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CNN\'s Cruise Ship Coverage Lifts Ratings

CNN’s decision to cover one story â€" of a stranded Carnival cruise ship in the Gulf of Mexico â€" like no other channel could on Thursday appeared to pay off when the Nielsen ratings came in on Friday.

The channel, which usually loses to MSNBC and Fox News on a daily basis, easily beat MSNBC and came much closer to Fox than it usually does.

The ratings could be seen as a justification both for CNN’s coverage â€" which was engrossing but also easy to criticize â€" and for the channel’s investment in a helicopter rental, a boat rental and a legion of reporters on the ground in Mobile, Ala., where the cruise ship was eventually towed into port late Thursday.

At noon on Thursday, CNN started covering te ship to the exclusion of most other stories. For the whole day CNN had an average of 632,000 viewers watching at any given time, up about 50 percent versus typical Thursdays this year. MSNBC had 535,000, down slightly. Fox News remained on top with 1.38 million, up slightly.

The same was true in prime time, when the ship neared the port of Mobile. CNN had an average of 1.03 million viewers at any given time from 8 to 11 p.m., up 62 percent versus typical Thursdays this year. MSNBC had fewer â€" 867,000 â€" and Fox had more, 2.14 million. Those two channels mostly stuck with their regular lineups until the ship was within sight of the port of Mobile.

CNN, on the other hand, went wall-to-wall with cellphone interviews of ship passengers and aerial pictures of the ship’s slow-motion arrival. “Sweet Home Alabama,” the CNN graphics read at one point as passengers debarked. The channel stayed with live coverage until 1:30 a.m., three and a half hours after it usually switches to taped p! rogramming.

The saturation was admonished by some critics of the news media, but embraced by some subset of viewers, as the ratings indicated. It was interpreted as a strategy of Jeffrey Zucker, who took over CNN Worldwide less than a month ago. Mr. Zucker has encouraged CNN producers to play up other big stories since then, including the presidential inauguration, the manhunt for a fugitive in Southern California and the State of the Union. During the weekend of the inauguration, CNN added extra hours of live coverage from a prime spot on the National Mall; during the blizzard in New England, CNN stayed live all night with special news coverage. The channel was pleased withits ratings for the State of the Union this week.



Music Companies Fight Over the Scraps Of EMI

After the main course, the leftovers.

Such is the state of dealmaking in the music industry, after the breakup of EMI that gave the historic British company’s record labels to the Universal Music Group for $1.9 billion and its huge music publishing division to a consortium led by Sony for $2.2 billion. Music’s corporate landscape was shifted as a result, with the number of major labels shrinking from four to three, and the creation of the world’s largest song catalog controlled by Sony’s publishing arm, Sony/ATV.

Over the last few months, though, there has been aggressive competition for smaller chunks unloaded by Sony and Universal on the orders of European regulators. Last week the Warner Music Group paid $765 million for the biggest of these side dishes, the Parlophone Label Group, with recordings by Coldplay, Pink Floyd, Radiohead and many others. It must still e approved by regulators, but is not expected to face significant opposition.

One of the bidders that lost out on Parlophone was BMG Rights Management, a five-year-old joint venture between Bertelsmann and Kohlberg Kravis Roberts. But BMG has been successful in several other EMI-related sales. Early Friday it announced it was buying Sanctuary Records from Universal, which includes classic albums by the Kinks and Black Sabbath.

The Sanctuary sale is estimated at about $60 million, and it follows two other BMG acquisitions late last year: the Mute Records catalog (Depeche Mode, Moby), formerly a part of EMI, and a collection of publishing assets from EMI and Sony/ATV. Those two deals were reportedly worth a little more than $100 million.

Warner, now the smallest major, gained some needed bulk in Parlophone. BMG’s various deals will help the company flesh out its business model, gaining a foothold in recordings after an intense focus on publishing assets that have led it to qu! ickly build a catalog of more than one million songs.

The cupboard is not completely empty, though. Universal is still selling EMI’s share of the long-running compilation series “Now That’s What I Call Music!” as well as Universal’s Co-Op Music label. Those are expected to be small deals, but along with the Parlophone deal, they will help to substantially reduce the effective price that Universal will have paid for two-thirds of EMI.

Ben Sisario writes about the music industry. Follow @sisario on Twitter.



\'This American Life\' Looks at a High School Marooned in Violence

One of the discussions that comes up every time there is a mass shooting at a suburban school or a movie theater is how underreported other, equally disturbing killings are â€" like the ones at urban high schools and in city neighborhoods. Those deaths don’t come in a single spasm, but instead are part of a chronic drip of bloodshed, day in and day out.

Harper High School is that kind of place. It’s located in the Englewood neighborhood of Chicago, where gun violence has become endemic and seemingly unstoppable. At Harper, 29 current or former students were shot during the last school year; eight of them died.

The school itself is a relatively safe place, but the beefs and fights in the neighborhood around it frequently mushroom into gunplay. On Friday, President Obama is traveling to Chicago and is expected to talk, in part, about gun violence and the city’s rising homicide rate. Chicago’s murder problem hit the national media’s radar screen in a big way after the death of 15-year-old Hadiya Pendleton, who was shot in a Chicago park about a mile from the president’s home just days after she had performed with her high school band during the inauguration in Washington.

But what is really to be said or done about an ecosystem of poverty, crime and hopelessness that has turned the Englewood neighborhood into a kill zone for the students who attend Harper

“This American Life” is taking on that story in a two-part serie! s that begins this weekend. School administrators gave access to three reporters for a full semester this school year, to explore the aftermath of last year’s violence as well as the current level of danger.

The project at “This American Life,” a news and storytelling radio show produced by Chicago Public Media and distributed by Public Radio International, grew out of story done by Linda Lutton, an education reporter for WBEZ radio last year. She returns as part of the reporting team for a longer look. Alex Kotlowitz, the author of nonfiction books including “There Are No Children Here,” and the producer of “The Interrupters,” a documentary about former gang members trying to prevent further violence, also reported for the series, as did Ben Calhoun, a producer for “This American Life” and a former reporter for WBEZ.

As it turns out, there is still plenty to learn about this brutal, if common, story. “Everybody hears these numbers and I thik people are a little fatigued with this kind of story,” said Ira Glass, the program’s host and a former education reporter in Chicago. “We have this burden of trying to come up a story that they have not heard, which is the story of the people who are fighting back in a very real way, and I think radio is intimate enough so you can hear that and feel something about it.”

“We never say straight up in the series, but part of the subtext of is how talented and competent the staff is in very trying circumstances,” he said in a phone interview. “I think people assume the opposite.”

For one hour this weekend and next, listeners are able to walk the hallways, sit in counseling offices and hear the staff plan for the worst and hope for the best.

The school’s principal, Leonetta C. Sanders, an administrator at Harper for the last six years, is the one who decided to give reporters the run of her school.

“At the beginning of the story, Ira Glass, the host, says tha! t if this! were any other suburban school, we would all know the name of that school and we would all know what is happening here,” she said in a phone interview. “People need to know about these kids â€" their resilience, their strength, their determination to find a better life, it needs to be told.”

Ms. Sanders is relentlessly upbeat in the halls, but sometimes violence intrudes. A current or former student will be injured, and she has to head behind closed doors and make what could be life-or-death decisions about whether the school should have a homecoming event, for example, and risk further violence.

Listeners will meet students who don’t go outside, who forgo friends, who are vulnerable when they walk home alone but are viewed as a threat when they travel in groups. It becomes clear early on that the adults and children who live, work and learn in this environment are not hardened to the violence; they are wounded and scared, even if the bullets hit someone else. They worry their time willcome.

“The thing that we don’t talk about is the profound impact living and working in this environment has on people, the profound impact it has on the human soul and spirit,” said Mr. Kotlowitz.

The two-part series contains all of the fruits of immersive reporting - strong portraiture, deep dives into causal relationships and persistent challenges to the conventional wisdom. And you will learn far more than you would staring at a cable television reporter trying to tread water with little in the way of reportable facts.



Campaign Promotes New Bank Service for NBA Fans

BBVA, the official bank of the National Basketball League, will announce on Friday that it is extending its services from the league to its fans.

BBVA Compass, the American franchise of the Spanish bank, and the NBA will unveil a campaign to promote online consumer checking and savings accounts called NBA Banking. Branded debit cards connected to the accounts will carry the logo of the cardholder’s favorite NBA team.

The effort is meant to help BBVA expand its presence in the United States beyond the 716 brick and mortar locations it has in states like Texas, California and Arizona, while targeting younger, tech savvy basketball fans. Manolo Sanchez, the chief executive of BBVA Compass, said it was important to connect the brand with values like teamwork and fair play.

“These are the things we like about team sports,” Mr. Sanchez said. “They are a metaphor for the things that we believe are important for the company.”

BBVA has been an NA partner since 2010 and has been aggressive in its pursuit of sports sponsorships both in the United States and in Spain. Its efforts included securing the naming rights to the Houston Dynamo soccer stadium and sponsoring the BBVA League in Spain.

Customers who sign up for a new NBA account will be able to access banking services online and through their mobile phones. Account holders will also be able to access news and game scores when they access their account.

James Harden, a player for the Houston Rockets, and Kevin Durant of the Oklahoma City Thunder, will be featured in ads promoting the BBVA accounts, and in social media campaigns and other promotions for the bank.

Additional promotion will include a microsite on the BBVA Compass Web site encouraging fans to upload photos of themselves. Fans can also post photos to Instagram and Twitter using #RealFan.

The NBA will select photos of fans to use in some of its advertising! promoting the BBVA partnership.



The Breakfast Meeting: CBS Sets Earnings Record, and Publishing Merger Gets O.K.

The CBS Corporation set records in the fourth quarter for operating income and adjusted operating income but still fell short of some analysts’ expectations, leading to a decline in its share price in after-hours trading, Bill Carter writes. The adjusted net earnings of $414 million produced earnings of 64 cents a share, also a quarterly record for CBS. The company announced an additional stock buyback of $1 billion, bringing the amount of stock it has committed to repurchasing this year to $2.2 billion. CBS, which is still the most-watched network on television, attributed the gains to a jump in advertising revenue in the last quarter, probably because of election commercials. Simon & Schuster, CS’s publishing unit, remained a troubling area with revenue declining to $215 million from $229 million in 2011.

The Justice Department has approved the merger of Random House and Penguin, which would create the largest book publisher in the world, Eric Pfanner writes. The Justice Department imposed no conditions on Bertelsmann, which owns Random House, or Pearson, the parent of Penguin, but the merger still faces regulatory reviews, most notably by the European Commission. Bertelsmann and Pearson announced their plans to merge the two publishers into a single entity that would have about a quarter of the English-language book market â€" no money would change hands in the agreement, but Bertelsmann is set to control 53 percent of the new company. Executives say the increased scale will give the publishers greater heft when negotiating e-book deals with the likes of Amazon, Apple and Google and help them develop new digital publishing models.

Print assets have become so toxic that media companies are quarantining them, David Carr writes on the Media Decoder blog. The latest example is Time Warner, which announced Wednesday that it might spin off a large portion of Time Inc., the largest magazine publisher in the country, into a new company with Meredith Publishing. Time Warner is following in the footsteps of News Corporation, whose stock hit a five-year high when the company announced a split between its entertainment and print divisions. Print publishing has lost a lot of significance with advertisers and consumers in the digital age, but investors have a far deeper hostility to the industry. The other two Manhattan magazine giants, Hearst and Condé Nast, are privately held and can afford to play for the long haul; Time Inc. does not have that luxury. Even though the media industry has been in a state of disruption for years, it sometimes takes a signature moment to drive the point home. Time Inc. being pushed out the door like a wayward party guest is a stark reminder of how the game has changed.

Wisk has started a new version of its venerable “ring around the collar” campaign, only this time it is aiming at invisible stains. In a series of online-only videos, a “documentarian” declares a “state of detergency” and confronts consumers at gyms and laundromats with an ultraviolet light, Andrew Adam Newman explains. He holds the light up to clean-looking clothing to show invisible stains, often in the armpits, and asks, “It’s the visible stains that you have to worry about; what about the stains you can’t see” The videos will start on Tuesday on Web sites like The Huffington Post and NYTimes.com. Laundry detergent formulations have improved so much that many consumers no longer choose specif! ic brands! . “There is so little differentiation in the category that you have to step above stains in order to break through,” Lora Van Velsor, Wisk’s director of marketing, said.

The Committee to Protect Journalists reported a rise in the number of journalists killed or imprisoned around the world in 2012, citing government restriction of dissent, draconian laws and outright impunity for the murderers of journalists, Rick Gladstone reports. The committee’s annual Attacks on the Press survey showed that 70 journalists had been killed while doing their jobs in 2012, 43 percent more than in the previous year, and that more than 35 journalists had disappeared. The group said it had identified more than 232 journalists imprisoned in 2012, the most since the survey began in 1990.

Rhythm and Hues, the visual effects supplier behind films like “The Life of Pi,” as filed for protection under Chapter 11 of the United States Bankruptcy Code. The principal filing shows that the company’s main customers â€" 20th Century Fox, Universal Studios and Warner Brothers â€" have split in their approach to the company’s financial difficulties, Michael Cieply explains. Fox and Universal agreed to extend credit that will allow the company to continue working on their films, but Warner has demanded “the return of all materials” related to three of its scheduled movies. According to the filings, Warner claims it is owed $4.9 million, which it paid for work that has not been completed. The bankruptcy of Rhythm and Hues, one of the world’s “top ! eight” ! visual effects companies according to one of their filings, compounds the financial troubles of the effects industry, which has been impacted by global competition.