Thanks. I pulled it off google. Interesting that the one I had swaps 'Trade Unionist' for 'Catholic' which in the historical context could be considered revisionist. Do you know the original language?
no adequate rechnological replacements for oil
That's an OT thread I'd love to see hashed on slashdot.
My above point was governments tend to protect vested economic interests. That art isn't a physical resource doesn' matter economically. During the mid 70s oil bust some English finance guy pointed out that Led Zeppelin was favorably affecting the UK balance of trade, and U2 currently owns a big piece of Dublin. Compared to Haliburton? No. But money's money.
Another question to ask is "How were artists, composers and performers renumerated prior to the advent of the recording industry?".
The short answer is 'Not as well'., but times were a lot tougher 100 years ago.
A slashdot poster during a previous rehash pointed out that classical musicians aren't paid very well and obviously do it for the love. There will always be music.
But what of the people who aren't biz bigwigs but have jobs - radio, promotions, technical and recording support? Should they go back into the fields or join the unemployment line with the steelworkers and graphic designers? All of this consensual illusion we call media creates cash flow and jobs. In the end, the actual artists might get a larger piece of a smaller pie. Should the lawyer for some boy band make more than their elementary school teacher? I'm personally very happy there was enough money around that John, Paul, George, Ringo and George got to lock themselves in a studio for a few records (and that Stanley Kubrick was left alone on a soundstage), but I'm ambivalant about the money generated for EMI or MGM. Society values something by how much cash it generates, and compared to casino capitalism and aerospace munitions I think the world is richer for over valuing pop music and media for a century. Now if only we'd start paying school teachers.
Is the greatly diminished cash flow going to be good or bad for 'the music'? My guess is it won't matter. Most of us are here to sell beer.
There has grown up in the minds of certain groups in this country the notion that because a man or a corporation has made a profit out of the public for a number of years , the government and the courts are charged with the duty of guaranteeing such profit in the future.
The same could be said about oil and munitions.
But one can at least say, however the market chooses to remunerate them.
As a tech-savy musician, I saw Napster coming way... uh... back in the day. I also know a lot of roadies, audio techs and graphics people that get a lot less work lately. Music was over valued, now it's going to be undervalued. If you build castles made of sand, don't complain about the tide
Today I saw a promo on TV about guys who had big time tech jobs and were now delivering pizza. Internet skills were over valued, now they're going to be undervalued. How many programmers does the world need? Labor is always devalued systematically, and US and Euro tech workers are now going to compete more and more with an entire world of poorer people
First they came for the Jews
and I did not speak out
because I was not a Jew.
Then they came for the Communists
and I did not speak out
because I was not a Communist.
Then they came for the trade unionists
and I did not speak out
because I was not a trade unionist.
Then they came for me
and there was no one left
to speak out for me.
>#1: Believable, REAL people.
Heinlien,
In a word, no. Most of the female characters in his books were just his libertarian wet dreams. How realistic are super-proficient women, who just happen to dress provocatively and mouth his beliefs perfectly?
The same could be said of Heinline's men.
His female characters don't get really strange until the later period where he ends up verging on satire. The Menace From Earth with the girl engineer, who admitedly gets the guy. Lots of his characters make speeches and a lot of his best work was aimed at teenagers.
He was, however, a very good story teller with some science to his fiction
Some writer (name escapes me) pointed out that lots of science fiction - as opposed to space opera - is really a reflection of the present.
Orwell's 1984 of grey buildings and nameless superpowers being the post war England he was living in.
Haldeman's Forever War as Vietnam. EE Doc Smith's space opera Lensman G-men Vs The Mobs in the 30s.
Clockwork Orange as swinging London. Delany's Time Considered as a Helix of Semi-Precious Stones and Brunner's Stand On Zanzibar as New York in the 60s.
That said, my vote is for Niven's pre Ringworld Universe as it has the best of FTL and non-FTL science with good writing and his Gil The Arm stories as they succeed as mysteries as well as science fiction.
or Gibson's Count Zero for sheer flavor. The tech is glossed over but there is a real feel for a future.
For pure science - The Cold Equations (although he's really pushing the math), Greg Bear - Blood Music.
For Sociology, Le Guin The Dispossesed - a frightenly relevant society.
Best story telling (IMHO) The Moon Is A Harsh Mistress as there is a good tech angle and the plot is epic while remaining about the characters.
There's always George Luca's planet of the teddy bears.
How about an active DOS campaign against spambones. Serverwars if you will. It's time to take back cyberspace!!
As I have very little server skills, and different priorities, I'll be in the Texas National Guard instead of on the front line.
Run some electronic music off a powerbook - which looks like you're playing battleship but is easy if you know software. Cubase + Reason + some vinyl == DJ / producer. The money's not that great but it's easy and you get free drinks and somewhere to hang out in a strange town.
"Telecom could invert itself and become a bottom-up phenomenon," is a deliciously subversive idea. Like the local currency systems - LETS and whatever comes after major labor music distribution this promises to really shake things up in a good way (read: shaft the bad guys) and is also right around the corner.
And unsolicited direct mail. The only unsolicited advertising should be door to door - mano a mano.
This doesn't include media as you are consenting by turning on their station. Or billboards as you don't have to look.
Over a Moller Int. they say they have a prototype for a flying passenger car. They've defined success as "more than one minute out of ground effect". Further evidence of their advanced technology is the press release is dated Aug 2002 which (today) means its from the future.
In the FAQ they say two years and four more for the FAA - $500k for limited production with price dropping to 80k. Might be vaporware, but I want one.
What's missed in the discussion of 'musicians making their money live' is paying for the support systems that have grown around the modern "music business" (or catering, depending on the size of the venue/gig) Anyone who's been an (assistant) engineer on someone elses record or mixed the front of the house (or carried the amps) will agree that this is work - there's very little glory in assisting for someone sitting in front of an SSL for 15 hours tweaking someone elses pop song. Unless it's -genius- you'll want to get paid.
Really doing publicity or advancing a tour is a lot of hours in phone calls - follow ups and research. The open dark secret of the music magazine business is if you want a review you buy an ad.
This money has been provided by the labels who then bill for it at an extreme markup. 'Getting signed' has always been taking a very high interest loan, but it provided musicians access to the mechanism. Now that is drying up, and while no tears should be shed for lawyers (and, perhaps, music journalists), there will be a lot less money around for audio engineers, session musicians, road crew, etc... in the near future.
Here on Slashdot I'll be told that a $4k Mac can mix a record comparable to a $500k SSL and I'll say "good luck", although there will be a record out there that does sound good (and different) because of, rather than in spite of, Cubase and a Korg 1212. A room full of tube mikes and preamps costs a lot of money to buy or rent. Perhaps that money will be generated by bands constantly touring (which would certainly improve the overall state of pop music) but more likely the money won't be there.
A larger question that is adressed by the open source community is how is 'added value' paid for. I may be wrong, but I don't think a starving coder devotes full time to an open source project until there is food coming in. The Perl community actively solicits donations to pay for a couple of full timers (but you knew that). Society, in the US, certainly doesn't value elementary school teachers highly enough. They teach, hopefully, because they are answering a higher calling. As the money flows from big media, more and more full time musicians, and honestly full time is where most (but not all) of the good / great music comes from, will have to embrace poverty in the same way dancers or painters do. Not sure whether is a good thing, but if you live on the beach why complain about the tide.
Having finally bothered to rent Episode 1 I don't get the Jar Jar fiasco. How is he more offensive than the planet of the teddy bears in 3? Lucas should be nailgunned to a chair and forced to watch LOTR until he can make movies without marketing tie-ins (like THX)
Slashdot Mirror
Thanks. I pulled it off google. Interesting that the one I had swaps 'Trade Unionist' for 'Catholic' which in the historical context could be considered revisionist. Do you know the original language?
Bravo! Well said.
That's an OT thread I'd love to see hashed on slashdot.
My above point was governments tend to protect vested economic interests. That art isn't a physical resource doesn' matter economically. During the mid 70s oil bust some English finance guy pointed out that Led Zeppelin was favorably affecting the UK balance of trade, and U2 currently owns a big piece of Dublin. Compared to Haliburton? No. But money's money.
Another question to ask is "How were artists, composers and performers renumerated prior to the advent of the recording industry?".
The short answer is 'Not as well'., but times were a lot tougher 100 years ago.
A slashdot poster during a previous rehash pointed out that classical musicians aren't paid very well and obviously do it for the love. There will always be music.
But what of the people who aren't biz bigwigs but have jobs - radio, promotions, technical and recording support? Should they go back into the fields or join the unemployment line with the steelworkers and graphic designers? All of this consensual illusion we call media creates cash flow and jobs. In the end, the actual artists might get a larger piece of a smaller pie. Should the lawyer for some boy band make more than their elementary school teacher? I'm personally very happy there was enough money around that John, Paul, George, Ringo and George got to lock themselves in a studio for a few records (and that Stanley Kubrick was left alone on a soundstage), but I'm ambivalant about the money generated for EMI or MGM. Society values something by how much cash it generates, and compared to casino capitalism and aerospace munitions I think the world is richer for over valuing pop music and media for a century. Now if only we'd start paying school teachers.
Is the greatly diminished cash flow going to be good or bad for 'the music'? My guess is it won't matter. Most of us are here to sell beer.
The same could be said about oil and munitions.
But one can at least say, however the market chooses to remunerate them.As a tech-savy musician, I saw Napster coming way ... uh ... back in the day. I also know a lot of roadies, audio techs and graphics people that get a lot less work lately. Music was over valued, now it's going to be undervalued. If you build castles made of sand, don't complain about the tide
Today I saw a promo on TV about guys who had big time tech jobs and were now delivering pizza. Internet skills were over valued, now they're going to be undervalued. How many programmers does the world need? Labor is always devalued systematically, and US and Euro tech workers are now going to compete more and more with an entire world of poorer people
First they came for the Jews
and I did not speak out
because I was not a Jew.
Then they came for the Communists
and I did not speak out
because I was not a Communist.
Then they came for the trade unionists
and I did not speak out
because I was not a trade unionist.
Then they came for me
and there was no one left
to speak out for me.
Pastor Martin Niemoller
The same could be said of Heinline's men.
His female characters don't get really strange until the later period where he ends up verging on satire. The Menace From Earth with the girl engineer, who admitedly gets the guy. Lots of his characters make speeches and a lot of his best work was aimed at teenagers.
He was, however, a very good story teller with some science to his fiction
Orwell's 1984 of grey buildings and nameless superpowers being the post war England he was living in.
Haldeman's Forever War as Vietnam.EE Doc Smith's space opera Lensman G-men Vs The Mobs in the 30s.
Clockwork Orange as swinging London.
Delany's Time Considered as a Helix of Semi-Precious Stones and Brunner's Stand On Zanzibar as New York in the 60s.
That said, my vote is for Niven's pre Ringworld Universe as it has the best of FTL and non-FTL science with good writing and his Gil The Arm stories as they succeed as mysteries as well as science fiction.
For pure science - The Cold Equations (although he's really pushing the math), Greg Bear - Blood Music.or Gibson's Count Zero for sheer flavor. The tech is glossed over but there is a real feel for a future.
For Sociology, Le Guin The Dispossesed - a frightenly relevant society.
Best story telling (IMHO) The Moon Is A Harsh Mistress as there is a good tech angle and the plot is epic while remaining about the characters.
There's always George Luca's planet of the teddy bears.
How about an active DOS campaign against spambones. Serverwars if you will. It's time to take back cyberspace!!
As I have very little server skills, and different priorities, I'll be in the Texas National Guard instead of on the front line.
The whole idea of trying to stop the river of science seems naive. Even if we could, SPECTRE etc would continue development in secret.
Run some electronic music off a powerbook - which looks like you're playing battleship but is easy if you know software. Cubase + Reason + some vinyl == DJ / producer. The money's not that great but it's easy and you get free drinks and somewhere to hang out in a strange town.
This sounds like a job for RICO
"Telecom could invert itself and become a bottom-up phenomenon," is a deliciously subversive idea. Like the local currency systems - LETS and whatever comes after major labor music distribution this promises to really shake things up in a good way (read: shaft the bad guys) and is also right around the corner.
Then I'll get a cell phone
Hopefully not duplicatable in a garage.
And unsolicited direct mail. The only unsolicited advertising should be door to door - mano a mano.
This doesn't include media as you are consenting by turning on their station.
Or billboards as you don't have to look.
.. and make sure you're always available for free on a p2p. Harsh reality is good songs don't cut it. Only great songs make waves.
Over a Moller Int. they say they have a prototype for a flying passenger car. They've defined success as "more than one minute out of ground effect". Further evidence of their advanced technology is the press release is dated Aug 2002 which (today) means its from the future. In the FAQ they say two years and four more for the FAA - $500k for limited production with price dropping to 80k. Might be vaporware, but I want one.
Isn't the Flash crowd also from the Alfred Bester book about teleportation? ....trying to remember ...
The best 'book' I've found is Google. Programming Perl would be second.
What's missed in the discussion of 'musicians making their money live' is paying for the support systems that have grown around the modern "music business" (or catering, depending on the size of the venue/gig) Anyone who's been an (assistant) engineer on someone elses record or mixed the front of the house (or carried the amps) will agree that this is work - there's very little glory in assisting for someone sitting in front of an SSL for 15 hours tweaking someone elses pop song. Unless it's -genius- you'll want to get paid.
... in the near future.
Really doing publicity or advancing a tour is a lot of hours in phone calls - follow ups and research.
The open dark secret of the music magazine business is if you want a review you buy an ad.
This money has been provided by the labels who then bill for it at an extreme markup. 'Getting signed' has always been taking a very high interest loan, but it provided musicians access to the mechanism. Now that is drying up, and while no tears should be shed for lawyers (and, perhaps, music journalists), there will be a lot less money around for audio engineers, session musicians, road crew, etc
Here on Slashdot I'll be told that a $4k Mac can mix a record comparable to a $500k SSL and I'll say "good luck", although there will be a record out there that does sound good (and different) because of, rather than in spite of, Cubase and a Korg 1212. A room full of tube mikes and preamps costs a lot of money to buy or rent. Perhaps that money will be generated by bands constantly touring (which would certainly improve the overall state of pop music) but more likely the money won't be there.
A larger question that is adressed by the open source community is how is 'added value' paid for.
I may be wrong, but I don't think a starving coder devotes full time to an open source project until there is food coming in. The Perl community actively solicits donations to pay for a couple of full timers (but you knew that). Society, in the US, certainly doesn't value elementary school teachers highly enough. They teach, hopefully, because they are answering a higher calling. As the money flows from big media, more and more full time musicians, and honestly full time is where most (but not all) of the good / great music comes from, will have to embrace poverty in the same way dancers or painters do. Not sure whether is a good thing, but if you live on the beach why complain about the tide.
http://http://www.dublab.com/
... uh ... beat.
Talvin Singh - tabla driven drum and bass
M'Du - South African House - very funky
Soulsonic Force - Planet Rock
One mans beat is another mans
Having finally bothered to rent Episode 1 I don't get the Jar Jar fiasco. How is he more offensive than the planet of the teddy bears in 3? Lucas should be nailgunned to a chair and forced to watch LOTR until he can make movies without marketing tie-ins (like THX)