[697464] in Cypherpunks
Award Winning Extended Warranty Coverage
daemon@ATHENA.MIT.EDU (Extended Auto Warranty)
Wed Sep 11 06:20:56 2019
Message-ID: <132438692624193132430694602941@u2t11zh.snipervision.co>
To: <cpunks-mtg@menelaus.mit.edu>
Date: Wed, 11 Sep 2019 03:20:53 -0700
From: "Extended Auto Warranty" <ExtendedAutoWarranty@snipervision.co>
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Award Winning Extended Warranty Coverage
http://www.snipervision.co/l/lt7AV1324CD94E/306AQ602G941Y107U92624193PN3236733881/qs/?email=cpunks-mtg@menelaus.mit.edu
http://www.snipervision.co/l/lc8IU1324VC94M/306IN602C941W107S92624193GA3236733881/qs/?email=cpunks-mtg@menelaus.mit.edu
were in most markets fewer TV stations than there were networks (at the time four), which meant that the stations that did exist affiliated with multiple networks and, when not airing network or local programs, typically signed off. The loosening of licensing restrictions, and the subsequent passage of the All-Channel Receiver Act, meant that by the early 1960s, the situation had reversed. There were now more stations than the networks, now down to three after the failure of the DuMont Television Network, could serve. Some stations were not affiliated with any network, operating as independent stations. Both groups sought to supplement their locally produced programming with content that could be flexibly scheduled. The development of videotape and, much later, enhanced satellite downlink access furthered these options. While most past first-run syndicated shows were shown only in syndication, some canceled network shows continued to be produced for first-run syndication or were revived for syndication several years after their original cancellation. Until about 1980, most syndicated series were distributed to stations either on 16mm film prints (off-network reruns, feature filmsal stations. Ziv's first major TV hit was The Cisco Kid. Ziv had the foresight to film the Cisco Kid series in color, even though color TV was still in its infancy and most stations did not yet support the technology. Among the most widely seen Ziv offerings were Sea Hunt, I Led Three Lives, Highway Patrol and Ripcord. Some first-run syndicated series were picked up by networks in the 1950s and early 1960s, such as the Adventures of Superman and Mr. Ed. The networks began syndicating their reruns in the late 1950s, and first-run syndication shrank sharply, for a decade. Some stalwart series continued, including Death Valley Days; other ambitious projects were also to flourish, however briefly, such as The Play of the Week (1959–1961), produced by David Susskind (of the syndicated talk show Open End and also producer of such network far
e as NWith Elizabeth, a domestic situation comedy that introduced Betty White to a national audience. In addition to the Adventures of Superman, many other series were based on comic strips and aimed at the juvenile audience, including Flash Gordon, Dick Tracy, Sheena, Queen of the Jungle, and Joe Palooka. Original juvenile adventure series included Captain Gallant of the Foreign Legion, Cowboy G-Men, and Ramar of the Jungle. Series based on literary properties included Sherlock Holmes, Long John Silver (based on Treasure Island), and The Three Musketeers. Several of these were co-productions between U.S. and European (usually British) companies. Crusader Rabbit pioneered in the area of first-run animated series; followed by Bucky and Pepito, Colonel Bleep, Spunky and Tadpole, Q.T. Hush, and others. (All of these were five-minute shorts designed to be placed within locally hostate in the 1950s, however, much of the theatrical product available consisted of low-budget secondary features (mainly Westerns) with relatively few notable stars. One syndication company, National Telefilm Associates, attempted to create a "film network" of stations showing its lineup of first-run series, which included syndicated programs such as Police ns) consistently were drawing more viewers than their UHF, independent counterparts; syndicators thus hoped to get their programs onto the major network stations, where spots in the lineup were far more scarce. FCC rulings in 1971 curtailed the U.S. networks' ability to schedule programming in what has become known as the "early fringe", notably the 7–8 p.m. (Eastern and Pacific Time) hour of "prime time", with the stated hope that this might encourage more local programming of social and cultural relevance to communities (off-network syndicated repeats were also banned); some projects of this sort came to fruition, though us
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