Sounds like time for ruthless application of the Last Responsible Moment principle:
When you are faced with one or more things that need doing and could be started (in other words, they aren't waiting on hard prerequisites), do first the thing for which you currently have the clearest information. Don't wait to start (which is a common misinterpretation of LRM), just select the thing for which you have the most information right now as, while that choice still may lack some information and contain risk, it contains less risk related to missing information than any of the other tasks. You can get busy knowing that you have made the best decision possible given the information available at that moment, and can make more progress than by procrastinating by waiting for perfect information.
Upon completion of that task (or becoming blocked on it) proceed to the task for which you, at that moment, have the most available information, and get going. Lather, rinse, repeat, always a) progressing on b) the task with the least risk of wasting effort.
By music I mean not the composition or the performance but rather the recording and distribution thereof, whether as a physical product or a product consisting of ones and zeros. And by movies I mean to draw a similar line.
There is of course creativity in the process of creating these things, there is of course art in them, and there of course can be elements of their released product forms that trickle back into our culture (e.g. favorite quotes), but I would argue that that nasty bit in between that is the mass-produced product is not _itself_ culture or a part of our culture.
We would all be wise to draw clear boundaries between the culture and non-culture in this continuum, as the non-culture portions (while valuable and worthy of appropriate protection) should not be allowed to extract special treatment as if they were "culture" or a part thereof.
re: "Culture is much more than what you can sell."
Heck, I would even go one step further than that: That which you can sell as product is not culture. While a product may _reflect_ upon culture or invoke a feeling from culture, the fact that it is a product IMHO discounts its consideration as culture. Note that by this logic I would not consider a painting as "product" in this sense, even though it could be sold. Music and movies, on the other hand...
Please refrain from presuming what I would or would not be fine with, especially when already reading far too much into my silly little comment.
For the record, I can't even tell from your post what you think I may or may not be fine with, given the sheer number of times you have used "it" in your reply without providing any context. What where you referring to, exactly? Treating dog breeds as different species? Labeling dog breeding as intelligent design? The wider use of the phrase "intelligent design" in order to dilute the term? Your meaning is impossible to safely determine, given the phrasing of your reply.
I don't know about you, but I would be just fine with categorizing dog breeding as intelligent design, if only to prove that neither evolution or ID require the existence of God.:)
True, they can have perfect sync, but in order to do so they have to double or triple buffer the display which introduces input lag.
Then once the frame buffer information makes it to the display device any scaler that is in place (which is very common on our current 480p and 720p consoles when paired with our current 1080p panels) may add another frame or even two of delay, further compounding the input lag. (being between 2 and 4 frames behind may not seem like much but 2 affects the sense of immersion and control and 4 is downright HUGE even at 60p.)
And let's not forget that unless an app is very carefully developed it can miss one or more frames and momentarily drop down to an effective frame rate of 30fps, 20fps, 15fps, or some other frame rate that goes evenly into 60. Now the end user is facing continually-variable frame rate and large (and also continually-variable) input lag.
With heavy graphics workloads and lots of different pieces of hardware between your input and the final result, VSYNC certainly isn't making things any better and in fact makes things worse more often than not. Just ask any PC FPS player who swears by their CRT and why they will never get rid of it.:) They'll be running with VSYNC off and there will be tearing but at the update rates they are driving the CRT the tearing will be absolutely invisible.
It is no wonder that old, low-level consoles driving CRTs directly always give you a feeling of having much quicker, more direct control of the on-screen action.
I highly suspect that this dichotomy stems from a belief (well-founded or not) that mechanics are below their station in life but high-tech professionals should be below it and are somehow above it.
For ages and ages, mechanics have been (even if only in perception) dirty, slightly lower-class people that fix our things when we need them to. On the other hand, high-tech professionals appear to be clean, generally-well-educated people that can make six-figure salaries for being not much more than being born introverted and socially awkward.:) They may only need a high-tech professional when something is broken and needs fixing, just like they would for a mechanic, but this seems to only magnify the problem in some strange way.
People would like to be seen as knowing a little something about what their mechanics do, if only to provide a mild threat against being ripped off, but are fine with not knowing all that much about it because if they did then it might indicate that they are closer to their mechanic's station in life. This is something they want to avoid if possible. On the other hand, people get very touchy when they can't pull off an air of understanding and correctness of matters related to stations in life that they perceive to be higher than theirs, even if the only aspect they care about in this particular case is the high-tech professional's earning potential and recognized demand in the marketplace.
Compounding all of this is the fact that while a mechanic may involve someone in diagnosing a problem by having them answer a few very simple questions, they generally involve them in the process less than a high-tech professional often has to, even ignoring for the moment that even if a high-tech professional needed to ask the same number of questions each of those questions can be much more difficult for them to answer.
As they do with a mechanic, they want to see the high-tech professional as a servant they can just throw problems at. Except that this "servant" is better-educated, works a cleaner job with generally better hours and quite regularly a higher salary than theirs, and is asking them questions they can't answer (or fake.) This combination seems to make their blood boil more often than not, and it certainly doesn't help that the high-tech professional's lifetime experience as a socially-awkward introvert means that when they do have to involve someone in the diagnostic process they don't present questions and process answers as smoothly as would help the situation along.
Do you even realize just how much more there is to.net than the _relatively_few_ portions of it that wrap Win32? Or that there are versions of.net (even from Microsoft!) that don't even run _on_ Win32?
Talk about a left-field attack! Try actually responding to their comment next time.
As an example, I'll respond directly to your earlier comment right here, right now:
It must require a very narrow view of life to think that writing code during the day and then going home and writing more code during the evenings and/or weekends can be remotely defined as having life balance. Having passion for one's interests does not require having a limited range of them, nor does it restrict oneself from having passion for a wide range of them and/or for each of them.
You seem to be confusing Javascript and its implementations versus the DOM and its implementations. The source of the problems you describe are the latter pair, not the former pair.
I can vouch for this too, and am glad to see at least one comment here stating the same.
Half of/. must think that musicians couldn't keep time before click tracks and/or that recording processes couldn't let them play together while recording to separate tracks.
That said, with so much programming (heck, even full-track drum programming for bands that have a solid live drummer), tempo-synced effects, cut-and-paste editing in the digital domain, etc. going on, its no surprise that laying down to a click track might make the rest that much easier.
That and because many drummers are shite at holding tempo.:D
Back when I was last in the studio, and this was back in the days of tape, let alone what could be achieved with digital, it was trivial to set everyone up, preferably with the drummer off in another room for better sound isolation, and do a take with everyone tracking out as separately as possible given the studio's equipment. At the very least, you came away with a candidate for the final drum track. The rest of the band could go back in, one at a time or whatever you wanted, and re-track their part with at least the drum track available to play to and quite likely the rest of the band (as there is at least some version of it from that original take or whatever has been dubbed/punched onto the tape tracks since then).
There are some other noteworthy reasons for a click track, though, beyond making sequenced elements, tempo-synced effects, and editing work nicely:
One example is that many drummers simply can't hold tempo. They'll rush the verses and drag the chorus when if anything you might want the opposite. Or they'll do the opposite when you want the other.;) Or they'll slowly drag the tempo up through the entire song. Or down. Or they'll drop a few BPM whenever they need to play sixteenths on the hi-hat. (This last one is getting sickeningly common in live shows but even on albums recently. Bone up on your skills, guys! There's a thing called "practice" that you might have heard of!;) )
The thing that all of these reports are ignoring is that 1.1 (which is required for paid apps to even show up) isn't even available for the ADP1 yet. (And no, the holiday version doesn't count.)
People need to wait until 1.1 is actually available for the ADP1 and _then_ see if there is a problem accessing paid apps. There probably will be a problem, but until we are looking at 1.1 running on an ADP1 this is all just conjecture.
Oh, I'm certain there are many. I was just curious about the potential interest in that location (or any other garnering such in-depth investigation, for that matter.) Sunken treasure, vast natural resources, veritable swarms of nubile mermaids, that sort of thing.;)
I've heard this stated many times in many places since this subject came up a few days back, but have yet to spot anyone ask the obvious follow-up question I'm going to ask you in case you might know the answer:
All tinfoil-hat crap aside, why does this little patch of the ocean have so damn many ship tracks relative to any other random location? What of interest is (or is at least thought to be) down there in that area?
There are two "sides" to the licensing of each song. They aren't the sides you think. They are 1. the side for the songwriting and 2. the side for the recording. Each side needs to be licensed in order to use an original recording, whereas only the songwriting side needs to be licensed in order to _create_ a cover. That said, to _license_ the cover itself one would still need to license both sides (for the original songwriting and the new recording, though for the new recording it is often easier if the publisher of the cover and the creator of the cover are one in the same, even if only in terms of ownership and not the actual individual musicians).
The need to separately license both sides grows out of the fact that there are two distinct pieces of copyrighted material and different sets of people with their legal hands on each part. With the propensity for guest artists these days, especially in certain genres of what their proponents call "music" *cough*hip-hop*cough*, you can imagine just how many people could be involved in any one side, let alone both.
Whether there is one side to negotiate or two, and whether for a cover or not, in any given case the overall process is the same and equally open to all sorts of craziness in terms of who wants how many dollars.
That aside for the moment, and to comment on the overall subject in general, it is worth noting that both sides have been more than happy to license their music to these games, and that you would be amazed at the amount of money it sometimes takes to get one into a game. The only reason the fees aren't even higher is because there is _competition_. What do I mean by this? Well, there are a great many songs out there, as we all know, so these copyright holders can only push negotiations so high before those in control of the budget for the game will dump the song and move onto something else on their list. Unless all of the artists form a cartel to control these license fees, this form of competition is what keeps the production of these games even remotely affordable.
In the meantime, both the copyright holders and those licensing the copyrights (the game companies) are completely free to negotiate for what they want and to walk away at any time. That the labels have been doing one thing (happily licensing their side) and saying another (complaining about the licensing fees they are receiving) should be no surprise to anyone here on/., that's for sure.
Simple. So simple I find it hard to believe that no one else has mentioned the reason yet:
Japan and France (and places like them that score consistently high in terms of connectedness and bandwidth) have significantly higher population density than the US.
Loads of people in a tiny space makes it very easy to justify running fibre all over the shop, for example.
Yes, with a further just-to-be-on-the-safe-side clarification that AGPS has on-board GPS hardware.
People always seem to think that AGPS is the "fake" "GPS" that just uses the cell towers to tell roughly where you are (in other words, they think that cell tower triangulation is AGPS.) They end up knocking it when in fact it is the best of the three possibilities.
When the technology comes together the TTFF is quite remarkable (which I noted when I first fired up my AGPS after most having used a traditional handheld GPS.)
No links off the top of the head, and as you'll note I'm not the person you replied to:), I just figured I'd fire you this quick reply:
If you want a stable image regardless of viewing angle, and don't mind it having slightly slower response time (it'll be slightly worse for games but will make your eyes thank you for basically every other usage) and slightly lower contrast, check out IPS panels. S-IPS, H-IPS, whatever prefix the manufacturer wants to put on it it doesn't much matter.
Marketing response times and contrast ratios are usually B.S. anyway, so you will be best off checking out displays in person at some point regardless, but all in all IPS panels own when it comes to viewing angles. Some older larger models would pick up a slight color tinge from off-axis, but that has been rectified in newer models.
As for IPS examples: Dell's 3007, Apple's big cinema displays, the NEC 2690 WUXI, a number of models from LG (LG makes the panel in the NEC 2690). They're out there to be found if you google up some pages with the size range you want, the resolution you want, and "IPS" in the search.
Sadly, as a member of a "small" shop, and having been there for six years, his career advancement halted approximately three years ago, give or take.
In all my years in this business I have yet to see someone in a position with a company (consultancy or otherwise) for more than approximately three years benefit more from staying beyond that point than they would from moving on and gaining varied experience elsewhere. Not that I am advocating job-hopping, of course. After a certain amount of time living within the world of one organization, there is only so much more growing one can do there.
Not disagreeing with your post, of course.;) I agree entirely. I just thought I'd point out yet another reason for the submitter to run and not look back.
Buying 5 drives from any manufacturer that were the "same make, model, batch, store", and "shelf" is exactly how people get into massive RAID (or JBOD or even just multiple single-drive machine) failure situations in the first place. Just. Don't. Do. It. Especially when it comes to getting multiple drives from the same production batch. You created your own failure.
Slashdot Mirror
Mod parent up! :)
Sounds like time for ruthless application of the Last Responsible Moment principle:
When you are faced with one or more things that need doing and could be started (in other words, they aren't waiting on hard prerequisites), do first the thing for which you currently have the clearest information. Don't wait to start (which is a common misinterpretation of LRM), just select the thing for which you have the most information right now as, while that choice still may lack some information and contain risk, it contains less risk related to missing information than any of the other tasks. You can get busy knowing that you have made the best decision possible given the information available at that moment, and can make more progress than by procrastinating by waiting for perfect information.
Upon completion of that task (or becoming blocked on it) proceed to the task for which you, at that moment, have the most available information, and get going. Lather, rinse, repeat, always a) progressing on b) the task with the least risk of wasting effort.
By music I mean not the composition or the performance but rather the recording and distribution thereof, whether as a physical product or a product consisting of ones and zeros. And by movies I mean to draw a similar line.
There is of course creativity in the process of creating these things, there is of course art in them, and there of course can be elements of their released product forms that trickle back into our culture (e.g. favorite quotes), but I would argue that that nasty bit in between that is the mass-produced product is not _itself_ culture or a part of our culture.
We would all be wise to draw clear boundaries between the culture and non-culture in this continuum, as the non-culture portions (while valuable and worthy of appropriate protection) should not be allowed to extract special treatment as if they were "culture" or a part thereof.
re: "Culture is much more than what you can sell."
Heck, I would even go one step further than that: That which you can sell as product is not culture. While a product may _reflect_ upon culture or invoke a feeling from culture, the fact that it is a product IMHO discounts its consideration as culture. Note that by this logic I would not consider a painting as "product" in this sense, even though it could be sold. Music and movies, on the other hand...
Please refrain from presuming what I would or would not be fine with, especially when already reading far too much into my silly little comment.
For the record, I can't even tell from your post what you think I may or may not be fine with, given the sheer number of times you have used "it" in your reply without providing any context. What where you referring to, exactly? Treating dog breeds as different species? Labeling dog breeding as intelligent design? The wider use of the phrase "intelligent design" in order to dilute the term? Your meaning is impossible to safely determine, given the phrasing of your reply.
I don't know about you, but I would be just fine with categorizing dog breeding as intelligent design, if only to prove that neither evolution or ID require the existence of God. :)
True, they can have perfect sync, but in order to do so they have to double or triple buffer the display which introduces input lag.
Then once the frame buffer information makes it to the display device any scaler that is in place (which is very common on our current 480p and 720p consoles when paired with our current 1080p panels) may add another frame or even two of delay, further compounding the input lag. (being between 2 and 4 frames behind may not seem like much but 2 affects the sense of immersion and control and 4 is downright HUGE even at 60p.)
And let's not forget that unless an app is very carefully developed it can miss one or more frames and momentarily drop down to an effective frame rate of 30fps, 20fps, 15fps, or some other frame rate that goes evenly into 60. Now the end user is facing continually-variable frame rate and large (and also continually-variable) input lag.
With heavy graphics workloads and lots of different pieces of hardware between your input and the final result, VSYNC certainly isn't making things any better and in fact makes things worse more often than not. Just ask any PC FPS player who swears by their CRT and why they will never get rid of it. :) They'll be running with VSYNC off and there will be tearing but at the update rates they are driving the CRT the tearing will be absolutely invisible.
It is no wonder that old, low-level consoles driving CRTs directly always give you a feeling of having much quicker, more direct control of the on-screen action.
I highly suspect that this dichotomy stems from a belief (well-founded or not) that mechanics are below their station in life but high-tech professionals should be below it and are somehow above it.
For ages and ages, mechanics have been (even if only in perception) dirty, slightly lower-class people that fix our things when we need them to. On the other hand, high-tech professionals appear to be clean, generally-well-educated people that can make six-figure salaries for being not much more than being born introverted and socially awkward. :) They may only need a high-tech professional when something is broken and needs fixing, just like they would for a mechanic, but this seems to only magnify the problem in some strange way.
People would like to be seen as knowing a little something about what their mechanics do, if only to provide a mild threat against being ripped off, but are fine with not knowing all that much about it because if they did then it might indicate that they are closer to their mechanic's station in life. This is something they want to avoid if possible. On the other hand, people get very touchy when they can't pull off an air of understanding and correctness of matters related to stations in life that they perceive to be higher than theirs, even if the only aspect they care about in this particular case is the high-tech professional's earning potential and recognized demand in the marketplace.
Compounding all of this is the fact that while a mechanic may involve someone in diagnosing a problem by having them answer a few very simple questions, they generally involve them in the process less than a high-tech professional often has to, even ignoring for the moment that even if a high-tech professional needed to ask the same number of questions each of those questions can be much more difficult for them to answer.
As they do with a mechanic, they want to see the high-tech professional as a servant they can just throw problems at. Except that this "servant" is better-educated, works a cleaner job with generally better hours and quite regularly a higher salary than theirs, and is asking them questions they can't answer (or fake.) This combination seems to make their blood boil more often than not, and it certainly doesn't help that the high-tech professional's lifetime experience as a socially-awkward introvert means that when they do have to involve someone in the diagnostic process they don't present questions and process answers as smoothly as would help the situation along.
Do you even realize just how much more there is to .net than the _relatively_few_ portions of it that wrap Win32? Or that there are versions of .net (even from Microsoft!) that don't even run _on_ Win32?
GS broke the street date, it has no DRM, and yet it has a completely average piracy rate (approx 12:1 in this case.) compared to titles with DRM.
One couldn't ask for better proof that DRM wastes everyone's time and money and gains no one anything.
Talk about a left-field attack! Try actually responding to their comment next time.
As an example, I'll respond directly to your earlier comment right here, right now:
It must require a very narrow view of life to think that writing code during the day and then going home and writing more code during the evenings and/or weekends can be remotely defined as having life balance. Having passion for one's interests does not require having a limited range of them, nor does it restrict oneself from having passion for a wide range of them and/or for each of them.
You seem to be confusing Javascript and its implementations versus the DOM and its implementations. The source of the problems you describe are the latter pair, not the former pair.
I can vouch for this too, and am glad to see at least one comment here stating the same.
Half of /. must think that musicians couldn't keep time before click tracks and/or that recording processes couldn't let them play together while recording to separate tracks.
That said, with so much programming (heck, even full-track drum programming for bands that have a solid live drummer), tempo-synced effects, cut-and-paste editing in the digital domain, etc. going on, its no surprise that laying down to a click track might make the rest that much easier.
That and because many drummers are shite at holding tempo. :D
Back when I was last in the studio, and this was back in the days of tape, let alone what could be achieved with digital, it was trivial to set everyone up, preferably with the drummer off in another room for better sound isolation, and do a take with everyone tracking out as separately as possible given the studio's equipment. At the very least, you came away with a candidate for the final drum track. The rest of the band could go back in, one at a time or whatever you wanted, and re-track their part with at least the drum track available to play to and quite likely the rest of the band (as there is at least some version of it from that original take or whatever has been dubbed/punched onto the tape tracks since then).
There are some other noteworthy reasons for a click track, though, beyond making sequenced elements, tempo-synced effects, and editing work nicely:
One example is that many drummers simply can't hold tempo. They'll rush the verses and drag the chorus when if anything you might want the opposite. Or they'll do the opposite when you want the other. ;) Or they'll slowly drag the tempo up through the entire song. Or down. Or they'll drop a few BPM whenever they need to play sixteenths on the hi-hat. (This last one is getting sickeningly common in live shows but even on albums recently. Bone up on your skills, guys! There's a thing called "practice" that you might have heard of! ;) )
The thing that all of these reports are ignoring is that 1.1 (which is required for paid apps to even show up) isn't even available for the ADP1 yet. (And no, the holiday version doesn't count.)
People need to wait until 1.1 is actually available for the ADP1 and _then_ see if there is a problem accessing paid apps. There probably will be a problem, but until we are looking at 1.1 running on an ADP1 this is all just conjecture.
Oh, I'm certain there are many. I was just curious about the potential interest in that location (or any other garnering such in-depth investigation, for that matter.) Sunken treasure, vast natural resources, veritable swarms of nubile mermaids, that sort of thing. ;)
I've heard this stated many times in many places since this subject came up a few days back, but have yet to spot anyone ask the obvious follow-up question I'm going to ask you in case you might know the answer:
All tinfoil-hat crap aside, why does this little patch of the ocean have so damn many ship tracks relative to any other random location? What of interest is (or is at least thought to be) down there in that area?
I'm honestly curious.
There are two "sides" to the licensing of each song. They aren't the sides you think. They are 1. the side for the songwriting and 2. the side for the recording. Each side needs to be licensed in order to use an original recording, whereas only the songwriting side needs to be licensed in order to _create_ a cover. That said, to _license_ the cover itself one would still need to license both sides (for the original songwriting and the new recording, though for the new recording it is often easier if the publisher of the cover and the creator of the cover are one in the same, even if only in terms of ownership and not the actual individual musicians).
The need to separately license both sides grows out of the fact that there are two distinct pieces of copyrighted material and different sets of people with their legal hands on each part. With the propensity for guest artists these days, especially in certain genres of what their proponents call "music" *cough*hip-hop*cough*, you can imagine just how many people could be involved in any one side, let alone both.
Whether there is one side to negotiate or two, and whether for a cover or not, in any given case the overall process is the same and equally open to all sorts of craziness in terms of who wants how many dollars.
That aside for the moment, and to comment on the overall subject in general, it is worth noting that both sides have been more than happy to license their music to these games, and that you would be amazed at the amount of money it sometimes takes to get one into a game. The only reason the fees aren't even higher is because there is _competition_. What do I mean by this? Well, there are a great many songs out there, as we all know, so these copyright holders can only push negotiations so high before those in control of the budget for the game will dump the song and move onto something else on their list. Unless all of the artists form a cartel to control these license fees, this form of competition is what keeps the production of these games even remotely affordable.
In the meantime, both the copyright holders and those licensing the copyrights (the game companies) are completely free to negotiate for what they want and to walk away at any time. That the labels have been doing one thing (happily licensing their side) and saying another (complaining about the licensing fees they are receiving) should be no surprise to anyone here on /., that's for sure.
Simple. So simple I find it hard to believe that no one else has mentioned the reason yet:
Japan and France (and places like them that score consistently high in terms of connectedness and bandwidth) have significantly higher population density than the US.
Loads of people in a tiny space makes it very easy to justify running fibre all over the shop, for example.
Yes, with a further just-to-be-on-the-safe-side clarification that AGPS has on-board GPS hardware.
People always seem to think that AGPS is the "fake" "GPS" that just uses the cell towers to tell roughly where you are (in other words, they think that cell tower triangulation is AGPS.) They end up knocking it when in fact it is the best of the three possibilities.
When the technology comes together the TTFF is quite remarkable (which I noted when I first fired up my AGPS after most having used a traditional handheld GPS.)
Cell tower triangulation != AGPS.
AGPS = GPS hardware + downloading ephemeris data via the cell data network to speed satellite acquisition.
I find it strange that so many people seem to confuse the two, so don't consider yourself singled out. ;)
No links off the top of the head, and as you'll note I'm not the person you replied to :), I just figured I'd fire you this quick reply:
If you want a stable image regardless of viewing angle, and don't mind it having slightly slower response time (it'll be slightly worse for games but will make your eyes thank you for basically every other usage) and slightly lower contrast, check out IPS panels. S-IPS, H-IPS, whatever prefix the manufacturer wants to put on it it doesn't much matter.
Marketing response times and contrast ratios are usually B.S. anyway, so you will be best off checking out displays in person at some point regardless, but all in all IPS panels own when it comes to viewing angles. Some older larger models would pick up a slight color tinge from off-axis, but that has been rectified in newer models.
As for IPS examples: Dell's 3007, Apple's big cinema displays, the NEC 2690 WUXI, a number of models from LG (LG makes the panel in the NEC 2690). They're out there to be found if you google up some pages with the size range you want, the resolution you want, and "IPS" in the search.
Sadly, as a member of a "small" shop, and having been there for six years, his career advancement halted approximately three years ago, give or take.
In all my years in this business I have yet to see someone in a position with a company (consultancy or otherwise) for more than approximately three years benefit more from staying beyond that point than they would from moving on and gaining varied experience elsewhere. Not that I am advocating job-hopping, of course. After a certain amount of time living within the world of one organization, there is only so much more growing one can do there.
Not disagreeing with your post, of course. ;) I agree entirely. I just thought I'd point out yet another reason for the submitter to run and not look back.
Buying 5 drives from any manufacturer that were the "same make, model, batch, store", and "shelf" is exactly how people get into massive RAID (or JBOD or even just multiple single-drive machine) failure situations in the first place. Just. Don't. Do. It. Especially when it comes to getting multiple drives from the same production batch. You created your own failure.
And that's okay by me, as you are not one of the folks that are demanding _both_ the acceleration _and_ the living room on wheels. :)