Watch Apple CEO Steve Jobs deliver Apple's his keynote address to Macworld 2008.From the Apple website: "See the video-on-demand event right here, exclusively in QuickTime and MPEG-4."
Click here.
15 January, 2008
The Stream Is Up!
Watch Apple CEO Steve Jobs deliver Apple's his keynote address to Macworld 2008.From the Apple website: "See the video-on-demand event right here, exclusively in QuickTime and MPEG-4."
Click here.
MacWorld: Steve Jobs Keynote
Steve Jobs announces "iTunes Movie Rentals" in his keynote speech at MacWorld. Below is from live blogger Ryan Block from Engadget
Click here to direct live blog link: http://www.engadget.com/2008/01/15/live-from-macworld-2008-steve-jobs-keynote/
Click here to direct live blog link: http://www.engadget.com/2008/01/15/live-from-macworld-2008-steve-jobs-keynote/
9:48am - Star Trek! I love the old Star Trek movies..." Chuckles. Blades of Glory: "Fun movie -- I can read about the movie, see the actors, directors..." shows recommendations based on what others have viewed.
9:47am - "All these features and an entirely new UI." Demo time! "This is the new UI -- one menu, it couldn't be simpler. Let's go into movies..." Man, this is a sexy interface, no doubt.
9:46am - "And, of course, play iTunes content. So all of this stuff on the new Apple TV. Let me focus on the HD movies for a minute... the library titles are $2.99 and $3.99 -- for just a dollar more rent them in HD, $3.99 and $4.99 -- there are over 100 titles available today.
9:45am - Here's what you can do with Apple TV: rent movies directly on widescreen TV with Apple TV. Rent them in DVD quality, rent them in HD with 5.1" HUGE applause! Screaming.
"Dolby 5.1 surround. The quality is unbelievable. You can also view audio and video podcasts right on ATV, choose from 125k podcasts and see them right on your widescreen. Get photos from your computer... get them also right over the internet from Flickr and .mac." Flickr support, good gawd yall.
"And, of course, YouTube -- we've expanded the selection. There's now over 50m videos from YT, This has worked out so great, our customers love this. Buy TV shows and music right from your TV. And if you're using a computer it'll sync BACK to your computer."
9:44am - "I'd like to say all of us have tried. We have, MSFT, Amazon, TiVo, VuDu, Netflix, Blockbuster -- we've all tried to figure out how to get movies over the net onto the TV. We've ALL missed. No one's succeeded yet. We tried with Apple TV -- it was designed to be an accessory for iTunes and your computer. But that's not what people wanted."
"We learned what people wanted was about movies. Movies. Movies. We weren't delivering that -- we're back with Apple TV Take 2 -- It still syncs to your computer, but no computer is required
9:43am - "It launches today! Free software update for iTunes, iPods, iPhones to support rentals. Rolling it out in the US today, we're dying to get this out internationally. But what about this? What about the flat screen TV? I'd like to watch the movies there too."
9:42am - "Here's how it works -- I'm on iTunes, looking at a movie I want to rent, I hit rent movie, and it adds to my rented movies category in my iTunes library...." Sorry for the technical difficulties everyone! We're at 10x the traffic of our last keynote, but things are coming back online.
9:41am - "Watch instantly! In less than 30s..." it streams. "The rules -- you have 30 days to start watching it, and once you start you have 24 hours to watch and finish it. As many times as you want. You can transfer films to another device in the middle -- transfer to your iPod and watch the rest on the iPod on your flight."
"What's it going to cost? To rent a library title will cost $2.99 -- new release? $3.99" Big applause.
9:40am - "Now, so what's the deal? We're gonna launch with 1k films by the end of February -- 30 days after DVD release. Watch anywhere, PCs, Macs, iPods, iPhone..."
9:39am - "We're gonna have all the great first run films -- REALLY, really great films. I'm sure you saw a lot of these in the theater. We've also got great library titles, Red October, Matrix... lots of library titles, all the great new ones from this last year..."
9:38am - "We've never offered a rental model in music because we don't think people don't want to rent music. But your favorite movie -- most of us watch once, and renting is a great way to do it. It's a great way to do it. We've got participation of great studios. Touchstone, MGM, Miramax,... and these six too. Lions Gate, Fox, WB, Walt Disney, Paramount, Universal, Sony..." Everyone! Huge applause
9:37am - "And we've sold 7m movies, again, more than everyone else put together. But it didn't meet our expectations, I have to tell you. We think there's a better way to deliver movie content through iTunes. So today, we're introducing iTunes Movie Rentals."
Marketplace: Advertisers happy to have 'Idol' time
American Public Media's "Marketplace" did a story yesterday:
Advertisers happy to have 'Idol' time
With the Hollywood writers strike cutting the size of TV audiences advertisers had planned to reach, the arrival of another season of "American Idol" is being met with some rejoicing -- and a much higher price tag. Lisa Napoli reports.
WSC Show #66 - Interview with Jay Kogen
In today’s episode we talk to Jay Kogen at the picket line in front of NBC studios. Recorded Friday, 11 January 2008.
This is the final episode in which Bill Funt will be the guest interviewer on the podcast. But it's up to you whether Bill gets to stay or if Bill's gotta go. Cast your vote on the poll below. Voting ends Thursday, 17 January 2008 @ 10:00 a.m.
14 January, 2008
My Hulu Review
OK, last year I said I give my full review of Hulu, but frankly, I've been too busy to bother checking it out. Until now.
In a nutshell: I find it underwhelming. You need a fat pipe and I don't have one. Just yer bargain basement basic DSL plan. You can't buffer, so I experience a choppy, jaggy program that loads slowly. Will it fulfill its claims to be the YouTube killer? No. I mean, so not because UGC and commercial broadcast entertainment are different sides of the spectrum. (Yes, there'll be crossover, but it's your basic apples versus oranges comparison.) Picture quality is awesome, but then again, like I said: you can't buffer, so experiencing a choppy, jaggy program sucks.
About those ads: each episode viewed shown on Hulu offers three thirty-second advertisements by one sponsor. The ads don't really bother me and pro'ly won't bother your average GenXer or boomer. Millennials will find it so uncool. It seems they just don't like to be directly marketed to. But, meh, they'll get used to it.
Experian Research Services recently conducted a study that showed consumers are 47 percent more engaged by ads that run alongside television content online in comparison to those ads that run on broadcast. See video below for how Experian came up with these numbers.
Final analysis: even if/when Hulu improves, I'll avert my eyeballs until the writers get a fair deal and a cut of the revenue generated by these said ads.
My two cents. YMMV.
In a nutshell: I find it underwhelming. You need a fat pipe and I don't have one. Just yer bargain basement basic DSL plan. You can't buffer, so I experience a choppy, jaggy program that loads slowly. Will it fulfill its claims to be the YouTube killer? No. I mean, so not because UGC and commercial broadcast entertainment are different sides of the spectrum. (Yes, there'll be crossover, but it's your basic apples versus oranges comparison.) Picture quality is awesome, but then again, like I said: you can't buffer, so experiencing a choppy, jaggy program sucks.
About those ads: each episode viewed shown on Hulu offers three thirty-second advertisements by one sponsor. The ads don't really bother me and pro'ly won't bother your average GenXer or boomer. Millennials will find it so uncool. It seems they just don't like to be directly marketed to. But, meh, they'll get used to it.
Experian Research Services recently conducted a study that showed consumers are 47 percent more engaged by ads that run alongside television content online in comparison to those ads that run on broadcast. See video below for how Experian came up with these numbers.
Final analysis: even if/when Hulu improves, I'll avert my eyeballs until the writers get a fair deal and a cut of the revenue generated by these said ads.
My two cents. YMMV.
WSC Show #65 - Interview with Norma Safford Vela
In today’s episode we talk to Norma Safford Vela at the picket line in front of NBC studios. Recorded Friday, 11 January 2008.
In the next few episodes Bill Funt will be the guest interviewer for the podcast. But it's up to you whether Bill gets to stay or if Bill's gotta go. Cast your vote on the poll below. Voting ends Thursday, 17 January 2008 @ 10:00 a.m.
13 January, 2008
Story2Oh!
New to the blogosphere: Story2Oh! Here's their "Hello World" post:
More info here.
What’s the story with Story2Oh!?
Story2Oh! is a sexy, funny and hip soap for the digital age offering marketers new opportunities to deliver their brand messages on the Web.
Story2Oh! targets 19- to 29-year-olds by bringing drama to the sites they already frequent, particularly social networking sites, including Facebook, the fastest growing site worldwide. Social networking is the second most popular activity on the Internet and becoming more popular by the minute. If an advertiser wants to hook up with the iGeneration, this is where they are.
Story2Oh! takes television storytelling techniques and expands them to make use of all the features of the Internet. The story action plays out on blogs, in forums, online photo albums, video uploads and through the Web’s interactive potential to create an exciting new form of drama. A staff of top television writers, comedians and actors make Story2Oh! professional calibre entertainment designed for Internet longevity.
In addition to product placement, product integration and traditional advertising opportunities, Story2Oh! can bring unique content to websites, drawing users with it. Additional revenue will result from subscriptions for mobile content and streamed video.
While there are production expenses, there are few technological, publication or distribution costs. For the audience, there are no schedules, theatres, or downloads. This is entertainment that’s there whenever the audience wants it.
More info here.
Porn companies challenged by Internet sites
So I just posted this Reuters story on my del.ici.ous links, but this is totally worth a cross-post. Seems the porn industry, like the entertainment industry, is not immune to the advent of UGC and the subsequent economic downturn caused by disruptive technologies either . Check it:
Entire article here.
After years of booming sales supported by videotapes, DVDs and the Internet, the adult film industry is being challenged by easy video-sharing Web sites offering explicit content for free.
"We're dealing with rampant piracy, tons of free content," said Steven Hirsch, co-founder of privately held Vivid, the best-known studio making sex films.
Vivid once earned 80 percent of its roughly $100 million a year from DVD sales, but last year that fell to 30 percent, Hirsch said in an interview.
Entire article here.
WSC Show #64 - Interview with Matt Harawitz
In today’s episode we talk to Mathew Harawitz at the picket line in front of NBC studios. Recorded Friday, 11 January 2008.
In the next few episodes Bill Funt will be the guest interviewer for the podcast. But it's up to you whether Bill gets to stay or if Bill's gotta go. Cast your vote on the poll below. Voting ends Thursday, 17 January 2008 @ 10:00 a.m.
UFVA Fair Use & Free Speech Contest - $500 for best fair use!
University Film and Video Association is hosting a contest for the best short documentaries employing fair use, made by higher education students and faculty. Entrants must employ fair use in quoting material in their documentaries, using the Documentary Filmmakers’ Statement of Best Practices in Fair Use as a guide to their decision-making. Deadline: 8 May 2008.
Details here.
Recut, Reframe, Recycle
The Center for Social Media recently conducted a study entitled "Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video" by Center director Pat Aufderheide and Peter Jaszi, co-director of the law school’s Program on Information Justice and Intellectual Property. The study asks the question (so reminiscent of what the music industry is enduring with the "mash-up" or "bastard pop" phenomenon): When college kids make mashups of Hollywood movies, are they violating the law?
Read the entire article and download the study here.
12 January, 2008
My Damn Channel!
WTF is "My Damn Channel"?
From their website:
My Damn Channel is an entertainment studio and new media platform created to empower artists to co-produce, distribute and monetize original, episodic video content. Programming is created by artists for the My Damn Channel site and for syndication on today’s most heavily-trafficked online communities and social networks. My Damn Channel gives its artists 100% creative control to develop their own brands and new storylines. My Damn Channel produces a diverse array of programming and... blah, blah, blah. Are you still reading this crap? This is the web age. People don’t read anymore.Why, even Harry Shearer's got a channel!
Harry Krishna Harry Krishna, Krishna Krishna Harry Harry....
WSC #63 - Ask a Ninja: Kent Nichols
In today’s episode I get a killer opportunity to Ask A Ninja. That is, I get to talk to Kent Nichols, the co-creator of Ask a Ninja at the Strike TV seminar “Adventures in New Media”. Recorded Wednesday, 9 January 2008.
Gizmodo Pranks CES By Turning Off Displays Using TV-B-Gone
My favorite story to come out of CES.
Folks in the blogosphere are all freaking out about it, though. Some say: Get over it. Others have no sense of humor about it. Still others ponder the difference between a blogger and a journalist.
This reminds me of the most fabulous prank of last year: the special ops that brought you AMPTP.com. It was a joke, people. Get over it. Learn and move on.
Striking Writers to Launch Online Video Co., Seeking $30M+
NewTeeVee is reporting:
Entire article here.
"Out of work and newly wise to the state of content being distributed online, a group of professional writers is looking to start their own production and distribution company. Aaron Mendelsohn, writer of the Disney film Air Bud and an active WGA member, is captaining the efforts, and says he has gotten a group of “A-list” film and TV writers on the team. He’s also partnering with online community experts from Silicon Valley and raising “north of $30 million” in venture capital, with the idea of launching a company called Virtual Artists later this year."
Entire article here.
11 January, 2008
Get Ready For MacWorld!
Predictions for MacWorld by Gizmodo.
Enter the contest to make your own prediction here. (Must be 18 years older to play. Void where prohibited. See Steve for details.)
WSC #62 - Strike TV: Kent Nichols and Tom Smuts
Today we’re going to hear an excerpt from a panel discussion for the STRIKE TV: ADVENTURES IN NEW MEDIA seminar held at the Writers’ Guild Theater in Beverly Hills last Wednesday. Featured in this episode is Kent Nichols, the co-creator of the smash hit “Ask A Ninja” and writer Tom Smuts, who in addition to having written for Law & Order, Eyes, and Close To Home, is a co-founder of the Berkman Center for the Internet and Society at Harvard Law School. Recorded Wednesday, 9 January 2008.
10 January, 2008
Strike TV Question and Answer
I read this on the Strike TV profile:
Q: I LOVE U2. BONO JUST... MOVES ME. CAN I USE HIS MUSIC IN MY SHORT?And now here's my advice: get yourself some podsafe music. Be sure to carefully read the clearance requirements or Creative Commons license from each artist. Having said that go knock yourself out at the sites listed below. They are ranked in order of favorites. I have used them all at one point in another podcast I produce:
A: Unless you've retained the rights, or are actually Bono himself, the answer is no. We cannot post copyright-protected music, film or any other material on Strike TV without the proper clearances.
- - Magnatune
- - Podsafe Music Network
- - Garage Band (no, not the Mac software, silly)
If any music artist or band would like to leave a post in the comments below offering your music to contestants participating in Strike TV, you'd totally raaaaawk. Like Slayer, dude!
WSC Show #61 - Strike TV: Peter Hyoguchi and Jim Cooper
In today’s episode I attend a seminar at the Writers Guild called "STRIKE TV: ADVENTURES IN NEW MEDIA" and speak to Peter Hyoguchi and Jim Cooper, the dynamic duo that's driving Strike TV. Recorded Wednesday, 9 January 2008.
What is Strike TV?
Strike TV is an Internet fundraiser. It's an online "channel" featuring original video shows created by working professionals in the TV and Film Industry. These shows are self-funded and owned by their creators. Funds raised by ad revenue will go toward the Writers Guild Foundation Industry Support Fund, assisting non-WGA members, including IATSE and Teamsters affected by the strike. Strike TV videos will not be about the strike. This is a chance for writers to do what they do best - be original and tell stories.
Between now and January 15, we invite WGA members to think about what they'd like to shoot and submit a proposal to us. Strike TV is open to all active WGA members.
For more information, go to http://myspace.com/striketv.
09 January, 2008
Whoa....
Can I get an "amen"? Check and balance! Check it:
Look, read the entire article here.
House Launches FCC Investigation; Warns Against Destroying Documents
House Energy & Commerce Committee Looking Into Federal Communications Commission's ‘Regulatory Procedures and Practices’
By John Eggerton -- Broadcasting & Cable, 1/8/2008 4:38:00 PM
As promised, the House Energy & Commerce Committee launched a formal investigation into the Federal Communications Commission's "regulatory procedures and practices."
The committee was following up on a Dec. 3 letter asking the chairman about procedural criticisms.
Committee leaders advised Martin Tuesday that they expect FCC staffers to cooperate and ordered the agency to start preserving all documents and e-mails, adding for emphasis that no historical records "shall be destroyed, modified, altered, deleted, removed, relocated, or otherwise negligently or intentionally handled so as to make them inaccessible to the committee."
The investigation followed complaints externally and internally about how items were brought to a vote, information that was leaking to some lobbyists and not to others and complaints about Martin's resolve to vote on modifying the ban on newspaper-broadcast cross-ownership -- which passed Dec. 18 -- despite attempts to stop or delay the vote by members of FCC oversight committees in both Houses.
Look, read the entire article here.
It’s Not the Same Game
Terry Heaton posts a new blog entry entitled "Local Media in a Postmodern World" that's worth a mention.
Reposted below with permission as indicated in Creative Commons license 2.5:
Reposted below with permission as indicated in Creative Commons license 2.5:
Local Media in a Postmodern World
It’s Not the Same Game
by Terry Heaton
This piece examines changing fundamentals of media in the new world, primarily how mass marketing is increasing problematic when access to the mass is what’s restricted. We’ve all grown up in an industry where value was created by restricting access to content, so what we’re dealing with today is, in many ways, the opposite of what we know.
One important factor to consider when reading my essays is that I don’t approach this stuff as a zero-sum game. New media won’t “replace” the old — at least not for a very long time. Mass marketing will continue, but it would be foolish to assume that it alone — or any variation thereof — can rescue the sagging revenues of local media companies. This is why we must follow a dual path approach, which is the foundational strategic principle of AR&D’s Media 2.0 unit.
------
During the Vietnam War, I was stationed at a long-range navigation base in the Philippines with 15 other guys. Our beacon was used by the B-52s to guide them as they bombed North Vietnam. It was considered "isolated duty," and we had a lot of free time on our hands, especially during the rainy season. We played poker and a wonderful game called Euchre, a trump game where the jack of trumps is the highest-ranked card and the jack of the other same colored suit is the second highest.Euchre is only popular in pockets around the states, so we had to teach it to newcomers who joined us on the base. One guy, a fellow from New Jersey named McDowell, said, "Oh, this is like Hi, Lo, Jack and Game." Actually, the games had little in common except the use of trump, so we set him straight.
"No, there may be similarities, but that's a different game. This is Euchre."
A few years ago, I was delivering my new media message to a group of media executives led by a man with great vision and skill. His history and thinking, however, was all based in the Media 1.0, mass marketing paradigm, so his disconnect with the Media 2.0 concept was along these lines:
"No matter how you slice it, Terry, it's still the same game."
He was referring to the assembling of audience, whether en masse or by grouping fragments. This has long been the central framework for advertising, and it is in this area that media companies have considerable expertise. But is it true? Is the revenue challenge for media companies today one of understanding new rules for the same game, or is it a new game altogether?
As we said to the newcomers back in the Philippines, "There may be similarities, but it's not the same game."
Late last year, Jeremy Allaire, founder/CEO of Brightcove and one of the brightest minds in technology, wrote in his predictions for 2008 that nothing about the Internet changes the fundamentals of media, adding that "value is created by controlling the content or controlling access to the audience."
"Media companies with established brands and new start-ups," he continued, "will continue to build successful branded destinations so they can control the access to audiences."
This is quite a statement, and one that bears close examination in light of disruptions to mass media, disintermediation, unbundling and the escalating fragmentation of all forms of media. The key fundamental that has shifted is that the pyramid is upside-down. The people formerly known as the audience are now in charge. Access to the audience, therefore, is what's restricted today, not access to the content.
It's the opposite of mass marketing. Consider the soapbox image of a guy above a crowd pitching his message, the preacher at the pulpit, the anchor at the news desk, or the full page ad in the paper. These are all one-way messages from the source to the crowd. The Web, however, makes the opposite possible. The consumer is on the soapbox facing a sea of messages. The mission now is to make those available in an easy-to-access form.
We're in an "unmarketing" era now, one wherein attraction is the key to value creation, not promotion. The days of the captive audience are gone forever, and how do you "control access to content," when your content is either being commodified or replaced by that which isn't controlled? In an era of attraction as the key to growth, more attention — and resources — must be given to product creation, not marketing. What we say about what we create was important in a top-down paradigm, but it's mostly meaningless in a world where users are in charge.
So the assumption that controlling access to content is still a valid business model in today's disruptive environment is problematic, at best, and more likely, dead in the water altogether. There are three issues to consider:
First of all, the "branded destinations" spoken of aren't unique in the architecture of the Web, and this is a problem. It doesn't matter how many people "visit," how long they stay, or what’s available through any particular URL, the Web considers them all the same, what I call pixels on a page. Therefore, any system of control is fragmented to the nth degree. Cable changed the value proposition of broadcasting, and the Web does the same to cable. We can spin things with HDTV and other things like specialized content, etc., but the dynamic is the same as what drug companies encounter when patents expire on their products. "Time-released" becomes the selling point, not the product itself. But people — who are driven by price — go for the new generic. Same with content creators. No matter how we spin it, it’s just another pixel on the page in the architecture of the Web.
So from a structural perspective, the media value proposition is lessened, because the eyeballs necessary to earn from that "value" have thousands, if not millions, of other choices. Moreover, as content becomes more and more commodified, it gets harder to identify any of it as "special."
Secondly, the assumption requires a belief that this "content" has sufficient qualities to compel the eyeballs in the first place. This, too, is a problem, because the creators of professional content have known — even before people starting unbundling things for themselves — that it was getting harder and harder to produce profitable demand. There were many factors at play here, but the one that the creators least wish to discuss is that content built on previous success — that is to say content based on research and history — does not necessarily lead to audience growth. And without growth, the fundamentals are meaningless. Hollywood, the record companies and the rest of the copyright industry are largely victims of the crap they've been producing for years. But crap is easy — and it can be profitable.
It is into this paradigm that J. D. Lascia's "personal media revolution" has blossomed, people educating and entertaining themselves with technology’s help. Nokia is predicting that in just five years, this type of "media" will account for one-fourth of all entertainment in the U.S.
The value of YouTube has never been in the distributing of the kinds of content described in media accounts of alleged pirating; it has always been about growing communities who are entertaining themselves. Professional video creators can scoff at and discount this all they wish, but eyeballs viewing this type of content are eyeballs that once needed the restraints of those creating value through restricted access.
Thirdly, and perhaps most importantly, this assumption dismisses the contemporary reality that advertisers — the people who funded the assumption in its earlier times — don't need the content anymore in order to do business. Advertising IS content in Media 2.0, and where money is spent by advertisers in creating their own content, it is not being spent on supporting the content of Jeremy’s "branded destinations." Some advertisers are actually becoming their own media companies, and this challenges the assumptions of traditional media.
The problem may not be that the value proposition of media is changing as much as the definition of media itself, which is why companies must proceed down simultaneous strategic paths — monetizing their "content" as best they can but also moving to become portfolio companies by innovating in the worlds of advertising and Media 2.0.
So "media" is not the same game as it was in the old world, and the most dangerous move any media company can make today is to operate as though it's simply a matter of rules changes. It's not. It's a new game, and the rules aren't so much about gathering audience (en masse or fragmented) as they are about two significant value creation opportunities:
- 1. Helping the people formerly known as the audience do their own thing. The rise of personal media is a significant opportunity for local media companies, because in producing their own forms of media, people are demonstrating a desire to do what we do and know what we know. If nothing else, we can teach them, but by enabling this — actually helping the process — we are in a better position to organize and aggregate its output in a variety of new businesses.
At a conference of leading edge technical types — pioneers, if you will, of personal media — I asked 500 people if anyone would be interested in a subscription service of raw video that they could use as they wished. Every hand in the place shot up.
There is a market for people creating their own newscasts or creating videos from archival material that's currently just sitting in vaults across the country. This is money waiting to be made.- 2. Helping the people formerly known as advertisers do business. The aggregator of the messages is the opportunity here. I wrote about this three years ago in "The Economy of Unbundled Advertising," and it's still a valid business proposition for local media.
Letting people search for the messages they want is clearly one of the paths before us, and it will spawn a whole new form of attraction-based advertising, which will enable commerce in our communities and return local media to a key role therein.
There are business and governmental issues in a world where the "top" is occupied by everyday people. How does one grow a business, for example, when access to the mass is restricted? We'll figure that out. The real meaning of branding will be the foundation of new approaches, for the need to stand out in a crowd of other messages is the real challenge. We're already developing primitive solutions through, for example, search engine optimization.
What about civil defense? How will we get the word out to people in times of emergencies? We'll figure that out, too. Just as we do now, messages of local, regional, national or global concern could be assigned a priority.
And the warning for media companies is serious. We can either participate in the new game, or we will have to deal with increasing irrelevance, because somebody else — most likely the internet pureplay companies — will do it instead.
WSC Show #60 - Reinterview with Bill Froehlich
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In today’s episode I head out to the picket line at CBS Radford Studios to revisit with strike captain Bill Froehlich. Here, he shares how he’s keeping his creative edge as the strike enters its ninth week. He also tells us his experiences with his mentor: the legendary Rod Serling. Recorded Tuesday, 8 January 2008.
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