The Manhattan Project didn't have computers!--they used slide rules. Ask your grandfather about them. Punch cards were 15-20 years later.
The Clinton Administration was right, nuclear weapons design is not a difficult thing to do anymore.
"After all did not Jesus really exist - he is mentioned in the records of Rome in several places."
This is patently false. Both the Romans *and* the Jews, two societies known for their intense and careful recordkeeping, have NO record of Jesus of Nazareth. If you dispute this, please show me your proof. Your history is as bad as your science.
you still don't get it. The lavish parties, the free CD's to the record stations (CD's aren't sold to radio stations, BTW, they're given away as "promotional copies"), that's all written off the corporate taxes. The money that's paid to the new, undiscovered bands that get the "big label contracts" isn't a gift, it's a loan to the band based on future profits, from albums that have yet to be recorded. If the band makes it, the record company gets their money back, with interest...if they don't, it's another write-off. Not that they spend that much on them to begin with, see Sheryl Crow's speech at the Grammy's, a few years ago.
Meanwhile, the engineers and staffers (who BTW I *have* met, and within whose ranks I used to number myself) get paid chump change, while the corporate execs and the shareholders rake in big profits. Have you ever seen a *studio engineer* riding in a limo? Get real! Spare me the rhetoric about engineers going homeless, and instead ask why Edgar Bronfman, Jr., the grandson of a bootlegger, is a multimedia tycoon.
Learn a little bit about how the media industry works. A big hit movie, like "Coming To America", for example, TO DATE still has not shown a profit on the corporate ledger, despite hundreds of millions of dollars flowing to the studio from theater showings, video rentals, promotional items, and the like. It never will. That's how the business is set up, in movies and music.
I'll support the artist. I'll buy the new Public Enemy direct from Chuck D for $8.00, knowing that he'll get approx. $7.50 of that--I'd rather give him $8, knowing he'll get most of it, than give $15.99 to Best Buy or Tower Records, knowing that at most he'll get $.85 from them.
I didn't initially suggest that you get a clue, but from your response, I think you'd better first figure out the name of the game.
Wrong! The reason we pay so much for CDs is that the profit margin has to be maintained, all the way down the corporate structure. From the record company, to the wholesalers, to the distributors, everyone has their hand out. The artist? The artist gets an average of $.80 per CD, the rest goes to the middlemen.
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The Manhattan Project didn't have computers!--they used slide rules. Ask your grandfather about them. Punch cards were 15-20 years later. The Clinton Administration was right, nuclear weapons design is not a difficult thing to do anymore.
"After all did not Jesus really exist - he is mentioned in the records of Rome in several places."
This is patently false. Both the Romans *and* the Jews, two societies known for their intense and careful recordkeeping, have NO record of Jesus of Nazareth. If you dispute this, please show me your proof. Your history is as bad as your science.
you still don't get it. The lavish parties, the free CD's to the record stations (CD's aren't sold to radio stations, BTW, they're given away as "promotional copies"), that's all written off the corporate taxes. The money that's paid to the new, undiscovered bands that get the "big label contracts" isn't a gift, it's a loan to the band based on future profits, from albums that have yet to be recorded. If the band makes it, the record company gets their money back, with interest...if they don't, it's another write-off. Not that they spend that much on them to begin with, see Sheryl Crow's speech at the Grammy's, a few years ago.
Meanwhile, the engineers and staffers (who BTW I *have* met, and within whose ranks I used to number myself) get paid chump change, while the corporate execs and the shareholders rake in big profits. Have you ever seen a *studio engineer* riding in a limo? Get real! Spare me the rhetoric about engineers going homeless, and instead ask why Edgar Bronfman, Jr., the grandson of a bootlegger, is a multimedia tycoon.
Learn a little bit about how the media industry works. A big hit movie, like "Coming To America", for example, TO DATE still has not shown a profit on the corporate ledger, despite hundreds of millions of dollars flowing to the studio from theater showings, video rentals, promotional items, and the like. It never will. That's how the business is set up, in movies and music.
I'll support the artist. I'll buy the new Public Enemy direct from Chuck D for $8.00, knowing that he'll get approx. $7.50 of that--I'd rather give him $8, knowing he'll get most of it, than give $15.99 to Best Buy or Tower Records, knowing that at most he'll get $.85 from them.
I didn't initially suggest that you get a clue, but from your response, I think you'd better first figure out the name of the game.
Wrong! The reason we pay so much for CDs is that the profit margin has to be maintained, all the way down the corporate structure. From the record company, to the wholesalers, to the distributors, everyone has their hand out. The artist? The artist gets an average of $.80 per CD, the rest goes to the middlemen.
As Chuck D said, don't believe the hype.