... Janis Ian had her first hit in 1967 with a controversial song about interracial dating, "Society's Child". She was a young teenager at the time.
She released several albums on the Verve label in the 60s and gradually sank into obscurity. After signing with Columbia, she made a comeback during the mid-70s with the hit "At Seventeen". Again, she wasn't able to follow it up with another similar hit and sales gradually dwindled until she was dropped. Due to mismanagement and bad accounting she ended up with tax problems and eventually went broke.
She's managed to keep herself going in the music biz in the last few years, although I have no idea what kind of music she's doing now.
... I should point out that some sources actually say that Ulysses got the Palladium by getting Helen's cooperation. Also several cities copied the Palladium - I doubt that licenses or copyright laws were followed. Last of all, Ulysses was known as a crafty, shrewd man who was "never at a loss" - in fact, as I'm sure you know, the Trojan Horse was his idea.
It would be a fair statement to say he had the mentality and abilities of a hacker. So, Microsoft named its security model after a theft committed by a hacker of the ancient world.
Yeah! The US was founded by people who believed the goverment should control the marketplace, and step in to force companies to provide services in a manner most convenient to customers.
Well, if they're using public right of ways and monopoly contracts granted by government, they can't really complain if the government demands something back for their setting them up in business, can they?
The problem with this is that there are hundreds (if not thousands) of very low power UHF stations that are run by non-profit organizations and service a small demographic...
Such as non-english channels, alternative media, community info, etc.
And what exactly prevents them from presenting that content over a wireless net, especially a wireless local net?
When CDs came out, a lot of the music on them sounded thin and lifeless because the recording engineers didn't understand how to get the maximum sound out of the technology. I just got the Grateful Dead's CD box set and have all the vinyl. I would say that the first album sounds roughly equivalent (but without all the surface noise). Starting with Aoxomoxoa, the sound on CD is not only clearer, but it's deeper; part of that's better mastering.
Where I notice the difference between vinyl and CD is in the low end. Kick drums and bass on older records sound a lot fuller and deeper, but that's not because they were put on a record, it's because the person recording them knew what they were doing. A lot of today's engineers really don't know how to mike a drum set or to mix for a natural warm sound, even when they're dealing with old 60s and 70s music that was recorded well. The versions of Jethro Tull's "Aqualung" or Martha Reeves' and the Vandellas' "Heat Wave" that are commonly heard on the radio now are on remastered CD and are good examples of music ruined by people that didn't know what they were doing.
I have over 3,000 records. CDs, when done right, are superior.
Oh, the Ignorance. The internet broadcasters should be PAID for providing publicity of the music - it's already cost them time, infrastructure, and bandwidth.
But, they WILL be paid, just as regular broadcasters will be paid... Indie promoters will pay them to air the latest Britney record.
If Borges, Kafka, Vonnegut and Orwell got together to write a scifi novel, we'd have a surrealist oppressive society trying to decide how paranoid to be about it's own growing internal facism.
It's kind of interesting that you mention Lem and Dick, their opposing viewpoints and their being on "opposite poles" as they're my two favorite SF writers. It may be something a lot like the radical right and the radical left moving so far to the extremes that they meet. A good case can be made for Lem being the most intelligent SF writer - but I wouldn't call Dick unintelligent by contrast. I would call him perhaps the most empathic SF writer - there's a deep sense of existential compassion in much of his work. It's true that he was a screwed up human being, but I don't know how he could have avoided being so, having seen the reality that he saw. And as much as I like Gibson and Sterling and Stephenson, I've yet to read anything from them that was as brilliant or compassionate as Lem and Dick. People who haven't read these two aren't really familiar with the best that SF has to offer. I just wish there were people to follow them, although William Vollman's mainstream work is similar, in a much more disturbing way...
Who controls access to the airwaves in the US? The FCC. And who controls the FCC...?
The FCC can't even stop Joe Blow from setting himself up with a 100 watt CB radio and it has a hard time keeping up with pirate AM, FM and shortwave broadcasts. Wireless broadband would be even more of a nightmare to enforce than these would be.
... who's been listening since the mid '60s, I have to say you're right. America has missed the boat. I started getting into the pioneers of electronic music in the mid-70s - for awhile, there didn't seem to be much going on except synth pop bands in the 80s, but then I started hearing in the early 90s that electronic music was taking over the European scene and had to find out what was going on. Since then, most of the CDs I buy are electronic acts. Meanwhile, the "underground" music in the USA seems to be NuMetal, which for the most part, stinks. Oddly enough, I like today's pop music better than that, but prefer what's going on in Europe.
There's still life left in rock and roll, but the cutting edge stuff is electronic or electronic influenced. As a musician, I decided to learn my computer as a musical instrument rather than stay in the past...
Excellent question - what would be left for teenagers to rebel with if the rebel icons of musicians and actors were taken away? But the truth is, the music and movies you have in mind aren't rebellion - they're safe channels for rebellion, means by which rebellion can be channeled and made profitable for the society that's being rebelled against. There are people who actually think they're doing something against the system when they buy a Rage Against the Machine record or something...
So, where does that rebellious energy of youth go? Probably into direct rebellion, once a sufficient reason for widespread rebellion takes place, like an economic downturn. Or a war... you can always channel rebellion into a fight with a foreign power.
These companies aren't just in the business of selling broadband access. They're also in the business of selling cable TV.
In my own case, getting 1.5/128 from Charter was only affordable because I got a good package deal on cable TV, too. Raise the broadband rates and give me a ridiculous download cap like 3-5 gigs a month and I'll just go back to dial-up - more significatly to them, I'll also get rid of the cable access and get another satellite dish. They may be losing money from me as a broadband subscriber, but they're making money from me as a cable TV subscriber. Eliminate one, they eliminate both - cable broadband is the only reason I have cable TV.
Ah, a little content, and a lot of non-content
on
lowercase music
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· Score: 2
Did you actually survey the audiences in the movie theatres to discover what age they were? Did you even try? If this is the kids rebelling against their elders culture, can you explain to me why Star Wars is a relic of the 70s and Spiderman's a relic of the 60's? And why do you assume that people couldn't have gone to BOTH movies?
This article is based on a lot of unproven assumptions and dubious interpretations. In fact, at a certain other discussion board (k5), it would have been voted down as a sloppy piece of work, if not as a troll. Which begs the question - who's losing touch with their audience - movie makers or webmasters?
The reason why organizations such as the mass media and the companies that distribute art were able to lock out live performers is that the "public" was reinvented -- instead of the "public" being anyone a performer could possibly meet, the public became anyone a mass media organization could reach by TV, movies, radio, print, etc.
Now the public is being reinvented again and is becoming anyone the artist or a fan of the art can communicate with. What we are seeing is not simply a war over copyright - it's a war over what the public will be and who will have the right to communicate with it. The mass media would prefer to have a public that remains large with easily controllable desires and means of distribution to it. The new public wants to control its own desires and means of distribution; it wants to be the artist, the publisher and the audience.
There can't be laws to enforce the old mass media copyrights without enforcing the old, outdated mass media model. This is not just a battle over who has the right to distribute a work but who has the right to distribute any work and who can create a public to communicate with. The performers would like to have their public to be anyone they communicate with - the mass media moguls are calling for laws against the technologies that would make this communication impossible.
Amusement or freedom? Stale dreams provided by the media or the future? Docile brainwashed masses of consumers or free, creative citizens?
Are the RIAA and MIAA really going to force us to make that choice? I will resign my membership as a part of their audience if bills like this go through and I suggest you do the same. 120 years ago all people could do for entertainment was read or have people they knew provide it to them. Humanity survived quite well. And more importantly - at least in the US, they were free to do it. Do we really love our babble boxes so much we would give up our freedom for them? Why the hell can't we have both?
If the supreme court refuses to hear the case do we formaly rebel or something then?
No, you look for a test case that's better suited for establishing that computer code is free speech. It's better that they don't hear this case at all, than hear it and decide that code isn't speech.
Down the road, I suppose a computer language that's indistinguishable from English would probably be the best answer.
... to tell me, please, whether writing on a copy protected CD with a black marker really works? My God, one of the main points of this story has hardly been addressed, except to make jokes about banning post it notes and markers. I guess people are too busy flaming record companies and Apple to address something constructive.
I'm sorry, but people are posting a lot of drivel here and I'm getting tired of it. Mod me into oblivion for saying this, but one of the main points of this story remains unexamined.
.... WOMAN, YOOOO OOOO NEEEEEEED MEEE
OHHHHHHHH...."
Or "Squeeze my lemon, till the juice runs down my leg
The way you squeeze my lemon, I'm going to fall right out of bed"
I would love to hear how these lyrics can be related to Tolkien.
About 40,000 people a year die in auto accidents. 10% would still leave thousands, wouldn't it? Anyway, www.legallawhelp.com says that 29% of fatalites involved speeding.
if cars are made so they don't exceed the speed limit. We can just blame it on the speeders.
Interesting how thousands of Americans die yearly due to excessive speed, and yet, no bill is ever introduced into Congress suggesting this. Yet, let corporate profits be endangered by copying and all sorts of legislation is introduced to limit the machines responsible.
The all time classic by the ECC is ...
on
Mashed-Up Music
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· Score: 2
... Rocked by Rape, which plays cut ups of Dan Rather reading the news over a sample of AC/DC. In my opinion, it's as important a record as "God Save the Queen" by the Sex Pistols. Be sure to download the Mp3 radio shows which go all over the place and sometimes showcase other interesting expirments, such as cut-ups of "I'm going to wash that man right out of my hair", played at 16 rpm. I've got them all and there's something on each of them that blew my mind.
The solution instead is to serialize each instance of the software sold and cross-reference that serial number with the credit card or other identification of the purchaser, such that if 10,000 copies of program A, serial number #12345, appear on the web the copyright holder can go after the original purchaser as a first step.
I pay cash. And I'm not showing my ID to buy a CD or a movie or a software game. If I have to do that, I won't buy.
I agree, there are tons of ways to rip off a store - the smaller, the better. A convenience store where one or two people are working at a time is an ideal place for this. Only an idiot would settle for the cash in the drawer when there are so many other opportunities - letting your friends shoplift or fill up their tanks, stealing a couple of packs of cigs - even though they're counted, the count's always going to be off by 10 packs or so - fictitious bottle returns (a guy I worked with did this for a year without my knowledge before he was fired) - taking boxes full of merchandise to your car - or better yet, someone else's car - not ringing stuff up and keeping the money (very hard to catch if it's done right, even with cameras) - taking store supplies - buying stolen goods from people who've shoplifted them from somewhere else... Oh, the scams are endless, and if a person does them in moderation, it's going to be a long time before they get caught, if ever. I never did things like this - I'd hear about them later, after the people either got caught (rarely) or quit and told me what they used to do.
Oh, and for the greedy - fake robberies. At a liquor store down the road, they had one or two every week. Unable to sustain that kind of hit, the store closed. Oddly enough, we were 5 blocks down the road and only had one unarmed attempt which ended with my swinging a broom at the culprit. Even more oddly, no one was ever caught. Oddest of all, when someone reopened the store a year later, there were no more robberies. Obviously, there was something going on there...
Slashdot Mirror
... Janis Ian had her first hit in 1967 with a controversial song about interracial dating, "Society's Child". She was a young teenager at the time.
She released several albums on the Verve label in the 60s and gradually sank into obscurity. After signing with Columbia, she made a comeback during the mid-70s with the hit "At Seventeen". Again, she wasn't able to follow it up with another similar hit and sales gradually dwindled until she was dropped. Due to mismanagement and bad accounting she ended up with tax problems and eventually went broke.
She's managed to keep herself going in the music biz in the last few years, although I have no idea what kind of music she's doing now.
... I should point out that some sources actually say that Ulysses got the Palladium by getting Helen's cooperation. Also several cities copied the Palladium - I doubt that licenses or copyright laws were followed. Last of all, Ulysses was known as a crafty, shrewd man who was "never at a loss" - in fact, as I'm sure you know, the Trojan Horse was his idea.
It would be a fair statement to say he had the mentality and abilities of a hacker. So, Microsoft named its security model after a theft committed by a hacker of the ancient world.
Just call me Cassandra.
Yeah! The US was founded by people who believed the goverment should control the marketplace, and step in to force companies to provide services in a manner most convenient to customers.
Well, if they're using public right of ways and monopoly contracts granted by government, they can't really complain if the government demands something back for their setting them up in business, can they?
The problem with this is that there are hundreds (if not thousands) of very low power UHF stations that are run by non-profit organizations and service a small demographic... Such as non-english channels, alternative media, community info, etc.
And what exactly prevents them from presenting that content over a wireless net, especially a wireless local net?
When CDs came out, a lot of the music on them sounded thin and lifeless because the recording engineers didn't understand how to get the maximum sound out of the technology. I just got the Grateful Dead's CD box set and have all the vinyl. I would say that the first album sounds roughly equivalent (but without all the surface noise). Starting with Aoxomoxoa, the sound on CD is not only clearer, but it's deeper; part of that's better mastering.
Where I notice the difference between vinyl and CD is in the low end. Kick drums and bass on older records sound a lot fuller and deeper, but that's not because they were put on a record, it's because the person recording them knew what they were doing. A lot of today's engineers really don't know how to mike a drum set or to mix for a natural warm sound, even when they're dealing with old 60s and 70s music that was recorded well. The versions of Jethro Tull's "Aqualung" or Martha Reeves' and the Vandellas' "Heat Wave" that are commonly heard on the radio now are on remastered CD and are good examples of music ruined by people that didn't know what they were doing.
I have over 3,000 records. CDs, when done right, are superior.
Oh, the Ignorance. The internet broadcasters should be PAID for providing publicity of the music - it's already cost them time, infrastructure, and bandwidth.
... Indie promoters will pay them to air the latest Britney record.
But, they WILL be paid, just as regular broadcasters will be paid
Now you can cringe.
If Borges, Kafka, Vonnegut and Orwell got together to write a scifi novel, we'd have a surrealist oppressive society trying to decide how paranoid to be about it's own growing internal facism.
...
That's fairly close to what Lem's Memoirs is
And it would really, really suck.
Except that it DOESN'T suck.
It's kind of interesting that you mention Lem and Dick, their opposing viewpoints and their being on "opposite poles" as they're my two favorite SF writers. It may be something a lot like the radical right and the radical left moving so far to the extremes that they meet. A good case can be made for Lem being the most intelligent SF writer - but I wouldn't call Dick unintelligent by contrast. I would call him perhaps the most empathic SF writer - there's a deep sense of existential compassion in much of his work. It's true that he was a screwed up human being, but I don't know how he could have avoided being so, having seen the reality that he saw. And as much as I like Gibson and Sterling and Stephenson, I've yet to read anything from them that was as brilliant or compassionate as Lem and Dick. People who haven't read these two aren't really familiar with the best that SF has to offer. I just wish there were people to follow them, although William Vollman's mainstream work is similar, in a much more disturbing way ...
Who controls access to the airwaves in the US? The FCC. And who controls the FCC ...?
The FCC can't even stop Joe Blow from setting himself up with a 100 watt CB radio and it has a hard time keeping up with pirate AM, FM and shortwave broadcasts. Wireless broadband would be even more of a nightmare to enforce than these would be.
... who's been listening since the mid '60s, I have to say you're right. America has missed the boat. I started getting into the pioneers of electronic music in the mid-70s - for awhile, there didn't seem to be much going on except synth pop bands in the 80s, but then I started hearing in the early 90s that electronic music was taking over the European scene and had to find out what was going on. Since then, most of the CDs I buy are electronic acts. Meanwhile, the "underground" music in the USA seems to be NuMetal, which for the most part, stinks. Oddly enough, I like today's pop music better than that, but prefer what's going on in Europe.
...
There's still life left in rock and roll, but the cutting edge stuff is electronic or electronic influenced. As a musician, I decided to learn my computer as a musical instrument rather than stay in the past
Excellent question - what would be left for teenagers to rebel with if the rebel icons of musicians and actors were taken away? But the truth is, the music and movies you have in mind aren't rebellion - they're safe channels for rebellion, means by which rebellion can be channeled and made profitable for the society that's being rebelled against. There are people who actually think they're doing something against the system when they buy a Rage Against the Machine record or something ...
... you can always channel rebellion into a fight with a foreign power.
So, where does that rebellious energy of youth go? Probably into direct rebellion, once a sufficient reason for widespread rebellion takes place, like an economic downturn. Or a war
These companies aren't just in the business of selling broadband access. They're also in the business of selling cable TV.
In my own case, getting 1.5/128 from Charter was only affordable because I got a good package deal on cable TV, too. Raise the broadband rates and give me a ridiculous download cap like 3-5 gigs a month and I'll just go back to dial-up - more significatly to them, I'll also get rid of the cable access and get another satellite dish. They may be losing money from me as a broadband subscriber, but they're making money from me as a cable TV subscriber. Eliminate one, they eliminate both - cable broadband is the only reason I have cable TV.
Reminds me of Slashdot.
Did you actually survey the audiences in the movie theatres to discover what age they were? Did you even try? If this is the kids rebelling against their elders culture, can you explain to me why Star Wars is a relic of the 70s and Spiderman's a relic of the 60's? And why do you assume that people couldn't have gone to BOTH movies?
This article is based on a lot of unproven assumptions and dubious interpretations. In fact, at a certain other discussion board (k5), it would have been voted down as a sloppy piece of work, if not as a troll. Which begs the question - who's losing touch with their audience - movie makers or webmasters?
The reason why organizations such as the mass media and the companies that distribute art were able to lock out live performers is that the "public" was reinvented -- instead of the "public" being anyone a performer could possibly meet, the public became anyone a mass media organization could reach by TV, movies, radio, print, etc.
Now the public is being reinvented again and is becoming anyone the artist or a fan of the art can communicate with. What we are seeing is not simply a war over copyright - it's a war over what the public will be and who will have the right to communicate with it. The mass media would prefer to have a public that remains large with easily controllable desires and means of distribution to it. The new public wants to control its own desires and means of distribution; it wants to be the artist, the publisher and the audience.
There can't be laws to enforce the old mass media copyrights without enforcing the old, outdated mass media model. This is not just a battle over who has the right to distribute a work but who has the right to distribute any work and who can create a public to communicate with. The performers would like to have their public to be anyone they communicate with - the mass media moguls are calling for laws against the technologies that would make this communication impossible.
Amusement or freedom? Stale dreams provided by the media or the future? Docile brainwashed masses of consumers or free, creative citizens?
Are the RIAA and MIAA really going to force us to make that choice? I will resign my membership as a part of their audience if bills like this go through and I suggest you do the same. 120 years ago all people could do for entertainment was read or have people they knew provide it to them. Humanity survived quite well. And more importantly - at least in the US, they were free to do it. Do we really love our babble boxes so much we would give up our freedom for them? Why the hell can't we have both?
If the supreme court refuses to hear the case do we formaly rebel or something then?
No, you look for a test case that's better suited for establishing that computer code is free speech. It's better that they don't hear this case at all, than hear it and decide that code isn't speech.
Down the road, I suppose a computer language that's indistinguishable from English would probably be the best answer.
... to tell me, please, whether writing on a copy protected CD with a black marker really works? My God, one of the main points of this story has hardly been addressed, except to make jokes about banning post it notes and markers. I guess people are too busy flaming record companies and Apple to address something constructive.
I'm sorry, but people are posting a lot of drivel here and I'm getting tired of it. Mod me into oblivion for saying this, but one of the main points of this story remains unexamined.
What's up with that?
... singing "Try a little tenderness." Otis had nothing to worry about.
.... WOMAN, YOOOO OOOO NEEEEEEED MEEE ...."
OHHHHHHHH
Or "Squeeze my lemon, till the juice runs down my leg
The way you squeeze my lemon, I'm going to fall right out of bed"
I would love to hear how these lyrics can be related to Tolkien.
About 40,000 people a year die in auto accidents. 10% would still leave thousands, wouldn't it? Anyway, www.legallawhelp.com says that 29% of fatalites involved speeding.
There you go.
if cars are made so they don't exceed the speed limit. We can just blame it on the speeders.
Interesting how thousands of Americans die yearly due to excessive speed, and yet, no bill is ever introduced into Congress suggesting this. Yet, let corporate profits be endangered by copying and all sorts of legislation is introduced to limit the machines responsible.
... Rocked by Rape, which plays cut ups of Dan Rather reading the news over a sample of AC/DC. In my opinion, it's as important a record as "God Save the Queen" by the Sex Pistols. Be sure to download the Mp3 radio shows which go all over the place and sometimes showcase other interesting expirments, such as cut-ups of "I'm going to wash that man right out of my hair", played at 16 rpm. I've got them all and there's something on each of them that blew my mind.
The solution instead is to serialize each instance of the software sold and cross-reference that serial number with the credit card or other identification of the purchaser, such that if 10,000 copies of program A, serial number #12345, appear on the web the copyright holder can go after the original purchaser as a first step.
I pay cash. And I'm not showing my ID to buy a CD or a movie or a software game. If I have to do that, I won't buy.
I agree, there are tons of ways to rip off a store - the smaller, the better. A convenience store where one or two people are working at a time is an ideal place for this. Only an idiot would settle for the cash in the drawer when there are so many other opportunities - letting your friends shoplift or fill up their tanks, stealing a couple of packs of cigs - even though they're counted, the count's always going to be off by 10 packs or so - fictitious bottle returns (a guy I worked with did this for a year without my knowledge before he was fired) - taking boxes full of merchandise to your car - or better yet, someone else's car - not ringing stuff up and keeping the money (very hard to catch if it's done right, even with cameras) - taking store supplies - buying stolen goods from people who've shoplifted them from somewhere else ... Oh, the scams are endless, and if a person does them in moderation, it's going to be a long time before they get caught, if ever. I never did things like this - I'd hear about them later, after the people either got caught (rarely) or quit and told me what they used to do.
...
Oh, and for the greedy - fake robberies. At a liquor store down the road, they had one or two every week. Unable to sustain that kind of hit, the store closed. Oddly enough, we were 5 blocks down the road and only had one unarmed attempt which ended with my swinging a broom at the culprit. Even more oddly, no one was ever caught. Oddest of all, when someone reopened the store a year later, there were no more robberies. Obviously, there was something going on there