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The ranking member of the Senate Commerce Committee has announced three senior staff promotions within the legislative body in the upper house of Congress that maintains oversight of the Federal Communications Commission.

Texas Republican Ted Cruz is congratulating the elevation to General Counsel of Liam McKenna, who has served as Chief Oversight & Investigations Counsel to the Committee since July 2023. His previous roles include General Counsel on the House Oversight and Government Reform Committee and on the Senate Homeland Security and Governmental Affairs Committee. He also served as one of the top attorneys at the U.S. Department of Transportation.

Concurrently, Cruz announced that Senior Counsel Abby Warren has been promoted to Chief Oversight Counsel. Warren joined the Committee last year and served on the special counsel teams for the nominations of Brett Kavanaugh and Amy Coney Barrett to the U.S. Supreme Court.

Lastly, Robert Smith has been promoted to Deputy Chief Oversight Counsel. Robert first joined the Committee in 2023 as Senior Counsel. Before working in the Senate, Robert was a managing associate at Sidley Austin. He also worked on the special counsel team for the nomination of Amy Coney Barrett to the U.S. Supreme Court and served as a law clerk for Judge Eric Murphy on the U.S. Court of Appeals for the Sixth Circuit.

As 2023 came to a close, rumors became reality as Gray Television announced it had reached a sports rights deal that brings 10 New Orleans Pelicans NBA games to broadcast television, with Gray’s WVUE-8 in New Orleans the originating over-the-air station for these telecasts.

Now, a home in Lafayette, La., has been secured.

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BALTIMORE — Sinclair Inc. has reached a comprehensive multi-year distribution agreement with Verizon for carriage on FiOS TV.

The agreement covers local television stations in 10 markets, Tennis Channel and YES Network.

Financial terms of the deal were not disclosed.

Will Bell, Sinclair’s SVP and Head of Distribution and Network Relations, commented, “We are pleased to have reached a renewal agreement with Verizon without any disruption in service to viewers, keeping our best-in class news, sports and entertainment content available on the platform for years to come.”

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Rules adopted by the Commission in the Low Power Protection Act Report and Order will take effect on February 9, 2024, except for sections 73.6030(c) and 73.6030(d) which are subject to OMB approval.

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The Association of Public Radio Engineers (APRE) will hold its Public Radio Engineering Conference (PREC) on Apr. 11–12 in conjunction with the National Association of Broadcasters’ NAB Show in Las Vegas.

The event — which will be held in-person at the Tuscany Suites Hotel and online via a companion live-stream — will serve as a professional development opportunity for the engineering community, as well as a place to honor engineers for their service.

This year, APRE is once again offering scholarships for budding engineers to attend PREC. The scholarships cover APRE membership for one year, the PREC registration fee and three nights of free lodging at the conference hotel during PREC.

Public radio station personnel new to the broadcast field (less than two years of experience) with a technical or operational bent are encouraged to apply. Those who have not attended PREC in the last five years are also able to apply. Find the link to the application form here.

Scholarship submissions must also include a letter of recommendation from the applicant’s general manager or supervisor, substantiating the station’s need and willingness to cover travel costs. Additionally, a letter from the scholarship candidate is required, explaining why the applicant would benefit from attending PREC.

Deadline for submission of both letters is Feb. 16, 2024 via email to apre@apre.us. Scholarship recipients will be notified in early March. 

2021/2022 PREC Scholarship winners from left to right: DeShun Nance, Jacob Isham, Ivy Sheppard, Marley Horner, Pierre Lonewolf (KOTZ/Lonewolf Communications and APRE program coordinator), Lindsay Lounsbury, Gavin Nelson, Rachel Haggerty and Friend Weller. (Photo courtesy of Jim Peck)

During the conference, the Association of Public Radio Engineers will also present its annual APRE Engineering Achievement Award. This honor is to be awarded to a single individual for “outstanding contributions” to the art and/or science of radio engineering that has made a “significant impact on, or improvement in,” the state of the public radio industry within the last three to five years, or for meritorious career service to public radio engineering.

Last year, the award was presented to David Layer, vice president of advanced engineering for the National Association of Broadcasters.

The engineering award will be presented the evening of Friday, Apr. 12, 2024, at the Public Radio Engineers Conference Dinner in Las Vegas, just prior to the NAB Show.

Submit an award nomination at APRE.US. The deadline for entries is Feb. 16, 2024.

At the 2023 NAB Show, David Layer, center, was with Scott Hanley, incoming president of APRE, and Ralph Hogan, its past founding president. (Photo by Jim Peck)

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An image from the Adthos video. Audio and visuals on the video were created with AI tools.

As a way to illustrate the power of artificial intelligence for generating music and images, AI technology company Adthos created a series of 1950s/1960s-style music/station idents for 77 WABC in New York City. It posted them in an eye-catching promo video in which the sounds and visuals are all created with AI. (Watch and listen on Vimeo here.)

The audio cuts are meant as “a respectful homage to PAMS Productions of Dallas,” renowned for its radio jingles, Adthos said. It noted that WABC was one of PAMS’ best-known clients, for which it created a series of “Where the Action Is” jingles that promoted the music format at the time.

PAMS and WABC were not involved in this demonstration project. “The content in this video, including music and images, is generated through artificial intelligence technologies. These AI creations are original and not direct copies of any works associated with PAMS Productions of Dallas or other entities,” Adthos states.

According to the press release, the work of PAMS “remains influential and is often studied and celebrated by those with an interest in the history of broadcasting and audio branding.”

Given how realistic the series of jazzy bits in the tribute are — complete with orchestrations and male/female lead and backing vocals — the power of AI for generating catchy jingles cannot be denied. (The video also offers a field day for anyone interested in what AI can do or not do when creating visuals; keep an eye on the street signage and other background details.)

But the post also provides insight into the kind of legal considerations that creative use of AI can raise.

The company said this is “not meant as a commercial offering for the creation of jingles.” Raoul Wedel, CEO of Adthos, said the tribute “has been created as a homage to one of the great radio jingles and is purely a fun way for us to demonstrate just what is possible with today’s AI technology.”

The video also is accompanied by a 380-word disclaimer. It states that the trademarks, names and logos belong to their respective owners, who didn’t endorse the video; it says the video includes “elements of parody and artistic expression”; and it states that the content was “crafted for non-commercial purposes, intended primarily for educational, research and entertainment uses.”

The post Adthos Uses AI to Generate Nostalgic Radio Jingles appeared first on Radio World.

In this letter to the editor, the author comments on Randy Stines’ recent article “Stay on the Good Side of the FCC.” Comment on this or any article. Email radioworld@futurenet.com.

I would like to expand on Randy Stine’s article from Jan. 3, titled “Stay on the Good Side of the FCC.”

I am the ABIP inspector for Kentucky and Indiana. The question I ask that gets the most blank stares is “what happens when your tower lights stop blinking?” Some people have a good answer, that is, the lights are tied into the remote control and will call out an alarm.

However, there are other people who do not have a valid answer to the question and have a huge liability on their hands just waiting for the moment.  

The FCC defers to the FAA when it comes to marking structures that may pose a hazard to air navigation. The FAA stipulates that “any failure or malfunction that lasts more than 30 minutes and affects a top light or flashing obstruction light, regardless of position, should be reported immediately by calling 877-487-6867.” 

One answer I get is: “We check and log the condition of the lights once a day.” My follow up to that is: “Fifteen minutes after your check, the top beacon goes out. How do you know?”

Another answer to the question is: “My remote control will text/email on any alarms.” However, I have learned from experience with my own tower that a 3 a.m. text or email will not wake me up. 

The bottom line is, you need a monitor system that will alert you to a failure within the 30-minute window that the FAA gives us to notify them. If your remote control does not have a call out feature, there are several auto-dialers on the market that will place a phone call when an alarm in the form of a dry contact closure is presented. I can recommend the one I use if you need it. 

You still need to check your lights on a quarterly basis and log it. Quarterly on-site inspections of the lighting system will ensure proper operations of the alarm reporting system. Keep the logs for the required two years. Do not depend on the alarm system to alert you to failures without checking its proper operation on a regular basis. If your tower light system is based on LEDs, there should be an alarm output for the infrared LED side as well. 

If all this sounds a little complicated, and it can be, there are companies out there now who offer tower lighting as a service. They install a new LED lighting system, maintain and monitor it, all for a monthly or tower annual fee. If you own multiple towers across many states, this may be a viable option. 

Malfunctioning tower lights are a major liability to the small station owner. Proper attention and oversite will prevent a tragedy from occurring. 

— Scott Cason, ABIP inspector, director of engineering, Kentucky Broadcasters Association

[Related: “Are You Ready for Tower Lighting as a Service?“]

The post Monitor Your Tower Lighting Better or Risk Failure appeared first on Radio World.

It’s known as “The Big One,” and mainly reaches the suburban Chicago cities of Wheaton, Joliet and city of license Aurora via its AM signal at 1280 kHz. There’s also an FM translator at 105.5 MHz in Aurora with a small signal, in order to protect Alpha Media’s WZSR-FM in Woodstock, Ill.

Pending FCC approval, “The Big One” will be under new ownership.

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She began her career as an Account Executive and Sales Manager for Hoker/Paxson Broadcasting in January 1985. A decade later, Latham joined the Clear Channel Communications family, taking on the role of GSM for its Jacksonville stations following Paxson’s sale of its stations to a Clear Channel precursor.

Clear Channel is today known as iHeartMedia, a company Barbara Latham has spent the bulk of her 39 years in Radio. At the end of the first quarter, she’ll be concluding her time in the industry.

Effective March 29, Latham will officially retire as Area President for iHeartMedia in Central Florida, where she oversee the company’s Orlando and Melbourne-Titusville-Cocoa Beach properties.

Latham stepped into that role in March 2021, overseeing 16 brands with her promotion from SVP. In the Space Coast, iHeartMedia’s stations are comprised of Talk WMMB-AM, Top 40 WFKS-FM and Adult Contemporary WLRQ-FM. In Orlando, iHeart’s properties are comprised of Adult Contemporary WMGF-FM, Top 40 WXXL-FM, Tropical WRUM-FM, Rock WJRR-FM, Talk and Alternative hybrid WTKS-FM “Real Radio 104.1,” News/Talk WFLF-FM and W226BT “WFLA,” Sports Talk W245CL “96.9 The Game,” Latin Rhythmic W246CK “Mega 97.1,” Urban W283AN “104.5 The Beat,” and Spanish-language News/Talk WRSN-AM 810 and W250CE “Acción 97.9.” There are also three HD multicast brands in Orlando: Smooth Jazz WLOQ (on WMGF-HD3), Country “104.1 The Bear” HD3, and Alternative “Alt 101.1” HD3.

“Barb has excelled in multiple roles throughout her tenured her career at iHeart. Although we will miss her leadership and strategic thinking, we wish her nothing but the best as she begins this exciting new chapter,” said Tom McConnell, an iHeartMedia Division President.

Latham commented, “I am so excited about this new chapter in my life. 39 years flew by! I’m happy to have worked for iHeart for almost four decades, and I’m honored to have had the opportunity to work with and lead a tremendous team of professionals and iconic brands.”

Latham’s retirement comes after the April 2022 retirement of Division President Linda Byrd. Her successor, former Cox Media Group President/CEO Kim Guthrie, in early December 2023 “decided to take a step back from her day-to-day role as Division President and will become a Strategic Advisor,” the company said at the time.

The continued efforts to emerge from Chapter 11 bankruptcy protection has led the Diamond Sports Group-owned Bally Sports to allow a family-owned broadcast media company to take on the task of bringing the remainder of the 2023-2024 regular season Friday night matches for the National Basketball Association’s Oklahoma City Thunder to viewers.

An agreement announced Tuesday between the NBA and Bally Sports creates “a unique and exciting opportunity” for the Thunder to, in the league’s words, “broaden its TV reach.”

How so? Friday night games during the rest of the season will now get a “Thunder Friday Nights” showcase via a partnership with Griffin Media.

This means the team’s remaining eight Friday regular-season games will air on Griffin-owned broadcast TV stations in Oklahoma City and in Tulsa.

The first of these eight broadcasts will be Friday, Jan. 26 when the Thunder faces the New Orleans Pelicans.

In addition to the Oklahoma City and Tulsa markets, the Thunder has partnered with Gray Television stations in Wichita and in Lawton, Okla., and with Morgan Murphy Media in Pittsburg, Ks., to ensure the team’s full territory has access to the over-the-air games.

To be clear, the NBA confirmed that these eight Friday games will not be available on Bally Sports Oklahoma or Bally Sports+ streaming. Aside from the Friday games and four games exclusively airing nationally on TNT, all other remaining Thunder games this season will be broadcast and streamed by Bally Sports Oklahoma and Bally Sports+ as normal.

“For 70 years, the Griffin family has been a pioneering force in our community and the television industry, and we are particularly proud to partner with a locally-owned broadcaster that brings such a deep connection and commitment to all Oklahomans,” said Clay Bennett, chairman of the Oklahoma City Thunder. “The Thunder is grateful for the loyal support we receive from our fans across Oklahoma and the region. We look forward to providing them this additional access to our game broadcasts.”

David Griffin (pictured, top left), the Chairman/CEO of Griffin Media, added, “Our mission is to keep Oklahomans safe, informed and entertained, and partnering with the Oklahoma City Thunder in broadcasting these Friday Night games further instills our commitment to our state and our fellow Oklahomans.”

The eight Thunder Friday Night games are: Friday, Jan. 26 at New Orleans Pelicans 7 p.m. CT Friday, Feb. 2 vs. Charlotte Hornets 7 p.m. CT Friday, Feb 23 vs. Washington Wizards 7 p.m. CT Friday, March 8 vs. Miami Heat 7 p.m. CT Friday, March 22 at Toronto Raptors 6 p.m. CT Friday, March 29 vs. Phoenix Suns 7 p.m. CT Friday April 5 at Indiana Pacers 6 p.m. CT Friday, April 12 vs. Milwaukee Bucks 7 p.m. CT These games will be exclusively televised via the following stations: Griffin Media
KSBI-52 in Oklahoma City (COX Cable Channel 7/DISH and DirecTV Channel 52)
KOTV-6.3 in Tulsa (News On 6 NOW — COX Cable Channel 53) Gray Television KSWO-7.3 in Lawton, Okla./Wichita Falls, Tex.
KSCW-33 in Wichita (COX Cable Channel 5/DirecTV Channel 33)

Morgan Murphy Media

KOAM-7/KFJX-14.2 in Joplin, Mo./Pittsburg, Ks.

For the eight Friday night games, the Thunder’s on-air team of Chris Fisher, Michael Cage, Paris Lawson, Nick Gallo and the team’s director and producer will continue to provide a top-quality broadcast with expert coverage and analysis. Each of the eight games will include 30-minute pre and postgame shows.

A flurry of executive elevations has transpired at Baltimore-headquartered Sinclair, from the corporate level to its broadcast station group and MVPD-distributed Tennis Channel unit.

On the corporate level, the following moves were announced on Wednesday by Sinclair Inc.:

• Barry Dubin, SVP/Enterprise Solutions and Platforms from VP/Enterprise Solutions and Platforms
• John McClure, SVP/Chief Information Security Officer from VP/Chief Information Security Officer
• Bill Medley, VP/IT Business and Governance from AVP/IT Business and Governance
• Ethan White, VP/Chief of Staff from Chief of Staff
• Joseph Britt, AVP/Tax from Director/Federal Tax
• Darrell Rhoden, AVP/Controller from Controller of Initiatives
• Christopher Scott, AVP/Accounting from Director/Accounting
• Paul Spinelli, AVP/Engineering from Director/IT Network Operations
• Nicholas Wittich, AVP/Associate General Counsel from Director/Associate General Counsel

At the same time, Sinclair Television Group made the following promotions:

• Eric Welles, SVP/Chief Digital Monetization Officer, Sports, Social and Audio from SVP/Ad Sales
• Amy Collins, SVP/Group Manager from VP/General Manager and Associate Group Manager
• Cory Culleton, SVP/Group Manager from VP/General Manager and Associate Group Manager
• Noreen Parker, SVP/Group Manager from VP/General Manager and Associate Group Manager
• Amy Villarreal, SVP/Group Manager from VP/General Manager and Associate Group Manager
• Evan Daugherty, VP/Digital Sales from AVP/Digital Sales
• Richard Donnelly, VP/Network Ad Sales (Sinclair Media Networks) from AVP/Network Sales and Development
• Manny Fantis, VP/Digital Publishing from AVP/Digital Publishing
• Justin Lewis, VP/Audience Insights from Director/Research
• Ramon Arroyo, AVP/Digital Sales from Regional Director/Digital Sales
• Kyle Becker, AVP/Digital Sales from Regional Director/Digital Sales
• Bernadine Fredriksen, AVP/Digital Sales from Regional Director/Digital Sales
• Alexander Gleitman, AVP/Partnerships Sports and News from Director, Partnerships – Sports and News
• Ashleigh Hammond, AVP/Digital Sales from Regional Director/Digital Sales
• Jodelle Palazzolo, AVP/Digital Sales Training and Sales Operations from Sr. Director/Sales
• Jeremy Smith, AVP/Digital Sales from Regional Director/Digital Sales

Lastly, Tennis Channel promotions were made, as follows:

• Eric Abner, VP/Public Relations from Executive Director/Public Relations
• Jennifer Arianas, VP/Industry Relations from Executive Director/Industry Relations
• Ari Brock, VP/Digital Media from Executive Director/Digital Media
• Christopher Hiller, VP/Creative Services from Executive Director/Creative Services
• Susie Romano, VP/Affiliate Marketing from Executive Director/Affiliate and Ad Sales Marketing
• Brian Wild, VP/Marketing Operations from VP/On-Air Marketing and Promotions

“We are excited to announce the well-deserved promotions of our talented executives, who have consistently demonstrated exceptional leadership and innovation,” said Chris Ripley, President and CEO of Sinclair Inc. “As we recognize their outstanding contributions, we also reinforce our commitment to cultivating and promoting top-tier talent within Sinclair as we continue to evolve and transform our organization.”

If there was ever a single book that could give aspiring audio engineers an accurate look at the career, “Push the Right Buttons: A Practical Guide to Becoming and Succeeding as an Audio Engineer and Producer” is it. Written by veteran audio engineer Neil Kesterson of Dynamix Productions, and available in ebook or paperback form, Push the Right Buttons is a well-written, candid and comprehensive tour of the audio engineer profession.

For the record, Kesterson’s audio production credits include “Chicago Fire and Law & Order: SVU” on NBC, and movies such as “War for the Planet of the Apes” and “Diary of a Wimpy Kid: Dog Days.” He’s been a sound designer since 1985.

In its opening chapter title, Push the Right Buttons asks its readers to think hard about why they want to be an audio engineer. “[This is] a plea for you to look inside yourself and honestly assess your reasons for taking a path into this world of twiddling knobs and pushing buttons,” Kesterson writes. “Of course, it’s more than that, but a lot of people will view you as just that — a ‘button pusher.’ You may also be regarded as an ‘audio nerd’, ‘gear head’, ‘DJ’, ‘audio dude’, ‘audio gal’, ‘one of the girls’, ‘one of the boys’, ‘You can’t stand there, I need to put a light there’, ‘You can’t stand there either’, or just ‘Hey you.’ And if you command a little respect, you may be called ‘Ears’ or ‘sound guy/girl.'”

For those aspiring audio engineers willing to endure this disrespect, Push the Right Buttons takes them on a thorough tour of the profession. It covers educational options from college to striking out and learning on the job; how to land that first job and move up from there; how to market yourself; and how to work with clients, directors, producers and talent — or to let the last category do their own thing when they are pros like William Shatner and know their craft cold.

“If there’s one thing I learned about Shatner’s working method, it’s that he will almost always find the right read by himself,” writes Kesterson. “He’s one of the best self-directing voice-over actors I’ve ever worked with. He would start off by reading a line, such as ‘A call came in at 4:32 AM.’ He would then re-read it several more times, each with different intensity and timing. Finally, he would land on the perfect one, and then move on to the next line. You could watch his actor gears turning as he found the truth in the line.”

Push the Right Buttons is also peppered with illustrative stories from Kesterson’s own career, and how he worked his way to the top over close to four decades. “For years I regretted not having that piece of paper that said ‘Bachelor of Arts’’ on it, but I’ve gotten over it,” he writes. “To my knowledge, it never hindered my career, but a few supervisors got persnickety about it. My response, which usually shut them up, was that there wasn’t a degree for what I do when I was hired. I count myself lucky because I’ve only worked three full-time jobs, if you count owning my own business as one of them. I’ve also worked on many broadcast, live audio, film, video and recording crews. I taught a college audio course, I advise high school and college media programs and I’ve mentored too many interns to count.”

Add in further chapters about engineering and recording concepts, audio engineering tricks and advice and a detailed history of audio engineering going back to Édouard-Léon Scott de Martinville’s paper-based audio recordings in 1854 — you can hear them here — and Push the Right Buttons is a well-written, easy-to-ready and yet encyclopedic summary of the audio engineering profession. For those considering such a career, or others just wanting to learn about it, Push the Right Buttons pushes the right buttons.

More information on the book can be found here. 

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The post Aspiring Audio Engineers, Here’s Your Next Read appeared first on Radio World.

WASHINGTON, D.C. — A Reston, Va.-based IT and Ad Tech consultancy and software solutions provider has launched a new SaaS offering that automates the classification and compliance review process for video advertising content.

The cloud-based application from pureIntegration, dubbed “ContentCheck,” combines the company’s Ad Tech industry expertise and AI technologies to automate the political ad content review process to analyze and report on each piece of content’s compliance with federal, state, local, and provider-specific standards and regulations.

“Alleviating what has historically been a manual process, ContentCheck enables media companies to rapidly scale political advertising workflows and generate new revenue opportunities in time for the 2024 political season and beyond,” the company promises.

Political advertising spend for the 2023-2024 election cycle is projected to surpass $10.2 billion, a 13% increase from its previous 2019-2020 cycle, as reported in AdImpact’s Political Spending Projections Report.

Currently, media companies are tasked with manually reviewing each political ad to classify and cross-check against compliance regulations, which creates staffing, workflow, and accuracy challenges while slowing down the order-to-revenue process. ContentCheck, operating on pureIntegration’s established Bullseye platform, uses AI-based technologies, including Computer Vision, Speech Recognition, Natural Language Processing, and Machine Learning to augment human insight to streamline workflows.

ContentCheck also delivers the ability to address resourcing, workflow and headcount limitations, the company says.

Now is a good time to plan transmitter site improvements for spring. The priorities will spring to mind easily; but think more broadly and you may realize you have other needs too, including projects that “fell off the radar” during the pandemic years and never got back on the screen.

Here are a couple of instances from my own experience.

Installing a fluid-cooled transmitter is more complex than putting in an air-cooled one. There are clear advantages once the job is done, but it is not really finished until the cooling radiators outside the building are protected. 

The first photo shows an example of basic protection at a remote mountain site. You can see the fencing we made with hog wire, and an ice bridge above that keeps ice and roof debris away from the area. We also regularly take a DeWalt battery-driven power washer and 5 gallons of water in a bucket, and we gently wash the fins of the radiators.

Fig. 1: Protecting the external elements of a liquid-cooled transmitter plant.

The second photo shows coax risers that were put in place just before the pandemic.

Fig. 2: Newly installed coax risers.

Some of the coax for the antennas was replaced with new line and installed in the risers as shown. But before coax for the rest of the stations could be installed, this project — like many in the 2020–2022 timeframe — ground to a halt. 

Fig. 3: New line being installed.

The installer later caught up to the project, coordinating with the stations involved. In two days it got the coax and the covers installed. 

Fig. 4: A long view of the site, with the risers at left.

The work was not critical to the site operation, but it is an investment in preventive maintenance and can pay long-term dividends. Such expenditures sometimes require justification. They shouldn’t. They’re akin to changing the oil in a car regularly or getting a physical at your doctor’s once a year. 

Site engineers and their supervisors should plan to take a critical look at their facilities and revisit some of this big-picture thinking.

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It appears Raoul Wedel is a fan of the “Sound of the City” and the vintage sounds of a legendary AM radio station that is today owned by John Catsimatidis. 

And, he’s demonstrating the power of generative AI in 2023 by turning back the clock 60 years with “a tribute” to 1960s jingle producer PAMS that demonstrates how computers can create what humans have produced for decades as an essential for thousands of on-air properties around the world.

 

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WASHINGTON, D.C. — With artificial intelligence-fueled technology under the massive spotlight of the CES 2024 conference and expo in Las Vegas, the President/CEO of the National Association of Broadcasters is spending Wednesday not along the Strip but instead on Capitol Hill.

Curtis LeGeyt‘s reason for being in D.C.? He’s testifying at a Senate Judiciary Committee Subcommittee on Privacy, Technology and the Law hearing squarely focused on the “future of journalism.”

 

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As RBR+TVBR first shared on Monday, ROXi, a free music video streaming app for TVs being made available to all in the U.S., is already turning heads as a possible new “share of ear” beneficiary.

While it is known that it will be made available to a vast majority of smart TV owners, what wasn’t previously known is how one of broadcast television’s biggest companies — and one of the key pushers of NEXTGEN TV — is backing ROXi as a partner.

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