I got my iPod (10 GB) 11 months ago, and the battery life went from 8-10 hours or so to about 2 now (although I do skip tracks often, which decreases battery time). That is the biggest disappointment for me, although I still love it. I'm going to get a replacement battery, but it would've been nice to know the fact that the battery's capacity decreases that much, and that quickly, before I bought it.
That's technically correct, but I think the more practical definition of "customer" is someone who has the honest intent to buy stuff from you (and not steal from you). They may be a customer of the store that they buy the CDs from (and CDRs), but since they're not paying for the songs they download from other people's hard drive, they are definitely not customers of the RIAA (or labels).
More simply, thieves can be customers of places they don't steal from, but they cannot be considered customers of the places they DO steal from (even if they've bought something in the past). If someone walks into my store, and I know they've stolen something from us, we will quickly escort them to the door, even if they've bought something from us in the past, or may in the future. They are still considered thieves and NOT customers to us (maybe not to every other business). That's how it works in real life, anyway.
Separate domains for everybody
on
Replacing SMTP?
·
· Score: 2, Informative
For a measley $20 or so a year, you can register your own domain name, get all e-mail to that domain forwarded to your "real" address (which you make unguessable and never give out), using a service like Zone-Edit. I've done this and effectively cut off ALL spam, since I give out a different e-mail address to each entity (usually something like, "[company-name]@[mydomain].com").
When I discover a piece of spam, I check the sent-to field, and set a rule in my mail program to color it a certain color using the sent-to field as criteria (or transfer to trash), since I know that this single address has been compromised somehow. Since you can clearly know WHICH e-mail addresses are compromised, it makes it very easy to filter these out.
Don't get me wrong. I think it's truly amazing what he did (and, no, I haven't done anything equal to this). I read his resume, and he is a gifted young engineer with a lot of experience, and I can tell he has passion and skill for it, which is all that matters. He WILL make it big.
I'm not "pissing" on it-- judging by the pictures, I just don't know if it's rideable (which is what the point of a roller coaster is-isn't it?). I could be wrong--I probably am considering how much he really knows about roller coasters, but my brain is too scientific to believe something before I see it.
Not one of the pics (or movies, I believe) has anyone actually IN the car (if you can call that little wooden box a "car") as the coaster is operating. One pic has a view of the top of the first hill, but he could have just climbed up to take it.
I have a feeling the first day he tested it out, it either :
A) Caused serious injury, or
B) Didn't work (couldn't make it up hill or around track)
I concur. I read the "fine print" and nowhere did it say that you can't listen to the tracks outside the US. Using the service entails purchasing music from the Store, not listening (there are no explicit "listening" restrictions in the contract). I really think that his situation is one where Apple did not foresee (that of a credit card changing from a US to another address), and I don't think this was Apple's intention.
Of course, if his AACs are wiped, and he has to download the things again, that would entail "use of the service", but in this case it seems he may have a case (since it appears that he doesn't need to re-download the tracks).
I did a paper on AOP last semester. Basically, AOP not only gives you an object-oriented view of the code, but also splits it up according to other aspects of its functionality, like "security", or "debugging". Then, when you want to add a certain functionality to multiple objects, all you do is name all of the class methods that are affected (called a "joinpoint"), and then write one section of code, instead of changing each and every object (or class) that you would have to do if you were using an OO language. Go to http://www.parc.com/groups/csl/projects/aspectj/in dex.html and look at some of the PPT presentations. They describe it pretty well.
True. But none of these outlets had very big followings, despite their worth. If there were a huge demand for non-mainstream artists, mp3.com and internet radio would have much more support--they would be too popular to shut down, but they're not. There's a reason why businesses fold--it's because they're just not in demand with most people.
Also, the music store I work at allows people to listen to ANY CD in the store, and you know what most people end up listening to? The same stuff that's on the radio. People have a library of music history (and current artists) at their fingertips, and they end up listening to only the stuff they've heard millions of times on the radio.
I feel for the artists--especially the ones who have a steady following and are great musicians but get dropped because they don't appeal to the "MTV generation". But it's our own fault. We rely too much on radio and TV to influence our tastes and who we listen to. I once thought there was a big, untapped resource of music-lovers who really want to hear the stuff that's not on the radio--people who want only quality musicianship and a unique sound, but things like jazz (the only truly American music form) and classical have never been big sellers, even with the older demographic.
Face it, most people want to hear the stuff that's on the radio-- over-produced, simplistic, commercialized goo, and we can't stand if it's not a singable tune. That's why only 5% of the artists have a hit-- because the record companies know they can't make money unless they find a musician who happens to fit that (very rare) formula. Even if they do sign an innovative group or individual, they know hardly anyone will buy the record, because they know we have horrible taste, or that we, for whatever reason, are less likely to buy it.
I work at a music store, and 99% of the requests I get are for musicians who they heard on the radio or TV. People want to be hand-fed good music, then complain when it's not good. The record companies are only trying to feed the customer what they seem to want, which is not necessarily good music.
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I got my iPod (10 GB) 11 months ago, and the battery life went from 8-10 hours or so to about 2 now (although I do skip tracks often, which decreases battery time). That is the biggest disappointment for me, although I still love it. I'm going to get a replacement battery, but it would've been nice to know the fact that the battery's capacity decreases that much, and that quickly, before I bought it.
That's technically correct, but I think the more practical definition of "customer" is someone who has the honest intent to buy stuff from you (and not steal from you). They may be a customer of the store that they buy the CDs from (and CDRs), but since they're not paying for the songs they download from other people's hard drive, they are definitely not customers of the RIAA (or labels).
More simply, thieves can be customers of places they don't steal from, but they cannot be considered customers of the places they DO steal from (even if they've bought something in the past). If someone walks into my store, and I know they've stolen something from us, we will quickly escort them to the door, even if they've bought something from us in the past, or may in the future. They are still considered thieves and NOT customers to us (maybe not to every other business). That's how it works in real life, anyway.
For a measley $20 or so a year, you can register your own domain name, get all e-mail to that domain forwarded to your "real" address (which you make unguessable and never give out), using a service like Zone-Edit. I've done this and effectively cut off ALL spam, since I give out a different e-mail address to each entity (usually something like, "[company-name]@[mydomain].com").
When I discover a piece of spam, I check the sent-to field, and set a rule in my mail program to color it a certain color using the sent-to field as criteria (or transfer to trash), since I know that this single address has been compromised somehow. Since you can clearly know WHICH e-mail addresses are compromised, it makes it very easy to filter these out.
Don't get me wrong. I think it's truly amazing what he did (and, no, I haven't done anything equal to this). I read his resume, and he is a gifted young engineer with a lot of experience, and I can tell he has passion and skill for it, which is all that matters. He WILL make it big.
I'm not "pissing" on it-- judging by the pictures, I just don't know if it's rideable (which is what the point of a roller coaster is-isn't it?). I could be wrong--I probably am considering how much he really knows about roller coasters, but my brain is too scientific to believe something before I see it.
Dallas
Not one of the pics (or movies, I believe) has anyone actually IN the car (if you can call that little wooden box a "car") as the coaster is operating. One pic has a view of the top of the first hill, but he could have just climbed up to take it.
I have a feeling the first day he tested it out, it either :
A) Caused serious injury, or
B) Didn't work (couldn't make it up hill or around track)
Just my suspicion.
Dallas
I concur. I read the "fine print" and nowhere did it say that you can't listen to the tracks outside the US. Using the service entails purchasing music from the Store, not listening (there are no explicit "listening" restrictions in the contract). I really think that his situation is one where Apple did not foresee (that of a credit card changing from a US to another address), and I don't think this was Apple's intention. Of course, if his AACs are wiped, and he has to download the things again, that would entail "use of the service", but in this case it seems he may have a case (since it appears that he doesn't need to re-download the tracks).
I did a paper on AOP last semester. Basically, AOP not only gives you an object-oriented view of the code, but also splits it up according to other aspects of its functionality, like "security", or "debugging". Then, when you want to add a certain functionality to multiple objects, all you do is name all of the class methods that are affected (called a "joinpoint"), and then write one section of code, instead of changing each and every object (or class) that you would have to do if you were using an OO language. Go to http://www.parc.com/groups/csl/projects/aspectj/in dex.html and look at some of the PPT presentations. They describe it pretty well.
Also, the music store I work at allows people to listen to ANY CD in the store, and you know what most people end up listening to? The same stuff that's on the radio. People have a library of music history (and current artists) at their fingertips, and they end up listening to only the stuff they've heard millions of times on the radio.
Face it, most people want to hear the stuff that's on the radio-- over-produced, simplistic, commercialized goo, and we can't stand if it's not a singable tune. That's why only 5% of the artists have a hit-- because the record companies know they can't make money unless they find a musician who happens to fit that (very rare) formula. Even if they do sign an innovative group or individual, they know hardly anyone will buy the record, because they know we have horrible taste, or that we, for whatever reason, are less likely to buy it.
I work at a music store, and 99% of the requests I get are for musicians who they heard on the radio or TV. People want to be hand-fed good music, then complain when it's not good. The record companies are only trying to feed the customer what they seem to want, which is not necessarily good music.