On July 30, 2020, while the United Kingdom is under COVID-19 pandemic lockdown, a group of friends (Haley, Jemma, Emma, Caroline, Radina & Teddy) have decided to hold weekly Zoom calls to stay in touch. For this week's call Haley has hired a medium, Seylan, to lead them in a virtual séance. Teddy is forced to leave the chat by his girlfriend, Jinny, who unintentionally disconnects him. During the séance, one of the members, Jemma, claims to feel intense tension around her neck. Overcome with fear, she says that somebody called "Jack" is with her, a friend who committed suicide in her school by hanging himself. Seylan's internet cuts out, disconnecting her from the chat. During this time, Jemma informs the group that she made "Jack" up because the silence was getting awkward, which angers Haley. The remaining members of the group begin to experience strange, terrifying phenomena: Haley's chair is pulled by an unseen force, Caroline sees a hanging corpse in her attic, and Emma's glass spontaneously breaks. Haley uses her Polaroid camera to snap a photo of her living room, where a ghostly hanging figure appears on the print.
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Pendent in front of John Ziegler's face, attached to the same type of hinged, flexible stand as certain student desk lamps, is a Shure-brand broadcast microphone that is sheathed in a gray foam filtration sock to soften popped p's and hissed sibilants. It is into this microphone that the host speaks:
A big part of John Ziegler's on-air persona, on the other hand, is that he doesn't have one. This may be just a function of all the time he's spent in the abattoir of small-market radio, but in Los Angeles it plays as a canny and sophisticated meta-radio move. Part of his January introduction to himself and his program is "The key to the John Ziegler Show is that I am almost completely real. Nearly every show begins with the credo 'This is the show where the host says what he believes and believes what he says.' I do not make up my opinions or exaggerate my stories simply to stir the best debate on that particular broadcast."
The second big factor was the repeal, late in Ronald Reagan's second term, of what was known as the Fairness Doctrine. This was a 1949 FCC rule designed to minimize any possible restrictions on free speech caused by limited access to broadcasting outlets. The idea was that, as one of the conditions for receiving an FCC broadcast license, a station had to "devote reasonable attention to the coverage of controversial issues of public importance," and consequently had to provide "reasonable, although not necessarily equal" opportunities for opposing sides to express their views. Because of the Fairness Doctrine, talk stations had to hire and program symmetrically: if you had a three-hour program whose host's politics were on one side of the ideological spectrum, you had to have another long-form program whose host more or less spoke for the other side. Weirdly enough, up through the mid-eighties it was usually the U.S. right that benefited most from the Doctrine. Pioneer talk syndicator Ed McLaughlin, who managed San Francisco's KGO KGO happens to be the station where Ms. Robin Bertolucci, fresh out of Cal-Berkeley, first broke into talk radio. in the 1960s, recalls that "I had more liberals on the air than I had conservatives or even moderates for that matter, and I had a hell of a time finding the other voice."
One of many intriguing things about Mr. Ziegler, though, is the contrast between his deep cynicism about backstabbing and the naked, seemingly self-destructive candor with which he'll discuss his life and career. The best guess re Mr. Z.'s brutal on-record frankness is that either (a) the host's on- and off-air personas really are identical, or (b) he regards speaking to a magazine correspondent as just one more part of his job, which is to express himself in a maximally stimulating way (there was a tape recorder out, after all). This candor becomes almost paradoxical in Q & As with an outside correspondent, (for a magazine, moreover, that pretty much everyone around KFI regards as a chattering-class organ of the most elitist liberal kind ) a stranger whom Mr. Z. has no particular reason to trust at those times when he winces after saying something and asks that it be struck from the record. As it happens, however, nearly all of what follows is from an autobiographical time-line volunteered by John Ziegler (while both eating and watching a Lakers playoff game on a large-screen high-def TV, which latter was the only condition he placed on the interview) in late May '04 over a very large medium-rare steak. Especially interesting is the time-line's mixture of raw historical fact and passionate editorial opinion, which Mr. Z. blends so seamlessly that one really can believe he discerns no difference between them.
Vince isn't rude or brusque with the callers he screens out; he simply becomes more and more laconic and stoned-sounding 'Mondo Hernandez confirms on-record that Vince's screener voice sounds like someone talking around a huge bong hit. over the headset as the person rants on, and finally says, "Whoa, gotta go." Especially obnoxious and persistent callers can be placed on Hold at the screener's switchboard, locking up their phones until Vince decides to let them go. Those whom the screener lets through enter a different, computerized Hold system in which eight callers at a time can be kept queued up and waiting, each designated on Mr. Z.'s monitor by a different colored box displaying a first name, city, one-sentence summary of the caller's thesis, and the total time waiting. The host chooses, cafeteria-style, from this array.
One of the last things that Emiliano Limon always does before airtime is to use the station's NexGen Audio Editing System NexGen (a Clear Channel product) displays a Richterish-looking sound wave, of which all different sizes of individual bits can be highlighted and erased in order to tighten the pacing and compress the sound bite. It's different from 'Mondo's Cashbox, which tightens things automatically according to pre-set specs; using NexGen requires true artistry. Emiliano knows the distinctive vocal wave patterns of George W. Bush, Bill O'Reilly, Sean Hannity, and certain others well enough that he can recognize them on the screen without any sound or ID. He is so good at using NexGen that he manages to make the whole high-stress Cut Sheet thing look dull. to load various recorded sound bites from the day's broadcast news onto a Prophet file that goes with the Cut Sheet. This is a numbered list of bites available for tonight's John Ziegler Show, of which both Mr. Z. and 'Mondo get a copy. Each bite must be precisely timed. It is an intricate, exacting process of editing and compilation, during which Mr. Z. often drums his fingers and looks pointedly at his watch as the producer ignores him and always very slowly and placidly edits and compresses and loads and has the Cut Sheet ready at the very last second. Emiliano is the sort of extremely chilled-out person who can seem to be leaning back at his station with his feet up on the Airmix table even when he isn't leaning back at all. He's wearing the LA Times shirt again. His own view on listener calls is that they are "overrated in talk radio," that they're rarely all that cogent or stimulating, but that hosts tend to be "overconcerned with taking calls and whether people are calling. Consider: This is the only type of live performance with absolutely no feedback from the audience. It's natural for the host to key in on the only real-time response he can get, which is the calls. It takes a long time with a host to get him to forget about the calls, to realize the calls have very little to do with the wider audience."
The broadcast studio is strange when no one's in here. Through the soundproof window, 'Mondo's head looks small and far away as he inclines over the spot log. It seems like a lonely, cloistered place in which to be passionate about the world. Mr. Z.'s padded host chair is old and lists slightly to port; it's the same chair that John Kobylt sits in, and morning drive's Bill Handel, and maybe even Dr. Laura back in the day. The studio wastebaskets have been emptied, but the banana scent still lingers. It might simply be that John and/or Ken eats a lot of bananas It is a medical commonplace that bananas are good for ulcers. during afternoon drive. All the studio's monitors are on, though none is tuned to NBC. On the Fox News monitor up over the digital clock, Sean Hannity and Susan Estrich are rerunning the Iowa Caucuses clip of Howard Dean screaming at the start of his concession speech. They play the scream over and over. Ms. Estrich is evidently filling in on Hannity and Colmes. "They have hatred for George W. Bush, but they don't have ideas," Sean Hannity says. "Where are the ideas on the left? Where is the thinking liberal?" Susan Estrich says, "I don't know. I don't have a full-time job on TV, so I can't tell you."
When a host starts, it calls IHostedService.StartAsync on each implementation of IHostedService registered in the service container's collection of hosted services. In a worker service app, all IHostedService implementations that contain BackgroundService instances have their BackgroundService.ExecuteAsync methods called.
The IHostLifetime implementation controls when the host starts and when it stops. The last implementation registered is used. Microsoft.Extensions.Hosting.Internal.ConsoleLifetime is the default IHostLifetime implementation. For more information on the lifetime mechanics of shutdown, see Host shutdown.
The host configuration is available in HostBuilderContext.Configuration within the ConfigureAppConfiguration method. When calling the ConfigureAppConfiguration method, the HostBuilderContext and IConfigurationBuilder are passed into the configureDelegate. The configureDelegate is defined as an Action. The host builder context exposes the Configuration property, which is an instance of IConfiguration. It represents the configuration built from the host, whereas the IConfigurationBuilder is the builder object used to configure the app. 041b061a72