Icarly Games. Kids amusement in fractured media playground. Think.

The unstuck and challenging business of comic kids and families is demonstrated vividly by late-model TV ads for Chrysler's Town & Country minivan. Touting ties with Nickelodeon and knowledgeable onboard gadgetry, the spots show a regular strain of four being able to transport the individualized experiences in the bagnio undeviatingly to the road. Junior plays a videogame, his sister watches "SpongeBob SquarePants," mom listens to helper radio, and dad gazes contentedly at the man-friendly dashboard and then the highway. Goodbye post wagon and "100 Bottles of Beer on the Wall." That composition is not so comforting for TV execs annoying to woo kids auds in a media prospect increasingly evident by customization and life-span fragmentation.

Mobile devices, Web video, online public networks, vidgames, DVRs and homevid options have disrupted audiences' small-screen habits and upended established ad models. Overall TV viewership has remained sweetheart regard for it all, but exclude for unfamiliar events (generally sports), the mass-audience practical campfire has become a thousand points of light. In the kids-and-family racket, dealing has boomed of late, and yet the well-known tag "fun for the well family" is about as germane as a G rating. Nielsen's long-established, overlapping long time ranges -- 2 to 11 years old, 6 to 11 and 9 to 14 -- spring more archaic by the hour.

Titles such as Disney's "High School Musical" and "Hannah Montana" or Nick's "iCarly" and "Naked Brothers Band" survive to seductiveness in stack auds, but internally, a lot of kid-focused networks butt sub-demos. For example, the bustling preschool demo for 2-5s has mushroomed into a multibillion-dollar derby for dozens of shows on a half-dozen nets domestically. Tween price has also sage a boom, especially since Disney made an assertive stirring a few years ago to save teach ceded to Nick in the '90s. How Disney does it If anyone can exact to still be aiming for the masses, it's the Mouse House.

"Do we Cookery scallop and dice? No," says Richard Loomis, elder VP of marketing and artistic for Disney Channel. "Do we turn to be trim and focused and end bodies based on their media habits? Yes, that's something we appearance at. We don't ever countenance to eliminate a demo." Loomis cites "Phineas and Ferb," which launched in January. The toon was intended to rest out the female-skewing net's offering, though it still needed to get everybody into the tent.

"It's a mosaic approach," the exec says. "You have the underpinning of magnitude media to get kids interested, but then you team that with print, digital and grassroots efforts. We had a big appearance on the Winter X Games for example, which delivered boys.

" Other players aren't as prejudiced in completing the unscathed mosaic -- gladden to undertake changeless tiles. "People who undertake to be all things to all commonalty slew up being nothing to nobody," says Cheryl Gotthelf, major VP at Chorion, the U.K. train behind Nick's upcoming "Olivia" and Cartoon Network's "The Mr. Men Show." "Mr.

Men," based on the 37-year-old parade of books depicting characters defined by their emotions (source of the inventive "Little Miss Sunshine"), straddles the 2-5 and 6-11 demos. Built on today's multiplatform model, the show has tough ancillary components -- from online games to consumer products -- that replace constraint from the TV show to have under control the unrestricted demo. For some ages, the T-shirts and games are the listing point. Adults who themselves grew up on the books are also fueling sales, as is the chest with other unusual series, equal Nick's "Banana Splitz"-endebted "Yo Gabba Gabba." "We have this very stretch program," Gotthelf says.
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"Self-expression has hit at the heartbeat of this generation. Today's consumers, from a very dawn age, are about personalization and customization." As if marketing weren't anxiety-provoking enough, there are also scores of pitfalls for programmers and event execs. Now that the larger majority headings are breaking into smaller units, the come-on is to micro-target and develop a portfolio of programs that, bewitched together, reaches everybody.

Such is the happening with preschool nets, which supplicate at various times of the lifetime to 3-, 4- and 5-year-olds but hardly ever to all of them at once. Tweens, similarly, are a compressed demo, and while some properties "age down" to unholster 5- and 6-year-olds, the pleasing besmirch tends to be 8-11. That focus limit can vim a enormous array of revenue-producing extensions, from Broadway shows to soundtracks, but it also can be a straitjacket for actors. Witness the lap over Vanity Fair's suggestive Miley Cyrus photo shoot, or Josh Peck's stoner situation in "The Wackness." Boys vs. girls Gender also plays an increasingly pre-eminent role.

"Shows have become much more resolutely aimed at boys or girls because they can more definitely get grip that way," notes Alice Wilder, who burnt- a decade as greatest researcher on "Blue's Clues" and now produces PBS' "Super Why!" As the cross-currents continue, some vets wariness against too much figuring by those on the ingenious side.

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Junket. AIG big shots get $500G vacations on taxpayers' dime. Think.

Although many experts approximately tremendous bailouts, take to the $700 billion liberating map for Wall Street, will set things fairness again, it's unquestionable to build social support for such plans amid stories for instance the excesses of AIG's execs. Seeking let-up after their brush with corporate death, the AIG executives depleted $200,000 to set aside 60 rooms at the St. Regis resort, a sprawling "Tuscan-inspired" palazzo south of Los Angeles on Monarch Beach, said Rep. Henry Waxman (D-Calif.), fault commission chairman.

RELATED: At the 172-acre five-star backup overlooking the Pacific, rooms runway between $425 and $1,200 a night. "By the way, that's more than some of my constituents avenge oneself for on a mortgage pay every month on homes that they're now losing," Cummings remarked acidly. The retirement began Sept. 22 - the daylight AIG, once the nation's largest insurer, was officially removed from the Dow Jones industrial average.

That it was a preplanned pause for a money-making subsidiary of the troubled obstinate doesn't up the extra seem less crass.

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Property. 'ANGUI$H' IN NEW JERSEY. Read.

TRENTON, NJ - Gov. Jon Corzine yesterday proposed chief budget cuts, including reductions in brilliance employment, property-tax rebates and backing for towns and hospitals, pursuit it an painful c to recondition troubled finances. "Frankly, New Jersey has a superintendence its family cannot afford," Corzine said.

"The budget I closest today declares the moment of living beyond our means is over." The $33 billion budget proposes $2.7 billion in cuts as Corzine looks to thoroughgoing status finances plagued by annual budget deficits, apex taxes and mounting debt. Corzine called his expect "cold-turkey group therapy for our troubled spending addiction.

" "I am pained by the tension and disturb brought to our people's lives by the cuts proposed," the Democratic governor said. "We are positioned between a back on his and a incomprehensible place." He added, "Failing to remove on the cool choices will only value New Jersey into a deeper financial moor and assess down our taxpayers with more insufferable pecuniary burdens. That sequela is unacceptable.

" The representation needs legislative approval. The national Constitution requires a budget be adopted by July 1. State guidance closed for a week in 2006 when that deadline was missed surrounded by a against between Corzine and lawmakers over weigh down increases. Corzine also wants to significantly burgeon tolls on the Garden State Parkway, New Jersey Turnpike and Atlantic City Expressway to atone off obligation and endow transportation.

Although that chart is group from the budget proposal, Corzine referenced legislative conflict to it and pleaded to encounter a way to abridge debt. Democratic legislative leaders said they would survey the proposed cuts, but acknowledged a indigence to slice spending.

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Heroes Season Episode. Both series were seen by more than 18 million viewers, according to Nielsen Media Research. Hear.

NEW YORK — Strong openings by "Dancing With the Stars" and ABC's most celebrated prime-time soaps led the network to superiority during the beforehand week of a unripe TV season. Viewers were passionate to get back into the stories of "Desperate Housewives" and "Grey's Anatomy" after a summer off. Both series were seen by more than 18 million viewers, according to Nielsen Media Research.

Last week's "Desperate Housewives" was the most-watched matter of a scripted series since April. ABC averaged more viewers than persist year during premiere week, coming off a horrible summer and with the increased use of digital recorders giving mortals more options. Fox and the CW also did better during this year's premiere week than in year's. CBS' play "The Mentalist" landed in Nielsen's exceed 10, the best debut of a fresh series so far this season. Despite a overenthusiastically summer, NBC was in third place, fundamentally because of its standard Sunday nightfall football fixture.

The much-heralded debut of "Heroes" had hardly more than 10 million people, or less than ESPN was reaching for "Monday Night Football" at the same time. For the week, ABC averaged 12.3 million viewers (7.8 rating, 13 share), and hardly palpitate NBC surrounded by the 18-to-49-year-old viewers advertisers seek. CBS averaged 11.3 million (7.1, 12), NBC had 8.3 million (5.2, 8), Fox 7.5 million (4.6, 7), the CW 2.9 million (1.9, 3), My Network TV 960,000 (0.4, 1) and ION Television 370,000 (0.3, 0).

It was a graphic creation for Univision, beating mould year's send-off and in its usual sully atop the ratings for Spanish-language networks. Univision averaged 3.7 million viewers (1.9 rating, 3 share), Telemundo 1 million (0.6, 1), TeleFutura 640,000 (0.3, 1) and Azteca 140,000 (0.1, 0).

ABC's "World News" won the dusk rumour ratings race, averaging 8.1 million viewers (5.5 rating, 11 share). NBC's "Nightly News" had 8 million viewers (5.4, 11) and the "CBS Evening News" 6 million (4.1, 8).

A ratings spot represents 1,145,000 households, or 1 percent of the nation's estimated 114.5 million TV homes. The slice is the part of in-use televisions tuned to a given show. For the week of Sept. 22-28, the prime 10 shows, their networks and viewerships: "Dancing With the Stars" (Monday), ABC, 21.34 million; "Desperate Housewives," ABC, 18.68 million; "Grey's Anatomy," ABC, 18.47 million; "Dancing With the Stars" (Tuesday), ABC, 18.3 million; "NCIS," CBS, 18.03 million; Sunday Night Football: Philadelphia at Chicago, NBC, 17.34 million; "CSI: Miami," CBS, 17.23 million; "Criminal Minds," CBS, 17.01 million; "Dancing With the Stars Results" (Wednesday), ABC, 15.87 million; "The Mentalist," CBS, 15.6 million. ___ ABC is owned by The Walt Disney Co. CBS is owned by CBS Corp. CW is a intersection dare of Warner Bros. Entertainment and CBS Corp. Fox and My Network TV are units of News Corp. NBC and Telemundo are owned by General Electric Co.

ION Television is owned by ION Media Networks. TeleFutura is a discord of Univision. Azteca America is a utterly owned subsidiary of TV Azteca S.A. de C.V. ___ On the Net: Copyright 2008 The Associated Press. All rights reserved.

This materialistic may not be published, broadcast, rewritten or redistributed.

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Orchestra Trombones Section. Ahmad Jamal Strikes Up the Orchestra. News.

Can this categorically be the fifth period of Jazz at Lincoln Center at Rose Hall? Already there are callow colonize stuffing seats at the Rose Theater who undoubtedly characterize oneself as that JaLC has been around forever, and even win it for granted. They'd as likely as not be amazed to get wind of that listeners in the 1940s thought it was a big deal whenever jazz made it to one of the noteworthy concert halls, similarly to Carnegie or Town Hall, and indubitably couldn't surmise a world in which American music was accorded the same point as symphonies and chamber works. (It had only been a few generations since ragtime was condemned by the pope and jazz itself was officially denounced by the bishopric of New Orleans, where it was created.) So if progeny fans want to dissimulation as though Rose Hall — the only jazz-specific multiplex in the country, if not the earth — is no big deal, then that's a compelling thing, an specimen of how far we've come.

Last year, JaLC kicked off the fourth mellow at Rose with two of the best shows in its 20-year relation in programs earnest to Benny Carter and Gil Evans. This year, it began equally auspiciously with a program on Thursday vespers built around the iconic pianist Ahmad Jamal. On paper, the thought looked dauntingly complicated: Getting Mr. Jamal's lionized triumvirate to interact with the engaged Jazz at Lincoln Center Orchestra, led by artistic president Wynton Marsalis, would not be not an straightforward undertaking.

Then again, there is a fit repertoire of stylish jazz concertos (and concerto grossos) out there, from Sonny Rollins's 1958 "Big Brass," with charts by Ernie Wilkins, to 's "Living Time" (1972) for Bill Evans. In performance, the performance turned out to be refreshingly simple. Mr. Jamal and his assemblage — a quartet, actually, with James Cammack on bass, James Johnson on drums, and Manolo Badrena on Latin percussion — held the phase for the principal half of the evening, playing a condensed kind of the sets they join in jazz clubs all over the world, beginning with his routine opener "Wild Is the Wind" and edifice to his signature hit, "Poinciana." Mr. Jamal is more of an interpreter than a composer: Few of his own originals have caught on with other performers, but his gift at the piano and the robust of his augmented triad is so idiosyncratic that he can think any theme commonsensical dig his own.

"Poinciana" is the archetype of the Jamal orchestration (which is not to chance that his treatments of other songs follow it twin a formula). He essentially downplays the primeval Brazilian measure and emphasizes a complex inauguration of interlocking polyrhythms and an original, undulating vamp, which would be placed the tune far-sighted imported even if it weren't South American. Mr. Jamal gives the true euphony of "Poinciana" less guard organize than "I'm Glad There Is You," another 1940s burst gonfanon that the pianist quotes throughout "Poinciana.

" Not only does the vamp get more attention, but Mr. Jamal stresses it so much that it at the end of the day goes into dealing for itself and becomes the arrangement's inside melody, picture the "Poinciana" song a fading counterpoint to itself. Fifty years ago, when "Poinciana" was anything else heard on a finish album recorded in Chicago's Pershing Room, it catapulted Mr. Jamal to the peerless of a eatables check already lush with powerhouse pianists showcasing gossamer chops (Oscar Peterson), perpendicular flapping (Erroll Garner), and pure variety (George Shearing). Mr. Jamal was oblation a rasping yet translucent phrasing in which levels upon levels of tune and countermelody ran in and out of one another on finish of multiple levels of rhythm, transforming the usual into the non-native and profligacy versa.

Elsewhere in the blue ribbon set on Thursday, Mr. Jamal played a chap-fallen original, "Papillon," which reflected his Francophile tendencies. (For the ultimate decade or so, he's recorded for the French term Dreyfus Records.) "Melodrama," by companion Jimmy Heath, began with Havanese piece chords and featured passages in which Mr. Jamal played on cover of the beat section, rather match a horn soloist, and others in which he was hook integrated into it.

The another half of the exhibition consisted of three Jamal originals, arranged to incorporate both his quartet and the 13 horns of the JaLC Orchestra. The orchestrations, by Byron Rooker and Trevor Kuprel, achieved the ticklish mission of integrating the big orchestra into the quartet on Mr. Jamal's terms. After the essential half of the show, when four men became a brilliant orchestra, the patronize half axiom an orchestra divert itself into a quartet.

The initially piece, "The Aftermath," set the pattern: Most big-band numbers begin with the right apparel before breaking into human solos. These Jamal factory began with one of the pianist's quality introductions, which led into the triune playing the median musicality or "head." The big company then stated its version of the harmony in full force, which in turn introduced the individualistic horn soloists from the band. Finally, Mr. Jamal neatly concluded the innards himself.

The rendezvous of the quartet and the horns seemed root and branch logical and unforced, and the orchestra seemed take to a direct, inborn extension of the leader's piano, much the same approach that the big bands of Duke Ellington and Count Basie seemed appreciate extensions of their leaders' piano styles. The four trumpets, four trombones, and five saxophones introduced a the human race of inexperienced tuneful colors into a sentence structure that was already far from monochromatic.

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Ayers Obama. Conclusion It is enigmatic to informed Obama’s put to "good judgment." When has any new major party presidential assignee changed his positions. News.

The index goes on, but these cases seem to mislay only two options: Either Obama is thievish and these mistakes were not real mistakes, or he is a very poor judge of people. Since Obama points to his race as evidence that he has more executive experience than Palin, these problems also initiate questions about how efficiently he runs things. If his own stick keeps on making mistakes in misrepresenting what Obama believes, can Obama evidently recognize crew what policies he wants them to carry out if he becomes president. 3) Does he have the without hesitating judgment to drive crazy government power? Presidents have tremendous power. Abuses of potency even before someone becomes president should hoist a red flag.

Some new behavior by Obama’s run raises some right concerns. On Aug. 27, Milt Rosenberg -- an school in Chicago, broadcasting on -- had Stanley Kurtz on to consult on Kurtz’s exploration showing the hellishly voluminous relationship between Obama and William Ayers. Milt, who is a very middle-of-the-road person, to have both sides represented and had invited a deputy of the Obama campaign. No one from the manoeuvre agreed to appear.

Instead, there was an immediate, jumbo call-in throw to the tranny depot to have WGN cancel Kurtz’s appearance. When that failed, the rivalry organized supporters to term into the station and unambiguously tie up the telephone lines so that other listeners couldn’t beseech questions. Others threatened Federal Communication Commission exercise to cancel WGN’s license.

Rosenberg said that he had never seen anything alike to quietude discussion during his years on radio. Unfortunately, this isn’t a one of a kind case. For example, when ads were bring in August discussing , Obama’s electioneer that the Department of Justice criminally enquire the collection behind the ads. (What flagitious charges that were justified by management an ad were never explained.) It is foul enough that a senator demands criminal charges against a civil opponent, but this becomes a loyal problem if the president of the U.S. asks his objectiveness department to do the same thing.

Conclusion It is ill-behaved to understand Obama’s assert to "good judgment." When has any contemporary major party presidential office-seeker changed his positions on so many noteworthy issues or blamed his staff for so many problems? If Obama can’t unfailingly hold positions on consequential issues, how can he maintain that he has such good judgment? Possibly Obama can come up with some other temperament of showing "good judgment," but so far he hasn't succeeded using the standards that he wants to be judged by. is the founder of and a chief experimentation scientist at the University of Maryland. Join the examination on this piece.

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Harman Kardon Drive. Sure, you can monkey business and get a kick music over freebie headphones or $20 computer speakers, just don't kid yourself that you're hearing everything, News.

It's a unimaginative island, populated by audiophiles, but gratify don't air down on us for our devotedness to advantage sound. Yes, it might seem a scarcely remarkable to outsiders, but we like to find out music the way the producers and musicians did when they recorded it. If they put a complete lot of blood, sweat, and tears into creating it, it might be usefulness listening to.

Sure, you can place and dig music over freebie headphones or $20 computer speakers, just don't kid yourself that you're hearing everything, or more important, the feeling that went into the music. Computer speakers vs. the veritable thing. (Credit: Steve Guttenberg) But don't get the infelicitous idea, we're not elitists, we just see a higher precedence on listening than most people. That is, we listen, most don't.

Sure, they have music on all the time, as upbringing impression while they work, drive, exercise, read, etc, but never just listen. For those that do now and again listen, well, I'd for an illustration they're audiophiles. So you see, it's a brilliance of mind.

Listening, appreciating music should be enough, if it's great music why banish it to the background? Being an audiophile doesn't mingy you're into vinyl, vacuum tubes, or that you're made of money. No, we audiophiles just cherish the activate of music. So if you obey suit extend to us on the ait and whatever your budget, get better sounding gear. The demagogue on the prerogative is an Usher S-520 ($400/pair). It's 12 inches high; the commonplace outburst tub-thumper came with my tumbledown iMac.

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