Guatemala ‘on brink of ruin’ after 40 murdered

By Philip Sherwell in Guatemala City, Sunday Telegraph

Last Updated: 1:42am BST 26/08/2007

 

 

 

Hector Montenegro took a break from election campaigning in Guatemala last
week – to bury his murdered teenage daughter. Her killers had pulled
out her fingernails, tied her hands behind her back, slit her throat,
then stuffed the corpse into the boot of a taxi with two other victims
of similarly brutal attacks.

  • In pictures: Guatemala’s election violence
  •   Guatemalan congressional candidate Hector Montenegro holds a picture of his murdered daughterwguat126a.jpg
     

    The distraught congressional candidate for the leading party was in no
    doubt that 15-year-old Marta Cristina was the latest victim of a
    particularly violent election campaign, even by the standards of a
    country that endured a bloody 36-year civil war.

    “I am sure that her killing was politically motivated,” said Mr Montenegro, 71, a veteran activist for the poor and elderly. “I am used
    to the threatening phone calls, the insults, the people calling me a
    communist. But what sort of animal could do this to a teenage girl?”

    Forty candidates or senior party officials have already been murdered during
    the campaign – a grim tally that does not include supporters or
    relatives such as Mr Montenegro’s daughter. With two weeks to go before
    the September 9 poll, the death toll makes this the bloodiest election
    in the country’s history, as drug lords, crime gangs and political
    rivals seek to buy power, settle scores and intimidate enemies….

     

    Film: The Sea Inside

    This is one of the best films I have ever seen:

    Two of the most talented figures in contemporary Spanish cinema — actor Javier Bardem and director Alejandro Amenábar — collaborate for this powerful drama, based on a true story.
    Movie Review: The Sea Inside

    Relationship drama about the life of Ramon Sampedro is pure magic to behold
    By LIZ BRAUN – Toronto Sun

    PLOT: After the diving accident that
    leaves him a quadriplegic, a Galician man fights for the right to die a
    dignified death. Regardless of the subject matter, this is a film about
    the wonder of being alive.

    The Sea Inside is a magical film about many forms of love and
    about the energy of life. The movie is based on events in the life of
    Ramon Sampedro, a Galician ship mechanic who was paralyzed and
    bed-ridden for 30 years. Sampedro is always hopeful — hopeful that
    he’ll die soon. He petitions the government to allow him to die with
    dignity.

    How to Earn $1 Million by Not Watching TV

    How to Earn $1 Million by Not Watching TV

    URL: http://www.thestreet.com/newsanalysis/opinion/10367373.html

    A recent study found that it would take $1 million for someone to be willing to give up TV for the rest of their lives.

    Guess what? If you decided to give up TV and invested the money
    you saved, you would get that $1 million — and probably a lot more.
    People rarely consider the cost of watching TV, and when they
    do, they usually focus on the cost of their monthly cable bill. The
    truth is that there are a wide variety of costs associated directly and
    indirectly with having a TV. Here are some areas where your TV drains your finances:

    TV: The cost of your TV can range anywhere from a few
    hundred dollars to several thousand if you decide to go for the newer
    plasma flat screen TVs. Take this cost and multiply it by several
    times, since you will likely own far more than one TV during your
    lifetime.
    Entertainment cabinet system: Most people don’t consider
    this cost when purchasing a TV, but you need a stand or entertainment
    cabinet on which to display your TV and other components of your
    entertainment system. This will cost anywhere from a few hundred
    dollars on up, depending on how fancy you decide to go. You can also
    assume that you will replace this at least once during your lifetime. Cable: Once they have a TV, most people aren’t
    satisfied watching only the free basic channels. Most will subscribe to
    a cable or satellite package that will cost them anywhere from $20 a
    month for bare-bones cable channels to well over $100 a month.
    Pay-per-view: There are an increasing number of special
    pay-per-view sporting and entertainment events now found on TV. You
    might spend nothing to over $100 a month on these, depending on your
    viewing habits.
    Movies: In addition to cable, most people are going to
    want to watch movies. That means either purchasing the DVDs or renting
    them from a service such as NetFlix and paying a monthly fee.
    DVD/DVR: In order to watch the movies that you rent, you
    are going to need a decent DVD player. This will cost at least a few
    hundred dollars. And again, you’ll likely replace this a minimum of
    several times over your lifetime as technologies change and better
    quality devices are created. You also may buy recording devices or DVRs
    like Tivo and related accessories to catch all of your favorite shows.
    Gaming system: If you are into video games, you will
    purchase a gaming system to use. These can cost anywhere from a couple
    hundred dollars on up. You will also likely buy a number of these over
    your lifetime as the systems improve.
    Games: If you purchase a gaming system, you will also
    need to purchase or rent games to play on that system. This can get
    quite costly, as most people want a variety of different games to play.
    It can easily run more than $100 a month if you purchase multiple
    games. Energy: You will need to pay for the electricity to
    run the TV and other related electronics. This will vary greatly,
    depending on the type of TV you have and how much energy costs where
    you live, but it will likely be a minimum of $10 a month and possibly
    much more.
    Commercials: A huge hidden cost of TV that people never
    consider are all the commercials they watch. The commercials are there
    to get you to buy products — and they are effective. Economist Juliet
    Schor estimated that for every hour of TV a person watches each week,
    he or she will increase his or her annual spending by about $200,
    according to a 1999 article in the Spokane, Wash., Spokesman-Review.
    In 2005, Nielsen Media Research reported that the average person
    watched approximately 4.5 hours of TV a day, or 31.5 hours a week. At
    $200 in extra spending for each hour watched, that means that the
    average person spends an extra $6,300 a year due to TV commercials that
    they wouldn’t have spent if they didn’t watch TV.
    Opportunity costs: Another cost often overlooked when
    considering the price of watching TV is the opportunities forfeited
    when you choose viewing over something else. You could start a
    business, take on a part-time job or take care of your garden so you
    don’t have to pay someone else to do it. Assuming that your time is
    worth at least the minimum wage of $5.85 per hour, your opportunity
    cost is $737 a month if you view the average amount of TV. So what does this all add up to? Say you’re 25 years old and
    you initially spend $2,000 for your TV, DVD player, entertainment
    cabinet and gaming system after getting your first job. Add in monthly
    costs of $100 for cable, $10 for electricity use, $20 for renting
    movies, $25 for buying games and $20 for an occasional pay-per-view
    event, and you’re looking at $175 a month. Add in another $525 a month
    extra you spend due to the influence of commercials if you are the
    average person, and you are costing yourself $700 a month watching TV.
    If you instead invested this money and received a return of 8%
    compounded annually over 45 years until you’re 70 years old, you would
    have more than $3.7 million in your account. That is actually a conservative number, as additional upgrades
    in equipment were not included. Not to mention potential repair costs.
    It’s also more than likely that many of the services will rise in price
    over time and new TV-related services will be introduced. And the
    calculation does not even take into account the potential additional
    opportunity cost, which could be a significant amount of money.
    Your actual lifetime TV costs will vary from the above
    assumptions depending on how you watch TV and what services you use.
    You can make an estimate of your total costs for watching TV by
    plugging the relevant numbers into a basic compounding calculator.
    While it’s probably unrealistic that you will give up your TV
    entirely, the above numbers should make you consider how much money
    your TV-watching habits are costing you. Even some small changes could
    have a huge benefit on your overall finances.

    Tutorial on Open Source Media Player

    From Awakened Vocies Bolg:

    Sing A New Song

    SongbirdPlay the web is the trademarked phrase that the makers of Songbird
    put front and center on their website. You can do a lot more than play
    the web with Songbird though. You can play the web and manage media on
    your computer.

    I discovered Songbird recently and I’ve been very enamored with
    their free, open source media player. While iTunes and Windows Media
    Player seem to be all about selling music, Songbird is about
    discovering and playing music.

    That’s why I took some time to record a video tour in the Awakened Voice Learning Center. Head over there to get the QuickTime version or just watch the player below.

    filmmakers’ favorite films

    http://www.pbs.org/independentlens/insideindies/filmlist.html
    Independent Lens
    Filmmakers’ Favorite Films
    (last updated 5/15/07)
    3 Women, by Robert Altman
    , by Federico Fellini
    1900, by Bernardo Bertolucci
    28 Up, by Michael Apted
    1900, by Bernardo Bertolucci
    2001: A Space Odyssey, by Stanley Kubrick
    About Schmidt, by Alexander Payne
    The Adventures of Baron Munchausen, by Terry Gilliam
    Aguirre, Wrath of God, by Werner Herzog
    Alice Doesn’t Live Here Anymore, by Martin Scorsese
    Amadeus, by Milos Forman
    An American Love Story, by Jennifer Fox
    An American Family, by Alan and Susan Raymond
    American Movie, by Chris Smith
    And Now my Love, by Claude Lelouch
    À Propos de Nice, by Jean Vigo
    The Apu Trilogy, by Satyajit Ray
    Babe, by Chris Noonan
    Baraka, by Ron Fricke
    Beauty and the Beast, by Jean Cocteau

     

    Beauty Knows No Pain, by Elliott Erwitt
    Belle de Jour, by Luis Buñuel
    Best Years of Our Lives, by William Wyler
    The Bicycle Thief, by Vittorio De Sica
    Billy Elliot, by Stephen Daldry
    The Black Stallion, by Carroll Ballard
    Blade Runner, by Ridley Scott
    Blood of the Condor, by Jorge Sanjinés
    Blood of a Poet, by Jean Cocteau
    Blue Velvet, by David Lynch
    Bob Roberts, by Tim Robbins
    The Body Beautiful, by Ngozi Onwurah
    Book of Days, by Meredith Monk
    Bowling for Columbine, by Michael Moore
    Brazil, by Terry Gilliam
    Brokeback Mountain, by Ang Lee
    Burden of Dreams, by Les Blank
    Carnival of Souls, by Herk Harvey
    Casablanca, by Michael Curtiz
    Chan Is Missing, by Wayne Wang
    Children of Heaven, by Majid Majidi
    Chinatown, by Roman Polanski
    Chitty Chitty Bang Bang, by Ken Hughes
    Chronicle of a Summer, by Edgar Morin and Jean Rouch
    Citizen Kane, by Orson Welles
    Close Encounters of the Third Kind, by Steven Spielberg
    Color Adjustment, by Marlon Riggs
    The Conformist, Bernardo Bertolucci
    Control Room, by Jehane Noujaim
    Cries & Whispers, by Ingmar Bergman
    Crouching Tiger, Hidden Dragon, by Ang Lee
    The Corporation, by Mark Achbar and Jennifer Abbott
    Days of Heaven, by Terrence Malick
    Demon Lover Diary, by Joel DeMott
    DIG!, by Ondi Timoner
    The Discreet Charm of the Bourgeoisie, by Luis Buñuel
    Dog Day Afternoon, by Sidney Lumet
    Dogville, by Lars von Trier
    Don’t Look Back, by D.A. Pennebaker

     

    Dr. Strangelove, by Stanley Kubrick
    Eternal Sunshine of the Spotless Mind, by Michel Gondry
    Europa, Europa, by Agnieszka Holland
    Eye of the Needle, by Richard Marquand
    Eyes on the Prize, by Henry Hampton
    Fahrenheit 9/11, by Michael Moore
    Family Life, by Ken Loach
    Fanny and Alexander, by Ingmar Bergman
    First Person Plural, by Deann Borshay Liem
    Fog of War, by Errol Morris
    Four Little Girls, by Spike Lee
    Frankie & Johnny, by Garry Marshall
    Gimme Shelter, by Albert and David Maysles and Charlotte Zwerin
    The Gleaners and I, by Agnes Varda
    The Godfather, by Francis Ford Coppola
    Godfather II, by Francis Ford Coppola
    Gods and Monsters, by Bill Condon
    Goodfellas, by Martin Scorsese
    The Good, the Bad and the Ugly, by Sergio Leone
    The Graduate, by Mike Nichols
    Grease, by Randal Kleiser
    Grey Gardens, by Ellen Hovde, Albert and David Maysles, and Muffie Meyer
    Gummo, by Harmony Korine
    Haiti Untitled, by Jorgen Leth
    Harlan County, USA, by Barbara Kopple
    Harold and Maude, by Hal Ashby
    The Henry Miller Odyssey, by Robert Snyder
    High Noon, by Fred Zinnemann
    Hiroshima Mon Amour by Alain Resnais
    Hospital, by Frederick Wiseman
    Hôtel Terminus, by Marcel Ophüls
    The Ice Storm, by Ang Lee
    The Idiots, by Lars von Trier
    Il Postino, by Michael Radford
    In the Mood for Love, by Kar Wai Wong
    The Ipcress File, by Sidney J. Furie
    Irma Vep, by Olivier Assayas
    It’s a Wonderful Life, by Frank Capra
    Ju Dou, by Zhang Yimou
    Judgment at Nuremburg, by Stanley Kramer
    Kess, by Kenneth Loach
    Killer of Sheep, by Charles Burnett
    Klute, by Alan J. Pakula
    La Dolce Vita, Federico Fellini
    La Femme Infidèle, by Claude Chabrol
    La Jetée, by Chris Marker
    La Vie Sur Terre (Life on Earth), by Abderrahmane Sissako
    The Last Waltz, by Martin Scorsese
    The Last Wave, by Peter Weir
    The Last Laugh, by F.W. Murnau
    The Last Picture Show, by Peter Bogdanovich
    Lawrence of Arabia, by David Lean
    Life is Beautiful, by Roberto Benigni
    Local Hero, by Bill Forsyth
    The Lord of the Rings Trilogy, by Peter Jackson
    Los Balseros, by Carlos Bosch and Josep Maria Domenech
    Lumumba, by Raoul Peck

     

    Ma Vie En Rose, by Alain Berliner
    The Magnificent Seven, by John Sturges
    A Man Escaped, by Robert Bresson
    Manhattan, by Woody Allen
    Memento, by Christopher Nolan
    Midnight Cowboy, by John Schlesinger
    Missing, by Costa-Gavras
    Monsoon Wedding, by Mira Nair
    Monterey Pop, by D.A. Pennebaker
    Monty Python and the Holy Grail, by Terry Gilliam and Terry Jones
    My Architect, by Nathaniel Kahn
    My Brilliant Career, by Gillian Armstrong
    My Life As A Dog, by Lasse Hallström
    My Own Private Idaho, by Gus Van Sant
    Nanook of the North, by Robert J. Flaherty
    Napoleon Dynamite, by Jared Hess
    The Natural, by Barry Levinson
    The New World, by Terrence Malick
    Night and Fog, by Alain Resnais
    Nights of Cabiria, by Federico Fellini
    Nobody’s Business, by Alan Berliner
    North by Northwest, by Alfred Hitchcock
    O Lucky Man!, by Lindsay Anderson
    On the Waterfront, by Elia Kazan
    Once Upon a Time in the West, by Sergio Leone
    One Flew Over the Cuckoo’s Nest, by Milos Forman
    Out of Africa, by Sydney Pollack
    Out of the Past, by Jacques Tourneur
    The Parallax View, by Alan J. Pakula
    The Passion of the Christ, by Mel Gibson
    The Passion of Joan of Arc, by Carl Theodor Dreyer
    The Passion of Maria Elena, by Mercedes Moncada Rodriguez
    Pather Panchali, by Satyajit Ray
    Paths of Glory, by Stanley Kubrick
    Pet Cemetery, by Mary Lambert
    Piñero, by Leon Ichaso
    Pixote: A Lei do Mais Fraco, by Hector Babenco
    Polyester, by John Waters
    Pumping Iron, by George Butler and Robert Fiore
    Raging Bull, by Martin Scorsese
    Raiders of the Lost Ark, by Steven Spielberg
    Raising Arizona, by Joel and Ethan Coen
    Rashomon, by Akira Kurosawa
    Red Beard, by Akira Kurosawa
    The Red Violin, by François Girard
    Reds, by Warren Beatty
    Roger and Me, by Michael Moore
    Romeo and Juliet, by Franco Zeffirelli
    Rosemary’s Baby, by Roman Polanski
    A Room with a View, by James Ivory
    Rosetta, by Jean-Pierre and Luc Dardenne
    Rules of the Game, by Jean Renoir
    Rushmore, by Wes Anderson

     

    Salesman, by Albert and David Maysles and Charlotte Zwerin
    Save the Green Planet, by Jun-hwan Jeong
    Secrets & Lies, by Mike Leigh
    Seven Samurai, by Akira Kurosawa
    Seventeen, by Joel DeMott and Jeff Kreines
    Shadow of a Doubt, by Alfred Hitchcock
    Shape of the Moon, by Leonard Retel Helmrich
    Shawshank Redemption, by Frank Darabont
    Sherman’s March, by Ross McElwee
    The Shining, by Stanley Kubrick
    The Silence, by Ingmar Bergman
    Singin’ in the Rain, by Stanley Donen and Gene Kelly
    Solyaris, by Andrei Tarkovsky
    Spartacus, by Stanley Kubrick
    Spellbound, by Jeff Blitz
    The Staircase, by Jean-Xavier de Lestrade
    Stand By Me, by Rob Reiner
    Star Wars, by George Lucas
    Startup.com, by Chris Hegedus and Jehane Noujaim
    Stealing Beauty, by Bernardo Bertolucci
    Super Size Me, by Morgan Spurlock
    Talk to Her, by Pedro Almódovar
    Tender Mercies, by Bruce Beresford
    The Thin Blue Line, by Errol Morris
    The Third Man, by Carol Reed
    This Is Spinal Tap, by Rob Reiner
    The Times of Harvey Milk, by Rob Epstein
    To Be and To Have, by Nicolas Philibert
    To Kill a Mockingbird, by Robert Mulligan
    Tokyo-Ga, by Wim Wenders
    Tom Jones, by Tony Richardson
    Tongues Untied, by Marlon Riggs
    Truly Madly Deeply, by Anthony Minghella
    Turtles Can Fly, by Bahman Ghobadi

     

    Unforgiven, Clint Eastwood
    Vernon, Florida, by Errol Morris
    Viridiana, by Luis Buñuel
    Vivre Sa Vie, by Jean-Luc Godard
    Waking Life, by Richard Linklater
    We All Loved Each Other Very Much, by Ettore Scola
    West Side Story, by Jerome Robbins and Robert Wise
    What the #$*! Do We Know!?, by William Arntz, Betsy Chasse and Mark Vicente
    What Dreams May Come, by Vincent Ward
    When Harry Met Sally, by Rob Reiner
    When We Were Kings, by Leon Gast
    Wild Strawberries, by Ingmar Bergman
    Wings of Desire, by Wim Wenders
    A Woman Under the Influence, by John Cassavetes
    The Wonderful Horrible Life of Leni Rienfenstahl, by Ray Müller

    Why the Immigration Bill Died in the Senate — and Will Keep Dying

    By Joshua Holland, AlterNet

    Posted on June 12, 2007, Printed on June 13, 2007http://www.alternet.org/story/53843/

    EXCERPTS:

    Last Friday, a small but vocal group of hardliners hijacked the
    national debate over immigration and, in all likelihood, derailed the
    effort to reform a system that Americans from across the political
    spectrum agree is dysfunctional. (George Bush has said he hopes to restart the negotiations, but most observers agree that a deal is not likely.)

    The bill — which began as a compromise that everyone hated — was killed
    in the Senate, smothered under the weight of a flurry of unpopular amendments
    offered up by a small group of Senators, including some of the
    chamber’s most reactionary, before the national debate was even under
    way.

    …Immigration hardliners’ views of immigrants themselves are harsher than Main Street’s. According to data compiled by the Pew Research Center, Americans’ attitudes toward immigrants from Latin American and Asia are more positive
    now than in the 1990s, “even as concern over the problems associated
    with immigration has increased.” Most people view both groups as “very
    hard working and having strong family values.” Pew notes that
    “Impressions of Latin American immigrants, in particular, have grown
    much more positive, with 80 percent describing them as very hard
    working compared with 63 percent nearly a decade ago.”

    Immigration hardliners are not only Republicans — there are Democrats who are indistinguishable on the issue in rhetoric as well as substance — but only one party is captive to their views.

    Amnesty: a handy fiction

    All of these data point to a serious problem for immigration hardliners:
    Although there remain very serious differences about the specifics
    regarding immigration, most Americans favor at least the broad
    principles of comprehensive reform. The hardliners can’t win an honest
    debate on the issue, and apparently they know it. That’s why they
    insist that the Senate proposals were based on offers of “amnesty.”

    It’s no more accurate to call the measure contemplated last week in the
    Senate an “amnesty bill” then it is to call it a rhinoceros; while an
    amnesty implies simply granting people legal status, the Senate
    proposal would have required undocumented immigrants who can prove they
    have been working and paying taxes in the country for an extended time
    to then fork over $9,000 in fines and application fees (for a family of
    four) and that would only get them to the back of the line, with a
    four-year “Z” visa. Then, after those four years were up, the head of
    the household could return to his or her native country and file an
    additional application — paying an additional $4,000 penalty in
    addition to application fees. If they pass a health screening, an
    English proficiency test and another test of American civics, then they
    become legal. But only after the backlog of existing applicants is
    cleared — no “cutting in line.” All of that for people who have
    committed a misdemeanor

    ….

    In fact, a principal reason that there was so little passion on the part of the
    compromise’s supporters was that it had a number of provisions in it
    that were designed to mollify the hardliners but ended up creating a
    bill that alienated potential support from the center and from the
    left. Christopher Sabatini, senior director of policy at the Americas
    Society/Council of the Americas, told the New York Times that the bill had been “born an orphan in terms of popular support.”

    Trying to bring immigration hardliners around was always a fool’s errand:
    They’ve shown time and again that they won’t accept the humane,
    comprehensive approach to immigration that most Americans favor.


    Joshua Holland is an AlterNet staff writer.

    WORLD WITHOUT OIL

    Gas Prices

    What’s Going On Here?

    WORLD WITHOUT OIL is an alternate reality event, a serious game for the
    public good.

    It invites everyone to help simulate a global oil shock. People
    participate by contributing original online stories, created as though
    the oil shock were really happening.

    The game’s masters rank the participants (“players”) according to their
    contributions to our realistic portrayal of the oil shock. The game
    also places value on player-created communities, collaborative stories,
    and collective efforts.

    Each contribution helps the game arrive at a larger truth. No team of
    experts knows better than a given individual what effect an oil shock
    would have upon that individual’s life, or what action he or she will
    take to cope. Personal reactions to our simulated oil shock, placed in
    context with many other points of view, will help us all realize what’s
    at stake in our oil-fired culture.

    HOW CAN A GAME HELP US PREPARE?

    WORLD WITHOUT OIL aims to help fill a huge gap in our nation’s thinking
    about oil and the economy. As people everywhere grapple with the
    problem of growing global demand for petroleum, no one has a clear
    picture of oil availability in the future, nor is there a clear picture
    of what will happen when demand inevitably outstrips supply. That will
    depend in large part upon how well people prepare, cooperate, and
    collectively create solutions. By playing it out in a serious way, the
    game aims to apply collective intelligence and imagination to the
    problem in advance, and to create a record that has value for
    educators, policymakers, and the common people to help anticipate the
    future and prevent its worst outcomes. “Play it, before you live it.”

    Read the manifesto written by our characters.

     

    The team at Writerguy is producing WORLD WITHOUT OIL, ITVS Interactive
    (Independent Television Service) is presenting it, and the Corporation
    for Public Broadcasting is funding it. An Independent Lens
    Web-exclusive presentation (PBS), WORLD WITHOUT OIL is an ELECTRIC
    SHADOWS project (ITVS).

    World Without Oil is an original work of fiction. Any similarity
    between its characters and real people, living or dead, is purely
    coincidental. Especially Chuckles. Copyright 2007 by Writerguy LLC.

    SaveNetRadio coalition

    The SaveNetRadio coalition is made up of artists, labels, listeners,
    and webcasters. Please contact us if you are interested in sponsoring
    an event, making a donation, or would like to become a leader in the
    fight to save Internet radio. The recent ruling by the Copyright
    Royalty Board to increase webcasters’ royalty rates between 300 and
    1200 percent over the next 5 years jeopardizes the industry and
    threatens to homogenize Internet radio.

    Artists,
    listeners, and Webcasters, have joined our coalition to help save
    Internet radio. The coalition believes strongly in compensating
    artists, but Internet radio as we know it will not survive under the
    new royalties. We need your help. Please take a moment to call your members of Congress
    to let your representatives know how much Internet radio means to you.
    Together, we can force Congress to create a structural solution for
    this problem and create an environment where Internet radio, and the
    millions of artists it features, can continue to grow for generations
    to come.

    About the Issue

    On
    March 2, 2007 the Copyright Royalty Board (CRB), which oversees sound
    recording royalties paid by Internet radio services, increased Internet
    radio’s royalty burden between 300 and 1200 percent and thereby
    jeopardized the industry’s future.   

    At the request of
    the Recording Industry Association of America, the CRB ignored the fact
    that Internet radio royalties were already double what satellite radio
    pays, and multiplied the royalties even further.  The 2005 royalty rate
    was 7/100 of a penny per song streamed; the 2010 rate will be 19/100 of
    a penny per song streamed.  And for small webcasters that were able to
    calculate royalties as a percentage of revenue in 2005 – that option
    was quashed by the CRB, so small webcasters’ royalties will grow
    exponentially!

    Before this ruling was handed down, the
    vast majority of webcasters were barely making ends meet as Internet
    radio advertising revenue is just beginning to develop.  Without a
    doubt most Internet radio services will go bankrupt and cease
    webcasting if this royalty rate is not reversed by the Congress, and
    webcasters’ demise will mean a great loss of creative and diverse
    radio.  Surviving webcasters will need sweetheart licenses that major
    record labels will be only too happy to offer, so long as the webcaster
    permits the major label to control the programming and playlist.  Is
    that the Internet radio you care to hear?  

    As you know,
    the wonderful diversity of Internet radio is enjoyed by tens of
    millions of Americans and provides promotional and royalty
    opportunities to independent labels and artists that are not available
    to them on broadcast radio.  What you may not know is that in just the
    last year Internet radio listening jumped dramatically, from 45 million
    listeners per month to 72 million listeners each month.  Internet radio
    is already popular and it is already benefiting thousands of artists
    who are finding new fans online every day.

    Action must be
    taken to stop this faulty ruling from destroying the future of Internet
    radio that so many millions of listeners depend on each day.  Instead
    of relying on lawyers filing appeals in the CRB and the courts, the
    SaveNetRadio Coalition has been formed to represent every webcaster,
    every Net Radio listener, and every artist who enjoys and benefits from
    this medium.  Please join our fight for the preservation of Internet
    radio.

    Barbara Kingsolver’s new book

    kingsolver-book.gif
    Animal, Vegetable, Miracle: A Year of Food Life

    Bestselling author Barbara Kingsolver returns with
    her first nonfiction narrative that will open your eyes in a hundred
    new ways to an old truth: You are what you eat.

    “As the U.S. population made an unprecedented mad dash for the Sun
    Belt, one carload of us paddled against the tide, heading for the
    Promised Land where water falls from the sky and green stuff grows all
    around. We were about to begin the adventure of realigning our lives
    with our food chain.

    “Naturally, our first stop was to buy junk food and fossil fuel. . . .”

    Hang on for the ride: With characteristic poetry and pluck,
    Barbara Kingsolver and her family sweep readers along on their journey
    away from the industrial-food pipeline to a rural life in which they
    vow to buy only food raised in their own neighborhood, grow it
    themselves, or learn to live without it. Their good-humored search
    yields surprising discoveries about turkey sex life and overly zealous
    zucchini plants, en route to a food culture that’s better for the
    neighborhood and also better on the table. Part memoir, part
    journalistic investigation, Animal, Vegetable, Miracle
    makes a passionate case for putting the kitchen back at the center of
    family life and diversified farms at the center of the American diet.

    Frequently Asked Questions: Public Media

    email discuss Pat Aufderheide & Jessica Clark

    PDFDownload full report

    Communicating
    about shared issues—whether it’s traffic congestion in the
    neighborhood, lower wages for women, or the concerns of the families of
    soldiers not receiving adequate body armor—builds a group’s awareness
    of itself as a public. In this context, public media are media that aim
    to increase public knowledge and cohere and mobilize audience members.

    Not just limited to PBS or NPR broadcasts, such media can range from
    print publications to documentary films, from community radio
    broadcasts to international social networks and beyond. More and more,
    as participatory technologies and practices engage audience members to
    become media creators, public media projects are not only directed at,
    but generated by, their publics.

    Want to learn more? Read our new Frequently Asked Questions
    document, by Director Pat Aufderheide and Research Fellow Jessica Clark.