This *is* hurting artists, particularly developing ones. There have been at about 20 CD's this year that I've put back in the rack because I was pissed over the SunnComm's attempts to install crap on my work machine (which is against company security policy for reasons which now are obvious to all). I have money, but Sony has chosen to reject the business of honest consumers that don't want to screw up their machines.
Until Sony completely disavows all DRM, I'll buy CD's from other labels with a preference for indy labels, even if it pains me to pass on artists I like (most recently Go! Team, and Kate Bush).
And my next video game console with be the one with the funny new controller...
Look at what really happens. If it's a sure bet, yes, they will jack up the price because supply and demand says plently of people will want new records by favorite (known) artists.
But sometimes you want to hype an artist that might not do so well, but who you think might catch on with a little boost. This is why many records and DVDs are discounted only for the week they debut. It creates a concentrated rush in demand where more people buy the item on a whim (since it is cheap) and others that think they might want it avoid delaying purchase since the sale price is temporary. The result if all goes well is that you debut on the charts - and this means that laggards will want to buy the media even if the price is raised up to the "premium" media price. Once market demand dies down, you will see the item drop in price again (ala the "Nice Price" promotions). This is all stuff that exists in brick retail outlets and the labels simply want to apply these tried and true techniques online.
Most of my closest friends are in bands and make music for a living. The simple fact is, all but a new bands lose money touring. The tour is a publicity tool that allows you to sell more product - cds or tshirts. Many bands would be better off financially staying at home and working their crap side jobs. I'm glad that they tour despite this - touring is rough, but I'm very happy when my favorite band rolls into town to play.
While merch is often a good money maker for bands, often even this money ends up mostly in other hands (venue, label, agent, manufacturer).
Using supposed knowledge of where a band gets their living from is shaky ground if you're looking to justify music piracy (and please save your semantic battles for someone else).
Sure, go ahead see live shows. For those musicians that really play live this is often better than listening to a produced CD. But not all music is created as a live performance - but it is no less valid just because it is the product of programming.
If you want to stick it to the RIAA, don't support bands on major labels. This requires that you actually know what labels are majors - the majors often try to look indy (to be cool) and the indies often try to look like majors (to get taken seriously). They only way to know is to look it up.
Boycott all of Sony Music - this includes labels like: Arista Records BMG Columbia Records Epic Records J Records Jive Records LaFace Records Legacy Recordings Provident Music Group RCA Records RCA Victor Group RLG - Nashville Sony So So Def Records Verity Records
As a recording engineer / producer I'm against piracy - but I also hate DRM screwing with my machine and making it hard to enjoy the music I purchased in the way I want.
Support indy labels, and write letters to artists you like that are on majors - tell them to move on to an indy label or start their own.
And if you're really mad (as I am) boycott all of Sony. While Sony music walks to its own drummer, the parent company can't be loving the bad publicity.
I stopped buying all Sony products (including the pro gear I use as an audio engineer) when they initially started their annoying DRM. It is easy to break, but makes normal use of the CD harder.
Actually as I remember it, the Onion came out a few days before the election with the headline "Bush or Gore Wins." Which was unintentionally prophetic...
Rather than deal with the problems that lead to insecure code (usually management based) most companies will take out insurance. And this has worked so well for Medicine...
This is a great resource. It is also a good way to understand what publishing is and why you need it. Publishing is NOT the same as having a lable or distribution. By publishing your song you are able to get another royalty stream in certain cases such as: * another performer covers your song live or on recording * your song is played on the radio * someone wants to license your song for other uses
While there are more comprehensive sources such as the seminal book "This Business of Music," the advice in the Simple Machines guide is short, to the point, and very applicable to people taking a DIY approach.
So what you are saying is you really have no clue what a publisher is when talking about music.
Publishing is a major source of revenue for many songwriters - so it might be worth understanding the business model of the industry before making these sorts of dismissive pronouncements.
Cisco had also patched their vulnerability before the publicity. The whole point of the BlackHat presentation was to encourage admins to use the patch, and to shame Cisco for underplaying how serious the issue is.
Having been around the industry much of my life, I'm not sure about talent. They have promo tied up good - that for sure. But it is through heavy handed and often illegal business practices that they obtain this end.
Talent is cheap - but throwing your financial weight around to make people buy bad records requires... financial weight.
These days there is very little need for the majors. Everything that musicians need to produce, promote and distribute music is cheap. But the majors have a stranglehold on the media - it's far harder to get mainstream exposure when you aren't playing the payola game (e.g. Sony).
Still unless musicians stand up to the majors and say no to crap contracts, and unless fans start supporting musicians that go the tougher indy route (by not stealing their music when they should be buying), things will move slowly, if at all.
Real prevention is a double edged sword. To really prevent an attack, your device needs to sit in line - or it reacts too late. As such you introduce latency, and the more sophisticated you get, the more the time spent on analysis before the traffic is allowed through. NIDS and HIDS analyse after the fact, so they have the luxury of time since they aren't in line with your traffic. If you have good event correlation, you can raise alerts to appropriate support personnel. But all these don't directly prevent attacks - they just let you know to respond to an attack.
Companies like Tipping Point have devices that claim to do intrusion prevention with low latency - I'd test that claim before purchase, but the demo I saw seemed to indicate it was worth checking out.
Re: "Do you feel the same way about security tags in shops?"
Yes, I do - it's almost a perfect analogy.
Half the time they can't get the anti theft device to deactivate at the counter, so the innocent consumer gets to deal with the nuisance of setting off the alarms for merch they have purchased. And now everytime they go into another store on that trip they will set off more alarms. This annoys the paying customer, and maybe they get mad and return the item or shop elsewhere.
Meanwhile, your legitimate shop lifter gets our his or her knife, cuts off the theft protection and walks casually away - no one at the store even notices since they are "protected."
I'm completely covered with tats and have many piercings. I also am the most professional looking of my co-workers. While they are trying to get away with tshirts and shorts (and looking like slobs), I dress a notch above our supposedly mandatory business casual code. Which is not a bad idea, and frankly makes dressing for work easier. I don't care if it makes me look like a bore - I'm not out to impress coworkers with my individualistic appearance. I want them to judge me by my ideas.
This is a complete non-issue. You can be professional *or* unprofessional appearing regardless of body mods. Sure, tattoing your face or hands isn't a swell idea for most people, and even with in body art circles these are recognized as the extremes. But if you make smart choices in your business attire and in your body mods, you can have a career and have a life outside of work that is your own.
I was at a performance of a Japanese Butoh troop. Outside protesters were doing their thing complaining about the live bunnies used in the performance, and explaining that bunnies get "stage fright."
Now I am a fairly hardcore animal rights activist who won't eat meat or wear leather (but I keep my beliefs to myself mostly since I know that people have to come to their own conclusions on these issues).
My response to these leather shoe wearing idiots was, what about the dead cows on your feet? How is a bunny's stage fright a more important cause than killing animals?
It seems like nanotech pants is a minor issue compared to far scarier stuff, like say antibiotics in groundwater causing young girls to enter pueberty years early. While it's nice to see people being active, I wonder what would happen if these efforts were guided towards threats that are more pressing.
We are talking about people taking music illegally - not slavery or civil rights.
Sure free music is a right - protected by the first amendment even. But this is not the kind of right you are suggesting.
If you want free music, stop whining about your "right" to take what others have worked hard long hours to produce. Learn to play an instrument and write your own damn songs rather than taking other peoples work.
Sure the RIAA sucks - but so do people that steal music without regard for the right of the musicians to earn an honest living. Most musicians barely scrape by - they need to eat too.
Agreed on the auto tranny - I drive a 6 speed SVT Focus and the Getrag tranny was a major selling point.
You can turn off the TC (sorta), if racing is more your style. Anyhow you probably don't drive in blizzards often like I do (western michigan sucks for snow and ice in the winter).
While pumping brakes is swell, anti-lock does it better in most circumstances - you just aren't that fast. If you're really that good at driving you shouldn't have a hard time switching modes.
Anyhow none of these features are targeted at highly trained performance drivers - if that's really you, go buy a GT instead. (Kidding)
But as someone that has traction control and ABS on his Ford Focus, I appreciate the value of these kinds of safety features - they work. In winter, they are often life savers.
The fact that only a few American cars have these features indicates that adoption could be a bigger issue than development for many of these technologies.
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This *is* hurting artists, particularly developing ones. There have been at about 20 CD's this year that I've put back in the rack because I was pissed over the SunnComm's attempts to install crap on my work machine (which is against company security policy for reasons which now are obvious to all). I have money, but Sony has chosen to reject the business of honest consumers that don't want to screw up their machines.
Until Sony completely disavows all DRM, I'll buy CD's from other labels with a preference for indy labels, even if it pains me to pass on artists I like (most recently Go! Team, and Kate Bush).
And my next video game console with be the one with the funny new controller...
Look at what really happens. If it's a sure bet, yes, they will jack up the price because supply and demand says plently of people will want new records by favorite (known) artists.
But sometimes you want to hype an artist that might not do so well, but who you think might catch on with a little boost. This is why many records and DVDs are discounted only for the week they debut. It creates a concentrated rush in demand where more people buy the item on a whim (since it is cheap) and others that think they might want it avoid delaying purchase since the sale price is temporary. The result if all goes well is that you debut on the charts - and this means that laggards will want to buy the media even if the price is raised up to the "premium" media price. Once market demand dies down, you will see the item drop in price again (ala the "Nice Price" promotions). This is all stuff that exists in brick retail outlets and the labels simply want to apply these tried and true techniques online.
Most of my closest friends are in bands and make music for a living. The simple fact is, all but a new bands lose money touring. The tour is a publicity tool that allows you to sell more product - cds or tshirts. Many bands would be better off financially staying at home and working their crap side jobs. I'm glad that they tour despite this - touring is rough, but I'm very happy when my favorite band rolls into town to play.
While merch is often a good money maker for bands, often even this money ends up mostly in other hands (venue, label, agent, manufacturer).
Using supposed knowledge of where a band gets their living from is shaky ground if you're looking to justify music piracy (and please save your semantic battles for someone else).
Sure, go ahead see live shows. For those musicians that really play live this is often better than listening to a produced CD. But not all music is created as a live performance - but it is no less valid just because it is the product of programming.
If you want to stick it to the RIAA, don't support bands on major labels. This requires that you actually know what labels are majors - the majors often try to look indy (to be cool) and the indies often try to look like majors (to get taken seriously). They only way to know is to look it up.
Brilliant! Because Sony doesn't sell media PC's.
Actually I think the custom HW solution is Apple's business plan, not Sony's.
Sony Music has little to do with their consumer electronics divisions.
Boycott all of Sony Music - this includes labels like:
Arista Records
BMG
Columbia Records
Epic Records
J Records
Jive Records
LaFace Records
Legacy Recordings
Provident Music Group
RCA Records
RCA Victor Group
RLG - Nashville
Sony
So So Def Records
Verity Records
As a recording engineer / producer I'm against piracy - but I also hate DRM screwing with my machine and making it hard to enjoy the music I purchased in the way I want.
Support indy labels, and write letters to artists you like that are on majors - tell them to move on to an indy label or start their own.
And if you're really mad (as I am) boycott all of Sony. While Sony music walks to its own drummer, the parent company can't be loving the bad publicity.
I stopped buying all Sony products (including the pro gear I use as an audio engineer) when they initially started their annoying DRM. It is easy to break, but makes normal use of the CD harder.
Actually as I remember it, the Onion came out a few days before the election with the headline "Bush or Gore Wins." Which was unintentionally prophetic...
Rather than deal with the problems that lead to insecure code (usually management based) most companies will take out insurance. And this has worked so well for Medicine...
This is a great resource. It is also a good way to understand what publishing is and why you need it. Publishing is NOT the same as having a lable or distribution. By publishing your song you are able to get another royalty stream in certain cases such as:
* another performer covers your song live or on recording
* your song is played on the radio
* someone wants to license your song for other uses
While there are more comprehensive sources such as the seminal book "This Business of Music," the advice in the Simple Machines guide is short, to the point, and very applicable to people taking a DIY approach.
So what you are saying is you really have no clue what a publisher is when talking about music.
Publishing is a major source of revenue for many songwriters - so it might be worth understanding the business model of the industry before making these sorts of dismissive pronouncements.
The Carbon's built in mic - making it a small and convenient package for catching musical ideas, recording meetings, etc.
I still love my carbon...
(afaik)
It's even worse when you pay for the tool and you still get spam, spyware and worse...
Cisco had also patched their vulnerability before the publicity. The whole point of the BlackHat presentation was to encourage admins to use the patch, and to shame Cisco for underplaying how serious the issue is.
Having been around the industry much of my life, I'm not sure about talent. They have promo tied up good - that for sure. But it is through heavy handed and often illegal business practices that they obtain this end.
Talent is cheap - but throwing your financial weight around to make people buy bad records requires... financial weight.
These days there is very little need for the majors. Everything that musicians need to produce, promote and distribute music is cheap. But the majors have a stranglehold on the media - it's far harder to get mainstream exposure when you aren't playing the payola game (e.g. Sony).
Still unless musicians stand up to the majors and say no to crap contracts, and unless fans start supporting musicians that go the tougher indy route (by not stealing their music when they should be buying), things will move slowly, if at all.
HIPPA is a USA law - so UK hospitals aren't covered. Health seems to be one of the few areas where the US has better privacy laws...
Real prevention is a double edged sword. To really prevent an attack, your device needs to sit in line - or it reacts too late. As such you introduce latency, and the more sophisticated you get, the more the time spent on analysis before the traffic is allowed through. NIDS and HIDS analyse after the fact, so they have the luxury of time since they aren't in line with your traffic. If you have good event correlation, you can raise alerts to appropriate support personnel. But all these don't directly prevent attacks - they just let you know to respond to an attack.
Companies like Tipping Point have devices that claim to do intrusion prevention with low latency - I'd test that claim before purchase, but the demo I saw seemed to indicate it was worth checking out.
Re: "Do you feel the same way about security tags in shops?"
Yes, I do - it's almost a perfect analogy.
Half the time they can't get the anti theft device to deactivate at the counter, so the innocent consumer gets to deal with the nuisance of setting off the alarms for merch they have purchased. And now everytime they go into another store on that trip they will set off more alarms. This annoys the paying customer, and maybe they get mad and return the item or shop elsewhere.
Meanwhile, your legitimate shop lifter gets our his or her knife, cuts off the theft protection and walks casually away - no one at the store even notices since they are "protected."
I say, beware of all enterprises that require new clothes, and not rather a new wearer of clothes.
I'm completely covered with tats and have many piercings. I also am the most professional looking of my co-workers. While they are trying to get away with tshirts and shorts (and looking like slobs), I dress a notch above our supposedly mandatory business casual code. Which is not a bad idea, and frankly makes dressing for work easier. I don't care if it makes me look like a bore - I'm not out to impress coworkers with my individualistic appearance. I want them to judge me by my ideas.
This is a complete non-issue. You can be professional *or* unprofessional appearing regardless of body mods. Sure, tattoing your face or hands isn't a swell idea for most people, and even with in body art circles these are recognized as the extremes. But if you make smart choices in your business attire and in your body mods, you can have a career and have a life outside of work that is your own.
I was at a performance of a Japanese Butoh troop. Outside protesters were doing their thing complaining about the live bunnies used in the performance, and explaining that bunnies get "stage fright."
Now I am a fairly hardcore animal rights activist who won't eat meat or wear leather (but I keep my beliefs to myself mostly since I know that people have to come to their own conclusions on these issues).
My response to these leather shoe wearing idiots was, what about the dead cows on your feet? How is a bunny's stage fright a more important cause than killing animals?
It seems like nanotech pants is a minor issue compared to far scarier stuff, like say antibiotics in groundwater causing young girls to enter pueberty years early. While it's nice to see people being active, I wonder what would happen if these efforts were guided towards threats that are more pressing.
Bruce Schneier (as usual) has good insights on this.
We are talking about people taking music illegally - not slavery or civil rights.
Sure free music is a right - protected by the first amendment even. But this is not the kind of right you are suggesting.
If you want free music, stop whining about your "right" to take what others have worked hard long hours to produce. Learn to play an instrument and write your own damn songs rather than taking other peoples work.
Sure the RIAA sucks - but so do people that steal music without regard for the right of the musicians to earn an honest living. Most musicians barely scrape by - they need to eat too.
Agreed on the auto tranny - I drive a 6 speed SVT Focus and the Getrag tranny was a major selling point.
You can turn off the TC (sorta), if racing is more your style. Anyhow you probably don't drive in blizzards often like I do (western michigan sucks for snow and ice in the winter).
While pumping brakes is swell, anti-lock does it better in most circumstances - you just aren't that fast. If you're really that good at driving you shouldn't have a hard time switching modes.
Anyhow none of these features are targeted at highly trained performance drivers - if that's really you, go buy a GT instead. (Kidding)
The fact that only a few American cars have these features indicates that adoption could be a bigger issue than development for many of these technologies.