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650-316 exam Dumps Source : SP Video phase II - Media Satellite and(R) Broadcast

Test Code : 650-316
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Vendor designation : Cisco
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Cisco Cisco SP Video Phase

Cisco's suitable provider issuer Exec Jumps Ship | killexams.com existent Questions and Pass4sure dumps

Yvette Kanouff, the head of Cisco's provider company enterprise, announced to the commerce Wednesday that she is leaving to start her "third career chapter."

In an interior message to personnel acquired through mild analyzing about her departure, Kanouff, the SVP and GM of Cisco methods Inc. (Nasdaq: CSCO)'s service provider company, illustrious that she's secured a board seat at a yet-unnamed commerce and may headquarters of attention on emerging applied sciences.

"My next phase, which I even believe been thinking for years, is about being able to acquire an believe an repercussion on on boards and nurturing original industries and applied sciences," she wrote. "I delivery my first board seat this month, and that i believe a random to drudgery with many startups and agencies. it is definitely a bit horrifying to acquire such a big trade, however is highly enjoyable."

Yvette Kanouff

Yvette Kanouff

Cisco mentioned Jonathan Davidson, SVP and GM of its carrier provider Networking unit, will lead Cisco's SP company going ahead. "We prize Yvette's leadership of their carrier provider enterprise over the past 4 years and wish her total the foremost as she starts off a brand original chapter," the company observed in an announcement.

Kanouff's movement comes about three months after the company inked a deal to sell its video software company, including what was a allotment of its $5 billion acquisition of NDS, to inner most equity solid Permira . She is additionally relocating on amid ongoing struggles at Cisco's provider company section, which was down four% in Cisco's fiscal Q1. (See Cisco Dumps Video application Biz, Ends NDS age and Cisco Bets $5B greater on Video With NDS.)

That seize supervision of Permira, headquartered on Cisco's provider issuer Video utility solutions company, is slated to close later this month, and Kanouff is anticipated to remain on to scrutinize that deal via. Permira, which in the past held a majority stake in NDS and counts former NDS Chairman and CEO Dr. Abe Peled as an advisor, plans to rebrand the commerce and headquarters of attention on developing and launching original video items for the pay-television trade.

Kanouff has been requested for particulars on her original board seat (gentle reading will supersede the tale if that information comes to gentle).

Kanouff recently spoke to mild studying to talk about how network automation concepts can relent bottom-line commerce consequences (See Cisco's Yvette Kanouff: How They net true outcomes From community Automation.)

Kanouff joined Cisco in 2014 as SVP and GM of its SP Video utility and options group, and became named to her remaining slot at Cisco in March 2016.

She is additionally late of Cablevision techniques (now a allotment of Altice united states of america ) and turned into an extended-time exec at video utility commerce and VoD tech company SeaChange international Inc. (Nasdaq: SEAC), the set she ultimately rose to become president.

Kanouff turned into additionally a key participant at Time Warner Cable's expertise division, and became a allotment of the group that worked on the entire service community, an formidable (and expensive) chore that pioneered and validated an early amalgam of interactive services, together with VoD and on-reveal, online browsing and media-rich tv interfaces. (See Now it really is a group-right!)

— Jeff Baumgartner, Senior Editor, light reading


Automating the community in a Multicloud World | killexams.com existent Questions and Pass4sure dumps

Jared Headley, Senior Director of Cloud systems and features

Authored through Jared Headley, Senior Director of Cloud systems and services 

Twenty-5 years ago, the throe in my wrists was unbearable.  i was spending 10-12 hours a day creating shows concerning the OSI model and the energy of a multiprotocol network (yeah, I’m historical).  After touring a physician and physical therapist i used to exist told the surreptitious to preventing the throe become to find out how to juggle.  basically? Juggling would remedy my issues?

speedy ahead 25 years later and here they are at a painful inflection aspect in the industry and that i hear the very question normally: how am i able to juggle total of this?  they believe three complicated balls flying round and many are starting to sensation – will they acquire this total drudgery confiscate and drudgery collectively?

The three balls? Multicloud, SD-WAN, and Automation. A simultaneous headline in Forbes titled “Cloud Computing, as soon as loved For Its Simplicity, Is Now a posh Beast” aspects to the combat many are having with a posh multicloud world.  additionally, as valued clientele are trying to find multicloud answers, they're additionally dealing with the largest transformation of the WAN years: SD-WAN.  A fresh TechTarget article elements to the intersection of multicloud and SD-WAN requirements “SD-WAN connectivity requirements for a multi-cloud world”.  at last, because the complexity grows, the requisite for automation – genuine mannequin-driven automation of community materials and IT functions – is essential to satisfy the agility and exceptional necessities of a digital pecuniary system.

So how attain they efficiently juggle these three balls?

First, tame the Multicloud world.  these days they introduced availability of their Cisco Hybrid Cloud Platform for Google Cloud.  This solution bridges the silos that divide IT operations and software developers by way of enabling customers to power commerce innovation and net probably the most from their current legacy software investments and cloud-native tools.

2d, unleash SD-WAN.  IT teams are turning to SD-WAN for a extra elastic and less difficult to control WAN architecture that can address the dynamic demands of the cloud. on the very time, it's taking the possibility to exercise web connectivity to lower WAN costs and optimize the person experience.

Third, automate the network.  currently I bought an e-mail the set a major Tier 1 carrier provider outlined probably the most theatrical consequences of their newest section of automation the exercise of Cisco network features Orchestrator (NSO).  The rollout changed configurations that used to seize days (now and again even weeks) down to minutes.  The automation device handles lots of of thousands of requests a day and supports over 1,000 different service configurations.

Let Cisco support you learn how to juggle through this inflection factor.  you can meet the team on the SDN NFV World Congress October 9-eleven in the Hague Netherlands to learn extra about Cisco’s solutions for automating the network for SD-WAN and multicloud.

by the way, the ache from 25 years in the past? In a bethink of a yoke of weeks I realized how to juggle and fortunately i can snarl that ache has never returned.


Cisco : Sky original Zealand Advances Multiscreen tv Experiences With Cisco eternal Video Platform | killexams.com existent Questions and Pass4sure dumps

AMSTERDAM, THE NETHERLANDS--(Marketwired - Sep 14, 2017) - IBC - Cisco (NASDAQ: CSCO)

Sky original Zealand, a frontrunner in the original Zealand payTV market, is reworking its Pay television operations with the Cisco® countless Video Platform. Taking its amusement provider to original degrees, Sky will interject multiscreen tv experiences if you want to compass its original Zealand subscribers by way of their phones, capsules and internet connected set-exact containers/receivers.

On the horizon is the introduction of a Hybrid PVR retort with Kaon Hybrid DVR set-accurate bins and Video-on-Demand over IP, extending to iOS and Android very own purchaser gadgets. This will exist the starting of a multi-part expertise transformation assignment that enables Sky to utilize cloud applied sciences for the community operations and video start side, as neatly as the client side with original capabilities fancy multiscreen Cloud DVR.

"the brand original Zealand Pay television market is witnessing loads of different avid gamers introducing multiscreen and OTT functions, whereas a huge inhabitants continues to exist gazing tv by way of satellite tv for pc dishes," said Julian Wheeler, chief items & technology officer, Sky original Zealand. "With their existing leadership position, Sky is uniquely located to carry these two segments collectively and present a seamless event that brings the best of the published & IP world, and takes the tv event to an entire original degree. Cisco's cloud-based SaaS birth mannequin combining broadcast and IP provided us the velocity they mandatory to net original features to market."

"whereas the majority of the top class video these days is over broadcast networks, the world is total of a sudden touching towards a brand original commonplace, where the future of video can exist the IP network," referred to Conrad Clemson, senior vice president and frequent manager, service issuer systems and functions, Cisco. "With the endless Video Platform, their vision is to acquire IP video apt and exceed broadcast satisfactory and reliability. Sky joins a turning out to exist international neighborhood of customers who are touching along with this imaginative and prescient."

Cisco is pile the simplified, automated, and virtualized network platform of the long sprint in response to industry-leading application, programs, silicon, and capabilities. This allows for service suppliers and media and web agencies global to reduce expenses, velocity time to market, succor comfortable their networks, and sustain ecocnomic increase.

helping resources

  • About Sky original Zealand
  • Cisco limitless Video Platform
  • For Cisco information and activities at IBC, commemorate us on Twitter @CiscoSPVideo #CiscoIBC and our SP 360 weblog
  • comply with us on their LinkedIn page
  • RSS feed for Cisco: http://newsroom.cisco.com/rss-feeds

    About Sky original ZealandSky network tv constrained (branded as SKY) is the biggest satellite Pay tv provider in original Zealand. The commerce main carrier is capable of achieving television Viewers throughout original Zealand from Cape Reinga to the Bluff. exist taught extra at www.sky.co.nz

    About CiscoCisco (NASDAQ: CSCO) is the global technology leader that has been making the cyber web drudgery on the grounds that 1984. Their americans, items, and partners aid society securely combine and seize the next day's digital random today. determine greater at newsroom.cisco.com and commemorate us on Twitter at @Cisco.

    Cisco and the Cisco logo are logos or registered logos of Cisco and/or its affiliates in the U.S. and other international locations. a list of Cisco's logos can too exist establish at www.cisco.com/go/logos. Third-birthday party trademarks outlined are the property of their respective owners. using the word companion doesn't imply a partnership relationship between Cisco and some other business.


    650-316 SP Video phase II - Media Satellite and(R) Broadcast

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    photo of PDF display Photo: Randi Silberman; Inset: Discovery Channel Playing Soon: The broadcast of video programs to PDAs and cellphones may exist one original service to exercise the communications spectrum made available by the termination of analog TV broadcasting.

    The cessation of analog television is at hand. Pundits believe predicted the death of analog before, but such forecasts were couched in caveats. Now governments are setting solid dates and planning for life after analog, when vast amounts of bandwidth will become available for original uses and the broadcast TV scene will change.

    Around the world, governments believe begun the analog shutdown, and it will accelerate rapidly during the next five years. In Germany, Berlin killed off analog in 2003, Munich did it this year [see photo, “Getting Ready”], and the leisure of the nation is scheduled to result suit by 2010. In the United States, Congress likely will legislate January 2009 as the shutoff date. The end-of-analog date in France is 2010. In Japan, it’s 2011. The United Kingdom, which turned off analog broadcasts in one Welsh community this year as an experiment, is slated to phase out analog completely by the cessation of 2012.

    After analog television is phased out, digital over-the-air transmission will exist the only game in town for those receiving free TV signals through antennas.

    If television comes to you by cable or satellite, you won’t notice a thing. Satellite television is already digital, and so is much of cable. But eventually you will harvest diverse rewards that you might not even connect to changes in TV broadcasting: better cellphone reception, opportunities to download video to your cellphone [see illustration, “Playing Soon”], and mobile broadband Internet. And, in the United States, you might notice a modest submerge in the federal budget deficit when the government sells off 108 megahertz of the antique analog broadcast spectrum for as much as US $50 billion, by some estimates.

    If you attain confidence on broadcast television, you’ll notice the changes even sooner. The first one might exist a wee painful: you’ll requisite a original TV set or, at minimum, a original tuner costing at least $100 [see sidebar, “Countdown to the End”]. With a original high-definition set, you’ll notice a titanic improvement in the TV picture. Most digital programming is broadcast in HD, which brings the crisp, circumstantial images so prized by sports fans (who are determined never to lose sight of the ball or puck) and feared by news anchors (who know that viewers can notice every bit of makeup they plaster on). Along with those sharp pictures comes digital gird sound—if you add the speakers.

    In some countries, mainly in Europe, broadcasters believe no plans for terrestrial broadcast of high-definition television. Nevertheless, digital broadcasting should bring other potential benefits. Some broadcasters may route out multiple standard-definition channels, perhaps “narrowcasting” shows to niche audiences or providing supplementary material, such as an interactive experience, with regular shows.

    In any massive technology change, particularly one with so much money at stake, there are winners and losers. I’ll net to those. But first, to understand why this enormously valuable allotment of the spectrum will soon exist up for grabs in an unprecedented high-tech rush, they believe to recede back to the late 1990s.

    The United States was the first country to broadcast digital TV, in 1998, and its mechanism was basically followed by other countries in their own systems. So the U.S. experience is illustrative.

    In the late 1990s, the Federal Communications Commission (FCC) loaned each TV broadcaster a second channel in the existing broadcast bands, 54 through 806 MHz. Interspersed among the broadcast channels are some spectrum gaps that minimize interference between them. To further minimize interference, the FCC skipped sure channels in a geographic region; for example, if channel 4 is assigned in one metropolitan area, the nearest channel 3 broadcaster is in a different metropolitan area. The skipped channels are known as taboo channels.

    Each channel occupies 6 MHz, and that hasn’t changed. Rather, because digital transmission is less interfering and too less matter to interference, and because digital channels operate at lower power levels than their analog counterparts, the FCC assigned second channels into analog taboo channels. The FCC deemed the modest extend in the overall plane of interference acceptable during the transition.

    At the time of the bandwidth loan, Congress set year-end 2006 as the date when analog service would officially cease and the extra channels would exist “returned.” At that point, the digital channels, with their low interference characteristics, could exist repacked into less bandwidth—a swath between 54 and 698 MHz. The roam would free 108 MHz of spectrum—the upper cessation of the UHF band, or TV channels 52 to 69—for other uses. To set the potential value of that 108 MHz in perspective, note that the entire AM radio spectrum is less than 1.2 MHz. total local zone networks using IEEE 802.11b and 802.11g, the most common forms of Wi-Fi, occupy just 83.5 MHz. Congress looked forward to a lucrative spectrum auction to succor poise the federal budget.

    The 2006 date, however, came with a caveat: on a market-by-market basis, at least 85 percent of households would believe to own at least one television that could receive digital signals.

    It has been pellucid for months that the 85 percent criterion will not exist met next year, so the U.S. scheme will exist delayed [see sidebar, “Countdown to the End”]. But for how long? Now, many of the affected players—consumer electronics and computer manufacturers, along with communications and other companies interested in using the recaptured spectrum—do not want a “soft date.” Instead, they believe been agitating for a arduous one, with no further random of delay.

    Although Congress has yet to pass legislation to set such a date, both the House of Representatives and the Senate seemed in late summer 2005 to exist converging on 1 January 2009.

    Shortly before any arduous date, the band rush will begin. Congress, fervent for the money, is pushing the FCC to start the auctions as soon as possible. The Congressional Budget Office is advising that the auctions exist delayed until after other, unrelated spectrum auctions are completed. Spreading them out will obviate a sudden glut of bandwidth, thus optimizing returns. Auction winners would require a year or two to gather the money they’d requisite to invest in developing their newly acquired spectrum segments. So for them, if bandwidth is to become available at the cessation of 2008, auctions in late 2006 or early 2007 would exist ideal.

    “Beachfront Spectrum” is what analysts are calling that soon-to-be-auctioned upper 108 MHz, because it is example for cellular services. Signals at those frequencies propagate farther and penetrate buildings better than signals in today’s cellular bands, which recede up to 1.9 gigahertz. Best of all, cellphone system operators hope infrastructure costs to exist reduced by 90 percent, because fewer cells will exist required, given the longer distances signals will travel.

    Thanks to such advantages, the cellular phone companies are likely to compete arduous for this valuable bandwidth. Exactly what they would attain with it is a closely guarded secret, at least until winning bidders are selected. Nevertheless, it’s not arduous to imagine the winners launching third-generation services, including mobile video and wide-band Internet access, which would enable cellphone users to receive video programming and e-mail on the run.

    The FCC’s huge menu of allowable uses for the original frequencies identifies “[f]lexible fixed, mobile, and broadcast uses, including mobile and other digital original broadcast operations; fixed and mobile wireless commercial services, as well as fixed and mobile wireless uses for private, internal radio needs. Could too comprise two-way interactive, cellular, and mobile television broadcasting services.”

    Perhaps the best early indicators of what will befall with the freed-up bandwidth are recent events in Berlin—the first city to whirl off analog television—and in the United States, where a yoke of preemptive auctions gave developers access to segments of spectrum on the condition that they not interfere with broadcasters quiet using them.

    The “Berlin Switch” is an intriguing novelty. It was possible because the region affected is relatively small, with 1.8 million households in the TV market, and because an overwhelming number of those households—all but 160 000—subscribe to cable or satellite television. Nonsubscribers each coughed up at least $200 to buy a set-top converter, and for less than $1 million, the government subsidized the purchase for families on welfare.

    What the switch gave Berliners, mainly, was an extend in the number of broadcast stations—from 12 to 27. Multiplexing allows four digital channels to apt in the space previously allotted to a sole analog channel. (This excludes HD broadcasts, because they require more bandwidth.) The switch too gave the government 35 MHz to use—or sell—for original services.

    With more channels, viewers of broadcast television in Berlin believe access to niche programming and channels previously available only to cable or satellite subscribers. Programming now includes Eurosport; Arte, with know-how movies, documentaries, poetry, and theater; Phoenix, with political news; Viva II, with pop culture for people in their 20s; and several original local channels.

    In the United States, in 2001 and 2002, the FCC auctioned off four wee slices of spectrum totaling 6 MHz in the 746- to 806-MHz range, the upper 700-MHz band, that had been allocated as “guard bands.” Along with the birthright to exercise the spectrum came tight rules to minimize interference with public-safety services. This RF existent estate is intended for the rental market: the buyers will act as landlords, leasing the spectrum to third parties. The FCC packaged the spectrum in two pieces for 52 market areas, creating 104 licenses, which were auctioned for $540 million. The top three winners were Access Spectrum, Nextel, and Pegasus Communications.

    Access Spectrum LLC, in Bethesda, Md., winner of 21 licenses, announced at the time that it had begun negotiating rental agreements. In addition, Access, formed in 2000, is likely to build private wireless networks for businesses in some of its bands.

    Plans of the other winners are murkier. Nextel is using its 40 licenses as bargaining chips and recently agreed to recur them to the FCC as allotment of a deal involving interference reduction in the 800-MHz band. Pegasus won 34 of the 104 licenses but has been secretive about its plans. The largest independent provider of the DirecTV satellite service, Pegasus is having pecuniary problems, and some of its subsidiaries filed Chapter 11 bankruptcies in 2004.

    Then, in 2002 and 2003, the FCC auctioned off 18 MHz between 698 and 746 MHz, which covers three UHF channels, 54, 55, and 59. Again the spectrum was packaged into geographical pieces, both to exist attractive to buyers and to maximize returns. Channel 55 was sold in six regional chunks, while 54 and 59 were sold as a pair in 734 markets. Altogether the sales brought the U.S. government $145 million.

    Qualcomm Inc., of San Diego, won the auction for the spectrum previously occupied by channel 55 in five of the six auctions. It then bought the rights for the sixth region from Aloha Partners LP, of Providence, R.I. Aloha was formed to provide wireless broadband service and has been a titanic player in the auctions so far.

    Qualcomm intends to exercise its spectrum to route video and audio programming to cellphones, PDAs, and other portable devices nationwide. It hasn’t announced what it intends to broadcast, but the content could comprise hit TV shows, clips of sporting events, and movie trailers. The company calls its service MediaFLO (“Media” plus “Forward Link Only”). Qualcomm plans to store video in the handsets to supplement video streamed live; that way, it hopes to liquidate the dropouts endemic to cellphone reception. If a voice signal drops out temporarily, you can just say, “What?” Video signal dropouts, however, occasions annoying freezes, jerks, or blanks in the picture, and would dishearten users.

    Qualcomm is developing MediaFLO as a way to promote CDMA cellphone technology, which it pioneered. CDMA is winning out over the TDMA standard (popular in the United States) and is emerging as a tough competitor to GSM (popular in Europe). Today, CDMA is used in 35 countries, including the United States and South Korea. Qualcomm plans to integrate MediaFLO into its chip sets and to present the service through partnerships with cellphone operators. It may eventually spin it off as a sunder company.

    Technology alternatives to MediaFLO are available and could exist used for competing services in spectrum bands yet to exist auctioned. One case is a variant of the Digital Video Broadcasting standard widely adopted in Australia, Europe, India, and elsewhere. The variant, called DVB-H, provides TV broadcasts to handheld devices and, fancy MediaFLO, is being used in the 700-MHz band. In South Korea, yet another standard for TV broadcasting to handhelds is being deployed—Terrestrial Digital Multimedia Broadcasting, or T-DMB—and it may emerge as a competitor in the United States.

    Have you ever establish yourself on a train, in a park, or at a ball game wishing you could pay a bill you’d forgotten about, or route a quick message, or download a tune stuck in your mind? According to Aloha, there are enough people who want to exist “always on” to support a nationwide mobile broadband Internet service. The company, which resold its channel 55 spectrum to Qualcomm, was the titanic victor in the 54/59 channel-pair auctions. Aloha won 125 out of the 734 regional auctions and increased its holdings by buying the other two titanic winners. Aloha claims it now has spectrum in 244 of the 734 licensed markets, covering 175 million potential customers, including 100 percent coverage in the nation’s 10 largest markets and 84 percent coverage in the top 40 markets.

    Though not revealing which technologies it will deploy, Aloha did announce ultimate year that it would launch a 2005 market affliction of mobile broadband Internet access using Flash-OFDM (orthogonal frequency-division multiplexing). Developed by Flarion Technologies Inc., in Bedminster, N.J., Flash-OFDM is a spread-spectrum technology that uses the Internet Protocol. Signals jump quickly from frequency to frequency within a given channel in a seemingly random pattern generated by an algorithm. The resulting signal causes minimal interference with those in the very and neighboring channels and is itself not easily interfered with. Different foundation stations exercise different hopping patterns, further reducing interference and allowing the bandwidth to exist used efficiently. The FCC recently granted Aloha license to sprint a market test in Tucson, Ariz., presumably of Flash-OFDM.

    Two auctions held so far accounted for just 24 MHz of the 108 MHz that will eventually exist sold. Of the 84 MHz remaining, in 1997 the FCC reserved 24 MHz for public-safety communications, such as police and fire services—those located at four of today’s UHF TV channels, 63, 64, 68, and 69. Since the 9/11 attacks on the United States, Congress has been paying a lot of attention to the public-safety communications plan, originally with wee fanfare. In fact, congressional eagerness to reallocate the swath of spectrum is the main impetus behind a drive to set a solid date for the transition to digital television. The save Lives Act of 2005, introduced in the Senate in June, calls for expediting the reassignment of the spectrum for public-safety purposes and requires spectrum to exist taken back from broadcasters by 1 January 2009.

    Although Congress is driving the agenda to free portions of spectrum for public-safety use, local governments will elect how they will exist used. Metropolitan-area governments, for example, would fancy to alleviate the congestion that plagues existing emergency services. They are concerned with voice and text transmission, already in use, and are looking to add wideband transmission of images. On-the-scene images can succor emergency responders and their dispatchers. With broadband access to stored records, fire or police teams could review pile plans and blueprints.

    After the auctions held so far and the allocation for emergency services, 60 MHz of the bandwidth to exist vacated by analog television remains to exist sold [see illustration, “The FCC Auction Plan”]. This section, consisting of channels 52, 53, 56 to 58, 60 to 62, and 65 to 67, is slated to exist divided into five blocks. Four of the five will exist channel pairs: 52 and 57, 53 and 58, a pair of 5-MHz channels in 60 and 65, and a pair of 10-MHz channels in 61 to 62 and 66 to 67. Channel pairs can best exist used for services that require the very capacity in each direction, fancy today’s cellphone services.

    The fifth obstruct will consist of today’s channel 56, which is better suited for one-way transmission, such as broadcasting to cellphones. It could too exist used for services that can utilize an existing cellphone channel as the recur path—for example, video on demand, in which your request is phoned in and then the material is sent to your cellphone over the broadband channel. The FCC plans to present the blocks in six regional areas, making it simpler for well-funded companies planning to roll out national services to assemble bandwidth.

    img 

    Illustration: Bryan Christie

    The sale of the five blocks will complete the reallocation. The oft-quoted $50 billion valuation for the 108 MHz may exist too high, given that the first 24 MHz sold netted $685 million and that the 24-MHz public-safety spectrum won’t exist sold at all. The $50 billion number comes from a May 2004 evaluate by the original America Foundation, a Washington, D.C.­based public policy institute, citing FCC and other data. On the other hand, it is possible that the chunks of spectrum auctioned in the first two rounds went cheap because buyers didn’t know when they would actually net them.

    If a solid date is set and the auctions for the remaining spectrum sections are held not too far ahead of that date, the auctions of the remaining 60 MHz could bring the total raised up to $30 billion. Congress is expected to require that a portion of those proceeds, probably less than $5 billion, exist used to fund subsidies to succor low-income families transfigure their analog TV sets to digital.

    Whenever so much money and infrastructure are at stake, there are inevitably winners and losers. The companies bringing in the bids at the auctions appear initially to exist winners, but some of their ventures are bound to fail.

    Manufacturers will exist huge winners. original services and technologies necessitate original equipment. Sales of televisions, studio gear, and other consumer and professional rig are already growing. quiet to Come are commerce opportunities opened by original mobile services.

    Broadcasters should exist winners. By upgrading their technological backbones, they believe improved their attribute of service and now believe the flexibility to pursue original opportunities such as narrowcasting to niche markets. However, while broadcasters believe invested heavily in the digital transition, they believe not yet fully exploited digital’s advantages of higher-definition pictures and original services.

    Broadcasters believe two strategic advantages over cable and satellite providers. For one, local broadcast stations know their markets in a way no national programmer can. For another, broadcast television is wireless and eminently portable; viewers don’t believe to plug into the cable network or to a carefully aligned satellite dish. They don’t even believe to find wee sweltering spots, since receivers pick up broadcast signals almost anywhere. But broadcasters are only now starting to exercise HDTV in their local programming, primarily for news. And U.S. digital service does not support mobile service to vehicles and pedestrians with handheld devices. It is telling that reassigned broadcast spectrum is being used to present mobile video services that broadcasters themselves are unable to support. Nor is this now a priority for them.

    Political leaders might exist losers, if they are perceived as forcing unwanted change and expense on the public. And if the transition is disruptive, they will exist blamed. But overall, governments should exist titanic winners. When the transition is completed, governments will believe served their constituencies well by shifting broadcast television to a superior, more elastic service and by reallocating vacated broadcast spectrum to other useful services.

    In the short term, some consumers, particularly the least well-off, will exist losers. They will notice blank, snowy screens on their antenna-fed analog TVs when analog service is terminated. To continue receiving programming, they will requisite to buy and install digital conversion set-top boxes or switch to cable or satellite service. Either way, it’s going to cost them.

    In the end, though, consumers will exist winners, with original and improved services available. They will believe access to HDTV’s remarkable pictures, accompanied by surround-sound audio. They will believe uniformly high-quality reception anywhere in a broadcast area, and additional services will comprise some within traditional broadcast channels but even more coming in the auctioned broadcast spectrum.

    Robert M. Rast (IEEE Senior Member) is industry liaison for Micronas Semiconductors Holding AG and chairman of the board of the Advanced Television Systems Committee, an international standards-setting body. In the 1990s, he was generic Instrument Corp.’s digital HDTV advocate, and in 1993 he became one of the leaders of the newly formed Digital HDTV imposing Alliance.


    Transcript: "Rebels" | killexams.com existent questions and Pass4sure dumps

    Transcript: "Rebels"

    Narrator: Baghdad... January 16th, 1991.

    Reporter: .... fire coming up there in the air, flashes going off.

    CNN Headquarters Manager: Don't you hear air down there? Don't you hear what's on the air, folks?

    Narrator: This was the flash that CNN founder Ted Turner had been waiting for.

    Ted Turner: I've been an innovative thinker, okay, I mean, I thought of CNN.

    Bernard Shaw, CNN Anchor: The skies over Baghdad believe been illuminated.

    Narrator: His rivals had once called his brainchild "Chicken Noodle News"; but at the start of the Gulf War, the entire world was watching CNN, the first 24-hour TV news network.

    CNN Headquarters Manager: I know, but this is where it's happening!

    Porter Bibb, Biographer: Ted Turner and CNN set the viewer in the middle of history, as it was unfolding, and that was revolutionary.

    Ken Auletta, Turner Biographer: You speculate the CIA had more information than CNN did? Of course not.

    Reporter in Baghdad: That came down fairly near their hotel...

    Robert Goldberg, Turner Biographer: [When] Ted Turner [started] CNN ... it timorous the crap out of the people who were working with him.

    CNN Headquarters Manager: net the French on the air!

    Ted Turner: If you've got an innovative idea, and the majority does not pooh-pooh your idea, then you must not believe a very trustworthy idea.

    Russell Simmons: Now to the press conference.

    Narrator: No one had believed in Russell Simmons's concept either. But he ended up with a multi-million empire in hip hop fashion, comedy and poetry...He even produced an acclaimed expose on Broadway....

    Def Poetry Jam, Opening Night on Broadway, November 2002

    Def Poetry Jam Poet: ...it was poetry, but now they convoke it rap.

    Narrator: And it total started when he unleashed a controversial original kind of music in America, rap.

    DMX: Bring it. What? They birthright here...

    Russell Simmons: Sometimes they talk about rap and how people don't fancy to hear what the rappers are saying. That's God's soundtrack.

    Alex Ogg: If you're wondering why so many white kids are impersonating black culture ... it's total to attain with the way that Russell Simmons has marketed the phenomenon which is hip hop.

    DMX: Here they recede again...

    Sir Harold Evans, Author, "They Made America": Russell Simmons produced the browning of America, in the sense that a culture which was born in the ghetto became universal.

    Narrator: Russell Simmons and Ted Turner brought the world closer together.

    Russell Simmons: Give me a minute, alright?

    Narrator: You may not know their stories, but they made America.

    Ted Turner: For awhile, it's gonna exist out of control.

    Russell Simmons: Thank you, uh, thank you total for being here.

    Control elbowroom Director: total right, stand by twenty-three, xxx on three...Ted Turner (arriving at Atlanta Press Club): trustworthy evening.Control Room: Dissolve, total right...

    CNN Announcer: CNN's complete coverage of today's...

    Control elbowroom Director: 40 seconds...Houston, you're clear.

    Ted Turner (Atlanta Press Club speech): I couldn't believe done any of this without a lot of help....

    Control Room: Roll C...

    Ted Turner: They total did it together.

    Audience: Applause.

    Control Room: 30 seconds...

    Robert Goldberg: Ted Turner's innovation was 24-hour news...(and) what that means is that...you can watch history live.

    Control elbowroom Director: We're coming back.

    CNN Announcer: We're live in Baghdad...

    Robert Goldberg: You can watch history as it's happening. ... So they attend to scrutinize back, and they say, 'Well, obviously, CNN was going to exist a titanic success.' But in fact, when it was started, there was no indication at total that it was going to exist a success, and in fact, they were teetering on the edge.

    Ted Turner: I lived for ten years, during that time, I lived in my office on a foldout bed.

    Harold Evans: One of Ted Turner's remarkable qualities: He makes us excited about everything he does. He's not a man in a grey flannel suit.

    Ken Auletta, Turner Biographer: When he was working his 24-hour days, I mean, he was driven by a crave to net it right. And allotment of his drive in life is to prove to his father that he's worthy.

    Robert Goldberg: Ted's father was a billboard magnate. He had a billboard company...He was expanding and doing better and better and he did this one titanic deal where he bought out generic Outdoor Advertising. And this was his titanic break. Ted was incredibly excited. His father originally was very excited but soon started to net scared. He was worried that he was overextended. He was worried that this entire empire would Come crashing down. [So]...It was the morning of March 5, 1963, and Ted Turner's father went downstairs, and he had a titanic plenary breakfast. Then he went upstairs, took out his revolver, the very revolver he had taught Ted to shoot with, and he killed himself.

    Porter Bibb: When Ted's father killed himself that was the ultimate blow to Ted Turner who could never, ever net his father's approval that he had spent his life, up to that point, seeking.

    Robert Goldberg: Ted's father did it in a way to leave his family -- each of them as millionaires. Ted wasn't interested in being a millionaire. He could believe taken the money, he could believe gone off to exist a millionaire on the Riviera, but instead he says, 'No, I want to seize this company. I want to expose my father, I want to expose everybody I can attain this.'

    Ken Auletta: allotment of his mission in his life is to prove to his father that his father was wrong. And in fact, once he looked up at the heavens, and said, 'Dad, are you satisfied now?'

    Ted Turner: I used to explain people, when I was in my 20s, that I wanted to net to the top, and I wanted to net there in a hurry, not even knowing where the top was.

    Go ahead and eat your cereal.

    Narrator: Everyone thought Ted Turner was too inexperienced to seize over his dad's billboard company.

    Ted Turner: Well, hustle it up, Chago.

    Narrator: But he made money. And in 1970, he splurged on a rundown, money-losing UHF station in Atlanta.

    Ted Turner: They changed the convoke letters to WTCG, and then later to WTBS, for Turner Broadcasting System. But WTCG was 'Watch This Channel Grow."

    Robert Goldberg: When Ted buys WTCG, it's a TV station that's....hemorrhaging hundreds of thousands of dollars a month.

    Bill Tush: trustworthy morning. Hope you're doing OK this morning. Morning, Tina.

    Robert Goldberg: There was a FCC requirement to set news on. Instead of putting existent news on [Turner] had set on jest news.

    Bill Tush: Ronald Reagan hopes to beat... [laughs]

    Narrator: To succor fill his programming schedule, Turner bought his hometown losing baseball team -- the Atlanta Braves -- and broadcast their "away" games. Many saw the roam as a foolhardy gamble, but Turner loved cheering the underdog players.

    Ted Turner: Wayne. what attain you speculate of this team.

    Wayne: I fancy every one of them.

    Ted Turner: Come notice the big-league team with little-league spirit. And hey, we're in Atlanta.

    Barney: sure hope the bug don't net down in my larynx.

    Robert Goldberg: While everybody else might believe been doing grave shows or news shows, Ted Turner was rerunning, because it was cheap, 'Gilligan's Island' and 'Leave it to Beaver'

    Skipper: Gilligan!

    Gilligan: Oh, I gotta go.

    Porter Bibb: Ted sold advertisers on the concept that your commercials in color will stand out on their station because everybody else is running color programs and color commercials. But we're running black and white programs. [laughs] And your color commercials will jump out of the set.

    Ted Turner: Well, when are they ready?

    Narrator: Turner's strategies worked. But soon after his station was in the black, he went into debt again, in a bet-the-company move: Before it was a sure thing, Turner wager on cable.

    Music video singer: He was cable, when cable wasn't cool.

    Narrator: Turner wanted his local UHF station to exist one of the first national stations offered by the fledging cable industry, which was wiring the country to provide better reception than shows broadcast through the air.

    Ted Turner: Heck, total I did was jump the gun.

    Music video singer: Cable wasn't cool.

    Narrator: But Turner needed an efficient way to route his signal to cable companies sprinkled throughout the United States.

    Ken Auletta: And he said...you know, this bird just went up in 1976, and that's a satellite. And that satellite, what if they hooked up to that satellite?...Bingo -- innovation.

    Music video singer: How can anybody start a network, down were the cotton grows?

    Narrator: Turner borrowed money to buy a dish that would beam his Atlanta TV signal 22,000 miles above the earth, bounce it off a rented transponder on a satellite over North America, and beam the signal back down to receiving dishes owned by the country's cable operators.

    Ted Turner: By being a Superstation, I can exist super.

    Narrator: The networks tried to net Congress to cease him. But Turner went on a rampage about the network monopoly and beat them.

    Music video singer: It really is incredible how he second-guessed those jerks.

    Ted Turner: The only incompatibility between us and WCBS is that their antenna is 22,000 miles up in the sky instead of 2,000 feet.

    Music video singer: He sends out programs day and night, bouncing off his satellite.

    Ted Turner: I must exist doing something right.

    Music video singer: Cable now is cool.

    Narrator: In the summer of 1977, Turner was taking on the established networks. And with a second-hand boat and a youthful crew, he was taking on the refined yachting establishment in the prestigious America's Cup race.

    Porter Bibb: [Ted Turner] was definitely not chop of the very cloth of the other members of the original York Yacht Club. He was a loud, obnoxious... and sacrilegious in his language.

    Narrator: Turner cherished the role of outsider; he thrived on being the underdog.

    Ted Turner: Don't over trim it fancy that. You gotta ease out.

    Narrator: By now, it was a confidential role to him.

    Harold Evans: When he first began to pick up his father's billboard business, the advice was, 'Don't attain it, you'll recede broke. You can't attain it, you don't believe enough experience.' When he buys UHF, they said, 'Don't go, it will cost you total this money.'...'Don't attain the Superstation, they can't afford a -- '

    Ted Turner: It's total over, baby. They won!

    Harold Evans: Every sole time he went out on a limb....it was actually fancy a springboard and diving for Ted Turner, and he came down and made a faultless dive.

    Narrator: Turner was on a winning streak -- nasty news for his employees. It usually was a token that he was growing antsy and about to wager the company on a original venture.

    Robert Goldberg: Ted Turner loves to believe his back against the wall. ...And if his back isn't against the wall, he'll recede out of his way to find a wall to set his back up against.

    Narrator: In 1979, Turner backed himself against a wall that would acquire or smash him.

    Ted Turner: This industry is out of control. It's fancy a train...

    Narrator: At an annual cable meeting, he announced that he would net an entirely original satellite channel up and running in just one year. It would sprint only news, 24 hours a day, and it would exist called Cable news Network, or CNN.

    Reese Schonfeld, Founding President, CNN: He said, 'There are only four things that television can do. They can attain this regular entertainment programming, and the networks believe got that. They can attain sports, and ESPN's got that. They can attain movies, HBO has that. total we've got left is news, so what the hell, I'll attain news.'

    Ted Turner: The industry ought to say, "Stop."

    NARRATOR: Twenty-four-hour news was Turner's craziest concept yet. The established networks lost money producing just one news expose a day.

    Reese Schonfeld: In the days when the networks were everything, you had to watch your news between 7 and 7:30...22 minutes of news...a entire network psychology, philosophy, which said, 'Look, news is a public service. They don't attain this to acquire money. ...'

    Ted Turner: I believe the advertising companies coming to me and asking me, "Whose gonna acquire it?'

    Ken Auletta: So what does Ted Turner do... 'wait a second, he decides, these networks, they believe a half-hour, an appointment at night for a newscast. What if I had 24 hours of news?' Bingo. CNN. Innovation.

    Narrator: Turner went to the original York Times to pitch his original idea.

    Robert Goldberg: They were asking them, 'So what's going to exist so remarkable about this CNN?' And Ted said, 'Look, it's going to exist live. It's going to exist live total the time.

    Reese Schonfeld: One of the deputy editors turned to me...and said, 'Aren't you with live total the time...gonna wind up covering a lot of one-alarm fires?' And I said, 'Until it's over, you never know whether it was a one-alarm fire or the fire that burned down Chicago.

    Narrator: Turner needed $30 million dollars for start-up costs, and another 2 million per month in operating expenses. He started selling assets -- and he was counting on cable fees and advertising to generate income for CNN...that is, if the industry ever shared his faith in the zany idea.

    Harold Evans: It was a universal reaction that Ted Turner would recede bust, he was wasting his time, people didn't want 24-hour news, what were they playing at.

    Robert Goldberg: Ted Turner starts CNN without -- with very few commitments from the cable industry and really not much in the way of financing. He doesn't really believe banks behind him, he doesn't believe money behind him. So it's total kind of a wing and a prayer, and frankly, it timorous the crap out of the people who were working with him.

    Ted Turner: If you've got an innovative idea, and the majority does not pooh-pooh your idea, then you must not believe a very trustworthy idea. It's not enough of a breakthrough to acquire that kind of a difference. It didn't bother me at all. It did not bother me at all. In fact, I considered it -- I said, I must really exist on to something.

    Narrator: Now, with weeks to recede before launch, the staff was assembling for rehearsals. There were fervent newcomers -- and TV veterans looking for one ultimate romance, one ultimate recede around in arduous news.

    Bernard Shaw: Roone Arledge and I had negotiated a original shrink at ABC News, the country was in double-digit inflation, their children were about this high, and here I was thinking about going to drudgery for a network that didn't exist.

    Narrator: In the desiccate runs, just days before the launch date, the CNN staff quiet couldn't bear news for two hours in a row, much less 24.

    Ted Kavanau, CNN: The rehearsals were a nightmare...people would convoke for things that weren't ready, the tapes weren't there, the scripts were not completed.

    Reese Schonfeld: They started giving me a valium in my orange juice in the morning. But I didn't know anything about it. After a week she stopped, because it wasn't making any difference.

    Bernard Shaw: Those demands, says Reagan, are rejected are totally unacceptable.

    Bernard Shaw: I wanted to twit the traditional networks. Those people at ABC, CBS, and NBC who said, this will not work, they are inept.... I wanted to combine Ted, along with the other men and women at CNN, to prove those bastards wrong.

    Narrator: On June 1, 1980, ready or not, CNN was scheduled to commence broadcast. Turner threw an opening day party.

    Robert Goldberg: I speculate what I loved about that opening day is that it was so imposing and so rinky dink at the very time.

    Speaker: ...and only cable television could give the consumer the choice.

    Robert Goldberg: It was a network that was kind of fancy its owner, Ted Turner. It was a wee ragged around the edges, but with grand, global ambition.

    Ted Turner: You'll notice out in front of me that we've raised three flags -- one, the flag of the United Nations -- because they hope that the Cable news Network will bring a better understanding of how people from different nations live and drudgery together.

    Ken Auletta: Turner wanted to shrink the world. He wanted Americans to understand the world, and not exist isolationist, not exist comfortable in their wee cocoons.

    Ted Turner [opening day speech continues...]: I dedicate the news channel for America: The Cable news Network.

    Ted Turner: You know, it was a existent trustworthy plan. It was scheme to conquer the world, but with ideas, not with weapons.

    David Walker: trustworthy evening, I'm David Walker.

    Lois Hart: And I'm Lois Hart. Now here's the news. President Carter has arrived...

    Narrator: Inside, CNN started its very first broadcast with wee fanfare. If Turner had it his way, it would continue from this flash until the cessation of time -- that is, if his staff could survive the first few months.

    Narrator: Turner had launched CNN during a presidential election year, just six weeks before the Republican Convention. The major networks, which would try to bar CNN from the White House press pool, total laughed at Turner's unprepared reporters.

    Bernard Shaw: Can you button your jacket? There's a lot of white there.

    Sandy Kenyon: I'm Sandy Kenyon and I'm the writer-producer here in the booth with Bernie Shaw. These are their convention facilities. Over here...

    Sandy Kenyon: The booth that CNN had rented for this convention was about the size of a big bathroom. And it was totally open, and it was above the band. So that when the band played, they had to chop to a commercial.

    Reese Schonfeld At the time their greatest critic was Roone Arledge, who ran ABC News. ABC called us "chicken noodle news," and they used to say, 'Cockle doodle do," when the crew would appear.

    Narrator: For his part, Turner was doing everything he could financially to preserve his original network afloat.

    Reese Schonfeld: They attain every stunt they can. The cable systems that carry us, they give them a discount, a big discount if they'll pay in advance. Ted's got sweltering dog money coming in from the concessions at the Braves stadium. He makes the very deal with the concessionaire.

    Daniel Schorr: Can you just tug back a second.

    Elizabeth Dole: Okay, sure.

    Bernard Shaw: [Ted Turner] knew they were working slavish hours. He knew they were underpaid.

    Daniel Schorr: Okay, tug the plug out there.

    Bernard Shaw: And it was his trying to maintain the team spirit and say, 'Hang in there. I'm losing millions of dollars. I'm depending on you,' and that was one of the attractions.

    Cameraperson: Are they gonna attain an interview?

    Jim Miklaszewski: Yeah, we're gonna attain an interview?

    Narrator: With its on-air glitches, it was simple for the experts to discharge the all-news network. But CNN was just getting started.

    Jim Miklaszewski: attain you want me to roam anywhere?

    Narrator: And only three months after launch, Ted's Chicken Noodle Network had something to crow about -- when Turner's gamble to cover live stories paid off in a wee town in Arkansas.

    Jim Miklaszewski: This is as close as the military will allow us to net to this Titan II missile silo sight installation just outside of Damascus, Arkansas. A Titan II missile had exploded in its silo and spit its warhead several hundred yards out onto the ground. And the Air compel officials had told the mayor of Damascus there was no warhead on the premises. Is there a warhead on the sight?

    Air compel official: I cannot authenticate or gainsay it.

    Jim Miklaszewski: They set the camera in the cherry picker bucket. And as the cherry picker rose up, you could notice now over the trucks. And you could notice this headquarters of activity around what they later establish out was the actual warhead. scrutinize at that, scrutinize at that tank...that's what I asked you...in the crane. Can you notice that picture? They gotta recede live, NOW. This is it, baby.

    Robert Goldberg: That's a flash where total of a sudden news is no longer something that's reported at the cessation of the day. news is something that's happening birthright now.

    Jim Miklaszewski: They're going to camouflage it. They are going to camouflage it in just a second.

    SOT: They gotta recede now.

    Reese Schonfeld : By the end, the L.A. Times correspondent said he scholarly more about the tale sitting in his hotel elbowroom and watching CNN, then he scholarly from being on the scene.

    Ted Turner: net a picture with him -- that would be...

    Narrator: CNN's exploits with the Titan II missile had another keen observer -- Cuba's Communist leader Fidel Castro, who was reviled by the U.S. government. In a roam that drew criticism, Turner accepted an invitation to recede to Cuba.

    Ted Turner: So he was watching CNN. He had heard about it, and effectively obtained a satellite dish, and the signal, the United States signal spilled into Cuba, so he was able to pick it up. And he thought it was just terrific, well, for the tremendous hospitality you believe shown us and the wonderful time.

    Ken Auletta: Ted Turner was a very conservative guy. So, the thought that he would one day consort with Fidel was just totally alien.

    Fidel Castro (through interpreter): Though they receive the news, they don't pay for it. I myself don't know how much money they owe the CNN.

    Ted Turner: I speculate he was the first Communist I ever met, and, but grave one, anyway. And he certainly was the first dictator I ever met. I didn't know any dictators.

    Narrator: Turner's trip was a revelation to him. When he saw the repercussion that CNN had on Castro, Turner was fervent to expand more quickly the coverage and availability of CNN total around the globe. But he'd requisite the cooperation of odd governments suspicious of the American press.

    Ted Turner: When I came up with the concept of going international, there was tremendous resistance total over the world by broadcasters and governments to having an American news organization just Come into their country, that they had no control over, and they were really concerned that we'd effectively Come up with a pro-American agenda, anti-whatever...

    Correspondent 1: ...being abducted and set on that aircraft. But he said, 'At the cessation of the day, Haiti is the first ever black independent state'...

    Ted Turner : So I said, "I'm going to create a two-hour program every Sunday afternoon that will seize news stories unedited from any broadcaster in the world that wants to route them in, I will sprint them unedited."

    Correspondent 1: Around 500 demonstrators marched towards the gates of....

    Correspondent 3: ... the most tense situation in Columbia for the ultimate 10 years...

    Ted Turner: I had a meeting of my top executives. ...And they said, "Oh, there's no way you can attain that." I said, "Why not?" They said, "We'll net -- Khadafi will route in a tale about Libya's birthright and we're wrong. And Castro will exist sending in stories from Cuba that say, "Down with the United States."

    Correspondent 1: ...Geneva has lost one hundred and fifty-five men with six hundred...

    Ken Auletta: It was controversial because you are not putative to whirl 'space' over to the people you're reporting on. Turner basically is turning over a half hour of a time to a government.

    Ted Turner: Every year they had a World Report conference where they brought them total into Atlanta, set them up in the hotel for a week. And they had Russians, they had -- that's how they met the Iraqis. The Iraqis came to the World Report Conference. And when, later they let us remain in Baghdad when everybody else had to leave, because they knew us, they were friends. They were friends with everybody.

    Correspondent: OK, now they are seeing more anti-aircraft fire ...

    Robert Goldberg: There's this flash when CNN comes of age, and, and it's actually a very precise moment. It's on January 16, 1991, at about 6:35. It's the birth of the Gulf War, the first Gulf War.

    Bernard Shaw: total hell broke loose. Sirens started wailing, search lights searching the dismal sky....

    Atlanta Headquarters: John Holliman, Bernard; John Holliman, Bernard.

    Narrator: Back at Atlanta Headquarters, CNN producers turned the cameras on themselves to document their news gathering of the first war covered live on TV.

    Bernard Shaw: ...and that's when I yelled through the four-wire, 'Atlanta, Come to us, Come to us.' The skies over Baghdad believe been illuminated. We're seeing radiant flashes...

    Narrator: The CNN crew, holed up in a hotel in Baghdad, had direct communication with Atlanta, using a special phone line called a four-wire.

    Atlanta Headquarters: Yes they can, they can hear you.

    Narrator: When the bombs started dropping, and Baghdad's electricity and phones went out, only CNN was reporting live.

    Atlanta Headquarters: Baghdad. Baghdad is back. seize Baghdad birthright now, Dave.

    Peter Arnett: Now the sirens are sounding for the first time. The Iraqis believe informed us.

    Atlanta Headquarters: They just chop the line. net the French on the air! We're coming back to French. preserve it prefaded.

    Anchor, French: Well, they heard Peter Arnett epigram the Iraqis believe informed us, and then they didn't hear anymore. This is probably just a technical glitch.

    Ken Auletta Tom Johnson, who is chairman of CNN, wanted to tug Bernard Shaw and Peter Arnett and the team out of Baghdad...

    Atlanta Headquarters: expose me 17! set 17 on the air!

    Ken Auletta: ...and Ted Turner interrupted and said, "Tom, set it on my back...they're grownups....if they want to exist there as journalists and cover this war for the American people, by God, I want them to.

    Anchor, French: Wolf. Let me interrupt. I'm sorry to interrupt, but we're going back to Baghdad, because they can, and they believe Peter Arnett.

    Atlanta Headquarters: Shut up, Blitzer. Let me see, let me notice French. Don't you hear air down there? Don't you hear what's on the air, folks?

    Narrator: Turner's gamble to create a network for live news had paid off. The networks that had laughed at him now had to confidence on his reports at the start of the Gulf War.

    Atlanta Headquarters: I know, but this is where it's happening. total right?

    Robert Goldberg: And the world tunes in to CNN. There are people in the White House watching CNN, there are people in the bunkers of Iraq watching CNN, at the Vatican..

    Ken Auletta: Everyone was watching CNN. It was, you know, you speculate the CIA had more information than CNN did? Of course not.

    Bernard Shaw: We're going back over the window now...

    Ted Turner: [CNN] was a democratization of information. For the first time in the history of the world, every world leader, and everybody in the world, had access to the very information at the very time.

    Narrator: The very year that Ted Turner scored his greatest journalistic coup at the start of the Gulf War, he married actress Jane Fonda.

    Minister: Will you believe this woman...

    Harold Evans: [Ted Turner] becomes a man of peace for the United Nations, a man who stresses international relations, a man who wants to net rid of nuclear weapons, a man who sees the destruction of the environment from global warming.

    Ted Turner: I give thee..

    Minister: In the designation of the Father...

    Ted Turner: In the designation of the Father...

    Narrator: In the years to come, Ted would sell Turner Broadcasting to Time Warner, and he would cease to play a prominent role in CNN.

    Ken Auletta: He'd become convinced that the media were always becoming more and more concentrated with these giant companies, and you needed a tremendous amount of energy and resources. He felt he didn't believe the resources to compete, and he was losing his energy.

    Narrator: But in 1991, Ted Turner was on top of the world. Only one thing was missing: If I had one wish, Turner said, it would exist to believe my father Come back...I'd fancy to expose him the entire shootin' match...I speculate he'd really devour it.

    Russell Simmons: total right, they can attain it.

    Employee: Russ, this is the factory. What they --

    Russell Simmons: What -- is it too expensive, you say?

    Employee: It's just that there are a lot of unknown variables.

    Russell Simmons: No, we're making sneakers in [expletive] Hong Kong just fancy everybody else, although I know some of the other competitor, competing companies...

    Bill Stephney, Def Jam, 1984-1989: Russell Simmons is a fearless, driven, commerce person, thinker.

    Russell Simmons: I want to exist in their factory, in China, to show...

    Bill Stephney: Russell created this model of the multi-tasking, African American, confidant icon.

    DMX: [Chanting]

    Russell Simmons: I want that entire London, Paris, Berlin, total that stuff tied together.

    DMX: Bring it! What?

    Alex Ogg: If you're wondering why kids are wearing baseball caps backwards. ... If you're wondering, you're wondering, why so many white kids are impersonating black culture and taking their role models as...rappers, it's total to attain with the way that Russell Simmons has marketed the artistic phenomenon which is hip hop.

    DMX: Come on. Is you cats doin' comin' around fancy this?

    Narrator: Russell Simmons sits on top of a multi-million dollar hip hop empire. But he didn't limit his commerce to music. He created a cultural movement in hip hop fashion, comedy -- and even poetry, giving voice to a locked out segment of society.

    DMX: That's my word.

    Narrator: Hip hop became known as "the CNN for black America."

    Alan Light, Editor, "Tracks Magazine": In a illustrious whirl of phrase, [rappers] referred to hip hop as 'black America's CNN'...

    DMX: Y'all go'n' notice that the hottest [expletive] out there was, is, and will exist me.

    Alan Light: Before the Rodney King verdict in Los Angeles and the riots that followed, there was nowhere in the American media that you were hearing about...how nasty the condition of relations between the police and adolescent black men in this country had gotten. You didn't hear about these things from Dan Rather, you didn't hear about them in the original York Times. These were things that were being discussed for years in rap records.

    DMX: They don't care...

    Russell Simmons: Sometimes they talk about rap and how people don't fancy to hear what the rappers are saying. That's God's soundtrack. You believe to listen to it.

    DMX: Bring the noise...

    Bill Adler, Def Jam, 1984-1990: Russell Simmons is the Moses of hip hop. He's the person who led the hip hop nation to the promised land of American success and prosperity...

    DMX: We're not going anywhere. We're birthright here.

    Bill Adler: In 1964, Russ' family was among the leading edge of Black folks who integrated Hollis, Queens, so they had achieved the American dream in that way...But there was always action on the corner and Russ...always wanted it both ways, I think. If he stayed home, he had two parents, and he was going to net a trustworthy education...and if he went to the corner...He could net into total the endeavor that he wanted.

    Nelson George, Author, "Hip Hop America": Russell was a low-level drug dealer...

    DMX: Oh my god...

    Nelson George: [and] there was a guy named Red who...was preying on and robbing the drug dealers of the money they would make. So he came on the block...and a group of guys out there, including Russell, gave chase. ... And someone handed Russell a gun.

    DMX: Crossed the line

    Nelson George: The way he recounts it, it's fancy one of those moments of verity about whether or not, "If I shoot this guy, this is a nasty thing. But if I don't shoot this guy, if I don't shoot at this guy, I'll scrutinize fancy a punk.'

    DMX: Click, click boom

    Russell Simmons: I shot over his head. I told everybody I tried to assassinate him. ...He escaped. I didn't recede to jail. I didn't assassinate anybody...I'm very, very lucky, and a lot of kids I grew up with weren't so lucky.

    Eddie Cheba: set your hands up, let's reach, let's reach, let's reach, until you reach...

    Nelson George Charles Gallery was a spot on 125th Street...about a block... from the Apollo Theater...

    Eddie Cheba: Somebody say, 'Oh yeah!

    Audience: Oh, yeah!

    Nelson George: So Russell goes in, he's at City College. ...And he sees Eddie Cheba.

    Eddie Cheba: Come on. Clap your hands and stomp your feet and say, 'Oo wee.'

    Russell Simmons When I saw Eddie Cheba spitting them flames on the mic...that first experience blew my mind.

    Eddie Cheba: Somebody say, 'Oh yeah."

    Narrator: Until Eddie Cheba, Russell Simmons had never seen a rapper, someone who chants rhymed lyrics over music.

    Eddie Cheba: They don't requisite no music, a wee louder...

    Audience: They don't requisite no music

    Narrator: Cheba's chanting wasn't as sophisticated as later rap music, but when Simmons heard it, he felt as if he'd witnessed the invention of the wheel.

    Eddie Cheba: Uh huh.

    Russell Simmons: I knew then that I wanted to partake that, promote that.

    Nelson George: And that led...Russell...to evolve out of being sort of a scrambling, college student-slash-drug dealer into a promoter, entrepreneur.

    Russell Simmons: This is the color, birthright here. Alright, let's just drudgery on that a little, develop it a wee further. I fancy it. They haven't had a decent casual shoe in a long time.

    Nelson George: Russell Wendell Simmons is a remarkable American innovator, because he took something that no one wanted, which was hip hop music, that most people disdained,

    DMX: What?

    Nelson George: and helped pushed it outside the doors to a set that no one could believe imagined.

    DMX: Just fancy that.

    Harold Evans: Russell Simmons produced the browning of America, in the sense that a culture that was born in the ghetto became universal. Seventy percent of the kids buying rap records are white.

    Russell Simmons: ...the original and improved Phat Classic...

    Nelson George: There will exist people studying Russell's career at Harvard commerce School, if they are not already, trying to motif out how this happened.

    DMX: We're birthright here.

    Holly Taylor: Russell's gotta go, guys. I'm sorry.

    Narrator: It's opening night on Broadway for a daring original expose that Russell Simmons has produced. The entire expose will feature poets reciting their hip hop poetry -- urban, sometimes offensive, in-your-face poetry.

    SOT: As the founder of Def Jam Records, he has helped bring rap music to the mainstream.

    Narrator: Russell's hustle is in elevated gear on this day to promote the original show.

    Russell Simmons: trustworthy morning.

    SOT: trustworthy morning.

    Russell Simmons: If you recede to a elevated school, maybe 80 percent of the kids raise their hands and snarl they're writing poetry. It's an obvious step, I believe, for hip hop.

    Narrator: Simmons knows that hip hop offends many people. "To those of you who feel that way," Simmons says, "I just question you to exist open to hearing my story," the tale of how a low-level drug dealer became a Broadway producer.

    Russell Simmons: Now, we're total down to the press conference. How are ya doing?

    Narrator: Around the time Russell Simmons headed to City College in Harlem, the ghettos of both Harlem and the South Bronx were undergoing a sea change. Coming from the parks of these written-off neighborhoods was a song unlike anything heard before.

    Bill Stephney: There were problems in the 70s. They had inflation. In original York, they had a terrible fiscal crisis. Cuts to arts programs and school programs basically knocked out. adolescent people say, 'Well, you know, if you can't give me that symbolic set to party, I'm going to recede into the park, and seize my parents' turntable, and I am literally going to create my own renegade party outside, outdoors, big, gigantic speakers. It's out of that necessity-being-the-mother-of-invention mindset that hip hop develops. And that's where Russell comes from, his entrepreneurship, his incredible aptitude to create opportunity.

    Russell Simmons: I'm gonna exist brief, 'cause I'm not a public speaker or a remarkable orator, or nothing.

    Narrator: Where others saw a passing fad, Russell Simmons saw in hip hop a cultural revolution. And he wanted to lead the charge, by promoting Run-DMC -- a group that included his own brother -- with their plain-talking song, "It's fancy That."

    Run-DMC: Unemployment at a record high, huh! People coming, people going, people born to die

    Alan Light: What Russell did birth with the first Run-DMC record, was say, 'It's just going to exist guys rhyming on the microphone.

    Bill Adler: They don't requisite background singers, they don't requisite any horns. We're going to acquire music fancy they acquire it in the park.

    RUN-DMC: People in the world trying to acquire ends meet. You travel by car...

    Narrator: Simmons took a demo of "It's fancy That" to total the major record labels and establish no takers. White executives said 'no,' but so too did black executives.

    Russell Simmons: You know, blacks are very conservative. And to token up these niggers out the street, to depict the images of black America, or to -- you know, that was a difficult one for them. The record executives were, you know -- polished, you know. They were lawyers. They weren't from the street. And if they were, they escaped.

    Narrator: Russell Simmons was determined to promote hip hop in a radically different way from a 60s predecessor, Berry Gordy of Motown Records.

    Swingin' Time Host: There he is, the adolescent man. Berry, it's a enjoyment having you with us.

    Bill Adler: Berry Gordy was the president of Motown Records. He says, 'The only way I can net my black artists to Las Vegas is to whiten them up.

    Narrator: Gordy made his approach known on TV when asked about the first day the three handsome members of the Supremes walked into his office.

    Berry Gordy: Well, first of all, they weren't beautiful.

    Bill Adler: He was going to set the Supremes in satin ball gowns, and he was going to give them elocution lessons, straighten their hair. He's going to try and instruct them white manners, is really what it comes down to.

    Run-DMC:

    Bill Adler: But Russell's concept was, 'I'm not going to acquire any concessions to white manners and to white styles.... I don't believe to cross over. I'm going to tug the mainstream in my direction.'

    Run-DMC: ...It's fancy that, and that's the way it is...huh!

    Narration: Frustrated by the closed doors at the major record companies for his artists, Simmons sought out a Long Island punk rocker who had been making rap records in his scruffy dorm room. Rick Rubin and Russell Simmons got together in the topple of '84 and formed their own record company: Def Jam.

    SOT: It's Def!

    Nelson George: So if it was 'def,' it was great, it was hot, it was exciting.

    SOT: It's Jam.

    Nelson George: 'Jam' is fancy a record, so 'jam,' so it was a 'Def Jam.' So that just meant that this is a sweltering record.

    Alan Light: The unifier was Def Jam. Under that umbrella, there could exist something as you know silly and goofy and accessible as the Beastie Boys.

    Beastie Boys: You gotta fight for your birthright to parrrrty!

    Alan Light: Something as political and edgy as Public Enemy.

    Public Enemy: We've gotta fight the power.

    Alan Light: Putting a record on Def Jam, it meant you were the best of the best that was out there. Every one of them sold. Every one of them was great.

    Run-DMC: My Adidas!

    Narrator: But Simmons wanted to sell more than music. He wanted to sell a lifestyle. And his random came when he directed his brother's group to sing about their favorite footwear.

    Run-DMC: ...on stage front page every expose I go,it's Adidas on my feet elevated top or low. My Adidas.

    Russell Simmons Anybody coming up in the hood, today or when I was young, knows that you can't wear filthy sneakers. You're coming out of struggle. If you really speculate of yourself a sure way, sneakers had to exist clean.

    Run-DMC: Yo, my Adidas!

    Bill Adler: Russell arranged to believe executives from Adidas skim in from Germany to notice Run-DMC achieve at Madison Square Garden. And there's a flash when Run's on stage, and he says, 'All ya'll wearing Adidas, let me notice you Adidas. Wave 'em in the air, right?' And so, "whoo", you know, there's 10,000 pairs of Adidas going in the air, and the guys from, you know Adidas from Germany are going, 'BOING.' You know, what? Here, seize a titanic check now. They want you on their side.

    Run-DMC: My Adidas

    Narrator: Run-DMC went on promotional tours for Adidas, and their song headed for the top of the pop charts. Hip hop was clearly more than just music, and Russell Simmons was becoming its marketing maestro.

    Alan Light: You read statistics fancy a quarter of total spending is effectively impacted by hip hop. People are talking to Russell Simmons about automobile lines now. There's not an cessation to how titanic this stuff grows, partly because hip hop has this sort of consumerist thing built into its DNA.

    Bill Adler: Russ started to notice the fashion potential of hip hop very early on. Advertisers were going to Come to him to say, 'Listen, can they -- can they exercise Run-DMC in a commercial, and will they wear these clothes for, for us?' And, you know, by that time, Russell is dating models, and he's going to runway shows. And you know, if Tommy Hilfiger is going to design something that's hip hop influenced and acquire a zillion dollars out of it, and Russ is sitting there, watching it happen, he's thinking: "Well, wait a minute. Why should he acquire total the money? These are my people.' So that kind of thinking led pretty quickly to the formation of Phat Farm.

    Narrator: In the early years, it was a struggle to acquire Phat Farm profitable. Simmons refused to sell to titanic city department stores that intended to relegate Phat Farm fashions to their "ethnic" or "urban" sections. He wanted hip hop to exist a youth culture, not just a black one.

    Alan Light: Russell gets a convoke from Madonna's camp, saying, 'We want some hip hop for this tour...We want to net Run-DMC on this tour. And Russell says, 'Well, you know, you can't afford Run-DMC. Run-DMC is too expensive, you can't believe them. But I got this other act, I got this group, the Beastie Boys.'

    Beastie Boys: (yelling)

    Nelson George: The Beasties you know, um, well, the Beasties were white, and one of the things Russell had always preached in that time was that hip hop wasn't black music. It was teenage music. And that concept that hip hop was about an attitude toward life, as opposed to about color was very important.

    Steven Tyler: 1,2,3,4!

    Narrator: Simmons was now hustling hip hop to white America. He even managed to net hip hop noticed on MTV after "Walk This Way," a breakthrough music video featuring Run-DMC and the already well-known rock group Aerosmith.

    Run-DMC: There's a backseat lover that's always under cover and I talk to my daddy, say...

    Narrator: At the time, MTV featured few black artists. And its suburban audience was isolated from the original urban hip hop movement.

    Run-DMC: ... occasions the best things of lovin' was her sister and her cousin. And it started with a wee kiss, fancy this!

    Narrator: "Walk This Way" brought urban to suburban, white to black and rap to rock and roll.

    Alan Light: It would exist arduous to spell out any more obviously what they were trying to attain with this song and with this video, breaking down the physical wall between rock and hip hop and bringing these artists together.

    Run-DMC/Aerosmith: She told me to: Walk this way! Talk this way!

    Narrator: 1986 was a heady year for Simmons. The album including "Walk This Way" went triple-platinum, selling mostly to white males. Simmons was the godfather of a entire original hip hop empire.

    LL wintry J: What's going on?

    Narrator: But in the early 90s, Simmons entered what he later described as the sole most difficult phase of his life

    Russell Simmons: These kids who are not necessarily -- uh, don't believe the very opportunities.

    Narrator: With his attention focused on other aspects of his hip hop empire, the innovative Simmons had stopped innovating, and his sweltering record label went cold. The headquarters of the rap world quickly moved from Def Jam on the East Coast ...

    N.W.A.: explain us where you're from; straight out of Compton.

    Narrator: ... to a original form of rap from the West Coast: 'gangsta rap.'

    Alan Light: Whether he wasn't listening enough to his talent scouts, his A&R people on the street, this entire movement sort of came up and caught him looking the other way. And Def Jam went through a slump in the first half of the 90s that was the most difficult time he's faced

    Harold Evans: One of the lessons in innovation is the flash you succeed is the flash you believe to start innovating total over again. Because at the flash of success, you, kind of, the air goes out of you. You relax, you preserve doing the very antique thing. That's what happens with Russell Simmons with Def Jam records.

    Narrator: Simmons owed his record distributor $17 million, and he was floating payments for his artists on credit cards. If his hip hop empire crumbled, Simmons as an unprecedented role model would never Come to pass.

    Bill Stephney: His repercussion is when you recede into a classroom of adolescent black kids, that you'll question them, 'Well what attain you want to be? Nine times out of ten, they say, 'Well, I want to sprint my own business.' [And] that notion of controlling your destiny as much as you possibly can, did not exist within the community until Russell Simmons.

    Russell Simmons: So there's a verity you learn on the street.

    Narrator: During the bleak time for Def Jam, Simmons sought advice from the man he calls his mentor:

    Russell Simmons: Yeah, hello? Yes. Hey Donald.

    Narrator: not anything other than Donald Trump, the existent estate mogul.

    Russell Simmons: I hope so, he's a nice guy, I've been on his expose fancy four times so I...Donald Trump influenced me in a number of ways, but the thing that impresses me is what he said about himself having been out of commerce two or three times, but at least he had his name. Donald Trump's father told him, when he was going to designation [a] pile Tiffany's, because he owned the rights to the Tiffany name, he said, "When you change your designation to Tiffany, then convoke it the Tiffany building. But for now, convoke it Trump."

    Nelson George: Trump puts his designation titanic as life on every thing he does. Trump this, Trump that. And so Russell knew and scholarly from Trump that if Trump means buildings, then Def Jam means -- needs to exist essential -- cool. Def Jam needs to exist essential urban. Def Jam means attitude.

    Narrator: Simmons needed to bolster his Def Jam brand. And around this very time, he noticed the emergence of black comedy nights, at clubs around the city, with in-your-face humor, just fancy hip hop music.

    Aries Spears: Picture Mr. Magoo having sex. Wouldn't that exist cool. 'Cause Mr. Magoo would exist like: Oh, Ah, Uh....

    Bill Adler: Russ says, 'I'm going to seize it to television now, and I'm going to birth a entire generation of hip hop comedians.

    Nelson George: But instead of calling it, you know, the Black Comedy Jam, he called it the Def Comedy Jam

    Announcer: It's the Russell Simmons Def Comedy Jam!

    Nelson George By emphasizing the kind of outrageous, edgy, raunchy plane of that comedy, he was able to find a kinship between that and the rap music.

    George Wilborn: But I believe -- I'm having this reoccurring dream that I wake up and one day there's nothing but rap music left. Can you imagine a world with nothing but rap? Can you imagine open Sinatra singing rap? Pork. Pork, pork that cuchi. Pork, pork that cuchi, pork that cuchi, yeah. That bitch! Ha! That bitch better believe money.

    Russell Simmons: I had discussions with Bill Cosby. He was offended by the language. I'm more concerned with cursed ideas than I am curse words. That's my opinion, of course, right. And I'm too very excited to hear those people who are locked out, with their poetry, or their comedy, you know, talk about their experiences

    Eddie Griffin: '91 was a trip. '91 was a year everybody went crazy. Police lost their mother f---ing minds. I know you total seen the Rodney King beating, came on every night, turned into a TV series.

    Russell Simmons: Def Comedy Jam became very popular.

    Nelson George: Def Comedy makes Def Jam look even cooler.

    Russell Simmons: And if not for Def Comedy Jam, I don't speculate Def Jam Records would believe survived.

    Martin Lawrence: Russell snarl a wee something to the people and how you feel.

    Russell Simmons: Thank y'all for the obstruct party. I'll notice y'all next week. Peace.

    Bill Stephney: Russell presents that wonderful model of diversification -- that you believe a number of eggs in different baskets, so that if one basket indeed does fall, that you know, you're not broken.

    Narrator: And that is how Russell Simmons ended up, in November 2002, with an opening night on Broadway. With the Def Jam designation fortified, Simmons had geared up to attain for poets what he had done for rap artists and comedians, in a expose called Def Poetry Jam.

    Poet: The streets ain't got nothing for you, shorty. Nothing but a history of misery and I'm spittin' realness hoping your feeling me...

    Russell Simmons: There's some blacks today, still, you know, they can't believe that those images are images of mainstream black America. Well, they're not. They're images of black America, the allotment that's been left behind.

    Def Poetry Ensemble: I write America. I write America. I write America. I write America. I write America. .... I write America. I write America. I write America -- a Dear John Letter.

    Alan Light: Russell Simmons took the perspective and the sensibility of an entire segment of American society that did not believe access to the mass media. And not only got them in front of the leisure of the world, but got them in front of the leisure of the world in such a way that it changed the leisure of the world.

    Poet: It's fancy this. It's fancy that. It was poetry, but now they convoke it rap.

    Harold Evans: America before hip hop and Russell Simmons was a very different country. It was a country identified basically by exclusion. For total the elevated ideals in the Constitution, for total the progress made over many years, it was quiet exclusion.

    Poets: Hip hop, uh huh, yeah, what?, uh huh....

    Danny Glover: And the winner of the American Theater Tony Award for Best Special Theatrical Event goes to Russell Simmons' Def Poetry Jam on Broadway.

    Announcer: Accepting the award, producer Russell Simmons.

    Bill Adler : Russell Simmons, through his stewardship of hip hop, has made the world a browner place, a louder place, a more colorful place, a funnier place. He's managed to bring the races together. People are less fearful of each other, and that's -- that's a handsome thing.

    Audience: RUSSELL!

    Russell Simmons: I don't believe this.



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