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The Long, Respectible History Of Canned Laughter

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shakespeare

Canned laughter is a staple of TV sitcoms from Bewitched to Cheers.

But comedians have used fake laughter since the days of Shakespeare, according to a television historian. 

The historian, Ben Glenn II, was interviewed by Mike Sacks for his book "And Here's the Kicker...Conversations With Top Humor Writers About Their Craft."  Here's what he had to say about the origins of fake laughter: 

"The concept actually goes back at least five hundred years. History tells us that there were audience “plants” in the crowds at Shakespearean performances in the 16th century. They spurred on audience reactions, including laughter and cheering—as well as jeers."

Glenn also talks about the canned laughter box, invented by a man named Charles Rolland Douglass. He charged producers $100 a day for use of his machine. Douglass' associates were sworn to secrecy and won't speak publicly about his methods more than 50 years later.

Read the full interview here.

SEE ALSO: Nine Common Misconceptions About Modern History >

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You Can Buy The Iron Throne From 'Game of Thrones' For A Crazy Amount

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game of thrones iron throne

HBO is selling the Iron Throne from their hit "Game of Thrones" on its web site for a cool $30,000.

Perfect! Now, we can feel like the King of the Seven Kingdoms. 

No, it's not the actual throne from the set. Rather, it's a custom-built seven-foot-tall replica. Okay, we can live with that. 

Here's what you're getting for your money:

Our version is constructed of hand-finished, hand-painted fiberglass and fire-proof resin that's been twisted and turned to re-create the Game of Thrones design.

Dimensions: Height: 7'2", Depth: 5'11", Width: 5'5"

Weight: 350 pounds

Wait a minute.

It's not crafted from real swords and doesn't take 59 days to hammer out and we need to pay an additional $1,800 in shipping and handling? 

What gives?

We suppose its the fact that every chair is custom built and takes more than a month to build. (Delivery takes 6-8 weeks.)

Don't purchase the chair for the heck of it, either. HBO won't cancel your order once it goes through.  

You can check out the chair here. We'll wait out for someone to weld one with real swords.

SEE ALSOThe world's most eligible royals >

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Oh, Please, Of Course TV Isn't Going To Collapse -- We're Watching More All The Time! [REBUTTAL]

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Watching TVLast weekend, I wrote about the future of the TV business, which it seems to me may be on the verge of collapse.

I'm not worried that video storytelling will go away--we're watching more video all the time. I'm just concerned about the incumbent TV business. As in, the "network" and "pay TV" industries that have made so many TV industry executives and shareholders so wealthy over the past 7 decades.

The TV industry, it seems to me, is at the same place the newspaper was a decade ago: User habits are changing--we're getting our "shows" and news from other sources than traditional networks and TV distributors--but this change has not yet been felt in the TV business.

The newspaper business held up for almost a decade after the Internet first started eating into it. But then, all at once, it collapsed. I think the TV business may be headed for the same fate.

I got lots of feedback on my article, from wholehearted agreement to dismissive disagreement. Dan Frommer of Splatf, for example, wrote a smart rebuttal here. And a TV equity analyst named Brian Wieser at Pivotal Research Group has now addressed my argument point by point.

Brian has been kind enough to allow me to share his whole report with you. So here goes (I'll weigh in with some counter-point in a future post).

The Death And Life Of TV
by Brian Wieser
Senior Research Analyst
Pivotal Research Group

BOTTOM LINE: The death of TV has been predicted with regular frequency.  We’re aware of prophecies of doom which date back at least to the 1970’s when fears of “zipping” (fast-forwarding with a VCR) and “zapping” (changing channels with a remote control device during airings of commercials) suggested the end of the commercial TV model.  While future life is never assured for any business, evidence put forward regarding the limits of television (and TV advertising in particular) tend to ignore what we have observed are its key drivers.  For our area of focus, advertising, those drivers relate to the sustained presences and continuous emergence of oligopolistic categories of marketers who differentiate themselves from their direct competitors by virtue of the awareness of attributes they generate uniquely via television. 

In our universe of coverage, CBS is largely dependent on the prospects of health for the television industry in the United States and around the world.  Our view on television advertising is a core underpinning to our BUY recommendation and $37 price target on the CBS stock. 

-----------------

One of the most detailed pronouncements on what we characterize as the “death of TV” was published last week on Business Insider, Henry Blodget’s online media/technology-focused publication.  The depth of the article certainly aroused more than a little attention among some of the investors and industry contacts we interact with. (Article can be found here: http://www.businessinsider.com/tv-business-collapse-2012-6)

While the article is certainly thoughtful and among the most detailed we have read on the topic, we fundamentally disagree with many of the article’s underlying data points and related conjecture. Thus we also disagree with the conclusions. Given the interest and queries which came our way, we thought you would find our critique of the article to be of interest.

Blodget’s article begins with observations of the newspaper business, well-summarized with a chart highlighting the decline of the business on an inflation-adjusted basis from a peak of $60 billion in inflation-adjusted advertising revenues in 2000, and closer to $20 billion by 2011. His narrative is the one part of the article we generally agree with, albeit with some exceptions.

“The digital audience stopped using newspapers as a reference and source for commerce. They browsed on eBay and Craigslist instead of reading classifieds. They got their movie news from movie sites. They got real-estate listings from real-estate sites. They learned about "sales" and other events from email and coupon sites. And so on….newspapers were screwed. It just took a while for changing user behavior to really hammer the business.”

In our view, newspapers were hit by a few items over the time period in question. First, the classified market got whacked by a free alternative, Craigslist, leading to an evaporation of that segment (down from $20 billion to $5 billion between 2000 and 2011 in absolute terms).

Second, the primary segment of marketers that relied on newspapers – small and local brands – increasingly became regional and then national, and thus prioritized national media. Retail advertisers and national advertisers’ traditional newspaper advertising fell from $27 billion to $15 billion over the same period, 2000 to 2011, and their transition away from local advertising contributed a significant share of the decline (advertising in local media fell from 63% of mass media advertising to 50% of mass media advertising during this period).

Third, many other emerging small and medium sized marketers prioritized paid search, limiting the prospects for a rebound in either of the above sources of revenue regardless of changes in consumer trends in any direction.

Thus, we would argue that declining consumption and changing behavior was part of the story, but not the only factor hurting newspapers. Arguably, the same trends which hurt newspapers have benefitted television given its prominence among marketers whose business goals are assessed at a national level.

Blodget’s specific points about television are more debatable, even as they resonate with many of the investors and industry practitioners we interact with.

“We almost never watch television shows when they are broadcast anymore (with the very notable exception of live sports)”

This assertion is not representative of the broader population. Across the entire universe of DVR-using households, Nielsen’s monitored panel establishes estimates that approximately 17% of TV viewing occurs on the DVR; thus 83% of viewing occurs on a live-basis in those homes. Across the entire population, as only slightly more than 40% of the population has a DVR, approximately 93% of total viewing is live, and we can be virtually assured that almost everyone watches some live TV over the course of a month.

Some extrapolation from these and other data points highlights a more important truth: live viewing is cumulatively up over the past decade. In other words, what was once the most dominant medium remains dominant, and by a significant margin.

To illustrate, the average person watched 29 hours of programming per week in the 1999-00 season and 34 hours during the 2010-11 season. Across the entire population of 295 million adults, this equates to 10 billion person hours of annual TV consumption in 2010 vs. 7 billion person hours in 1999-2000 given a population base of closer to 246 million. In other words, total TV consumption has grown by approximately 40% with only 7% of it eroded by DVRs. Even in homes with DVRs, assuming the average consumption levels are similar in homes with and without DVRs, more live consumption occurs today than did a decade ago.

“We rarely watch shows with ads, even on a DVR”

We would argue most people don’t notice when they are exposed to most ads. The reality is that most TV is consumed in a passive manner, and often TV is a secondary activity, with consumers focused on other endeavors. That doesn’t mean the ads consumers are exposed to under such circumstances are ineffective (if a consumer can hear a commercial or sees it muted, there is still some impact). Notably, the percentage of ads viewed while DVRs are in playback mode has risen over time as the hard-core ad skippers account for a smaller and smaller share of the DVR-owning universe.

“We watch a lot of TV and movie content, but always on demand and almost never with ads (We're now so used to watching shows via Netflix or iTunes or HBO that ads now seem like bizarre intrusions).

Traditional TV content still dwarfs consumption on other platforms; ad-supported content is still the dominant form of traditional TV content (PBS and premium cable account for a very small share of total viewing)

“We get our news from the Internet, article by article, clip by clip. The only time we watch TV news live is when there's a crisis or huge event happening somewhere. (You still can't beat TV for that, but soon, news networks will also be streamed).”

 TV news still drives audiences at a local level. It certainly drives political advertising. At a national level, Fox, CNN and MSNBC remain large and usually growing businesses.

”The user behavior that supported the traditional all-in-one TV "packages"--networks and cable/satellite distributors--has changed.”

Empirically, this would not appear to be correct. Until recently, Nielsen published data indicating that most consumers would view around 20 channels in the course of a month, and the number of channels tended to rise with time (and fragmentation, which resulted in more choices appealing to divergent audience niches).

Further, assertions regarding preferences around a la carte programming tend to presume that pricing for television channels would be pro rata their current costs. This would clearly not happen. Programmers would incur new marketing costs (which they would seek to make up) as they chase subscribers; further, an entire paradigm of advertising would change in an a la carte world such that advertisers would shift budgets to free-to-air broadcasting (or other similarly broad-reaching programming). This means that most of the most popular programming on today’s cable programming could only survive with per channel pricing that is multiples higher than many consumers would anticipate.

“…Our type of household may still be in the minority, but we won't be for long. And our type of household is the type of household that many advertisers and TV networks want to reach. We're still in "the demo" (24-55), and we're still buying a lot of stuff.”

This isn’t necessarily the case. As DVRs penetrated broader audiences, consumption of recorded programming fell largely because marginal adopters of DVRs tend to be marginal users. Those who have the most aggressive/in-control viewing behaviors were early adopters. Further, there is no reason to assume that DVRs or on-demand access to content becomes as pervasive as conventional, traditional television (at least in an investable time horizon). The United States is a country whose income disparities are widening. We suspect lower income populations will be less likely to pay $13.95 per month for DVR service than those with higher incomes.

To that point, advertisers seeking higher income, heavy purchasing populations do use television for their marketing activities, but marketers who choose to use television as their primary marketing vehicles tend to need to reach everyone (or virtually everyone). To that end, lower income consumers matter, as a low income household could potentially spend almost the same amount of money on toothpaste as a higher income one. A low income household may be just as likely to see a certain movie as a higher income household.

“"Networks" are completely meaningless. We don't know or care which network owns the rights to a show or where it was broadcast. The only question that's relevant is whether it's available on Netflix, Hulu, Amazon, or iTunes. This means that one of the key traditional "businesses" of TV--the network--is obsolete.”

 We would argue that networks as brands are not meaningless. We agree that consumers will be loyal to specific programs (such as the programs which tend to appear on broadcast networks and which increasingly appear on cable) but they are also loyal to genres of programming, and the networks which are synonymous with those genres. So much of the consumption of cable programming in particular can be a function of consumer association with a cable network’s brand.

“The vast majority of money TV advertisers spend to reach our household (~$750 a year, ~$60/month) is wasted, because we rarely watch TV content with ads, and, when we do, we rarely watch the ads.”

Short of an ethnographic and econometric study of the media and purchasing patterns found in groups of households, it’s difficult to assert with certainty what money spent on advertising is wasted and what advertising is not. Companies such as TRA have established methodologies to triangulate between viewing data and purchasing data and would be able to provide a broader statement of whether or not households fitting a certain profile directly purchased goods. More importantly, television is not now and is unlikely to become any time soon a “one-to-one” medium. The delivery of television is most efficiently provided on a “one-to-many” basis. This means that there will inevitably be some advertising which is wasted under any circumstance. The question will always be whether or not a marketer had a better alternative available to accomplish the goal they were seeking.

“The vast majority of money we pay our cable company for live TV (~$1,200 a year / ~$100/month) is wasted, because we almost never watch live TV and we can get most of what we want to watch from iTunes, Netflix, Hulu, and Amazon.”

The vast majority of households do watch live television. Network TV in particular can still reach virtually the entire population over the course of a given month. This underpins its appeal when marketers establish their plans. No other medium can come close to this level of reach, and none approaches it for frequency either. These are the two primary metrics marketers use to establish their media budgets.

“The traditional "network" model is likely to break down and be replaced with far larger "libraries" of content and far more efficient content production, acquisition, and distribution.”

 The network model will persist in large part as a function of retransmission consent rules which will ensure that it is possible for a grouping of local radio-frequency licensees to oblige MVPD (cable, satellite and telco providers) to carry certain programming. With the associated economies of scale, these groupings (what we’re calling broadcast networks) will be able to continue to afford to produce the broadest reaching and most broadly appealing content. If retransmission consent rules change, the model may change too.

 “The cost of traditional pay TV will have to drop--users will have to get more for less, or they'll stop paying for much at all. I might value the TV content we get through our cable company at $20 a month--about 1/5th of what we pay for it. Eventually, as soon as I can figure out ways to get the few sports I watch another way, we'll stop paying the $100.”

The value of traditional pay TV will not have to drop at least for as long as consumers continue to exhibit a preference to take today’s multichannel video services as they exist today and for as long as a la carte programming access rules are not mandated. Most importantly, expenditure-sensitive consumers will continue to access basic broadcast signals (because MVPDs are obliged to carry them) and then certain broad reaching networks will be those which are next packaged together for consumers. These will be the networks that advertisers will continue to concentrate their budgets on.

“Cable TV ratings over the past year have dropped sharply”

Ratings for collections of individual networks may have fallen but consumption of the medium has not fallen in a statistically significant way. Ratings (important for short-term monetization at a specific network) and consumption (important for the meidum’s long-term health) are not necessarily the same thing.

A recent survey from Nielsen, meanwhile, included some startling statistics, including the following:

-The percent of people worldwide who watch TV at least once a month dropped from 90% to 83% over the past year.

-The percentage of people who watch video on a computer once a month--84%--is now higher than the percentage who watch TV.

Self-reported data such as that described above (according to the underlying source of the Nielsen survey) should never be relied upon, as it is inherently a flawed way to measure media consumption. Socially preferable answers are inevitably provided under the best of circumstances and are reflected in the disparities between measurements of self-reported consumption vs. passively measured consumption which are widely known by the media research community.

It’s also worth noting that the underlying survey this data references is both a global survey and one which only surveyed online consumers. These flaws collectively render the data as functionally useless.

We think the debate around these issues provides a useful forum to better understand the industry and its evolution. To that end, we welcome your comments and questions about these or other related topics.

SEE ALSO: Don't Mean To Be Alarmist, But The TV Business May Be Starting To Collapse

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The Hilarious Story Of How NYSE Floor Traders Pranked The Sopranos' Paulie Gualtieri

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Tony Sirico

We recently ran a report on the best trading floor pranks of all time from the different exchanges in the U.S.

Back in the day, it was very common for traders at the different exchanges to pull pranks on each other. Unfortunately, though, we're told by veteran traders that trading floor humor has subsided in recent years.

An anonymous floor trader told us the story of how they pulled off the classic baby powdering the newly shined shoes on Tony Sirico, the guy who played Paulie Gualtieri on "The Sopranos." 

This classic prank at the New York Stock Exchange involved sneaking up behind someone with a bottle of baby powder while that person was engaged in a serious conversation.

The person with the baby powder would then put their arm around the trader and puff the powder on the other guy's shoes.    

Of course, everyone had their shoes shined so when they looked down they'd notice the powder and start stamping their feet in a sort of dance and a cloud of white powder would rise up.

Then the people around them would start chanting "Heya, Heya, Heya!." 

An anonymous floor trader told us what happened when they did it to Paulie Gualtieri.   

Paulie Gualtieri from the Sopranos (Paulie Walnuts) got his nicely shined shoes powdered, and he got PISSED !  Only until we told him that we also powdered Ronald Reagan's shoes when he was down here did Paulie finally calm down....And we still do the pranks and jokes, but just not as much and yes we have to be careful with CNBC and FOX here with the cameras...

Well, if it's good enough for the Gipper.

DON'T MISS: These Are 13 Of The Best Trading Floor Pranks Of All Time >

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Ridley Scott Made These Visually Stunning Ads Before He Directed 'Prometheus'

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Prometheus

"Prometheus" opens June 8, and it marks a welcome return by director Ridley Scott to the "Alien" franchise. He directed the first, and best, version of the aliens vs. humans epic in 1979. It was only Scott's second big feature.

But Scott wasn't a young man when he directed it. He was about 42. For the previous 11 years he'd been one of Britain's most famous commercial directors, helming Ridley Scott Associates. Even after he became one of the most famous movie directors of the modern era — he went on to film "Blade Runner," "Gladiator," and "Thelma & Louise" — he continued to direct campaigns for the ad world.

In fact, more people have probably seen his TV spots than have seen his movies. He's also responsible for one of the most famous commercials ever made—"1984," Apple's Super Bowl commercial of that year.

Scott's commercial work is characterized by the same things his movies are: They're richly detailed and often darkly atmospheric.

"Bike" for Hovis, 1973.

Scott's ad for Hovis, a U.K. bakery, still pretty much defines "bread" for many Britons, even 30 years later. All the Scott signatures are already here: it's dark, detailed and moody.



"Share the Fantasy" for Chanel No.5, 1979.

Out in the sunshine for a change, but it's still très moody.

Note: That's Star Trek's Leonard Nimoy doing the voiceover.



"1984" for Apple, in that year.

Tough to understate the impact of this ad. It's yet another dystopian shadow-world from Scott. Its length and cinematic ambition turned the Super Bowl into the premier showcase for big, new TV commercials.



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WHOA: Miley Cyrus And Liam Hemsworth Are Engaged—Here's Today's Buzz

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  • Miley CyrusAfter three years of dating, 19-year-old Miley Cyrus is engaged to 22-year-old "Hunger Games" hottie Liam Hemsworth."I'm so happy to be engaged and look forward to a life of happiness with Liam," Cyrus told PEOPLE. The two met in 2009 when they co-starred in "The Last Song" and Hemsworth popped the question on May 31 with a 3.5-carat Neil Lane ring.
  • "90210" star Matt Lanter is also engaged! The actor popped the question to his longtime girlfriend Angela Stacy last month in Paris with a 4.2-carat ring. Uh oh, he just one-upped Hemsworth!
  • Catherine Zeta Jones reveals she found husband Michael Douglas wearing her underwear and diamond jewelry—to prepare for his role as Liberace in the Steven Soderbergh-directed "Behind the Candelabra." Whatever works?

 SEE ALSO: Sheryl Crow Announces Brain Tumor Diagnosis >

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ATTENTION 'LORD OF THE RINGS' FANS: There's A New Production Video Out For 'The Hobbit' And It's Awesome

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The-HobbitPeter Jackson, the Academy-award winning director behind "Lord of the Rings" and "King Kong," has just released the seventh production video for the highly anticipated LOTR prequel "The Hobbit: An Unexpected Journey."

Fans are treated to an exclusive tour around the massive set–it was here they filmed "King Kong" and "the Lord of the Rings" trilogy–including visits to prosthetics, hair and makeup, costume (including a fat suit department for the dwarves), art, and stunt units. 

Aidan Turner ("Kili"), Stephen Hunter ("Bombur"), Peter Hambleton ("Gloin"), Luke Evans ("Bard the Bowman"), and James Nesbitt ("Bofur") all make guest appearances.

And if you watch really closely, you can get a quick glimpse of Sir Ian McKellan and Billy Boyd reclaim their roles as "Gandalf" and "Pippin," plus a surprise appearance by a fan favorite at the end of the video.

"The Hobbit" is set to hit theaters December 14.

Check out the video below.

SEE ALSO: The latest clip from "The Dark Knight Rises" >

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Former Child Star Amanda Bynes Busted For DUI--Asks Obama To Fire Cop Who Arrested Her

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Former Nickelodeon star Amanda Bynes, 26, was charged with driving under the influence of alcohol or drugs on Tuesday and the actress immediately took the matter to the White House.

Bynes, who is known for her colorful tweets, pleaded with President Obama to fire the cop who initially arrested her.

Amanda Bynes

No word back yet from @BarackObama.

Bynesamanda bynes' misdemeanor charges stem from an April 6 arrest, when she was pulled over at 3 a.m. in West Hollywood after allegedly sideswiping a police car in her BMW and reportedly tried to flee the scene.

Although Bynes has not been charged with a hit and run, she does face a minimum of 48 hours in jail and a maximum of 6 months.

But most likely, Bynes will only have to serve a few hours in one of Los Angeles' overcrowded jails.

Hopefully she'll be live-tweeting.

SEE ALSO: Miley Cyrus and Liam Hemsworth are officially engaged >

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The Kardashians Fear A Diet Pill Suit Could Hurt Celebrities Everywhere

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Kardashian sisters Quicktrim ads

Life can be tough for celebrity spokespeople.

The Kardashians are fighting claims that QuickTrim diet pills won't get you as skinny as the famous sisters.

Kourtney, Khloe, and Kim told a federal court Monday the class action could "spawn a wave of litigation" against celebrity spokespeople.

The Kardashians were initially hit with the class action in March.

Consumer plaintiffs claimed the main ingredient in QuickTrim — caffeine — is not a safe or effective weight-loss ingredient.

DON'T MISS: Mitt Romney's Email Was Hacked After Somebody Guessed His Favorite Pet's Name >

 

 

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People Sick Of Mooching 'Game Of Thrones' Off Their Parents Want HBO To Offer A Standalone Streaming Service

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game of thrones

The "Take My Money, HBO" campaign is officially under way.

Just last night, we spotted Twitter users chiming in about how they want the cable network to turn its companion streaming service, HBO Go, into a standalone service that doesn't require a TV subscription. 

It's a sign of the times. People are sick of paying for cable they never use and want to stream everything on their smartphone and laptop instead. 

Not that we blame them—the average cost of a monthly cable subscription is $75, which over time could add up to thousands of wasted dollars. 

SEE ALSO: The easiest way to get $4 million richer > 

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UNFAIR: These 20 Celebrities Received Honorary Doctorate Degrees

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Robert-De-Niro

Recently, Robert De Niro was awarded an honorary doctorate of Fine Arts at Bates College in Maine after giving the commencement speech. This marked the second honorary degree for the actor, who also received a Doctor of Fine Arts from NYU in 1996.

De Niro was one of three public figures who received doctorates that day, alongside PBS "Newshour" correspondent Gwen Ifill and molecular biologist Bonnie Bassler from Princeton. 

De Niro, Ifill and Bassler have just been included in a long list of celebrities who have received honorary degrees from all over the country. 

Some of the recipients make sense (check out how many Meryl Streep has), while others, like Kermit the Frog, are just strange.

Here are 20 celebrities who didn't have to go to college to get honorary doctorates. 

Seems a bit unfair, no? 

Jon Bon Jovi got his honorary degree in his homestate.

The "Livin' On A Prayer" rocker received a Doctorate of Humanities from Monmouth University in 2001 after giving the commencement address. 



Yoko Ono has two doctorates for humanitarian work.

After husband John Lennon's death, musician Yoko Ono founded the Strawberry Fields Memorial Park, the John Lennon museum and, most importantly for the degree, the John Lennon Memorial Scholarship Fund— which is given to students at Liverpool University. 

She is also a staunch advocate for human rights. For all of this, Liverpool University gave Ono a Doctorate of Laws in 2001. A year later, she also received a Doctorate of Fine Arts from Bard College



Yes, Kermit the Frog received a Doctorate from a REAL college in New York.

One of Jim Henson's most beloved Muppet received a Doctorate of Amphibious Letters in 1996 from Southampton College in New York. Seriously. Kermit delivered a speech at the event as well. 



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Here's What Happened When This Guy Tried To Watch 400 Hours Of Netflix Films In 30 Days

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mark

When New York-based comedian Mark Malkoff comes up with his wacky personal challenges, he's nothing if not committed. 

Malkoff's wife, Christine, visited him while he famously occupied an IKEA store for a week in 2009, and the couple spent their one-year anniversary dining on the wing of airplane he'd been sleeping in for a month. 

He's recently been at it again, this time challenging himself to see just how many films he could squeeze out of his $7.99 unlimited Netflix streaming plan in 30 days

Between April 16 and May 15, he barely budged from his Queens, N.Y. apartment. When he took walks around his neighborhood for exercise, his wife made sure he didn't veer into traffic while browsing flicks on in his iPhone

"A lot of people were like, oh my God, I envy you so much, and then they would think about it and say I would not want to do what you're doing," he told BI in a phone interview. "The first week, I didn't leave my apartment for 155 straight hours." 

Most of the films (see a full list here) were suggested by more than 500 social media followers, but he came up with special theme days (Sports, Sci-Fi, and "things I'd never usually watch") to keep things interesting. 

When all was said and done, Malkoff clocked 404.25 hours and watched 252 films for an impressive $0.03 a pop. He also packed on about six extra pounds, most of which he blamed on the coffee and cookies he ate to stay awake. 

"It was really a race the last week," he admitted. "I had to watch over 100 hours. The final day, I watched 17 straight hours of movies." 

There were some celebrity cameos, too. Andrew McCarthy joined him for a smartphone screening of "St. Elmo's Fire" in Central Park ("He pulled me around in a wagon and it tipped over"), and "Dazed and Confused" actor Jack London actually made a house call.

Malkoff was so committed to his task, he re-watched four films after realizing he hadn't processed what he'd seen. 

"After about seven or eight straight hours, everything basically became like white nose," he said. 

Now that Malkoff's completed his feat, he said he's pretty much convinced streaming is the way to go for bargain-hunters. 

“Good thing there's unlimited Netflix streaming,” he said. “Otherwise I would have had to subscribe to the 252 disc-at-a-time plan.”

DON'T MISS: 11 pop culture icons who had millions and blew it all >

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Stephen Baldwin Takes Kevin Costner To Court Over BP Oil Issue

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Alec Baldwin Kevin Costner

Sometimes, Hollywood is odder than the plot lines it produces.

In 2010, Stephen Baldwin sued Kevin Costner, claiming the actor tricked him into prematurely selling off profitable shares in a company that builds machines designed to clean up oil spills.

The company later scored a $52 million deal with BP and now Baldwin wants $21 million in damages. (Maybe Stephen isn't the weakest Baldwin, after all.)

Baldwin is suing Costner claiming that the "Field of Dreams" actor duped Baldwin and a friend out of their shares of an $18 million deal for BP to buy oil-separating centrifuges after the April 2010 spill in the Gulf of Mexico.

Costner, who has been involved with centrifugal devices for more than 15 years and even has a machine called the "Costner Solution" which he claims "could give us a fighting chance to fight back the oil before it got us by the throat," first became interested in technology that could separate oil from water after starring in 1995's "Waterworld."

When the 2010 oil spill occurred, Baldwin and other investors joined Costner in creating a new company called Ocean Therapy Solutions, which marketed the centrifuges to BP.

Now Baldwin is saying that he was left out of an important June 8 meeting in which BP agreed to make an $18 million deposit for 32 of Costner's devices.

Baldwin, who previously owned 10 percent of Ocean Therapy Solutions, claims he was deceived into letting go of his shares in the company—one day before the BP deal was finalized.

And despite testifying before Congress in the name of the centrifugal devices, Costner has now filed for dismissal of the lawsuit, saying he's just the famous face of the company and actually has nothing to do with it.

Watch the two arrive to court yesterday in New Orleans.

SEE ALSO: Amanda Bynes busted for DUI, asks Obama to fire cop who arrested her >

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Meet The Wheelchair-Bound Babes Of TV's New 'Push Girls'

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push girls auti tiphanyWhile Monday nights are filled with reality romances and variety competitions, there's another show catching a lot of buzz. 

Sundance premiered its original show "Push Girls" Monday night, following four sexy, driven wheelchair bound women.

The docu-series comes from producer Gay Rosenthal ("Little People, Big World") and follows the lives of the women living daily with their paralysis.

Though the show gives an in-depth look at what its like living day-to-day in a wheelchair, don't pity the girls. The four set general misconceptions straight about people in wheel chairs—they don't date guys in wheel chairs, they do work out at the gym and, yes, they do have sex.

"Push Girls" is essentially the ultimate "girl power" show.

In case you missed the premiere, here's a look into the four women featured on the show. 

Angela Rockwood

Age: 36
Paralyzed: September 3, 2011 at age 18

Rockwood was a lingerie model for Vanity Fair making $500 a day at age 18. She was paralyzed in a car accident after her friend lost control of the vehicle she was driving home from a trip to San Francisco. Rockwood catapulted 25 feet out of the car breaking her neck and severing her spinal cord. She was given a 3-5 percent chance of ever feeling or moving anything below her neck.

At the time she had just signed with an acting and modeling agency and was engaged to actor Dustin Nguyen ("21 Jump Street"). The couple was married for ten years, but are currently separated. 

Currently, she's an actress and working model.



Auti Angel

Age: 22

Paralyzed: May 3, 1992

Angel acts, sings, raps and dances. She was a professional hip hop dancer performing with artists including N.W.A. and L.L. Cool J on stage and appearing in Ludacris' video "Stand Up."

At age 22, she snapped her back in half in a car accident. The injury severed her spinal cord and a doctor told her mother she'd never walk or dance again. Five months after her diagnosis, she met her current husband of four years, Eric

Angel currently works with a number of nonprofits and founded her own program, Save a Soul Foundation, to help at-risk youth and young adults in the Los Angeles area. She also started a hip-hop wheelchair dance group, Colours 'n' Motion in 2003.



Tiphany Adams

Age: 28

Paralyzed: October 15, 2000 at age 16

Adams is a preschool teacher who was paralyzed in a head-on collision where she was hit by a drunk driver at 130 mph. She was originally pronounced dead with everyone at the scene. When pulled from the wreckage, her family was given a five percent chance of survival.



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WATCH: Michelle Obama Delivers Letterman 'Top Ten'

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First Lady Michelle Obama appeared on the The Late Show With David last night, delivering a garden-themed Top Ten list to plug her new book, American Grown.

Highlight's from the First Lady's "Top Ten Fun Facts About Gardening" include: 

  • No. 7: In his lifetime, the average American will eat half a radish.
  • No. 4: If you have an actual green thumb, it might be scurvy.
  • No. 2: The White House tool shed contains shovels, trowels and Weed Whacker One.
  • And No. 1: "With enough care and effort you can grow your own Barack-oli." 

Watch the segment below:

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Here's What Worked (And Didn't) In Ridley Scott's 'Prometheus'

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Prometheus

Without giving too much away (we promise not to spoil anything), "Prometheus" is philosophical, beautiful, and utterly disgusting.

If you couldn't handle the alien popping out of John Hurt's chest in the original, just skip this.

Oh, and don't listen to what all involved claimed, because it's totally a prequel. Those unfamiliar with the "Alien" universe will still enjoy all of the striking visuals and action sequences, but there is a lot of mythology that will go unnoticed.

Want to know more?

Click below to see what worked and what didn't in Ridley Scott's new science fiction blockbuster.

Good. Then Bad: The Opening Scene

The opening scene of the film is spectacular on its own, and sets an ominous tone for the next two hours, but it doesn't really fit into the rest of the film.

It's hard to go into detail without giving anything away. There is a definitive answer, but it's hard to understand until thinking back to it after the credits roll (I won't post it here, but check the Wikipedia page for a possible explanation).



Good: Cinematography

Anyone who's seen one of the dozens of trailers, TV spots, and featurettes knows how visually striking this movie is. Aside from solid special effects, the lush landscapes and detailed sets bring the film to life. It's a shame Scott didn't shoot with an IMAX camera.

Filming on location leads to great cinematography that green screens can never fully capture. Cinematographer Dariusz Wolski previously worked on all four "Pirates of the Caribbean" films, but this may be his crowning achievement.

This also may be the rare occasion where it's worth shelling out the extra cash for 3-D, which adds more depth to the already spectacular scenes. 



Bad: Noomi Rapace Isn't Ripley

It's almost unfair to compare lead Noomi Rapace's Elizabeth Shaw to Sigourney Weaver's Ripley in the original, but Rapace was on the other side of this conversation six months ago with "The Girl With The Dragon Tattoo," so fair is fair.

Ripley is a complete badass, possibly the toughest heroine in cinematic history. It's understandable that all involved wouldn't want to try to mimic that character, but they didn't need to make Shaw seem like nothing more than the lead in a generic horror movie. Rapace has her badass moments as well (which I won't spoil here), but she's no Weaver. One also can't help but wonder what Charlize Theron could have done with the role instead.



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HOUSE OF THE DAY: Dean Martin's Tucson Desert Escape Is On Sale For $1.29 Million

Here's The 'True Blood' Guide You Need To Read Before Watching The Season Premiere

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anna paquin true blood sookie

Bon Temps is about to get crazy … confusing. 

When season four of "True Blood" ended last September, Sookie was cradling an injured TaraBill and Eric slaughtered a crew of vampires, Jason was met by a newly resurrected Reverend Steve Newlin and that's not even the half of it.

With more than a dozen storylines, if you go into season 5 unprepared, you're going to get lost fast. (We know because we've already seen the first episode). 

As an aid, we've created a cheat sheet to catch you up to speed before the big premiere Sunday night at 9 p.m.

There's a new guy in town who's friends with Terry.

Scott Foley ("Grey's Anatomy") joins the cast as Patrick, a sargeant who served with Terry in Iraq.

Patrick claims he's passing through Bon Temps, but no one just "passes through" without some sort of agenda.

Foley told TV Line he's just a normal guy trying to settle a score. 

" … I'm just a guy! I'm not a vampire or a werewolf, I'm not a werepanther, I'm not a fairy; I'm not a shapeshifter. I'm just a guy coming into town trying to finish up something he started back in Iraq," Foley said.



Arlene is haunted by the ghost of her ex, Renee.

His vision tells Arlene to keep far away from Terry, and the man who just showed up from his past. 

This seems slightly bizarre considering Terry has been the center of all things good in her life up until this point. Do we see a huge character change coming?



Andy Bellefleur eyes up Sookie's cousin, Holly.

Now that he's not drugged up on V anymore (vampire blood), the sheriff of Bon Temps is setting his sights on a potential love interest.



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Top Viral Videos Of The Week: These Cheerleaders Want You To Call Them (Maybe)

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miami-dolphins-cheerleaders-call-me-maybe

Initially released in September 2011, Carly Rae Jepsen's 'Call Me Maybe' has just recently become a chart-topping hit song.

Beginning with an impressively choreographed video by the Harvard baseball team, lip dubs and cover versions of 'Call Me Maybe' on YouTube have shot through the roof.

This week, a mashup of Barack Obama "singing" 'Call Me Maybe' and a lip dub done by the Miami Dolphins cheerleaders have taken over YouTube.

Find out what this 'Call Me Maybe' craze is all about and check out this week's most watched videos on YouTube.

10. Video game enthusiasts couldn't get enough of this demo



9. Minecraft narrated by two dudes with British accents



8. This is the most talked about Stanley Cup Finals moment



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The Economic Predictions In The Original 'Alien' Are A Lot Scarier Than The Creature

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alien

Prometheus opens this weekend, heralding Ridley Scott's welcome return to the Alien movie franchise he started. The original movie plays so frequently on cable TV, and is so well made, that it's surprising to think it was made in 1979—a long time before directors could use computers and CGI to create special effects.

Alien was certainly one of the best horror movies ever made. Its measured pacing, coupled with Scott's refusal to fully show the audience what the alien actually looks like until the very end, give it the power to scare viewers even on repeated viewings.

But the movie raises a lot of business and economic issues too, mostly about the role that corporations, profits, employees, robots and stock might play in the future. Alien's macroeconomic predictions aren't pretty, but 32 years later they look eerily accurate.

Unchecked infections will ruin healthcare.

In the movie, the alien is brought aboard when it attaches itself to the face of one of the crew. He is initially treated—and thinks he's cured—in the ship's medical unit. It turns out the infection has simply gotten more complicated and more dangerous, of course.

The movie has a strong medical motif—there's a quarantine rule in the beginning that gets broken, and the crew attempt to kill the alien with sterilizing flamethrowers.

Alien was made before the HIV epidemic, but it is prescient: While AIDS is now under control, our healthcare systems are constantly threatened by new, more virulent "superbugs," like MRSA.



The vast distances involved will make space travel incredibly unattractive.

At the start of the movie, the crew of the spaceship Nostromo are awakened from a deep sleep during their years long journey back to earth in order to investigate what appears to be a distress call from a mysterious planet with a hostile, stormy climate.

Once the alien arrives on board the ship, the heroine (Sigourney Weaver's Ripley) and her crew must rid the craft of its stowaway before attempting to return to their hypersleep pods.

The Alien franchise returns repeatedly to the notion that to get anywhere in space, humans will have to sleep in suspended animation for periods of years—otherwise we'll grow old too quickly on the journey.

Richard Branson may believe he can make space travel into a glamorous source of tourist dollars, but the early scenes in the movie—when the crew awakes groggily in their underwear—make space travel look decidedly unpleasant.



Space is for the working class.

This is a corollary of the previous point. Life aboard the Nostromo is dirty, hard and ugly. The crew argue about who gets paid what—indicating that some of them may be underpaid for their labor.

Today we regard space as the province of adventurers and scientists. But if the history of the automobile is any guide—it was once a rich person's toy but driving as a business is now the job of truckers—space may be for the blue-collar classes.



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