yes, You Do Have to Pay Attention to This Garbage, But the “Internet of Trash” May Help
6.5: Mickey’s Wearable: Disney’s MagicBand
Experience Examples
Big Data and Big Benefits
Magical Experiences Cost Serious Coin
Magical Experiences Can Require Magical Coordination
Look to the Future
Endnotes
Chapter 7: Disruptive Technologies: Understanding Giant Killers and Tactics to Avoid Extinction
7.1: Understanding Truly Disruptive Innovation
The Characteristics of Disruptive Technologies
Why Big Firms Fail
7.2: Recognizing and Responding to Disruptive Innovation
Don’t Fly Blind: Improve Your Radar
Potential Disruptor Spotted: Now What?
No Easy Answers
7.3: From Bitcoin to Blockchain and Beyond: A Disruptive Innovation for Money and More?
How It Works
Benefits
Examples of Blockchains in Action
Concerns
What Do You Think?
Endnotes
Chapter 8: Amazon: An Empire Stretching from Cardboard Box to Kindle to Cloud
8.1: Introduction
Why Study Amazon?
8.2: The Emperor of E-Commerce
Fulfillment Operations—Driving Selection, Customer Convenience, and Low Price
Amazon’s Cash Conversion Cycle—Realizing Financial Benefits from Tech-Enabled Speed
Internet Economics, Scale, and Pricing Power
The Advantage of Being Big:€Realizing Scale Advantages as the Retail E-Commerce Leader
Customer Obsession
Leveraging the Data Asset—A/B Testing, Personalization, and Even an Ad Business
Selection and Network Effects
Acquisitions and Category Expansion: Fewer Rivals, More Markets, and More Customer Choice
8.3: The Lord of Logistics
Building a Delivery and Logistics Business Inside the Business
8.4: Beyond Clicks: More Bricks
Amazon as Your Campus Bookstore
Amazon’s “Brick-Based” Bookstores
Hello Machine Learning, Goodbye Checkout Line
More “Green” from High Tech Grocery Shopping?
8.5: Amazon’s Disruptive Consumer Hardware Businesses: Kindle, Fire, Alexa, and More
The Kindle Line: Igniting Possibilities on eBook and Tablet
Amazon for Your TV
Echo, Alexa, and the Breakout Success of Amazon’s Voice Interface and AI-Powered Assistant
Amazon—Now a Major Content Publisher
Channel Conflict and Consolidated Power
8.6: Amazon and the Cloud: From Personal Storage to AWS
The Consumer Cloud Is Everywhere
About AWS
Understanding the Corporate Cloud
So What, Really, Is This AWS Stuff?
Endnotes
Chapter 9: Platforms, Network Effects, and Competing in a Winner-Take-All World
9.1: Introduction
9.2: Platforms Are Powerful, But Where Does All That Value Come From?
Exchange
Staying Power
Complementary Benefits
9.3: One-Sided or Two-Sided Markets?
Understanding Network Structure
9.4: How Are These Markets Different?
9.5: Competing When Network Effects Matter
Move Early
Subsidize Adoption
Leverage Viral Promotion
Expand by Redefining the Market
Alliances and Partnerships
Leverage Distribution Channels
Seed the Market
Encourage the Development of Complementary Goods
Leverage Backward Compatibility
Rivals: Be Compatible with the Leading Network
Incumbents: Close Off Rival Access and Constantly Innovate
Large, Well-Known Followers: Preannouncements
9.6: The Zoom Boom—Big Guys Can Be Beat
Endnotes
Chapter 10: Social Media, Peer Production, and Leveraging the Crowd
10.1: Introduction
10.2: Blogs
10.3: Wikis
10.4: Social Networks
Corporate Use of Social Networks
10.5: Twitter and the Rise of Microblogging
Organic Reach and Advertising
Twitter and Platform Challenges
Tackling Trolls and Battling Bots
Challenges: So How Big Is This Thing Gonna Be?
10.6: Prediction Markets and the Wisdom of Crowds
Blockchain for Better and Unrestricted Prediction Markets
10.7: Crowdsourcing
10.8: Get SMART: The Social Media Awareness and Response Team
Creating the Team
Responsibilities and Policy Setting
Monitoring
Establishing a Presence
Engage and Respond
Endnotes
Chapter 11: The Sharing Economy, Collaborative Consumption, and Efficient Markets through Tech
11.1: Introduction
11.2: Boom Times and Looming Challenges in the Sharing Economy
Share On! Factors Fueling the Rise of Collaborative Consumption
Winning in Electronic Markets
Social Media for Virality and Trust Strengthening
Share Everything? The Myth of the Market for Your Neighbor’s Power Drill
Can You Share Nice? Challenges of Safety and Regulation
11.3: Future Outlook: Established Players Get Collaborative
11.4: Airbnb—Hey Stranger, Why Don’t You Stay at My Place?
At Airbnb, Big Data Is a Big Deal
A Phenomenal Start, but Not Without Challenges
11.5: Uber's Wild Ride: Sharing Economy Success, Public Company Concerns, and Lessons from a Fallen Founder
Driven by Data
APIs to Expand Reach
How Big Can This Thing Get?
Endnotes
Chapter 12: Facebook: Platforms, Privacy, and Big Business from the Social Graph
12.1: Introduction
The Rise of Facebook and Growing Concerns
Why Study Facebook?
12.2: Lengthening Leaders, Quick Catch-Ups, and the Challenging Rise of Mobile
The Social Graph and Why Facebook’s Is So Strong
Facebook Feed: Viral Sharing Accelerated
Facebook’s Dominance on the Desktop
Facebook Takes On Search€
Why Mobile Is Different and in Some Ways Better than the Desktop
Snapping Snapchat’s Lead with Stories
Big Bets: Bringing Potential Rivals and Platform Powerhouses into the Facebook Family
Instagram
WhatsApp
Oculus VR
12.3: Lessons from Platform Facebook: Big Growth, Bad Partners, APIs, and a Mobile Melee
Mobile Is Tougher, But Global Players Have Big Mobile Platforms
Messenger: A Pillar Business Building Facebook’s Future
APIs, Playing Well with Others, and Value Added: The Success and Impact of Open Graph
Strategic Concerns for Platform Builders: Asset Strength, Free Riders, and Security
12.4: Advertising and Social Networks: A Challenging Landscape but a Big Payoff
Content Adjacency Challenges: Do You Really Want Your Brand Next to That?
Attention Challenges: The Hunt versus The Hike
Facebook Ads: The Massive Potential Upside Is Realized
Precise Targeting
Ads in Feeds: Better Performance Even as Fewer Ads Are Shown
Beyond “Right Margin” Display Ads: Big, New Winners Emerge
An Ad Network for Facebook. Can It Best Google?
Content Providers, Step Deeper Inside My Walled Garden
Better Advertisement Everywhere. What’s Up Next?
12.5: Move Fast and Break Things: Fumbles, Fake News, and Global Growth Challenges
Beacon Busted—Management Lessons on Tech Planning and Deployment
Faked Out by Fake News
Challenges of Going Global: Low ARPUs, Legitimate Rivals, and Unreachable Users
The Admirable Goals and Unintended Consequences of Internet.org
Endnotes
Chapter 13: Rent the Runway: Entrepreneurs Expanding an Industry by Blending Tech with Fashion
13.1: Introduction
Rental and Subscription: Here’s How It Works
A Fashion Company with a Technology Soul
13.2: Founding the Business: Are We On to Something?
Customers Like It—But What about Suppliers? Growing the Customer Base and Creating a Win-Win
Customer Evolution
13.3: Customer Engagement (Mobile, Social, and Physical Storefronts)
Mobile
Social
13.4: Data
13.5: Operations and Logistics
HyperGrowth and Hiccups
Fulfillment as a Service—Here Come the Competitors
13.6: Subscription: Bigger than Rental
13.7: Surviving and Thriving Post-Pandemic
COVID-19 Kills Fashion For a Year—Hyman Fights for Her Firm’s Survival
Leaders in the Growing Club of Tech-Focused, Female Founders
Endnotes
Chapter 14: Understanding Software: A Primer for Managers
14.1: Introduction
What Is Software?
14.2: Operating Systems
14.3: Application Software: Apps, Desktop Products, and Enterprise Systems
And That’s Just the Start
14.4: Distributed Computing, Web Services, and APIs: The Platform Builders
Formats to Facilitate Sharing Data
14.5: Writing Software
14.6: Software Development Methodologies: From Waning Waterfall to Ascending Agile, plus a Sprint through Scrum
A Brief Introduction to Popular Approaches to Developing Software
14.7: Beyond the Price Tag: Total Cost of Ownership and the Cost of Tech Failure
Why Do Technology Projects Fail?
Endnotes
Chapter 15: Software in Flux: Open Source, Cloud, Virtualized, and App-Driven Shifts
15.1: Introduction
15.2: Open Source
15.3: Why Open Source?
15.4: Examples of Open Source Software
15.5: Why Give It Away? The Business of Open Source
15.6: Defining Cloud Computing
15.7: Software in the Cloud: Why Buy When You Can Rent?
The Benefits of SaaS
15.8: SaaS: Not without Risks
15.9: Understanding Cloud Computing Models: PaaS, IaaS, and Motivations and Risks
Challenges Remain
15.10: Clouds and Tech Industry Impact
15.11: Virtualization: Software That Makes One Computer Act Like Many
15.12: Apps and App Stores: Further Disrupting the Software Industry on Smartphones, Tablets, and Beyond
15.13: Make, Buy, or Rent
Endnotes
Chapter 16: Data and Competitive Advantage: Databases, Analytics, AI, and Machine Learning
16.1: Introduction
16.2: Data, Information, and Knowledge
Understanding How Data Is Organized: Key Terms and Technologies
Serverless Computing: Can Someone Else Manage This Complexity?
16.3: Where Does Data Come From?
Transaction Processing Systems
Enterprise Software (CRM, SCM, and ERP)
Surveys
External Sources
16.4: Data Rich, Information Poor
Incompatible Systems
Operational Data Can’t Always Be Queried
16.5: Data Warehouses, Data Marts, Data Lakes, and the Technology behind “Big Data”
Even More Speed and Flexibility from Data Lakes and the Data Cloud
It’s Not One or The Other
Implementing Large-Scale Data Projects
Know Data Science? Firms Need Your Skill!
16.6: The Business Intelligence Toolkit
Query and Reporting Tools
Data Mining
16.7: Artificial Intelligence, Big Data, and Machine Learning: It’s Now Everywhere!
Understanding Popular€Types of AI
Examples of AI in Action
It’s Not as Easy as the Press Might State: Technical, Organizational, Legal, and Societal Challenges of AI and Machine Learning
16.8: Ethical Information Systems: Understanding Risks and Building More Responsible Technology
What If We Can’t Understand How It Thinks?
Is Your Algorithm Racist or Sexist?
Used for Good and Evil
Recognizing Risks and Setting Standards
Steps in Developing and Deploying More Ethical, Less Risk-Prone Systems
16.9: Data Asset in Action: Technology and the Rise of Walmart
A Data-Driven Value Chain
Data Mining Prowess
Sharing Data, Keeping Secrets
HR, Meet VR
In-Store Innovations: Keeping Pace with Amazon Go and Leading with Skills and Scale
Betting Big on E-Commerce: Acquiring Jet.com, Bonobos, Flipkart, and More
Challenges Abound
Endnotes
Chapter 17: Advertising Technologies: Balancing Personalization with Privacy as Technology and Regulation Evolve
17.1: Understanding Online Advertising
Online Advertising is Booming: Here’s Why
Ad Formats and Ad Purchasing
17.2: Web Tracking: The Cookie Crumbles and Ad Tech Evolves
Introduction
Want a Cookie? Great—Now I Can Track You!
Retiring the Third-Party Cookie and Figuring Out What Comes Next
Browser Profiling After Third-Party Cookies
17.3: App Tracking: Apple and Facebook Go to War Over In-App Tracking
The Battle over iOS Privacy
The IDFA in China
17.4: Device Profiling: From Geotargeting to Televisions That Watch You
IP Addresses and Geotargeting
Geotargeting Beyond IP Address
Your TV is Probably Watching You Back
17.5: Privacy Regulation: A Moving Target
17.6: Privacy, Data Protection, Governance, and Management Policies
Endnotes
Chapter 18: A Manager’s Guide to the Internet and Telecommunications
18.1: Introduction
18.2: Internet 101: Understanding How the Internet Works
The URL: “What Are You Looking For?”
Hosts and Domain Names
Path Name and File Name
IP Addresses and the Domain Name System: “Where Is It? And How Do We Get There?”
The IP Address
The DNS: The Internet’s Phone Book
18.3: Getting Where You’re Going
TCP/IP: The Internet’s Secret Sauce
What Connects the Routers and Computers?
18.4: Last Mile: Faster Speed, Broader Access
Cable Broadband
DSL: Phone Company Copper
Fiber: A Light-Filled Glass Pipe to Your Doorstep
Wireless
5G: A Slow Rollout to a Faster Wireless Network
Satellite Wireless and Schemes to Reach the Remote
Wi-Fi and Other Hotspots
Net Neutrality: What’s Fair?
Summing Up
Endnotes
Chapter 19: Information Security: Barbarians at the Gateway (and Just About Everywhere Else)
19.1: Introduction
Got a Bank Account or Credit Card? You’ve Been Hacked!
A Look at the Target Hack
19.2: Why Is This Happening? Who Is Doing It? And What’s Their Motivation?
19.3: Where Are Vulnerabilities? Understanding the Weaknesses
User and Administrator Threats
Bad Apples
Social Engineering
Phishing
Passwords
Technology Threats (Client and Server Software, Hardware, and Networking)
Malware
Compromising Poorly Designed Software
Push-Button Hacking
Network Threats
Physical Threats
19.4: Taking Action
Taking Action as a User
Taking Action as an Organization
Frameworks, Standards, and Compliance
Education, Audit, and Enforcement
What Needs to Be Protected, and How Much Is Enough?
Technology’s Role
Endnotes
Chapter 20: Google in Three Parts: Search, Online Advertising, and an Alphabet of Opportunity
20.1: Introduction
Why Study Google?
20.2: Understanding Search
20.3: Search Advertising
How Much Do Advertisers Pay per Click?
Mobile Apps and the Challenge for Google Search
20.4: The Google Ad Network: Distribution beyond Search
Ad Networks and Competitive Advantage
20.5: The Battle Unfolds
Strategic Issues
Google Rules Search, But It Isn’t Over
Android Everywhere
YouTube
Google Pay
Google and Social
Apps, Cloud, and the Post-Hard-Drive World
Endnotes
Appendix A: Essential Skills for Excel
A.1: Introduction and Using Formulas
A.2: Basic Formatting and Understanding References
A.3: Manipulating Sheets
A.4: Freezing Panes, Sorting, and Using Filters
A.5: Tables and Autofill
A.6: Paste Special and Copy as Picture
A.7: Column, Bar, Pie, Line, and Scatter Charts
A.8: Functions Related to IF
A.9: The VLOOKUP and HLOOKUP Functions
A.10: Conditional Formatting
A.11: Pivot Tables and Slicers
A.12: Excel for Mac versus Excel for Windows
Index
Citation preview
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The Master Switch: The Rise and Fall of Information Empires by Tim Wu
accounting loophole / creative accounting, Alfred Russel Wallace, Andy Rubin, AOL-Time Warner, Apple II, barriers to entry, British Empire, Burning Man, business cycle, Cass Sunstein, Clayton Christensen, commoditize, corporate raider, creative destruction, disinformation, disruptive innovation, don't be evil, Douglas Engelbart, Douglas Engelbart, Eben Moglen, Ford Model T, Howard Rheingold, Hush-A-Phone, informal economy, intermodal, Internet Archive, invention of movable type, invention of the telephone, invisible hand, Jane Jacobs, John Markoff, Joseph Schumpeter, Menlo Park, open economy, packet switching, PageRank, profit motive, radical decentralization, road to serfdom, Robert Bork, Robert Metcalfe, Ronald Coase, scientific management, search costs, seminal paper, sexual politics, shareholder value, Silicon Valley, Skype, Steve Jobs, Steve Wozniak, Telecommunications Act of 1996, The Chicago School, The Death and Life of Great American Cities, the long tail, the market place, The Wisdom of Crowds, too big to fail, Upton Sinclair, urban planning, vertical integration, Yochai Benkler, zero-sum game
CHAPTER 19: A SURPRISING WRECK 1. As told to The New York Times in Tim Arango, “How the AOL–Time Warner Merger Went So Wrong,” New York Times, January 10, 2010. For other sources on the AOL–Time Warner merger, see Johnnie L. Roberts, “How It All Fell Apart,” Newsweek, December 9, 2002, and three books: Nina Munk, Fools Rush In (New York: HarperCollins, 2004); Alec Klein, Stealing TIME: Steve Case, Jerry Levin, and the Collapse of AOL Time Warner (New York: Simon and Schuster, 2003); and Kara Swisher, There Must Be a Pony In Here Somewhere: The AOL Time Warner Debacle and the Quest for a Digital Future (New York: Crown Business, 2003). 2.
…
The early 2000s might have turned into a war of accumulation among three vertically integrated great powers: Microsoft-GE (NBC’s parent), AOL Time Warner, and Comcast-Disney. Eventually everything on the Internet would have been owned by one of them. That would have made for a tidier information economy, centered mainly on two mega-industries: the media conglomerates and the telephone companies. But something went wrong. Microsoft stopped buying media. Disney rejected Comcast’s merger offers. And AOL Time Warner became the textbook example of what not to do—as Ken Auletta calls it, “the Merger from Hell.”11 WHAT HAPPENED? The books about the AOL Time Warner saga are the work of business reporters and as such tend to focus on the personalities, clashes of corporate cultures, and terse boardroom encounters.
…
And within three months of that rendezvous on the reviewing stand, on January 10, 2000, they were holding a press conference to announce their own revolution: a $350 billion merger between the world’s biggest media company and biggest Internet firm. AOL would be the engine that brought Time Warner’s old media holdings—a treasury of what was becoming known as “content”—into the new world. It was an effusive spectacle. Levin said “We’ve become a company of high-fives and hugs.” Ted Turner, the largest individual shareholder, likened it to “the first time I made love some forty-two years ago.”5 It looked as if the future had indeed arrived. To many it seemed that the Internet would eventually belong to vertically integrated giants on the model of AOL Time Warner. Here’s Steve Lohr writing in The New York Times in 2000: “The America Online–Time Warner merger [will] create a powerhouse for the next phase of Internet business: selling information and entertainment services to consumers who may tap into them using digital cell phones, handheld devices and television set-top boxes in addition to personal computers.”6 In time, it was envisioned, three or four consolidated firms—say, AOL Time Warner, Microsoft-Disney, and perhaps Comcast-NBC—would slowly divide up the juiciest Internet properties, such as Yahoo!
As the Future Catches You: How Genomics & Other Forces Are Changing Your Work, Health & Wealth by Juan Enriquez
Albert Einstein, AOL-Time Warner, Apollo 13, Berlin Wall, bioinformatics, borderless world, British Empire, Buckminster Fuller, business cycle, creative destruction, digital divide, double helix, Ford Model T, global village, Gregor Mendel, half of the world's population has never made a phone call, Helicobacter pylori, Howard Rheingold, Jeff Bezos, Joseph Schumpeter, Kevin Kelly, knowledge economy, more computing power than Apollo, Neal Stephenson, new economy, personalized medicine, purchasing power parity, Ray Kurzweil, Richard Feynman, Robert Metcalfe, Search for Extraterrestrial Intelligence, SETI@home, Silicon Valley, spice trade, stem cell, the new new thing, yottabyte
(At the end of 1997, Time Warner’s assets were about forty times those of AOL … But the Internet boom changed things … So did AoL’s 27 million subscribers.) The speed and scope of technological change is such that … AOL became twice as valuable as Time Warner … And became the lead company … In the world’s largest merger. (A new company that expects to be Microsoft’s main competitor … By January 2001 AOL Time Warner controlled 33 percent of Americans’ time on the Net … Yahoo! had 7 percent … Microsoft 6 percent.) Things change very quickly in a digital world. Even companies … That have more cash … That have more information … And that have become larger … Than most national economies … Are by no means guaranteed survival … Either they get smarter … And grow … Or someone will eat them up.6 THE POWER OF TECHNOLOGY … TO BUILD … AND DESTROY … IS SUCH … THAT IT IS LIKELY … FEW OF US HAVE EVER HEARD … THE NAME OF WHAT WILL BE THE WORLD’S LARGEST COMPANY … IN 2020.
…
Technology companies are getting very large … and very powerful… Microsoft’s stock value … Before a judge ruled it a monopoly … Was approaching the value … Of everything Canada produced in one year. In the first quarter of 2000, AOL Time Warner’s market value was greater than everything produced during 1998 by all those who lived in a country like … OR LOOK AT IT A DIFFERENT WAY … OF ALL THE WORLD’S 190 “OFFICIAL” COUNTRIES … LESS THAN ONE-TENTH PRODUCED ENOUGH WEALTH IN 1998 … TO BE ABLE TO BUY AOL TIME WARNER. Even products that … Are by no means essential … That can be substituted by something cheaper … Or by something made locally … Or by products that are healthier … Can dominate using … Talent, scale, and know-how … AND THE LOGIC OF GLOBAL CAPITALISM IS … THAT ONE MUST DOMINATE … THE WHOLE … WORLD … FAST.
…
A language we cannot speak or read directly … We have to use chips and machines to understand. (This is different from communicating in, say, English-Chinese-English. No human translator can take the raw code inside a floppy disk, cell phone, pager, or TV and simultaneously tell you what it says.) Digital code is what drives rapid growth today. It allows mergers like AOL Time Warner … It drives the Internet, TV, music, finance, IT, news coverage, research, manufacturing. A few countries and companies understood this change. That is how poor countries like Finland, Singapore, and Taiwan got so wealthy … So quickly … But a lot of folks just did not learn to read and write a new language … And even though they produced more and more goods, particularly commodities … And even though they restructured companies and governments … Cut budgets, raised taxes, built large factories and buildings … They got a lot poorer.
How I Built This: The Unexpected Paths to Success From the World's Most Inspiring Entrepreneurs by Guy Raz
Airbnb, AOL-Time Warner, Apple II, barriers to entry, Bear Stearns, Ben Horowitz, Big Tech, big-box store, Black Monday: stock market crash in 1987, Blitzscaling, business logic, call centre, Clayton Christensen, commoditize, Cornelius Vanderbilt, Credit Default Swap, crowdsourcing, data science, East Village, El Camino Real, Elon Musk, fear of failure, glass ceiling, growth hacking, housing crisis, imposter syndrome, inventory management, It's morning again in America, iterative process, James Dyson, Jeff Bezos, Justin.tv, Kickstarter, low cost airline, Lyft, Marc Andreessen, Mark Zuckerberg, move fast and break things, Nate Silver, Paul Graham, Peter Thiel, pets.com, power law, rolodex, Ronald Reagan, Ruby on Rails, Salesforce, Sam Altman, Sand Hill Road, side hustle, Silicon Valley, software as a service, South of Market, San Francisco, Steve Jobs, Steve Wozniak, subprime mortgage crisis, TED Talk, The Signal and the Noise by Nate Silver, Tony Hsieh, Uber for X, uber lyft, Y Combinator, Zipcar
Only a company that has lost its way a little bit, that doesn’t know precisely what business it’s actually in, tends to fight itself like this. Andy only needed to look twenty blocks uptown from his New York office and a few years into the past, at AOL Time Warner and the titanic merger that created the company in 2000, to see what the worst possible version of this might look like. When AOL and Time Warner merged, a lot was made of the new media entity’s size and market cap. The potential created by both teams leveraging the assets they brought to the table was difficult to contemplate let alone calculate. The merger was valued at $165 billion, but that was probably just a guess.
…
With a strong culture unified by a larger mission and propelled by people who were all rowing in the same direction, they could have even leveraged the obstacles they faced into opportunities. Except inside AOL Time Warner, there was no unity to be found, and within a decade the merger would be dead. Both companies would lose more than 85 percent of their premerger value. Time Warner would eventually spin off its cable business (Time Warner Cable), it’s publishing business (Time Inc.), and, of course, AOL, which would reenter a radically transformed digital media landscape as a wandering shell of its former self. The smaller Time Warner rebranded itself as WarnerMedia, which was ultimately sold to AT&T for around $85 billion in 2018.
…
In the aftermath of the merger’s unwinding (which occurred at roughly the same time Andy and Brian unwound their partnership at Bonobos, coincidentally), analysts and participants alike pointed to the schism between the AOL folks down in Virginia and the Time Warner folks up in New York as one of the principal reasons for the company’s failure to find its way through the turbulent waters of the dot-com recession. There was always great talk about “building synergy” between AOL and Time Warner, but in the end that turned out to be an illusory goal. “Some of it was the fights within the company,” Steve Case, AOL’s chairman, told me. “It was a mix of different factors but at the end of the day it’s about people and it’s about teams.”
Hacking Capitalism by Söderberg, Johan; Söderberg, Johan;
Abraham Maslow, air gap, Alvin Toffler, AOL-Time Warner, barriers to entry, Charles Babbage, collective bargaining, commoditize, computer age, corporate governance, creative destruction, Debian, deindustrialization, delayed gratification, Dennis Ritchie, deskilling, digital capitalism, digital divide, Donald Davies, Eben Moglen, Erik Brynjolfsson, Firefox, Free Software Foundation, frictionless, full employment, Garrett Hardin, Hacker Conference 1984, Hacker Ethic, Herbert Marcuse, Howard Rheingold, IBM and the Holocaust, informal economy, interchangeable parts, invention of radio, invention of the telephone, Jacquard loom, James Watt: steam engine, jimmy wales, John Markoff, John von Neumann, Joseph Schumpeter, Joseph-Marie Jacquard, Ken Thompson, knowledge economy, knowledge worker, labour market flexibility, late capitalism, Lewis Mumford, liberal capitalism, Marshall McLuhan, means of production, Mitch Kapor, mutually assured destruction, new economy, Norbert Wiener, On the Economy of Machinery and Manufactures, packet switching, patent troll, peer-to-peer, peer-to-peer model, planned obsolescence, post scarcity, post-Fordism, post-industrial society, price mechanism, Productivity paradox, profit motive, RFID, Richard Florida, Richard Stallman, Ronald Coase, safety bicycle, Search for Extraterrestrial Intelligence, SETI@home, Silicon Valley, Slavoj Žižek, software patent, Steven Levy, Stewart Brand, subscription business, tech worker, technological determinism, technoutopianism, the Cathedral and the Bazaar, The Nature of the Firm, the scientific method, The Theory of the Leisure Class by Thorstein Veblen, Thomas Davenport, Thorstein Veblen, tragedy of the anticommons, Tragedy of the Commons, transaction costs, Whole Earth Catalog, Yochai Benkler
Distributing censorship and surveillance to Internet Service Providers has one drawback, from the perspective of regulators, in that counterfeiters can hire the services of another company, or set up their own shop. But the options are declining fast since ownership over the network infrastructure is concentrated into ever fewer hands. After a number of mergers, ownership over the cables is for all practical purposes divided up between AT&T and AOL Time Warner. These giants can easily strangle access to a large part of the network and pass decrees down to smaller Internet Service Providers. No less detrimental is their intent to turn the Internet into an interactive cable TV set.49 The next generation of wires would realise this scenario by discriminating the traffic going upstream from the client (user) to the server, while giving priority to traffic going downstream (downloading of data) from server to client.
…
In WASTE the connections are established between a small circle of people who trust each other from the start and the communication, in most cases consisting of illegally copied files, is heavily encrypted. The law authorities have a very hard time to find out about the infringements taking place in the private network. In the short time that WASTE was made available by Nullsoft the code spread like wildfire in the FOSS community. The whereabouts of the application was put out of reach of AOL Time Warner. After that the plug was finally pulled on Nullsoft. The story about OpenNap, Gnutella and WASTE gives a flavour of what can happen when the means to write algorithms are dispersed among the proletariat. FOSS licenses works in a way similar to the architecture of Gnutella. By decentralising the running of the technology, Gnutella’s authors gave up their control over their creation.
…
Index Aestethic innovation 64, 68, 177 Adorno, Theodor 65, 70, 168, 191–192 Advanced Research Projects Agency, see ARPA Affluent society 99–101 Aglietta, Michel 59 Alienation 10, 156–159, 173, 182, 188, 190 Allopoietic 134–135 Altair 17 Althusser, Louis 77 Analytical Engine 3 Anti-production 120, 213 n.12 AOL Time Warner 89, 91, 125 Apache 24, 28, 38, 44 Apple 17 ARPA (advanced research projects agency) 13–15 AT&T (american telephone and telegraph) 13–15, 19, 23–24, 91, 116 Audience power 66, 68, 198 n.47, 204 n.40 Authorship 74, 78, 80–82, 112, 114, 125, 128–129, 138, 154, 160, 174, 206 n.9 Autonomous Marxism 6–7, 52, 55, 176, 194 n.18, 201 n.9 Autopoietic 134–135, 155 Axelos, Kostas 158–159 Babbage, Charles 3–4 Back Orifice 80 Barbrook, Richard 150, 216 n.27 Bataille, George 147, 149, 154, 216 n.20 Baudrillard, Jean 64, 103, 105, 109, 127, 202 n.19, 211 n.9, n.12 BBS (bulletin board systems) 96 Beauty of the Baud 3, 184 Bell, Daniel 51, 54, 100, 170–171, 173 Bell, Graham 11 Bell laboratory 14 Benjamin, Walter 65, 207 n.18, 210 n.49 Benkler, Yochai 139–140, Berkeley internet name domain, see BIND Berkeley software distribution, see BSD Berne convention 85, 208 n.25 Bertelsmann 124 Biegel, Stuart 91 Bijker, Wiebe 54–55, 203 n.24 Binary code 19, 21–22, 97, 195 n.16 BIND (Berkeley internet name domain) 25 Biometric technology 92–93 Black, Edwin 194 n.15 Boomerang externalities 146 Bowles, Samuel 173 Boyle, James 117, 208 n.24 Brand, Stewart 16, 69 Braverman, Harry 130–133 British cultural studies 9, 65–66 Brooks, Fred 184 BSD (Berkeley software distribution) 15, 23–24, 38 Bulletin board systems, see BBS Burghardt, Gordon 166–167 Bush, Vannevar 12 Caffentzis, George 61–63 Caillois, Roger 166–167, 182 Castells, Manuel 51, 145, 200 n.3, 202 n.19, 216 n.15 CC (Creative commons) 4, 41, 78 Censorship 4, 79–80, 82, 91, 97, 178, 189 CERN (Conseil européen pour la recherche nucléaire) 25 Certeau, Michel de 66, 112, 182 Chaos computer club 180 Charismatic code 153, 217 n.33 Chiapello, Eve 163 Circulating capital 120, 145 Class consciousness 18, 178, 180–181 for-itself 188 struggle 4, 7, 44, 47–48, 54, 56, 67, 72, 76, 103–104, 159, 175–178, 188, 203 n.20, 204 n.27, 212 n.12 Clickwrap license, see shrinkwrap license Coase, Ronald 140 Cohen, Gerald 54 Collective invention, 213 n.6 Collins, Hugh 76–77 Commodification of information 8, 31, 199 n.60, Commodity exchange theory 75–76, 90 Commons 119, 122, 129, 135, 137, 145–148, 150–151, 171–172, 184, 191, 199 n.57, 216 n.18 Community for-itself 183 FOSS developers 21, 23 Compiling 195 n.16 Computer literacy 131–132 Constant capital 127 Copyleft 20–22, 34, 196 n.19, n.21, 198 n.44 Copyright law 8, 18–22, 78–79, 82–85, 94, 98, 112, 113, 143, 154, 181, 195 n.14, 196 n.19, 207 n.15, 208 n.22 Crackers 69, 98, 113, 151, 153, 155, 183, 188, 217 n.35 Creative class 51, 61, 173–174 Creative commons, see CC Cross, Gary 101 Cultural workers 82, 163–164, 192 Culture industry 57, 70, 73, 75, 85, 106, 112, 168, 173, 205 n.46 Cyber attacks 199 n.61 feminism 30, 214 n.32 libertarianism 4, 90, 216 n.27 marx 52 politics 4, 30, 48, 69 space 11, 88, 150 Cycles of struggle 176–177 Cygnus 32–34 Darknet 97 Davies, Donald 195 n.5 Debian 123 Debian-women 30 Debord, Guy 103, 211 n.9 Decompiling 195 n.16 DeCSS see DVD-Jon Deleuze, Gilles 135, 213 n.12, 215 n.34 Denial-of-service attacks 1, 193 n.3 Derrida, Jacques 57, 149, 153, 216 n.24 Desire 18, 27, 48, 105, 109, 136, 155–156, 161, 174, 185–186 Deskilling 5, 9, 45, 97, 111, 130–131, 209 n.44, 210 n.56 Desktop factory 186 Developing countries and FOSS 30, 87, 96, 210 n.54 Difference Engine 3 Digital rigths management, see DRM DRM (digital rights management) 22, 42, 91, 183, 209 n.45 DVD-Jon 87–88, 91 Edelman, Bernard 77–78, 80, 207 n.16 Edwards, Richard 89 Electro-hippies 178 Electronic Frontier Foundation 58, 208 n.21 Ellickson, Robert 217 n.30 Empire 6 Enclosure movement 71, 129, 171 Engels, Friedrich 53, 115 Enzensberger, Hans 194 n.16, 210 n.49 Excess of expenditure 49, 100, 136, 147–148, 153–155, 171, 174 Exchange value 45, 56, 103–105, 109, 144, 211 n.12 Fan media production 112–113, 127, 164, 183, 191, 212 n.20, 194 n.16 Fanning, Shawn 124–125 Felsenstein, Lee 17 Filesharing networks 4, 8, 10, 31, 73, 93–94, 113, 127, 137, 150–153, 189 Firefox 37, Fisher, William 74–75 Fixed capital 15, 27, 39, 68 Flextronics 96 Florida, Richard 51, 173–174 Fordism 59, 67, 101, 203 n.26 Formal subsumption 56, 118 FOSS (free and open source) community 5, 8, 28–29, 38, 49, 111, 125, 133, 172, 177 development model 6, 9, 24, 41, 49, 115, 121, 137, 139–140, 190 license 8, 20, 28, 40, 78, 122, 125, 190 movement 26–27, 31–32, 38, 43, 50, 116, 133, 150, 184, 195 n.17 Foucault, Michel 48, 57, 76, 80, 128, 181 Frankel, Justin 124–125 Frankfurt School 57, 160 Free and open source software, see FOSS Freenet 80, 214 n.18, Free software foundation 19, 22–23, 37, 73, 126, 179–180, 196 n.20, n.23 movement 151, 195 n.17 Free speach not free beer 32, 73, 123 French regulation school 59, 204 n.27 French revolution 1–2, 79, 159, 161, 165, 187 Friedman, Andrew 133 Frow, John 151 Gaines, Jane 207 n.20 Garnham, Nicholas 102 Gates, Bill 4 Gay, Paul du 106–107 General economy 147 intellect 60, 63, 184 public license, see GPL Giddens, Anthony 200 n.6 Gift economy 10, 54, 100, 137, 148–152 Gintis, Herbert 173 Gnome 35, GNU (GNU is not Unix) book 210 n.55 Emacs 20, 32 /Linux 4, 15, 22–24, 26, 28, 31–35, 38–39, 43–44, 47, 87, 123, 163, 183, 196 n.23, n.28 Gnutella 124–125, 153, 214 n.18 Google 41 Gopher 25 Gosling, James 20 Gouldner, Alvin 201 n.12 GPL (General public license) 19–24, 27, 31–32, 34–35, 37, 96, 129, 185, 196 n.19, n.20, n.21, 197 n.44 Gracenote 41, 199 n.57 Guattari, Felix 135, 213 n.12, 215 n.34 Habermas, Jurgen 202 n.16 Hacker manifesto 28, 30, 172 spirit 44, 108, 174, 199 n.66 Hacktivists 16, 55, 84, 178, 180, 182 Haeksen 30, 197 n.41 Halloween Documents 26 Haraway, Donna 197 n.42 Hardin, Garrett 145–146, 148 Hardt, Michael 6, 47–48, 52, 60, 194 n.18, 204 n.30 Hardware hackers 7, 17–18, 96 Harrison, Bennett 140–141 Harvey, David 95 Haug, Wolfgang 104–105 Hayes, Dennis 44 Hayles, Katherine 71–72, 203 n.22 Hearn, Francis 168, 182 Heeles, Paul 108 Hegel, G.W.F. 52–53, 56, 74, 157 Heidegger, Martin 160 Heller, Michael 148 High-tech cottage industry 139 gift economy 10, 100, 137, 150 Himanen, Pekka 100, 108, 174, 199 n.66 Hippel, Eric von 205 n.44 Hirsch, Fred 102, 171 Hobsbawm, Eric 76, 189, 193 n.6 Holloway, John 7 Homebrew computer club 17, 185 Homo ludens 165 Horkheimer, Max 65, 70, 168 Howard, Michael 114–115 Huizinga, Johan 165–167, 182 Human genome project 39, 93 Hyde, Lewis 152, IBM 5, 7, 17–19, 24, 38, 43–44, 47, 73, 92, 108, 128, 142, 194 n.15 Identification 90–93, 189 Identity 98, 110, 123, 174–177, 181 Illich, Ivan 128, Immaterial labour 52, 60–61, 71 Independent media centre (IMC) 126 Information age 8, 19, 31, 50–54, 57, 60, 108, 180, 182, 199 n.66, 202 n.19, 203 n.26 exeptionalism 69–70, 73, 132, society 50 Instrumentality 10, 49, 56, 116, 160, Intel 17, 38–39, 43, 92, 198 n.52 Intellectual property enforcement 5, 43, 83, 85, 85, 88, 94, 98, 133 regime 19, 35, 42, 65, 72–75, 80, 82–85, 111, 113–114, 119, 123, 154, 174 Internet explorer 36–37 Jacquard Joseph-Marie 1, 3 Jacquard loom, 1, 193 n.1, n.2, n.4 Jameson, Fredric 56, 64, 201 n.8, 202 n.17 Jefferson, Thomas 69, 205 n.50 Jenkins, Henry 212 n.20 Jessop, Bob 143, 216 n.14 Johansen, Jon, see DVD-Jon Johnson-Forrest Tendency 143 Kant, Immanuel 74, 161 Kautsky, Karl 53–54 KDE (K desktop environment) 35 Kenney, Martin 39, 67 Keynesianism 143, 170 King, John 114–115 Kirchheimer Otto 77 Kloppenburg, Jack 90 Kopytoff, Igor 150 Kropotkin, Peter 129 Labour contract of the outlaw 123 Laclau, Ernesto 175 Lamer 58, 153, 155 Landsat system 119 Late capitalism 56, 101, 104, 120, 168, 188, 201 n.8, 202 n.17, n.18 Lazzarato, Maurizio 60–62 Lenin, Vladimir 4, 115 Lessig, Lawrence 70, 88 Lévi-Strauss, Claude 152, 217 n.34 Levy, Steven 17 Libertarianism 18, 34, 50, 90, 182, 196 n.28, 216 n.27 Library economy 136, 151–153, 155 Liebowitz, Stan 122–123, 144, Linux, see also GNU/Linux chix 30 kernel 21, 23, 49, 193 n.7, 196 n.23 Liu, Alan 48 Locke, John 74, 78, 147, 154 Luddites 1–2, 189 Lukács, Georg 162, 178–181, 184 Lury, Celia 81 Lyotard, Jean-Francois 201 n.10 Machlup, Fritz 69, 206 n.58 Magic circle 165, 167, 190 Make-believe markets 145–146, 148, 155 Mallet, Serge 60, 204 n.29 Malinowski, Bonislaw 148 Mandel, Ernest 56, 59–60, 62–63, 184, 202 n.17, n.18, n.19 Marconi Wireless Telegraph Company 116 Marcuse, Herbert 3, 10, 116, 159–164, 182, 184 Marx, Karl 2, 4, 7, 48, 50, 53–54, 56–57, 60–61, 64, 81, 88, 101, 104, 109–111, 114–115, 118–119, 133, 139, 141, 144–145, 156–162, 173–175, 197 n.32, 201 n.12, 211 n.5, 212 n.19, 215 n.4 Maslow, Abraham 99–101, 211 n.2 Mass worker 7, 176 Maturana, Humberto 134, 136s Mauss, Marcel 148–149 McBride, Darl 31, 87 McLuhan, Marshall 58 McRobbie, Angela 108 Means of production 9, 48, 57, 81, 116, 129–130, 135, 186, 192 Mentor, the 172 Micro-capital 141 Microsoft 4, 19, 24, 26, 34, 36–39, 42–43, 63, 87, 92, 96, 144 Mill, John Stuart 69 Minitel 14 Minix 23–24 Moglen, Eben 4, 126 Mokyr, Joel 55 Moody, Glen 35, 37, 130 Moore, Fred 17 Morris-Suzuki, Tessa 63–64 Mosaic 36, 198 n.50 Mosco, Vincent, 204 n.40 Motion pictures association of america, see MPAA Mouffe, Chantal 175 Mozilla 36–37, 198 n.50 Mozilla crypto group 126 MPAA (motion pictures association of america) 42, 87–88, 199 n.58, 209 n.36 Multitude 6–7, 60, 181 Mumford, Lewis 134, 147 Naples, Nancy 200 n.77 Napster 124–125, 213 n.17 Naughton, John 12, 15 N/C technology 45–46, 131 Negri, Antonio 6–7, 47–48, 52, 56–57, 60–61, 176–177, 194 n.18, 201 n.9, n.15, 202 n.16, 204 n.31, n.33 Neo-Luddism 134 Netscape 36–38, 126 Network externalities 38, 144 firm 137, 141–142, 144 industry 27, 137 science 141, 215 n.2 society 51, 137, 142 Neuman, Franz 77 Neumann, John von 61, 63 New economy 124, 132, 144 New left 16–17, 150–151, 157, 212 n.12 Noble, David 45, 131, 206 n.59 Norton, Bruce 202 n.17 Nullsoft 125 Nupedia 128 Oekonux 5 Offe, Claus 214 n.30 Office despotism 18 Opencores project 96 Open marxism 7 Open source car 185 development labs 43 initiative 36, 38–41, 78, 180 Organised labour 27, 41, 69, 72, 95–96, 131–132, 141–142, 188, 190 Pashukanis, Evgeny 75–77, 206 n.2 Patent costs 116–118 expansion 22, 39, 83–84, 208 n.24 pools 119 Peer-to-peer filesharing networks 31, 91, 123– 125, 151 labour relations 123, 129 Perelman, Michael 86, 171 Perpetual innovation economy 64, 120 Petty commodity trader 61, 81, 159 PGP (pretty good privacy) 80 Phone phreaks 16, 96–97 Pirate sharing 69, 122–123, 183, 209 n.33, n.45 Play drive 10, 18, 49, 154, 161–162 struggle 3, 10, 156, 174, 182, 190–192 Political subject 156, 174 Poster, Mark 128 Post- fordism 8, 59–61, 67, 81, 107, 116, 133, 135, 139–140, 163, 168, 176, 183, 203 n.26, 204 n.27 industrialism 5, 51–52, 54, 56, 60–61, 71, 100, 103, 130, 137, 139 marxism 175, 177 modern capitalism, 52, 56, 61, 64, 73, 101, 104, 120, 145, 168, 175–176, 188, 216 n.20 Poulantzas, Nicos 218 n.18 Pretty good privacy, see PGP Professional worker 176 Proprietary software 9, 16, 19, 21, 24, 26–27, 33–34, 38, 41, 115, 129–130, 139, 144, 198 n.46, n.52, 200 n.71 Prosumer 106–108 Put to work 8, 48, 73, 82, 177, 184 Qt 35 Radio amateur 17, 96, 185, 191 Radio frequency identifiers, see RFID RAND (research and development) 13 Rand, Ayn 206 n.61 Raymond, Eric 25–27, 196 n.28, 197 n.29 Real subsumption 56, 118, 135 Record industry association of america, see RIAA Recuperation 49, 164, 182 Red Hat 26, 32–35, 43, 47, 68, 196 n.27, 197 n.33, n.44, 198 n.45 Refusal of work 44, 108 Rehn, Alf 217 n.35 Representation politics 66, 110, 191 Research and development, see RAND Restrictive economy, see general economy RFID (radio frequency identifiers) 92 RIAA (record industry association of america) 42, 124–125, 153, 199 n.58 Robins, Kevin 194 n.17, 209 n.44 Romanticism 2, 81–82, 159, 162–163 Ross, Andrew 46, 199 n.66 Sabotage 1, 10, 46, 111, 188, 193 n.6 Sahlins, Marshall 70 Sanger, Larry 128 Sarnoff law 66 Scarcity 70–71, 99–101, 109, 112–113, 130, 147, 155, 160, 169, 190 Schiller, Dan 71, Schiller, Friedrich 23, 10, 154, 160–163, 184 Schumpeterian competition state 143 Schumpeter, Joseph 30 SCO/Caldera 43–44, 87 Self-administrated poverty 172 Sennett, Richard 45 SETI@home 127 Sham property 141 Shiva, Vandana 209 n.45 Shrinkwrap license 21 Shy, Oz 122, 143–144 Silicon Valley 44, 180 Simputer 210 n.54 Sitecom Germany GmbH 22 Situationists 150 Smythe, Dallas 66–67 Social bandit 76, 93–94, 98, 189 division of labour 4, 77, 99, 123, 149, 158–159, 164, 174, 187–188, 192, 205 n.44, 210 n.49 factory 47–48, 56, 64, 68, 89, 177 labour 38, 56, 71 planning theory 74–75 taylorism 90, 97–98, 209 n.44 worker 7, 60, 176–177 Sony 42 Stallman, Richard 19–20, 32, 37, 73, 179, 195 n.17, 196 n.23, 200 n.71 Strahilevitz, Jacob 152–153, 217 n.33 Stefik, Mark 92 Sterling, Bruce 11, 15 Strahilevitz, Jacob 152–153, 217 n.33 Surplus labour 8, 47–48, 61, 63, 67, 211 n.5 profit business model 34, 68 value 33–34, 47, 50, 61–64, 66–68, 101, 105, 110–111, 118, 120–121, 134, 156, 202 n.16, 204 n.40, 213 n.12, Surveillance 4–5, 85, 90–91, 97, 143, 145, 189, 214 n.18, Tanenbaum, Andrew 23 Taylorism 8, 45–46, 48, 90, 115, 132 Techies 16, 18, 30, 178, 182 Technical division of labour 27, 48, 115, 123, 132, 142, 155, 199 n.68 Technicist 54, 201 n.6 Technological american party 16, 18 Technological determinism 57–58, 182 Terranova, Tiziana 68 Toffler, Alvin 51, 106 Torvalds, Linus 21–23, 26–27, 49, 193 n.7, 197 n.32 Travis, Hannibal 207 n.15 TRIPS 86, 208 n.29 Troll Tech 35 Tronti, Mario 47 Trusted computing 92, 96 Unix 14–15, 19–20, 23–24, 43, 87, 195 n.7 User centred development 9, 27, 41, 65–68, 129, 131, 133, 192, 205 n.44 community 50, 68, 111, 123 friendliness 17, 45, 90, 98 Use value 68, 71, 101–105, 109, 113, 120, 122, 129, 144, 147, 153, 155, 211 n.9, n.12 Vaneigem Raoul 212 n.21 Varela, Francisco 134, 136 Variable capital 127 Veblen, Torsten 211 n.7 Villanueva, Edgar 144 Virno, Paulo 57, 73, 172, 177 Virtual community 152–153, 217 n.30 space 90, 92–93, 95, 184, 203 n.22, 217 n.33 Volosinov, Valentin 202 n.20 Voluntarism 5, 29, 179 Voluntary labour 2, 8, 107, 129, 166 Wales, Jimmy 128 Warez 153, 183, 217 n.35 Wark, McKenzie 177 W.a.s.t.e. 125 Watt, Duncan 141–142 Watt, James 166 Watt, Richard 213 n.14 Wayner, Peter 151–152 Webster, Frank 194 n.17, 200 n.3, 201 n.7, 209 n.44 Wetware 133–135 White collar working class 48, 97, 130, 200 n.72 hat hacking 180 Whole Earth Catalog 16 Wiener, Norbert 12 Wikipedia 128–129 Williams, Raymond 58 Windows 25, 41, 43, 86–87, 123, 126, 163, 183 Winner, Langdon 16, 203 n.25 WIPO (World Intellectual Property Organisation) 18, 83, 91 Wired Magazine 18, 58, 180 Witheford, Nick-Dyer 51, 204 n.31 Wolfgang, Haug 104–105 Wolf, Naomi 105 Wood, Stephen 131 Workfare state 135, 171 World Intellectual Property Organisation, see WIPO World Trade Organisation, see WTO Worshipful Company of Stationers London 79 Wright, Steve 201 n.9 WTO (World Trade Organisation) 86, 126, 178 Yahoo 41 Young, Robert 26–27, 33, 126, 196 n.27, 198 n.46, n.52 Youth international party line 16 Zero work 49 Zizek, Slavoj 4, 175
The Global Minotaur by Yanis Varoufakis, Paul Mason
active measures, Alan Greenspan, AOL-Time Warner, banking crisis, Bear Stearns, Berlin Wall, Big bang: deregulation of the City of London, Bretton Woods, business climate, business cycle, capital controls, Carmen Reinhart, central bank independence, collapse of Lehman Brothers, collateralized debt obligation, colonial rule, corporate governance, correlation coefficient, creative destruction, credit crunch, Credit Default Swap, credit default swaps / collateralized debt obligations, debt deflation, declining real wages, deindustrialization, Easter island, endogenous growth, eurozone crisis, financial engineering, financial innovation, first-past-the-post, full employment, Glass-Steagall Act, Great Leap Forward, guns versus butter model, Hyman Minsky, industrial robot, Joseph Schumpeter, Kenneth Rogoff, Kickstarter, labour market flexibility, light touch regulation, liquidity trap, London Interbank Offered Rate, Long Term Capital Management, low interest rates, market fundamentalism, Mexican peso crisis / tequila crisis, military-industrial complex, Money creation, money market fund, mortgage debt, Myron Scholes, negative equity, new economy, Nixon triggered the end of the Bretton Woods system, Northern Rock, paper trading, Paul Samuelson, planetary scale, post-oil, price stability, quantitative easing, reserve currency, rising living standards, Ronald Reagan, special economic zone, Steve Jobs, structural adjustment programs, Suez crisis 1956, systematic trading, too big to fail, trickle-down economics, urban renewal, War on Poverty, WikiLeaks, Yom Kippur War
The valuations were nothing more than bubbles waiting to burst. And burst they did, just before the Crash of 2008. In 2007, DaimlerChrysler broke up and Daimler sold Chrysler for a sad $500 million (taking a ‘haircut’ of $35.5 billion on the price it had paid in 1998, lost interest not included). It was a similar story with AOL-Time Warner: by 2007, its Wall Street capitalization had been revised down from $350 billion to $29 billion, and the break-up left both companies reeling. On the other side of the Atlantic, in the other Anglo-Celtic economy that the Europeans had so much admired before 2008, a similar game was unfolding in the City of London.
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ABN-Amro, takeover by RBS, 119–20 ACE (aeronautic–computer–electronics) complex, 83 Acheson, Dean, 68 Adenauer, Konrad, 74 Afghanistan, proposed US invasion, 106–7 Africa: colonization, 79; investment in, 214, 218, 252, 253 agriculture, 26, 31 AIG (American Insurance Group), 150, 153, 159 Akins, James, 97 Allied Control Council, 70 America see US (United States) American Civil War, 40 Anglo-Celtic model, 12–13, 23, 117, 199 Anglo-Celtic societies, 20, 128–9 Anglo Irish Bank, 158 Angola, effect of China on, 214–15 AOL-Time Warner, 117 apartheid, in the US, 84 aporia, 1, 3–4, 25, 33, 146 Argentina: Crash of 2008, 163; currency unions, 61, 65; effect of China on, 215, 218; financial crisis, 190; trade with Asia, 215 asabiyyah (solidarity), 33–4 Asia: investment in, 191, 215; investors from, 175; reaction to the Crash of 2008, 13; surplus output, 184; US-controlled, 78 see also East Asia; South East Asia; specific countries ATMs (automated telling machines): virtual, 8, 9; Volcker on, 122 Australia: effect of China on, 214; house prices, 128, 129, 129; Reserve Bank, 160 balance, global, 22 Bank of America, 153, 157, 158 Bank of Canada, 148, 155 Bank of Denmark, 157 Bank of England: and Barings Bank, 40; and the Crash of 2008, 151, 155, 156, 158; and Northern Rock, 148; rates, 148, 159 Bank of Japan, 148, 187, 189 Bank of Sweden, 157 bankruptocracy, 164–8, 169, 191, 230, 236, 237, 250 banks: bonuses, 8; and the EFSF, 175; main principle of, 130; nationalization, 153, 154, 155, 158; Roosevelt’s regulations, 10; runs on, 148; zombie, 190–1 see also specific banks Barclays Bank, 151, 152 Barings Bank, 40 bauxite, prices, 96 Bear Stearns, 147, 151 Belgium, 75, 79, 120, 154, 196 Berlin crisis, 71 Berlin Wall, demolition, 201 Bernanke, Ben, 147, 148, 164, 230, 231, 233, 234 Big Bang, 138 bio-fuels, 163 biological weapons, 27 Black Monday, 2, 10 Blake, William, 29 BNP-Paribas, 147–8 boom to bust cycle, 35 Bradford and Bingley, 154 Brazil: Crash of 2008, 163; effect of China on, 215, 217, 218, 253; trade with Asia, 215 Bretton Woods conference, 58–61, 62, 64, 254–5 Bretton Woods system, 60, 62, 63, 67, 78, 92–3; end, 94, 95–6 Britain: Crash of 2008, 2, 159; crisis of 1847, 40; devaluing of the pound, 93; economy under Thatcher, 136–7; Global Plan, 69; gold request, 94; Gold Standard, 44; Icelandic bank nationalization, 155; labour costs, 105; Plaza Accord, 188; stance on Cyprus, 79; stance on India, 79; unemployment rate, 160 British Academy, 4, 5, 6 Buffet, Warren, 8 bureaucracies, rise of, 27 Bush, George W., 149, 156, 157 Byrnes, James, 68 capital, and the human will, 18–19 capitalism: dynamic system, 139–40; free market, 68; generation of crises, 34; global, 58, 72, 114, 115, 133; Greenspan and, 11–12; Marxism, 17–18; static system, 139; supposed cure for poverty, 41–2; surplus recycling mechanisms, 64–5 capitalists, origin of, 31 car production, 70, 103, 116, 157–8 carry trade, 189–90 Carter, Jimmy, 99, 100 CDOs (collateralized debt obligations), 141–2, 147–8, 149, 150, 153; for crops, 163; eurozone, 205; explanation, 6–9; France, 203; function, 130–2; Greece, 206 see also EFSF; Geithner–Summers Plan CDSs (credit default swaps), 149, 150, 153, 154, 176, 177 CEOs (chief executive officers), 46, 48, 49 Chamber of Commerce, British, 152 cheapness, ideology of, 124 Chiang Kai-shek, 76 Chicago Commodities Exchange, 120 Chicago Futures Exchange, 163 China: aggregate demand, 245; Crash of 2008, 156, 162; currency, 194, 213, 214, 217, 218, 252; economic development, 106–7; effects of the Crash of 2008, 3; financial support for the US, 216; global capital, 116; Global Plan, 76; growth, 92; rise and impact, 212–18, 219–20 Chrysler, 117, 159 CIA (Central Intelligence Agency), 69 Citigroup, 149, 156, 158 City of London: Anglo-Celtic model, 12; Crash of 2008, 148, 152; debt in relation to GDP, 4–5; financialization, 118–19; under Thatcher, 138; wealth of merchants, 28 civilization, 27, 29–30, 128 Clinton, Hillary, 212, 215–16 Cold War, 71, 80, 81, 86 collateralized debt obligations see CDOs commodification: resistance to, 53–4; rise of, 30, 33, 54; of seeds, 175 commodities: global, 27–8; human nature not, 53; labour as, 45, 49, 54; money as, 45, 49; prices, 96, 98, 102, 125; trading, 31, 175 common market, European, 195 communism, collapse of, 22, 107–8 complexity, and economic models, 139–40 Condorcet, Nicholas de Caritat, marquis de, 29, 32 Congress (US): bail-outs, 77, 153–4, 155; import tariff bill, 45 Connally, John, 94–5 council houses, selling off, 137, 138 Crash of 1907, 40 Crash of 1929, 38–43, 44, 181 Crash of 2008, 146–68; aftermath, 158–60; chronicle, 2007, 147–9; chronicle, 2008, 149, 151–8; credit default swaps, 150; effects, 2–3; epilogue, 164–8; explanations, 4–19; in Italy, 237; review, 160–4; in Spain, 237; warnings, 144–5 credit crunch, 149, 151 credit default swaps (CDSs), 149, 150, 153, 154, 176, 177 credit facilities, 127–8 credit rating agencies, 6–7, 8, 9, 20, 130 crises: as laboratories of the future, 28; nature of, 141; pre-1929, 40; pre-2008, 2; proneness to, 30; redemptive, 33–5, 35 currency unions, 60–1, 61–2, 65, 251 Cyprus, Britain’s role in, 69, 79 Daimler-Benz, 117 DaimlerChrysler, 117 Darling, Alistair, 159 Darwinian process, 167 Das Kapital (Marx), 49 de Gaulle, Charles, 76, 93 Debenhams, takeover of, 119 debt: and GDP, 4–5; unsecured, 128; US government, 92; US households, 161–2 see also CDOs; leverage debt–deflation cycle, 63 deficits: in the EU, 196; US budget, 22–3, 25, 112, 136, 182–3, 215–16; US trade, 22–3, 25, 111, 182–3, 196, 227 Deng Xiao Ping, 92, 212 Depressions: US 1873–8, 40; US Great Depression, 55, 58, 59, 80 deregulations, 138, 143, 170 derivatives, 120, 131–2, 174, 178 Deutschmark, 74, 96, 195, 197 Dexia, 154 distribution, and production, 30, 31, 54, 64 dollar: devaluing, 188; flooding markets, 92–3; pegging, 190; reliance on, 57, 60, 102; value of, 96, 204; zone, 62, 78, 89, 164 dotcom bubble, 2, 5 Draghi, Mario, 239 East Asia, 79, 143, 144, 194 see also Asia; specific countries East Germany, 201, 202 see also Germany Eastern Europe, 108, 198, 203 ECB (European Central Bank): aftermath of Crash of 2008, 158; bank bail-outs, 203, 204; Crash of 2008, 148, 149, 155, 156, 157; European banking crisis, 208, 209–10; Greek crisis, 207; LTRO, 238; Maastricht Treaty, 199–200; toxic theory, 15 economic models, 139–42 Economic Recovery Advisory Board (ERAB), 180, 181 Economic Report of the President (1999), 116 ECSC (European Coal and Steel Community), 74, 75–6 Edison, Thomas, 38–9 Efficient Market Hypothesis (EMH), 15 EFSF (European Financial Stability Facility), 174, 175–7, 207, 208–9 EIB (European Investment Bank), 210 Eisenhower, Dwight D., 82 Elizabeth II, Queen, 4, 5 ERAB (Economic Recovery Advisory Board), 180, 181 ERM (European Exchange Rate Mechanism), 197 EU (European Union): economies within, 196; EFSF, 174; European Financial Stability Mechanism, 174; financial support for the US, 216; origins, 73, 74, 75; SPV, 174 euro see eurozone eurobonds, toxic, 175–7 Europa myth, 201 Europe: aftermath of Crash of 2008, 162; bank bail-outs, 203–5; Crash of 2008, 2–3, 12–13, 183; end of Bretton Woods system, 95; eurozone problems, 165; Geithner–Summers Plan, 174–7; oil price rises, 98; unemployment, 164 see also specific countries European Central Bank see ECB European Coal and Steel Community (ECSC), 74, 75–6 European Commission, 157, 203, 204 European Common Market, 195 European Exchange Rate Mechanism (ERM), 197 European Financial Stability Facility (EFSF), 174, 207, 208–9 European Financial Stability Mechanism, 174, 175–7 European Investment Bank (EIB), 210 European Recovery Progam see Marshall Plan European Union see EU eurozone, 61, 62, 156, 164; crisis, 165, 174, 204, 208–9, 209–11; European banks’ exposure to, 203; formation of, 198, 202; France and, 198; Germany and, 198–201; and Greek crisis, 207 exchange rate system, Bretton Woods, 60, 63, 67 falsifiability, empirical test of, 221 Fannie Mae, 152, 166 Fed, the (Federal Reserve): aftermath of Crash of 2008, 159; Crash of 2008, 148, 149, 151, 153, 155, 156, 157; creation, 40; current problems, 164; Geithner–Summers Plan, 171–2, 173, 230; Greenspan and, 3, 10; interest rate policy, 99; sub-prime crisis, 147, 149; and toxic theory, 15 feudalism, 30, 31, 64 Fiat, 159 finance: as a pillar of industry, 31; role of, 35–8 Financial Crisis Inquiry Commission, 166 financialization, 30, 190, 222 First World War, Gold Standard suspension, 44 food: markets, 215; prices, 163 Ford, Henry, 39 formalist economic model, 139–40 Forrestal, James, 68 Fortis, 153 franc, value against dollar, 96 France: aid for banks, 157; colonialism criticized, 79; EU membership, 196; and the euro, 198; gold request, 94; Plaza Accord, 188; reindustrialization of Germany, 74; support for Dexia, 154 Freddie Mac, 152, 166 free market fundamentalism, 181, 182 French Revolution, 29 G7 group, 151 G20 group, 159, 163–4 Galbraith, John Kenneth, 73 GATT (General Agreement on Tariffs and Trade), 78 GDP (Gross Domestic Product): Britain, 4–5, 88, 158; eurozone, 199, 204; France, 88; Germany, 88, 88; Japan, 88, 88; US, 4, 72, 73, 87, 88, 88, 161; world, 88 Geithner–Summers Plan, 159, 169–83; in Europe, 174–7; results, 178–81; in the US, 169–74, 170, 230 Geithner, Timothy, 170, 173, 230 General Motors (GM), 131–2, 157–8, 160 General Theory (Keynes), 37 geopolitical power, 106–8 Germany: aftermath of the Second World War, 68, 73–4; competition with US, 98, 103; current importance, 251; and Europe, 195–8; and the eurozone, 198–201, 211; global capital, 115–16; Global Plan, 69, 70; Greek crisis, 206; house prices, 129; Marshall Plan, 73; reunification, 201–3; support for Hypo Real Estate, 155; trade surplus, 251; trade surpluses, 158 Giscard d’Estaing, Valery, 93 Glass–Steagall Act (1933), 10, 180 global balance, 22 global imbalances, 251–2 Global Plan: appraisal, 85–9; architects, 68; end of, 100–1, 182; geopolitical ideology, 79–82; Germany, 75; Marshall Plan, 74; origins, 67–71; real GDP per capita, 87; unravelling of, 90–4; US domestic policies, 82–5 global surplus recycing mechanism see GSRM global warming, 163 globalization, 12, 28, 125 GM (General Motors), 131–2, 157–8, 160 gold: prices, 96; rushes, 40; US reserves, 92–3 Gold Exchange Standard, collapse, 43–5 Goodwin, Richard, 34 Great Depression, 55, 58, 59, 80 Greece: currency, 205; debt crisis, 206–8 greed, Crash of 2008, 9–12 Greek Civil War, 71, 72, 79 Greenspan, Alan, 3, 10–11 Greenwald, Robert, 125–6 Gross Domestic Product see GDP GSRM (global surplus recycling mechanism), 62, 66, 85, 90, 109–10, 222, 223, 224, 248, 252–6 HBOS, 153, 156 Heath, Edward, 94 hedge funds, 147, 204; LTCM, 2, 13; toxic theory, 15 hedging, 120–1 history: consent as driving force, 29; Marx on, 178; as undemocratic, 28 Ho Chi Minh, 92 Holland, 79, 120, 155, 196, 204 home ownership, 12, 127–8; reposessions, 161 Homeownership Preservation Foundation, 161 Hoover, Herbert, 42–3, 44–5, 230 House Committee on Un-American Activities, 73 house prices, 12, 128–9, 129, 138; falling, 151, 152 human nature, 10, 11–12 humanity, in the workforce, 50–2, 54 Hypo Real Estate, 155 Ibn Khaldun, 33 IBRD (International Bank for Reconstruction and Development) see World Bank Iceland, 154, 155, 156, 203 ICU (International Currency Union) proposal, 60–1, 66, 90, 251 IMF (International Monetary Fund): burst bubbles, 190; cost of the credit crunch, 151; Crash of 2008, 155–6, 156, 159; demise of social services, 163; on economic growth, 159; European banking crisis, 208; G20 support for, 163–4; Greek crisis, 207; origins, 59; South East Asia, 192, 193; Third World debt crisis, 108; as a transnational institution, 253, 254 income: distribution, 64; national, 42; US national, 43 India: Britain’s stance criticized, 79; Crash of 2008, 163; suicides of farmers, 163 Indochina, and colonization, 79 Indonesia, 79, 191 industrialization: Britain, 5; Germany, 74–5; Japan, 89, 185–6; roots of, 27–8; South East Asia, 86 infinite regress, 47 interest rates: CDOs, 7; post-Global Plan, 99; prophecy paradox, 48; rises in, 107 International Bank for Reconstruction and Development (IBRD) see World Bank International Currency Union (ICU) proposal, 60–1, 66, 90, 253 International Labour Organisation, 159 International Monetary Fund see IMF Iran, Shah of, 97 Ireland: bankruptcy, 154, 156; EFSF, 175; nationalization of Anglo Irish Bank, 158 Irwin, John, 97 Japan: aftermath of the Second World War, 68–9; competition with the US, 98, 103; in decline, 186–91; end of Bretton Woods system, 95; financial support for the US, 216; global capital, 115–16; Global Plan, 69, 70, 76–8, 85–6; house prices, 129; labour costs, 105; new Marshall Plan, 77; Plaza Accord, 188; post-war, 185–91; post-war growth, 185–6; relations with the US, 187–8, 189; South East Asia, 91, 191–2; trade surpluses, 158 joblessness see unemployment Johnson, Lyndon B.: Great Society programmes, 83, 84, 92; Vietnam War, 92 JPMorgan Chase, 151, 153 keiretsu system, Japan, 186, 187, 188, 189, 191 Kennan, George, 68, 71 Kennedy, John F., New Frontier social programmes, 83, 84 Keynes, John Maynard: Bretton Woods conference, 59, 60, 62, 109; General Theory, 37; ICU proposal, 60, 66, 90, 109, 254, 255; influence on New Dealers, 81; on investment decisions, 48; on liquidity, 160–1; trade imbalances, 62–6 Keynsianism, 157 Kim Il Sung, 77 Kissinger, Henry, 94, 98, 106 Kohl, Helmut, 201 Korea, 91, 191, 192 Korean War, 77, 86 labour: as a commodity, 28; costs, 104–5, 104, 105, 106, 137; hired, 31, 45, 46, 53, 64; scarcity of, 34–5; value of, 50–2 labour markets, 12, 202 Labour Party (British), 69 labourers, 32 land: as a commodity, 28; enclosure, 64 Landesbanken, 203 Latin America: effect of China on, 215, 218; European banks’ exposure to, 203; financial crisis, 190 see also specific countries lead, prices, 96 Lebensraum, 67 Left-Right divide, 167 Lehman Brothers, 150, 152–3 leverage, 121–2 leveraging, 37 Liberal Democratic Party (Japan), 187 liberation movements, 79, 107 LIBOR (London Interbank Offered Rate), 148 liquidity traps, 157, 190 Lloyds TSB, 153, 156 loans: and CDOs, 7–8, 129–31; defaults on, 37 London School of Economics, 4, 66 Long-Term Capital Management (LTCM) hedge fund collapse, 13 LTCM (Long-Term Capital Management) hedge fund collapse, 2, 13 Luxembourg, support for Dexia, 154 Maastricht Treaty, 199–200, 202 MacArthur, Douglas, 70–1, 76, 77 machines, and humans, 50–2 Malaysia, 91, 191 Mao, Chairman, 76, 86, 91 Maresca, John, 106–7 Marjolin, Robert, 73 Marshall, George, 72 Marshall Plan, 71–4 Marx, Karl: and capitalism, 17–18, 19, 34; Das Kapital, 49; on history, 178 Marxism, 181, 182 Matrix, The (film), 50–2 MBIA, 149, 150 McCarthy, Senator Joseph, 73 mercantilism, in Germany, 251 merchant class, 27–8 Merkel, Angela, 158, 206 Merrill Lynch, 149, 153, 157 Merton, Robert, 13 Mexico: effect of China on, 214; peso crisis, 190 Middle East, oil, 69 MIE (military-industrial establishment), 82–3 migration, Crash of 2008, 3 military-industrial complex mechanism, 65, 81, 182 Ministry for International Trade and Industry (Japan), 78 Ministry of Finance (Japan), 187 Minotaur legend, 24–5, 25 Minsky, Hyman, 37 money markets, 45–6, 53, 153 moneylenders, 31, 32 mortgage backed securities (MBS) 232, 233, 234 NAFTA (North American Free Trade Agreement), 214 National Bureau of Economic Research (US), 157 National Economic Council (US), 3 national income see GDP National Security Council (US), 94 National Security Study Memorandum 200 (US), 106 nationalization: Anglo Irish Bank, 158; Bradford and Bingley, 154; Fortis, 153; Geithner–Summers Plan, 179; General Motors, 160; Icelandic banks, 154, 155; Northern Rock, 151 NATO (North Atlantic Treaty Organization), 76, 253 negative engineering, 110 negative equity 234 neoliberalism, 139, 142; and greed, 10 New Century Financial, 147 New Deal: beginnings, 45; Bretton Woods conference, 57–9; China, 76; Global Plan, 67–71, 68; Japan, 77; President Kennedy, 84; support for the Deutschmark, 74; transfer union, 65 New Dealers: corporate power, 81; criticism of European colonizers, 79 ‘new economy’, 5–6 New York stock exchange, 40, 158 Nietzsche, Friedrich, 19 Nixon, Richard, 94, 95–6 Nobel Prize for Economics, 13 North American Free Trade Agreement (NAFTA), 214 North Atlantic Treaty Organization (NATO), 76 North Korea see Korea Northern Rock, 148, 151 Obama administration, 164, 178 Obama, Barack, 158, 159, 169, 180, 230, 231 OECD (Organisation for Economic Co-operation and Development), 73 OEEC (Organisation for European Economic Co-operation), 73, 74 oil: global consumption, 160; imports, 102–3; prices, 96, 97–9 OPEC (Organization of the Petroleum Exporting Countries), 96, 97 paradox of success, 249 parallax challenge, 20–1 Paulson, Henry, 152, 154, 170 Paulson Plan, 154, 173 Penn Bank, 40 Pentagon, the, 73 Plaza Accord (1985), 188, 192, 213 Pompidou, Georges, 94, 95–6 pound sterling, devaluing, 93 poverty: capitalism as a supposed cure for, 41–2; in China, 162; reduction in the US, 84; reports on global, 125 predatory governance, 181 prey–predator dynamic, 33–5 prices, flexible, 40–1 private money, 147, 177; Geithner–Summers Plan, 178; toxic, 132–3, 136, 179 privatization, of surpluses, 29 probability, estimating, 13–14 production: cars, 70, 103, 116, 157–8; coal, 73, 75; costs, 96, 104; cuts in, 41; in Japan, 185–6; processes, 30, 31, 64; steel, 70, 75 production–distribution cycle, 54 property see real estate prophecy paradox, 46, 47, 53 psychology, mass, 14 public debt crisis, 205 quantitative easing, 164, 231–6 railway bubbles, 40 Rational Expectations Hypothesis (REH), 15–16 RBS (Royal Bank of Scotland), 6, 151, 156; takeover of ABN-Amro, 119–20 Reagan, Ronald, 10, 99, 133–5, 182–3 Real Business Cycle Theory (RBCT), 15, 16–17 real estate, bubbles, 8–9, 188, 190, 192–3 reason, deferring to expectation, 47 recession predictions, 152 recessions, US, 40, 157 recycling mechanisms, 200 regulation, of banking system, 10, 122 relabelling, 14 religion, organized, 27 renminbi (RMB), 213, 214, 217, 218, 253 rentiers, 165, 187, 188 representative agents, 140 Reserve Bank of Australia, 148 reserve currency status, 101–2 risk: capitalists and, 31; riskless, 5, 6–9, 14 Roach, Stephen, 145 Robbins, Lionel, 66 Roosevelt, Franklin D., 165; attitude towards Britain, 69; and bank regulation, 10; New Deal, 45, 58–9 Roosevelt, Theodore (‘Teddy’), 180 Royal Bank of Scotland (RBS), 6, 151, 156; takeover of ABN-Amro, 119–20 Rudd, Kevin, 212 Russia, financial crisis, 190 Saudi Arabia, oil prices, 98 Scandinavia, Gold Standard, 44 Scholes, Myron, 13 Schopenhauer, Arthur, 19 Schuman, Robert, 75 Schumpter, Joseph, 34 Second World War, 45, 55–6; aftermath, 87–8; effect on the US, 57–8 seeds, commodification of, 163 shares, in privatized companies, 137, 138 silver, prices, 96 simulated markets, 170 simulated prices, 170 Singapore, 91 single currencies, ICU, 60–1 slave trade, 28 SMEs (small and medium-sized enterprises), 186 social welfare, 12 solidarity (asabiyyah), 33–4 South East Asia, 91; financial crisis, 190, 191–5, 213; industrialization, 86, 87 South Korea see Korea sovereign debt crisis, 205 Soviet Union: Africa, 79; disintegration, 201; Marshall Plan, 72–3; Marxism, 181, 182; relations with the US, 71 SPV (Special Purpose Vehicle), 174 see also EFSF stagflation, 97 stagnation, 37 Stalin, Joseph, 72–3 steel production, in Germany, 70 Strauss-Kahn, Dominique, 60, 254, 255 Summers, Larry, 230 strikes, 40 sub-prime mortgages, 2, 5, 6, 130–1, 147, 149, 151, 166 success, paradox of, 33–5, 53 Suez Canal trauma, 69 Suharto, President of Indonesia, 97 Summers, Larry, 3, 132, 170, 173, 180 see also Geithner–Summers Plan supply and demand, 11 surpluses: under capitalism, 31–2; currency unions, 61; under feudalism, 30; generation in the EU, 196; manufacturing, 30; origin of, 26–7; privatization of, 29; recycling mechanisms, 64–5, 109–10 Sweden, Crash of 2008, 155 Sweezy, Paul, 73 Switzerland: Crash of 2008, 155; UBS, 148–9, 151 systemic failure, Crash of 2008, 17–19 Taiwan, 191, 192 Tea Party (US), 162, 230, 231, 281 technology, and globalization, 28 Thailand, 91 Thatcher, Margaret, 117–18, 136–7 Third World: Crash of 2008, 162; debt crisis, 108, 219; interest rate rises, 108; mineral wealth, 106; production of goods for Walmart, 125 tiger economies, 87 see also South East Asia Tillman Act (1907), 180 time, and economic models, 139–40 Time Warner, 117 tin, prices, 96 toxic theory, 13–17, 115, 133–9, 139–42 trade: balance of, 61, 62, 64–5; deficits (US), 111, 243; global, 27, 90; surpluses, 158 trades unions, 124, 137, 202 transfer unions, New Deal, 65 Treasury Bills (US), 7 Treaty of Rome, 237 Treaty of Versailles, 237 Treaty of Westphalia, 237 trickle-down, 115, 135 trickle-up, 135 Truman Doctrine, 71, 71–2, 77 Truman, Harry, 73 tsunami, effects of, 194 UBS, 148–9, 151 Ukraine, and the Crash of 2008, 156 UN Security Council, 253 unemployment: Britain, 160; Global Plan, 96–7; rate of, 14; US, 152, 158, 164 United States see US Unocal, 106 US economy, twin deficits, 22–3, 25 US government, and South East Asia, 192 US Mortgage Bankers Association, 161 US Supreme Court, 180 US Treasury, 153–4, 156, 157, 159; aftermath of the Crash of 2008, 160; Geithner–Summers Plan, 171–2, 173; bonds, 227 US Treasury Bills, 109 US (United States): aftermath of the Crash of 2008, 161–2; assets owned by foreign state institutions, 216; attitude towards oil price rises, 97–8; China, 213–14; corporate bond purchases, 228; as a creditor nation, 57; domestic policies during the Global Plan, 82–5; economy at present, 184; economy praised, 113–14; effects of the Crash of 2008, 2, 183; foreign-owned assets, 225; Greek Civil War, 71; labour costs, 105; Plaza Accord, 188; profit rates, 106; proposed invasion of Afghanistan, 106–7; role in the ECSC, 75; South East Asia, 192 value, costing, 50–1 VAT, reduced, 156 Venezuela, oil prices, 97 Vietnamese War, 86, 91–2 vital spaces, 192, 195, 196 Volcker, Paul: 2009 address to Wall Street, 122; demand for dollars, 102; and gold convertibility, 94; interest rate rises, 99; replaced by Greenspan, 10; warning of the Crash of 2008, 144–5; on the world economy, 22, 100–1, 139 Volcker Rule, 180–1 Wachowski, Larry and Andy, 50 wage share, 34–5 wages: British workers, 137; Japanese workers, 185; productivity, 104; prophecy paradox, 48; US workers, 124, 161 Wal-Mart: The High Cost of Low Price (documentary, Greenwald), 125–6 Wall Street: Anglo-Celtic model, 12; Crash of 2008, 11–12, 152; current importance, 251; Geithner–Summers Plan, 178; global profits, 23; misplaced confidence in, 41; private money, 136; profiting from sub-prime mortgages, 131; takeovers and mergers, 115–17, 115, 118–19; toxic theory, 15 Wallace, Harry, 72–3 Walmart, 115, 123–7, 126; current importance, 251 War of the Currents, 39 Washington Mutual, 153 weapons of mass destruction, 27 West Germany: labour costs, 105; Plaza Accord, 188 Westinghouse, George, 39 White, Harry Dexter, 59, 70, 109 Wikileaks, 212 wool, as a global commodity, 28 working class: in Britain, 136; development of, 28 working conditions, at Walmart, 124–5 World Bank, 253; origins, 59; recession prediction, 149; and South East Asia, 192 World Trade Organization, 78, 215 written word, 27 yen, value against dollar, 96, 188, 193–4 Yom Kippur War, 96 zombie banks, 190–1
The Greed Merchants: How the Investment Banks Exploited the System by Philip Augar
Alan Greenspan, Andy Kessler, AOL-Time Warner, barriers to entry, Bear Stearns, Berlin Wall, Big bang: deregulation of the City of London, Bonfire of the Vanities, business cycle, buttonwood tree, buy and hold, capital asset pricing model, Carl Icahn, commoditize, corporate governance, corporate raider, crony capitalism, cross-subsidies, deal flow, equity risk premium, financial deregulation, financial engineering, financial innovation, fixed income, Glass-Steagall Act, Gordon Gekko, high net worth, information retrieval, interest rate derivative, invisible hand, John Meriwether, junk bonds, Long Term Capital Management, low interest rates, Martin Wolf, Michael Milken, new economy, Nick Leeson, offshore financial centre, pensions crisis, proprietary trading, regulatory arbitrage, risk free rate, Sand Hill Road, shareholder value, short selling, Silicon Valley, South Sea Bubble, statistical model, systematic bias, Telecommunications Act of 1996, The Chicago School, The Predators' Ball, The Wealth of Nations by Adam Smith, transaction costs, tulip mania, value at risk, yield curve
Finance knew what was best for the economy and accordingly by paying heed to financial markets we would increase growth and prosperity.’31 And so on Millennium Eve, with the Dow up 25 per cent for the year, its ninth straight annual increase, and the NASDAQ up a towering 86 per cent for the year, it seemed good to be alive, good to be an investor and great to be an investment banker, a Master of the Universe. This time, no kidding. The Smoking Gun To begin with, the new millennium went according to plan. In January 2000 news broke of the $166 billion merger between AOL, the iconoclastic internet company, and Time Warner, the ‘old media’ blue chip. Time Warner owned stalwarts of American society such as CNN and the HBO, Time, Fortune and Sports Illustrated magazines, and the Warner Brothers studios. AOL was less than fifteen years old yet already it had 22 million subscribers. The combination excited the pundits, who thought it would create ‘a globally powerful company that combines old media power and content with new media speed’.32 The merger seemed to confirm the convergence of the new and old economies and fired up enthusiasm for internet stocks still further.
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The old economy indices, the S&P 500 and the Dow Jones, had already run out of steam in 1999 and by the end of 2001 a full scale bear market had developed. Fortunes were lost and retirement plans hastily revised. In March 2002, barely two years after the market peak, losses totalled $4 trillion. Almost 30 per cent had been wiped off the value of the stock market holdings of 100 million American investors. Events at AOL-Time Warner summed up the extraordinary change in mood. Barely twelve months after the acclaimed epoch-defining merger, the company announced incredible losses of $54 billion for the first quarter of 2002, having been forced to reassess and write down the value of its over-hyped assets.34 The lifeblood of the investment banks dried up as the bear market took hold.
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Shareholders of the buying firms saw their wealth reduced by $240 billion, representing 12 per cent of the purchase price. The wealth destruction was concentrated amongst the biggest equity-financed deals; the bigger the deal, the worse the results.30 Often there was a sharp deterioration in acquirer performance for several years after the deal is done.31 The merger of AOL and Time Warner in 2000 is a case in point. As we saw in Chapter 1, the deal was intended to create a world-class modern media company but instead led to the largest losses in corporate history. Bankers such as the legendary dealmaker Bruce Wasserstein are dismissive of the value-destroying arguments: ‘The problem with many academic studies is that they make questionable assumptions to squeeze untidy data points into a pristine statistical model.’32 But the weight of evidence from the late-twentieth-century merger wave seems to show that the handsome profits made by the selling shareholders were usually offset by subsequent losses for the acquirers.
Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age by Michael Wolff
activist fund / activist shareholder / activist investor, AOL-Time Warner, barriers to entry, Carl Icahn, commoditize, creative destruction, digital divide, disintermediation, Golden age of television, Great Leap Forward, hiring and firing, Joseph Schumpeter, Marc Andreessen, Mark Zuckerberg, Marshall McLuhan, Michael Milken, Sheryl Sandberg, Silicon Valley, SoftBank, Steve Jobs, Susan Wojcicki, telemarketer, the medium is the message, vertical integration, zero-sum game
This new breed, less focused on advertising and more focused on fees, and all out of the nascent cable industry, came to control the media business: Jeff Bewkes, CEO of Time Warner; Chase Carey, COO of 21st Century Fox; Sumner Redstone, who built Viacom; Tom Freston, who came out of MTV to run Viacom; Bob Pittman, MTV’s founder, who spearheaded the rise of AOL and its merger with Time Warner, and who now runs Clear Channel; Philippe Dauman, the current CEO of Viacom; and Ted Turner, in many ways the originator of the cable programming model with CNN and the Turner Broadcasting properties. The singular and necessary accomplishment, beyond getting a critical mass of cable companies to carry your station (for a period this resulted in a lot of ownership trade-offs—we’ll carry you, if you give us an ownership stake), was to get a share of the subscription fees.
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In other words, Moonves had reinvented broadcast television; a lagging business became a growth industry. Meanwhile, Time Warner, having spun off its own cable company—next to Comcast, the nation’s second largest—became itself an effective pure content play. (It had already jettisoned its music company; it would soon get rid of its troubled AOL division; and it would eventually spin off its magazines.) Time Warner’s essential business became its negotiation with cable operators for HBO, CNN, and the Turner channels. In a remarkable turnaround, Time Warner, which had, not long ago, nearly broken itself with a bet on a digital future, saw its cable fees rise so quickly that, in little more than half a decade following Icahn’s play for the company and his call to streamline it into a pure content play, its share price had doubled (a doubling even without cable, AOL, and publishing—all spun off to the shareholders).
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A&E Networks, 61, 65, 117 ABC, 183 Abrahamsen, Kurt, 2 Advance Communications, 116, 117 advertising: adjacency strategy of, 59 ad-skipping devices, 49, 84, 96 and audience, 63, 72–73, 87, 198–99 billboards, 77, 115 brand, 23–24, 25, 26, 49–50, 67, 182–83 buying space vs. making ads, 48, 57, 63, 87–88 classified, 69, 115 and content, 59, 63, 84, 158 CPMs, 52, 65, 66, 71–72, 73 direct mail, 55–56, 69–70, 86 direct-response, 24, 25, 26, 85, 87 display, 69 dual markets for, 80–81, 85–88 falling prices of, 33, 50, 51, 52, 70–73, 74, 78, 167 global online industry, 75–76 government regulation of, 56 low tolerance for, 83–85 market predictions for, 79 and mass media, 123 measuring effectiveness of, 71–72, 79, 84–85, 87 media, 18, 21, 52 print, 25, 54, 69–71 programmatic buying/selling, 73, 76–80 as pyramid scheme, 57–58 remnant space for, 78 response rate, 55, 56–57, 72 as revenue source, 41, 43, 48 revolution in, 69–74 sales, 40–41, 56 and sports, 181–88 television, 24, 25, 40, 70, 79–80, 83–84, 99, 115, 119, 125, 129 too much space, 76 and YouTube, 153, 154–55 Advertising Week, New York, 21 Aereo, 112 aggregation, 18–19, 50–51, 59, 66, 190, 195–96 Ailes, Roger, 119 Alibaba, 19, 20 Allen, Mel, 182 Amazon, 42, 110, 112, 142, 161, 169 Andreessen, Marc, 2, 3, 4, 39, 60, 83, 97 AOL: and Huffington Post, 12, 58 and newspaper format, 18, 33, 189 and Time Warner, 11, 117, 126, 132, 159 Apple, 101–5 Apple TV, 109, 112, 113 Arledge, Roone, 183, 187 AT&T, 135, 136 audience: and advertising, 63, 72–73, 87, 198–99 auctions for, 77 behavior patterns of, 50 building, 47, 48, 50 and carriage, 125, 184–85 cost vs. profitability of, 54 demographics of, 73, 78 downmarket vs. upmarket, 192 drive-by, 54 eyeballs of, 57, 77–78 holding the attention of, 32, 50, 67, 71, 74 identifying, 47–49 illusory nature of, 64, 73–74 manipulation of, 50 mass, 35, 76, 195 measuring and monitoring, 48–50, 57, 77 migration of, 70 monetizing, 16, 40 and pay cable, 47–48 programming focused on, 128 and scarcity premium, 72 self-selected, 78 stand-alone unbranded entities, 78–79 as traffic, 18–19, 49–53, 73, 86, 196 value of, 48, 49 you don’t own it, 53, 54 Auletta, Ken, 95–100 Bartz, Carol, 19 Bewkes, Jeffrey, 121, 126 Blockbuster, 91 Blu-ray DVD players, 110–11 books, 115, 117, 124 broadband, 109, 135, 138–41 broadcast, 108, 112, 131, 168 BSkyB, 120 bundling-unbundling-rebundling, 171–78 BuzzFeed, 12, 18, 23, 57, 58–61, 62, 66, 67, 87, 102, 189, 193–94, 195–96, 199 cable companies: and broadband, 140–41 and bundling/unbundling, 174–78 bypassing fees of, 112 and costs, 99–100, 174 declining quality of, 168 deregulation of, 127 and digital access, 133 and government bureaucracy, 139 and Internet, 125, 129, 130, 135 mean and stingy deals from, 10 and “must-carry rule,” 131 pay cable model, 47–48, 113, 127 paying content providers, 125–26, 127, 130, 133 and sports, 184–85 streaming, 99–100 and television, see television upgrades, 134, 168 Cable Television Consumer Protection and Competition Act (1992), 96, 131 Cannes Lions Festival, France, 21 Carey, Chase, 126 Carlson, Nicholas, 21–22 carriage, 125, 126, 131–32, 184–85 CBS, 97, 118, 121, 129, 130, 131, 160, 185, 198 Chiat, Jay, 101–2 Clear Channel, 116, 126 click fraud, 26, 74 CNN, 22, 32, 35, 65, 95, 126, 130, 132 Coleman, Greg, 58 Comcast, 10, 116, 120, 130, 132–36, 138, 143–44, 175, 185 Comedy Central, 3, 5, 130 computers: cloud, 108 as entertainment devices, 106 and television, 105, 108, 110, 111 comScore, 63 Condé Nast, 116, 117 consolivision, 114, 115–21 Consumer Electronics Show (CES), 83 “cool,” meanings of, 41, 63 copyright infringement, 146–49 Coupland, Douglas, 107 Couric, Katie, 21 Cue, Eddy, 103 curation, 36 Cusack, John, 2 Dacron Republican-Democrat, The, 18, 167 Dauman, Philippe, 126 Deadline Hollywood, 25 Delphi, 118 Demand Media, 52 Denton, Nick, 193–94, 196, 197 Deutsch, Donny, 2 digital convergence, 107 digital media: and advertising, 18, 21, 24, 25, 52, 70, 76, 84–85, 87, 128, 130 audience for, 16–17, 49, 54, 74, 87 and bundling/unbundling, 174–78 bureaucracies of, 19, 24, 138, 199 changed business of, 194–200 circulations strategy of, 56–57 click fraud on, 26, 74 and content producers, 189–92 as distribution deal, 104, 194, 199 efficiency of, 195 forecasts for, 25–26 functionality of, 16, 17, 41, 166, 168 image-based, 157–58 inevitability of the new, 5, 10, 12, 14, 15 life expectancy of, 194 lowered value of, 52, 81, 190 as news outlet, 33, 58 and profitability, 15, 49, 66 promotion as chief function of, 56–58 as reinvention of media business, 42, 168, 194 revenue sources of, 43 and sports, 181–88 digital media (cont.) stalled market of, 58 technology view of, 3, 11, 17, 43, 152–53, 166 traffic sought by, 14, 52, 59, 86 transitory nature of, 23, 194 unregulated, 138 and user satisfaction, 18 as video, 97–98, 109, 139, 157–59, 169 vs. traditional, 1–5, 14, 40, 190–91 as wasteland, 190 Digital Millennium Copyright Act (DMCA), 148 direct marketing, 55–56, 69–70, 86 Discovery Channel, 117 Disney, 60, 61, 102, 116, 117, 154, 185 dongle streaming device, 110, 111 dot-com crash, 65, 66, 134, 148 DoubleClick, 72 DSL, 133–34, 135 DVDs, 91–92, 111, 190 DVorkin, Lewis, 66–67 DVR, 83, 110, 146 entertainment businesses, 115, 142, 146, 168, 189–90, 192 ESPN, 95, 117, 120, 126, 127, 171, 184–85 Ethernet, 109 Everson, Carolyn, 40–41 Facebook, 86, 195 advertising on, 40–41, 161 and BuzzFeed, 59, 60, 102 News Feed, 33, 36–37, 157 rise of, 26, 117, 130–31 social strategy of, 52–53 and television, 157–62 as utility, 41, 42, 43 video on, 44, 158–62 FCC, 141–44, 174, 175 fiber optics, 135 Final Cut Pro, 62 Food Network, 21–22 Forbes, 57–58, 65–67, 161 Fox Broadcasting Company, 97 Fox Interactive Media, 20 Fox Network, 118, 120, 183, 185 Fox News Channel, 32, 35, 119 Freston, Tom, 62, 117, 126 Galloway, Scott, 99 Gannett, 116 Gawker media, 33, 193–97 generation gap, 13, 26 Godard, Jean-Luc, 31 Google, 42, 43, 52, 112 AdSense, 59 and Android, 102, 110 and digital vs. old media, 4, 40, 195 and DoubleClick, 72 income sources of, 26 and search engine wars, 15–16, 53 and sports, 181, 186 and traffic gaming, 59 and Yahoo, 16, 20 and YouTube, 1, 96, 147–49, 151–55, 158, 160 Google Chromecast, 110 Google News, 33 Greenfield, Richard, 96 Grey, Brad, 2 Guardian, The, 13 Hastings, Reed, 92–93, 98, 142, 187 HBO, 64, 95, 98, 100, 114, 117, 125, 126, 127, 130, 132, 171, 176, 177 Hearst, 61, 116, 117 Herzog, Doug, 2 Hirschhorn, Jason, 95 Hoffner, Jordon, 2 Holt, Dennis, 48 House of Cards, 94 Huffington, Arianna, 11–12, 34, 58–59 Huffington Post, The, 12, 18, 34, 58, 66, 189 Hughes, Chris, 196–97 Hulu, 5, 161 Icahn, Carl, 130, 132 information: bare minimum level of, 52 branding, 52 as currency, 32 personalized, 157, 158 real value of, 123 sources of, 52 surgical selection of, 51 too much, 35–36 transient nature of, 37 wanting to be free, 123, 124, 167, 189–90 intellectual property, 146–49, 194 Internet: bundling, 177–78 and cable, 125, 129, 130, 135 free, 123, 124, 139–41 moralistic intensity of, 191–92 “net neutrality,” 138–44 and OTT, 113 publishing, 65–66 and television, 91, 108, 111, 112, 139 two-speed, 143 and video, 26, 145, 159 Internet protocol (IP), 92, 94, 109, 110–11, 134 Jarvis, Jeff, 11 Jobs, Steve, 101–4, 105 Johansson, Scarlet, 2 journalists, technology, 10–11, 13 Kvamme, Mark, 2, 3 Kyncl, Robert, 96 Lauer, Matt, 21 Lerer, Ken, 11, 12, 58 Levinsohn, Ross, 20 licensing formats, 119–20, 126 LL Cool J, 2 Loeb, Dan, 19–20 magazines, 21, 56, 86, 104, 116 attention demands of, 71 CPMs, 52, 65, 66, 71–72, 73 production and distribution costs, 71 revenue sources, 48, 54, 115, 124 space limitations of, 72 Maker Studios, 154 Mann, Michael, 2 Martin, Laura, 175 Mayer, Marissa, 20–21 McCain, John, 174 McConaughey, Matthew, 2 McFee, Abigail, 27 McLuhan, Marshall, 107 media: advertising in, 18, 21, 52 and Apple, 101–3 audience for, 16–17, 40, 72 bundling/unbundling, 171–78 and consumer behavior, 12 content costs of, 165–67, 189 crossover executives in, 17, 20 deal-making in, 93 digital, see digital media disrupted paradigm of, 83 as entertainment, 31, 85 generation gap in, 13 hierarchical business of, 11 income sources for, 16 licensing and distribution, 104 low- vs. high-end, 85–88, 165, 187 and marketing, 64 mass, 39, 123, 195 as narrative, 31, 67 news outlets, 12, 18, 31–37 new world market for, 85 no-cost, 43 ownership trade-offs, 126–27 pirated, 146–49, 172 quest for new medium, 12 removing salesmen from, 76 and scarcity premium, 72, 76 and sports, 181–88 streaming media devices, 109–10 as television, 118, 121 traditional, value of, 4, 71 transformation of, 12–14 user-supported content, 127–28, 147–49, 190 as zero-sum game, 4, 23–24 media brand, 51 media business, 115–16 media buyer, 48 Microsoft, 16 Microsoft Xbox, 110 Milken, Michael, 11 Milner, Yuri, 43, 160 mobiles, 74, 102–3 Moonves, Les, 9–10, 12, 97, 131–32, 135–36 Morris, Kevin, 1–4 movies, 115, 123, 124, 146 MSN, 18, 33 MTV, 126, 130 Murdoch, Elisabeth, 119 Murdoch, James, 61, 119–20 Murdoch, Rupert, 103–4, 116–21 music industry, 1, 101–3, 146–47, 172, 173–74 Myspace, 20, 95, 117, 118 Napster, 146, 147 Nathanson, Michael, 25–26 NBC, 130, 132, 143, 160, 185 Netflix, 91–94, 97, 98–100, 139–40, 142–44, 155, 161, 169, 176, 177, 190 “net neutrality,” 138–44 Netscape, 39, 97 New Republic, The, 196–97 news: anchormen [-women] of, 35 as branding device, 59 declining value of, 34, 37, 168 economic triage of, 33 and elections, 59, 60 lower-cost, 32, 33, 35 media outlets for, 31–37, 58, 65 monetizing, 64 network, 35 as public good, 32 as reality, 31 repetitive, 33, 36 as storytelling, 31, 32 ubiquity of, 34 unprofitability of, 34, 35 and Vice, 63–64 News Corp, 20, 116, 117, 118 newspapers: attention demands of, 71 classified ads, 69, 115 consolidation of, 116 digital replacement of, 24–25, 167 entertainment supplements, 34 income sources of, 69, 124 local retailers publicized in, 115 nineteenth-century, 123 personalized, 33, 36–37 production and distribution costs, 71 space limitations of, 72 Web similarity to, 18, 33, 189 New Yorker, 94–100 New York magazine, 47, 48, 53, 61 New York Times, The, 12–13, 27, 35, 63, 73, 78, 165, 166 Nickelodeon, 95, 130 Nintendo Wii, 110 Oliver, John, 141 OTT (over-the-top) content venues, 84, 94, 100, 108, 109, 111–14, 130, 161, 175, 176–77 Outbrain, 53, 197 Paley, William, 160 Paramount Pictures, 2 Peretti, Jonah, 53, 58–59 pirated media, 146–49, 172 Pittman, Bob, 126 platform function, 93, 158, 161 Politico, 189 portal wars, 15 POTS (plain old telephone service), 135 programmatic buying, 73 publishing: business of, 55, 56, 115 Internet, 65–66 print, 66, 172 radio, 115, 116, 124 Redstone, Sumner, 121, 126, 147 Reilly, Kevin, 2 ReplayTV, 83 Roberts, Brian, 10 Rodman, Dennis, 64 Rogers Communications, 65 Roku, 109, 113 Rubicon Project, 75 Rutledge, Tom, 113 Saffo, Paul, 96–97 Sandberg, Sheryl, Lean In, 41 Scripps Networks, 21–22 search engine optimization (SEO), 51–53, 73 search engine wars, 15–16, 51, 53 Sears, Jay, 75–76, 80 Semel, Terry, 17 Sequoia Capital, 2 Showtime, 98, 177 60 Minutes, 64 smart phones, 105–6, 110, 111 smart TVs, 111, 113 Smith, Ben, 23 Smith, Shane, 62, 63–65 Snyder, Gabriel, 197 social media, 56–57, 62, 73, 158 Sony PlayStation, 110 Sorrell, Martin, 61, 99 South Park, 64 Spacey, Kevin, 94 sports events, 85, 181–88 Starz, 92, 93 Stewart, Adam, 2 Stone, Matt, 2, 4, 5 storytelling, 16, 31–32, 152, 190, 191, 199 Super Bowl, 23, 85 Supreme Court, U.S., 112 Swisher, Kara, 11 tablets, 103–6, 111 TCV, 61, 63 telephone companies (telcos), 135, 140–41, 177 television: advertising on, 24, 25, 40, 70, 79–80, 83–84, 99–100, 115, 119, 125, 129 anti-television views, 39–40 attention demands of, 71 as box, 107–8, 111, 113–14 broadcast, 108, 112, 132, 168 and bundling/unbundling, 173–75 cable networks, 95–96, 99–100, 109, 119, 124–25, 131–32, 139, 172, 184 comparisons with, 39, 167, 191–92, 197–98 and computers, 105, 108, 110, 111 deadwood on, 19 digital’s perceived threat to, 23, 25–27, 42–43 as distribution channel, 28, 94 entertainment, 111, 114, 190 evolution of, 190, 197–99 expanding, 94–96, 99–100, 107, 111–12, 120, 124, 132 and Facebook, 157–62 and family values, 191 free, 123 geographical organization of, 92 golden age of, 172 government regulation of, 137–38, 175 HDMI port, 110 income sources of, 24, 25, 28, 85, 93, 96, 99–100, 115, 117 and Internet, 91, 108, 111, 112, 139 licensing deals, 93, 97, 112, 126 as model, 21, 28, 58, 59, 64–65, 99–100, 114, 118, 168, 198 and Netflix, 91, 93–94 networks, 47, 64, 80, 131 pay for, 113, 124–28 prime time, 79–81, 96 profitability of, 4, 24 programming schedule, 83, 114, 128 ratings wars, 183 reality, 111–12, 191 as reborn industry, 96, 132, 191–92, 199 share price multiple, 40 smart TVs, 111, 113 and sports, 181–88 steady, old-fashioned nature of, 9–10, 24, 27 and storytelling, 16, 190, 191, 199 syndication, 96, 176 undifferentiated inventory supply, 79 value of, 85, 121, 198–99 and video, 96–97, 98, 108–9, 141–42, 145–46, 152–55, 158, 165–69 Thompson, Scott, 19 Time Inc., 159 Time Warner, 11, 61, 64–65, 116, 117, 119–21, 126, 130, 132, 159 Time Warner Cable (TWC), 120, 130, 135–36, 143, 185 TiVo, 83, 110 traffic: aggregation methods, 18–19, 50–51, 59, 66, 190, 195–96 audience as, 18–19, 49–53 exchanges of, 53 pumping, 73 traffic arbitrage, 52, 66 traffic loop aggregators, 73 transcendence, 42 transformation: inevitability of, 10, 12–13 print to digital, 65–67 as shell game, 66 Tribune, 116 True/Slant, 66–67 Turner, Ted, 126, 127 Turner Broadcasting, 117, 126, 127, 130, 132 21st Century Fox, 61, 118–21, 126 Twitter, 26, 33 unbundling, 171–78 utilities, 41–42 Verizon FiOS, 97, 135, 177 Viacom, 3, 116, 117, 118, 121, 126, 129, 130, 131, 147–49, 152 Vice, 57–58, 61–65, 67 video: ads on, 63, 158, 167 amateur (cheap), 167 and BuzzFeed.
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