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Thursday, July 5, 2012

Olympic trials, talent show give NBC ratings boost

In this April 2012 photo released by NBC, host Nick Cannon, standing, poses with judges, seated from left, Howard Stern, Sharon Osbourne and Howie Mandel from the talent competition series "America's Got Talent," during auditions in Tampa, Fla. A prime-time display of artistic and athletic talent has carried NBC to the top of the television ratings. The Nielsen company says NBC was last week's most popular network. Three editions of "America's Got Talent" on Monday, Tuesday and Wednesday, June 25-27, were the three most-watched shows. (AP Photo/NBC, Virginia Sherwood)

NEW YORK (AP) ? A combination of athletic and artistic talent carried NBC to the top of the Nielsen television ratings last week.

Three editions of "America's Got Talent" on Monday, Tuesday and Wednesday were the three most-watched programs of the week, Nielsen said. Much of NBC's schedule was filled out with U.S. Olympic trials, and they all did well compared to the mix of repeats and reality shows on competing networks.

NBC showed all eight nights of swimming competition in prime-time, its most expansive Olympic trials coverage ever. The event helped whet viewers' appetites for what NBC hopes is successful coverage of the London games, which begin July 27.

The weeks surrounding July Fourth are generally the least-watched of the year for TV networks.

NBC averaged 7.2 million viewers in prime time (4.4 rating, 8 share). CBS was second with a 5.4 million average (3.6, 6), ABC had 4.1 million (2.7, 5), Fox had 3.7 million (2.2, 4), ION Television had 1.2 million (0.8, 1) and the CW had 530,000 (0.4, 1).

Among the Spanish-language networks, Univision led with a 3.3 million average (1.8, 3), Telemundo had 1.1 million (0.6, 1), TeleFutura had 600,000 (0.3, 1), Estrella had 160,000 and Azteca 130,000 (both 0.1, 0).

NBC's "Nightly News" topped the evening newscasts with an average of 7.8 million viewers (5.3, 11). ABC's "World News" was second with 7 million (4.7, 10) and the "CBS Evening News" had 5.7 million viewers (3.8, 8).

A ratings point represents 1,147,000 households, or 1 percent of the nation's estimated 114.7 million TV homes. The share is the percentage of in-use televisions tuned to a given show.

For the week of June 25-July 1, the top 10 shows, their networks and viewerships: "America's Got Talent" (Tuesday), NBC, 11.67 million; "America's Got Talent" (Wednesday), NBC, 10.66 million; "America's Got Talent" (Monday), NBC, 10.45 million; "U.S. Olympic Trials" (Sunday, 9 p.m.), NBC, 10.02 million; "60 Minutes," CBS, 8.44 million; "NCIS," CBS, 8.0 million; "U.S. Olympic Trials" (Sunday, 8 p.m.), NBC, 7.87 million; "U.S. Olympic Trials" (Friday, 9 p.m.), NBC, 7.79 million; "The Big Bang Theory," CBS, 7.7 million; "U.S. Olympic Trials" (Wednesday, 9 p.m.), NBC, 7.09 million.

___

ABC is owned by The Walt Disney Co. CBS is owned by CBS Corp. CW is a joint venture of Warner Bros. Entertainment and CBS Corp. Fox and My Network TV are units of News Corp. NBC and Telemundo are owned by Comcast Corp. ION Television is owned by ION Media Networks. TeleFutura is a division of Univision. Azteca America is a wholly owned subsidiary of TV Azteca S.A. de C.V.

___

Online:

http://www.nielsen.com

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/4e67281c3f754d0696fbfdee0f3f1469/Article_2012-07-03-Nielsens/id-73e0c9ad2e8c4060a4a0f2400429df33

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Wednesday, July 4, 2012

George Washington: The Original One Percenter?

To the 13 families living in the Western Pennsylvania village of Venice, Gen. George Washington was an arrogant, elite Virginian who dared to claim ownership of the land where they had built log cabins, grown crops and conducted their lives for nearly 15 years.

To them, he was ?the first true 1-percenter,? local historian Clayton Kilgore said, recalling Occupy protesters? description of wealthy Americans.

Washington represented everything they despised, according to Kilgore.

?These were Scotsmen who identified with the Covenanters, those Gaelic warriors who opposed King Charles? tax policies,? he said. ?They held anything associated with government in utter contempt.? Based on the standards of that time, when great land ownership meant great wealth, Washington indeed was very rich ? quite possibly the wealthiest man in the fledgling nation.

He owned nearly 60,000 acres, spread out between Western Pennsylvania and present-day West Virginia. This particular tract contained approximately 3,000 acres given to him by the British for his French and Indian War service.

Of all things dear to him, Washington loved his youthful craft as a surveyor and its role in helping him to evolve into a gentleman landowner.

You can imagine his surprise, in the late summer of 1784, when he rode out to survey his property and found squatters permanently settled on the land.

Washington feared the domino effect they would have, explained Kilgore, who runs the David Bradford House in nearby Washington, Pa.

?He envisioned this land as critical to the new nation, with investors building roads and canals, and commerce flourishing with trade, crops and development,? Kilgore said.

Instead, he met a band of hardheaded Scots-Irish Presbyterians, led by David Reed, who had no intention of leaving his land. They had built a church, homes and lives here, and looked down their noses at this elite truant-landlord.

?He really didn?t care much for the ?rabble,?? Kilgore said. ?He thought they had no regard for his grueling time spent commanding the Revolutionary War, which kept him away from his lands, and he was right ? they thought very little of him.?

What ensued was a verbal showdown between Washington and the squatters in the gristmill that once stood in the village. Neither party would back down.

Washington offered them choices: Pay back rent, lease the property for 999 years, or leave.

They said ?no? to all three options.

So much for negotiating with those who have no claim to your property in the first place.

The situation back then really does remind one of today?s Occupy movement, Kilgore agreed. Washington was about as popular among those squatters as a modern-day Wall Street banker is among today?s Occupy crowd, he said.

Eventually, the two sides met again; the squatters agreed ? without conceding Washington?s ownership ? to buy the land from him. Yet the price Washington demanded was too steep for them; they refused to pay ? and colorfully rejected his claim of ownership.

No wonder that, years later, Washington sent 13,000 troops to quell fewer than 500 angry farmers, when this same breed of Scotsmen rebelled over a federal excise tax levied on whiskey.

Washington, by then president, ?wanted to make sure they got the message,? said Kilgore, official historian at the home built in 1762 by whiskey rebel Bradford.

Washington?s land dispute eventually went before Pennsylvania?s Supreme Court. The case dragged on for two years before he finally won.

He generously offered to allow the 13 squatter families to remain on their plantations without paying back rent, but insisted they pay going forward.

?They would have none of it? and moved on, Kilgore said.

Along state Route 980, all that is left of this confrontation is a historical marker badly in need of repair.

On that spot, an enterprising Virginia gentleman-general foresaw all the potential of this country on its Western frontier, not far from the rivers that converge into the mighty Ohio, and fought to keep what rightfully was his.

Source: http://www.newsmax.com/Newsfront/washington-founding-fathers-fourth/2012/07/04/id/444411

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10 Interactive Theater Productions That Rethink The Stage (PHOTOS)

Live performance is a medium unlike any other. It may not be able to compete with the heavily funded computerized special effects of films, or the ever-continuing storylines of television shows -- theater is live. No play will ever be performed the same way twice.

To us here at HuffPost Culture, there's something magical about the aliveness of each performance. It is exhilarating to watch a story unfold before your eyes at a moment in time that both audience member and character exist in together.

That?s why when a production breaks the fourth wall -- immersing audience members fully and completely in the world of the play -- there are no limits. The world has seen an influx of these types of plays recently -- take the throngs of people who have flocked to the wildly popular "Sleep No More," covering NYC in a sea of white masks. But Punchdrunk?s "Sleep No More" isn?t the first, nor the last site-specific interactive performance piece.

In 2003, Deborah Warner?s interactive performance, "The Angel Project" was staged throughout Manhattan and opened the Lincoln Center Festival. Later this month, the cult show/ride "You Me Bum Bum Train," a one-on-one theater experience, opens for its second run in London.

Take a look through the slideshow below for other experimental works that break the fourth wall. All of the plays featured are bold, jarring, and immerse the audience in the landscape of the show. And feel free to let us know what we missed in the comments.

Katrina

'<a href="http://www.guardian.co.uk/stage/2009/aug/30/katrina-new-orleans-play" target="_hplink">Katrina</a>' is a play written by <a href="http://www.jonathanholmes.net/" target="_hplink">British playwright Jonathan Holmes</a> which premiered in London in 2009. The play centered around the devastation of Hurricane Katrina and was set in an abandoned warehouse on the Thames river. The warehouse was made to "feel" like New Orleans both before and after the catastrophe. Audience members were ushered throughout the many floors of the warehouse, with each floor encompassing a different setting. <a href="http://www.guardian.co.uk/stage/2009/aug/30/katrina-new-orleans-play" target="_hplink">As the playwright remarked in an interview </a>, "With Katrina, it is the scale of the thing that is so difficult to appreciate, so it's important to give a precise and evocative account of what it means when this happens to a big western city."
You Once Said Yes

'<a href="http://www.roundhouse.org.uk/whats-on/productions/you-once-said-yes" target="_hplink">You Once Said Yes</a>,' is a British play that places the audience member in the center of the action. The production is from the <a href="http://lookleftlookright.com/site/" target="_hplink">Look Left Look Right company</a> and is written by Morgan Lloyd Malcolm and Katie Lyons. The action takes place over a sprawl of blocks in Camden and begins as follows: audience members arrive to the neighborhood and are brought in to a storage capsule where they are given a backpack filled with items to use during the play. Then the audience member is told one direction, "Turn right." <a href="http://artsbeat.blogs.nytimes.com/2012/06/28/london-theater-journal-meeting-the-faces-in-the-crowd/" target="_hplink">As a New York Times reviewer notes</a>, the play is "designed to be a hopeful experience, which asks you to value the benefits of keeping your mind and eyes open."
Sleep No More

'<a href="http://sleepnomorenyc.com/" target="_hplink">Sleep No More</a>' is crafted by the ingenious site specific theatre company <a href="http://www.punchdrunk.org.uk/" target="_hplink">Punchdrunk</a>. The production, which is currently running in Manhattan, is set over three sprawling floors of an abandoned warehouse on West 27th Street. 'Sleep No More' is an adaptation of 'Macbeth' that contains no dialogue but a lot of dance and movement. Think 'Macbeth' crossed with Stanley Kubrick and Alfred Hitchcock. Audience members are encouraged to follow characters of their choosing throughout the three floors, encountering various scenes as they wander.
Kidnap - Blast Theory

In 1998,<a href="http://www.blasttheory.co.uk/bt/index.php" target="_hplink"> Blast Theory</a>, a British theatre company launched a lottery in which the winners had a chance to be kidnapped in a performance piece. Two people were taken prisoner for 48 hours while they were filmed in a locked room for a live broadcast online.
'You Me Bum Bum Train' Reactions

'<a href="http://bumbumtrain.co.uk/" target="_hplink">You Me Bum Bum Train</a>' is an experimental piece of one-on-one theatre. It was created by Kate Bond and Morgan Lloyd in the UK and features a cast of about 200 actors. The creators prefer that the piece be thought of as a ride and less of a show. Wheelchairs transport audience members who are staggered individually through a maze of rooms, each with its own setting. At one point you might be an American football coaching your team to victory, next you're a musician about to jump into the arms of adoring fans. As a <a href="http://www.nytimes.com/2010/07/28/theater/28bumbum.html" target="_hplink">reviewer in the New York Times notes, "though you may be at the center of things, you are never in control.</a>"
Unfinished Dream

Iranian theater maker <a href="http://www.liftfestival.com/blog_entry/1109/news/news/hamid_pourazari_in_residence" target="_hplink">Hamid Pourazari </a>brings his incredibly bold style to the <a href="http://www.liftfestival.com/" target="_hplink">Lift Festival in London</a> this summer. His play, '<a href="http://www.liftfestival.com/content/12709/lift_2012/lift_2012_shows/unfinished_dream/unfinished_dream" target="_hplink">Unfinished Dream</a>,' commissioned by Lift, is a collaboration with <a href="http://www.perpanata.co.uk/" target="_hplink">Perpanata Theatre Company</a> and follows refugees and local residents in London's Croydon neighborhood. Through "<a href="http://www.liftfestival.com/content/12709/lift_2012/lift_2012_shows/unfinished_dream/unfinished_dream" target="_hplink">poetic storytelling and inventive promenade performance, Hamid will reveal some of the hidden and moving stories of refugees whose lives are currently in limbo.</a>" The majority of the play takes place in a parking lot in Croydon.
The Tenant - Woodshed Collective

'<a href="http://www.woodshedcollective.com/productions/the-tenant/" target="_hplink">The Tenant</a>' was put on by the <a href="http://www.woodshedcollective.com/" target="_hplink">Woodshed Collective</a> last summer in New York City. The company performed a 1964 novella by Roland Topor that was staged in an abandoned West-Park Presbyterian church. Woodshed used all five floors of the building for their production and audience members were encouraged to follow one set of characters throughout the building or bounce around individually from floor to floor.
The Angel Project

'<a href="http://theater.nytimes.com/mem/theater/treview.html?res=9406e0de133df933a25754c0a9659c8b63" target="_hplink">The Angel Project,</a>' directed by <a href="http://www.guardian.co.uk/culture/2011/jun/13/deborah-warner-director" target="_hplink">Deborah Warner</a> is a walking tour of New York City and was the opening event for the Lincoln Center Festival's 2003 season. <a href="http://theater.nytimes.com/mem/theater/treview.html?res=9406e0de133df933a25754c0a9659c8b63" target="_hplink">A New York Times review of the production lays it out as follows</a>, "A solitary trip, via foot and subway, that takes you from Roosevelt Island into often seedy buildings in Midtown Manhattan, with your only company a guidebook that quotes 'Paradise Lost'." The production is reminiscent of a <a href="http://www.fionatempleton.org/you-the city.htm" target="_hplink">1988 play by Fiona Templeton</a> that also takes place in New York City for an audience of one in which the audience member meets a series of individuals, all who claim to know something about "you."
Houseworks - Theatre Rites

<a href="http://www.theatre-rites.co.uk/index.php/archive/site-specific-shows/houseworks" target="_hplink">'Houseworks'</a> was commissioned by the London International Festival in 1996 for <a href="http://www.liftfestival.com/" target="_hplink">Out of Lift</a>. This site-specific and immersive production is particularly unique because it is designed for children under the age of 5, but anyone of any age group would be struck by the sheer creativity of the production. Set in an old house in Brixton England, each room of the house represents a different world. An old puppet woman greets audience members into the home and then small groups are guided throughout the home--encountering puppets, performers and installations. For example, in the upside down room all the furniture hangs from the ceiling; in the string room hundreds of pieces of string hang from the ceiling, and in the blue room a little man dives into the magical 'ocean' and swims amongst the audience members.
66 Minutes in Damascus

Lebanese filmmaker and theater director <a href="http://lucienb.wix.com/lucien-bourjeily" target="_hplink">Lucien Bourjeily</a> brings his newest work, '<a href="http://www.liftfestival.com/content/12706/lift_2012/lift_2012_shows/66_minutes_in_damascus/66_minutes_in_damascus" target="_hplink">66 Minutes in Damascus</a>' to the <a href="http://www.liftfestival.com/content_category/1128/lift_2012" target="_hplink">LIFT festival in London</a> this summer. In the play the audience, doubling as tourists, are arrested by the Syrian secret service.

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Source: http://www.huffingtonpost.com/2012/07/03/interactive-theater_n_1643115.html

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IMF urges Germany to spur domestic demand

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Source: http://news.yahoo.com/imf-urges-germany-spur-domestic-demand-130907340--finance.html

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Achieve Olympic feet with barefoot running

ScienceDaily (July 2, 2012) ? Olympic runners could run more economically by just taking off their trainers, say researchers at Northumbria University.

In new research, Dr Michael Wilkinson found that when runners who always wear shoes run barefoot they immediately alter their gait to that characteristic of habitual barefoot runners, and also use less oxygen during barefoot running compared to running with shoes at the same speed. This indicates greater running economy which is an important determinant of distance running performance, especially in elite runners.

Habitual barefoot runners have a distinctive running gait -- using mid-foot landings, shorter stride lengths, faster stride rates, and less time in contact with the ground. They are also known to hit the ground with lower impact force and loading rates than runners who land on the rear foot in trainers. This cushions the force of landing, avoiding the discomfort associated with striking the ground heel-first common in runners who wear shoes.

In the study, a mix of 18 recreational and highly trained runners participated in a six-minute moderate running task both barefoot and in shoes on separate days. During the runs, oxygen uptake was measured to assess energy expenditure and gait was analyzed using digitalized video footage.

The runners reduced their stride length and ground contact time, increased their stride rate and, on average, used less oxygen during barefoot compared to shod running at the same speed, indicating greater economy. The 6% improvement in economy was the same as that previously reported after a nine-week training program for shoe-wearing runners, who also enjoyed a 3% improvement in running performance.

The results suggest that, by ditching their trainers, athletes new to barefoot running adopt a running style similar to experienced barefoot runners and enjoy an immediate and likely beneficial increase in running economy.

Dr Wilkinson is an expert in the physiology of exercise and a barefoot runner for more than six years, completing the Great North Run barefoot in 2011. He said: "There's a difference between shod and barefoot running gaits that comes about from feeling the ground. The sensory feedback when running barefoot encourages runners to put their feet down more gently in an attempt to avoid the impact forces that would cause discomfort and are also linked to injury.

"We saw a significant saving in energy from taking off running shoes. There were also mechanical differences in the foot strike pattern, with those who usually strike the ground with their heel first when they run with shoes, altering their pattern and striking the ground with the more cushioned mid-foot instead when barefoot."

Previous studies have found that populations who habitually run barefoot report a low prevalence of lower-limb injury, suggesting that plantar-sensory feedback (being able to feel the nature of the terrain and adjust the force your feet apply to the ground) plays an important role in safe running.

Dr Wilkinson and his colleague Phil Hayes will disseminate their research and the science behind barefoot running benefits to athletic groups in the North East this month.

Dr Wilkinson added: "Running barefoot is a hot topic in both running and scientific communities at present. High profile scientific studies have been popularized by the media reporting potential benefits of running barefoot for injury reduction and performance improvement.

"However, there is much misinformation being broadcast on the internet and in running magazines about barefoot running, little of which is based on current evidence from scientific investigations.

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The above story is reprinted from materials provided by Northumbria University, via AlphaGalileo.

Note: Materials may be edited for content and length. For further information, please contact the source cited above.

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Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

Source: http://www.sciencedaily.com/releases/2012/07/120702133246.htm

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