Thursday, February 25, 2016

THE SEPIA-AESTHETICS

BY ERIC G. SATTERWHITE





Original found here:






Supreme MATH-Athletic: The Sepia Aesthetics

Welcome to the jubilee – an authenticated ratification from the Super Heru in me.



Last we dined we elected to unwind printed/verbalized redundancy from the talking head paradigm…legless drivel uttered with vitriolic lemony sublime…the
citrus of pancake sour face uttered at clocks of prime.



So beloveds it’s lastingness to do the analysis– of the canned expertise (that can’t quantify the actuality) without roping it in to mumbo jumbo statistical
paralysis…the byproduct of nonsense biased/self-loathing providence camera captured rudderless remnants.



Reminiscences?



Walk with me as we open up a new periphery….




Strata of Lifeless Data Occasion to de-mystify compromised computer computations today’s Sports statistical mutations. Firstly, Supercomputer’s transact one materiality and that’s compute at breakneck speed. If one uploads an error the Supercomputer imparts the data 70,000 times faster. Therefore, a Supercomputer cannot convert data of the visceral excellence of Black Athletes to organic information (pure energy),then organic information to knowledge, and then the impossible– converting



 lifeless data– to organic wisdom.



Hence the live Sports broadcaster after surveying a splendorous Black Athletic realization instantaneously responding with the familiar homilies, “Unbelievable”!
Can you count the blows?



Ay caramba!




The point? Straddling the statistical fence obstructs the transformation to meta-magnificence…under the guise of numerical innocence. Black Athletes get trapped
in a quick fix numerical matrix a remixed flip flop flipped script…like this…stone to sticks. Silly tricks? Know this…



ONLY HUMANS CAN CONVERT DATA TO WISDOM!




In the Oral tradition of African storytelling here’s a BASN rendition:

A teacher (Mr. Tektronix) vanguards a class of middle school students to tour a facility that houses the Supercomputer nicknamed “SC”. 



Upon facing this
technological wonder Mr. Tektronix deducts to his wily neophytes, “SC can compute answers swifter than all the combined efforts of present humanity.’ Mr.
Tektronix then parceled out to SC a throng of surpassingly herculean mathematical questions. And within seconds, SC spat out flawless answers.

Mr.Tektronix then canvassed his resplendent students from the upper echelon of measured Intelligent Quotient, “You may ask SC anything”. After a unified student
chorus of “anything” in response to Mr. Tektronix’s proposition an inquisitive lass (without sass) named Organica articulated she had a question. Organica
proceeded to ask SC, “Hello SC how are you?”



There was no response. Actually there was NEVER a response even after Mr.Tektronix was assured no one unplugged SC, no hack attack, and zero computer
virus.

The aforementioned story illustrates that to switch on all the requisites necessary to Artificially “Intelligent-size” Black Athletic excellence escapes the
Supercomputer niche. 



No matter how hypersonic a Supercomputer waxes it will retrench the self-awareness cardinal to answer the question “How are you?”
without HUMAN intervention…





An automaton that cannot see itself cannot correct itself– nor gauge the components involved in say–Black Athletic excellence.



Statistical/Data reliance are coded by HUMANS whereas the Supercomputer lacks the wisdom possessed by a baby. It can’t answer profound questions like, “Does GOD exist”? Yet Human’s such as basketball legend Larry Bird elucidated with brevity the question of GOD in black athletic expression.




In April 1986 Larry Legend after smashing round-ball atoms adjacent hoop savant Michael Jordan Bird reprised, “I think he’s GOD disguised as Michael Jordan.”

Halle Berry! Forgive me…HALLELUJAH!





Oh yeah Larry Bird was not looking at a stat sheet…in the world of Black Athletic efficiency, it’s the Supercomputer that seeks to measure Black Athletic wizardry (Sports Pseudoscience) — to not only define what synthesizes it super– but BEYOND SUPER!









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Thursday, February 11, 2016

Perspectives

 *Art Forms*


http://www.theguardian.com/commentisfree/2016/feb/08/black-pride-beyonce-super-bowl-50




Black Pride at the Super Bowl? Beyoncé embodies a new political moment

Suzanne Moore
From the Oscars to Super Bowl 50, political anger over race discrimination is front and centre. Black artists aren’t asking to be ‘let in’ to the culture – they are the culture





Beyonce at the NFL Super Bowl 50‘At the Santa Clara stadium Beyoncé and her dancers performed her new single Formation, and no one could be left in any doubt what was on her mind.’ Photograph: Matt Slocum/AP 


                  BLACK OUT        

                                                BLACK OUT 

Something interesting is happening to the ubiquitous back-slapping fests that dominate celebrity coverage: they are becoming fiercely politicised. I don’t mean just the odd liberal speech or cause that is paid lip service by some luvvie, I mean lines are being drawn. The Oscars row about “diversity” is not going to go away. Nor should it. Last night Simon Amstell introduced the Evening Standard Film Awards by saying it had been “another great year for white men”. He then handed the best actor prize to Idris Elba for Beasts of No Nation. Elba, who has been vocal about this issue, said “a change is coming”.
                             BLACK OUT

                             BLACK OUT





Meanwhile, at the Super Bowl – not an awards ceremony but a huge set piece event in the US, one of the most watched events in the world in fact - Beyoncé and her dancers performed her new single Formation and no one could be left in any doubt what was on her mind. She unabashedly referenced the Black Panthers, and made Black Power salutes, all while asserting her own cultural and ethnic identity. Formation is about where she comes from and where she is going. It’s quite something.

Beyonce was described in some quarters last night as looking “unapologetically black” - a reference to a key criticism of her, in the past, that she was somehow too white. Her dancers summoned images of revolution by dancing in an X formation that reminded us of Malcolm X and the Black Pride movement.

Formation: ‘Here, this superstar locates herself in time and place – in other words, in her own political history.’ Photograph: YouTube

That this played out on mainstream TV is significant, as is the superb new video for Formation. Here, this superstar locates herself in time and place – in other words, in her own political history. A black woman of the south, she remembers Katrina, the aftermath of which made clear to many the then-President Bush’s open reluctance to care for the black population. She shows the “Stop shooting us” graffiti of the present, a slogan of the Black Lives Matter movement. Backstage at Super Bowl, her dancers held up a sign saying, “Justice 4 Mario Woods”, a black man shot dead by several police in San Francisco for refusing to drop a knife.
This is not some sudden awakening for Beyonce – she has given £7 million to the homeless in Houston, her home city, she and her husband Jay Z have bailed out Black Lives Matter protesters in Ferguson and Baltimore. But now she is moving this highly visible assertion of identity centre stage. Her blackness, her femaleness, her pride, her politics, are not some kind of mysterious subtext.




It’s impossible to miss, just as the arguments around the Oscars and “whiteness” are impossible to miss. This matters right now, as the presidential candidates line up in the states, and the rhetoric around race becomes more and more polarised. Donald Trump has said of Black Lives Matter: “I think they’re trouble. I think they’re looking for trouble.” Hillary Clinton seeks to shore up the black votes she thinks are rightfully hers. She has had several faltering conversations in which she talks of systemic change. Her ground is not as sure as it once was because these new activists are sick of promises.
The assumption that they will be represented by the white political system is being challenged. The more Black Lives Matter is ignored or bypassed politically, the more it will be present culturally. Artists like Beyoncé and Janelle Monae (who has been speaking out on this issue too) are amazingly powerful. What is striking is that they are no longer asking to be “let in” to the culture. They are the culture.

Graphic Art crested/designed by Eric G. Satterwhite




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Wednesday, February 10, 2016

 FollowUp: Ponzi Marketing Fantasy Absolved


*Major Network Advertiser Eradicated*

 http://deadspin.com/report-espn-and-draftkings-dissolve-exclusive-advertis-1758168258







Report: ESPN And DraftKings Dissolve Exclusive Advertising Deal



Kevin Draper




Report: ESPN And DraftKings Dissolve Exclusive Advertising Deal

ESPN and DraftKings have ended their exclusive advertising agreement, according to a Yahoo report. Daniel Roberts reports that it was likely DraftKings—who are facing dozens of class action lawsuits, as well as engaged in a major legal battle with the State of New York—who asked to end the agreement. ESPN declined to comment on the report.

In some respects, ESPN should consider themselves lucky. Last spring it was widely reported that Disney was investing $250 million in DraftKings at a $900 million valuation. In return for the investment, DraftKings would spend over $500 million in ads on ESPN. But for whatever reason the terms of the deal changed, and Disney didn’t invest any money in DraftKings. Instead they agreed to a deal where DraftKings would have the “exclusive rights to advertise fantasy sports on Disney’s ESPN properties starting in 2016.”
Fox, who invested $160 million in DraftKings around the same time ESPN declined to, marked down the value of that investment to $65 million in a Securities and Exchange Commission filing Monday, a loss of 60 percent.


The ending of DraftKings and ESPN’s agreement signals much worse news for the daily fantasy operator than the four letter network. DraftKings—which sought to delay some ad payments late last year—is likely freeing up all of the cash they can to pay millions of dollars of legal fees. You don’t need to know much about business to understand that diverting large sums of money from marketing to legal is worrisome. But while ESPN loses some ad commitments from one of its ten biggest advertisers, they’ll be able to resell most of that ad inventory.
________________________________________

CMO Today: ESPN Concerns Overshadow ‘Star Wars’ Success for Disney

Here's your morning roundup of the biggest marketing, advertising and media industry news and happenings.


Photo: Getty Images
By

SUB WARS: A long time ago, in an earnings report far, far away, the success of “Star Wars” might have been the biggest topic for Walt Disney Co. But as The Wall Street Journal reports, the top story for the company continues to be ESPN’s subscriber struggles. ESPN lost subscribers in the most recent quarter compared with a year ago, but Chief Executive Robert Iger said there was a recent uptick thanks in large part to “skinny packages” like Dish’s Sling TV. 

 Meanwhile, ESPN and DraftKings have unwound their deal, a $250 million advertising agreement that would have given the daily-fantasy site exclusivity across the network this year.

Graphic Art designed/created by Eric G. Satterwhite

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Tuesday, February 9, 2016

Followup: STAR WARS windfall takes a hit

 https://ca.news.yahoo.com/star-wars-lends-force-disneys-revenue-212733680--sector.html

ESPN takes edge off 'Star Wars' success at Disney

By By Lisa Richwine and Lehar Maan | Reuters – 3 hours ago
By Lisa Richwine and Lehar Maan
(Reuters) - Walt Disney Co's ESPN network posted a decline in profit, overshadowing the blockbuster success of "Star Wars: The Force Awakens," which drove quarterly income and revenue ahead of Wall Street expectations.
Investors seemed nervous about the future prospects for Disney and other older media companies, sending its shares down 5.2 percent to $87.56 in after-hours trading. 
The media networks unit that includes sports network ESPN, the Disney Channels and ABC recorded a 5.6 percent decline in operating income to $1.41 billion. That was due in part to higher programming costs at ESPN and a decline in subscribers to the sports network, which offset an increase in advertising revenue.

ESPN programming costs rose due to a change in the timing of college football bowl games, and the strong dollar also hurt results, Disney said.
Chief Executive Bob Iger said ESPN subscriptions had risen recently, but investors and analysts are concerned that Disney and other media companies are being abandoned by "cord cutters", especially younger viewers who do not watch traditional television or buy pay TV packages.

"I actually believe that this notion that either the expanded basic bundle is experiencing its demise, or that ESPN is cratering in any way from a subscriber perspective is just ridiculous. Sports is too popular," Iger told analysts on a conference call after the earnings announcement.
"We fully expect our media networks, including ESPN to continue to deliver bottom line growth, which means ad revenue growth will continue to outpace spending," Iger said during the call.

Shares of MTV and Paramount owner Viacom Inc on Tuesday fell 21 percent after missing Wall Street sales estimates for a fifth straight quarter.
The concerns surrounding ESPN took the shine off of "The Force Awakens", the first "Star Wars" movie produced by Disney after it bought Lucasfilm from creator George Lucas in 2012 for $4 billion. 
Disney spent more than $200 million to produce "The Force Awakens," the seventh installment in the series. The stellar launch of the movie helped the studio business almost double its operating income to $1.01 billion.
Disney's quarterly net income rose to a record $2.88 billion, or $1.73 per share, from $2.18 billion, or $1.27 per share, a year earlier.
On an adjusted basis, the company earned $1.63 per share, that handily beat analysts' average estimate of $1.45 per share, according to Thomson Reuters I/B/E/S.
Revenue rose 13.8 percent to $15.24 billion in the first quarter ended Jan. 2, which beat analyst expectations of $14.75 billion.

Graphic Art design/created by Eric G. Satterwhite

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Up 2 the minute: 

***ESPN Subscribers zealously continue 2 jump ship... ***



ESPN Profit Declines 



  • Programming costs, subscriber losses, dollar hit sports network
  • Studio, consumer units post gains from latest film release


Walt Disney Co.’s first-quarter profit rose, beating analysts’ estimates as the December hit “Star Wars: The Force Awakens” boosted the film studio and consumer-products business. 

Earnings at the ESPN sports network, closely watched by investors, declined and the shares fell. 
Profit excluding some items rose to $1.63 a share, Burbank, California-based Disney said Monday in a statement, exceeding the $1.45-a-share average of analysts’ projections compiled by Bloomberg. Revenue grew 14 percent to $15.2 billion in the period ended Jan. 2, compared with estimates of $14.7 billion.



  • Profit at Disney’s TV networks, including ESPN, fell 6 percent to $1.41 billion on lower ratings, higher program costs and subscriber losses, along with the strong dollar.
  • Studio earnings leapt 86 percent to $1.01 billion on results from “The Force Awakens”
  • Theme-park profit grew 22 percent to $981 million on attendance gains
  • Net income rose 32 percent to $2.88 billion, or $1.73 a share
ESPN posted lower earnings as programming costs rose. The network aired more college playoff games in the period, pushing expenses up. ESPN also experienced subscriber losses and foreign currency headwinds. 
Broadcast revenue, from ABC, rose 7 percent to $1.81 billion while profit declined 7 percent.

 Disney fell 3.4 percent to $89.19 in extended trading after the results were announced. The shares gained 0.2 percent to $92.32 at the close in New York and have fallen 12 percent this year.

 The studio division, with two straight years of record profit, has picked up some of the slack from Disney’s media networks, which have registered slowing growth yet still contribute more than half of profit. Disney cut its growth forecast for the cable business last August, leading to a drop in the stock and the shares of other entertainment companies.

 “The Force Awakens” was released on Dec. 18, meaning the bulk of its $2 billion in global ticket sales occurred after the quarter ended. The movie was the top-grossing picture in U.S. history and third-largest worldwide, according to researcher Box Office Mojo. The film division has thrived on features from the Marvel and animation businesses.

Graphic art designed/created by Eric G. Satterwhite
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