Who needs it? Just remember where you parked everything and you're good.;-)
Re:Just for the sake of something new?
on
CSS for the LDP?
·
· Score: 1
It looks like ass, the layout is confusing, and the individual pages are horribly formatted. Who cares if they want it to be different just to be different? What's the point in staying the same all the time simply because that's the way it's always been?
We're not talking about pixel-accurate scientific data here. It's headers and paragraphs with maybe some layout tables. It's not complex, and what rendering errors there are (if any) would be ENTIRELY ignorable. It's just a friggin' help file.
Ummm... me? And anyone else that's ever been to the LDP, I would assume.
Re:Here is what needs to be done
on
CSS for the LDP?
·
· Score: 1
This sounds very stupid until you have a problem that precludes X from running. A botched graphics card driver installation, for example. The CSS would definitely need to be done in a way that doesn't fuck up text mode browsing.
It's nice to see this. What the fuck is wrong with the large record labels that they can't see past their own fat asses and USE the new technology? With the popularity of iTunes and other online music services you'd think these labels would be clamoring over each other to offer up something similar. Buy the album at the store for $14, or buy it online for $9 and burn the damn thing yourself?
You have no incentive to give me a patent. The public doesn't grant patents, the GOVERMENT does. It is in the goverment's best interest that small businesses flourish. The purpose of a patent is not to help benefit the public. It is to ensure that for a short time the developer has exclusive rights to his own inventions. It has fuckall to do with the public until the time that it expires.
Not every label has millions of dollars. Not every band is signed to multi-million dollar deals. Not every band even has the $4 per CD you quote for reproduction.
Maybe this will help. This was taken from http://www.4skinless.com, the website of a band called Skinless. They do death metal. Death metal is something that no major label would touch, but Skinless is on a fairly sizable indie called Relapse. I've seen their records in Best Buy, just so you know they have some actual distribution.
If there is one thing that I want our fans to know it's that many decisions are made that are totally out of our hands. With the poor economy and the music business literally on its knees, promoters are more likely than ever to flake on their end of the deal. A majority of promoters care about the bands and realize that a shows success is directly attributable to the bands performance. There are a handful out there that are just out for the quick buck and will cut every corner. Quite frequently we are shorted on food and basic rider requirements, something that the promoters are contractually obligated to provide but many times they pocket the money that should have been designated to feed the bands. This really sucks for 6 guys who have been riding hours upon hours in a van without anything real to eat and when people get hungry tensions run high. For a band like SKINLESS there is much more than taking the stage the for 40 min every night, many times we travel 300-600 miles to each show. We are responsible for getting ourselves where we have to go safely, loading all our own equipment, setting up, performing, tearing down and loading out and driving to the next city, it's hard WORK. Everyday just like everyone else has to go to work, we do to but we don't get to come home to our own beds every night. This makes it that more frustrating when a promoter doses not fulfill their end of the bargain. It's impossible for the human body to function properly with out at least one good meal a day. The bottom line is fighting with promoters over a couple bucks for food makes a negative impact on the nights performance for any band. Hunger aside, the absolute worst is playing a show for very appreciative fans who paid hard earned money for the show and having a promoter tell you at the end that you will not be getting paid. The guys who do this are not part of the scene they don't even come to the shows, they sit at home and wait for the money they STOLE from the bands. These types of promoters are the worst because they never have the balls to tell you to your face that they are going to rip you off. One last thing about shitty promoters and I'll move on to the positives. Promoters will often get cold feet at the last minute when they book a show due to poor pre-sales, metal has always been mostly a "walk up" business meaning people buy their tickets at the door and not in advance to avoid ticketmaster surcharges etc.. A couple shows on this tour were cancelled BY THE PROMOTERS. Frequently they will try and blame it on the bands but it's never the case. We're ready to play any show we're booked on; if we are physically able to play the show we are there. If we're not available to play we simply are not booked on the show, many times promoters will use the bands name knowing they were never booked or knowing the band has cancelled weeks in advance. Trust that we are here for the fans and know that there are greedy bastards out there that have no place in the scene that try to turn us on each other. With that negativity behind us, the real reason we are on the road is for you, the fan. It's certainly not for the money cause we're all back to the pizza shops and our normal jobs now that the tour is over. I swear the pizza business keeps Death Metal alive! We exist for the excitement of the fans and to deliver the music that makes us feel alive in a different venue and different city every night. I've come to realize that this music chooses you, it's in your blood. It's not something you can escape or separate yourself from,
Okay then, tell me exactly what incentive is there to innovate, to develope new ideas, to pour your hard work into doing something when the moment you put your product on the markt you're going to have a half dozen companies many times larger than you come out with the same exact product, copied down to every nut and bolt, and run you out of business? This is somehow a good thing? Please explain, because I seriously don't see the benefit.
Wow. Your entire argument is so fucking stupid that I don't need to reply, it's dumb enough to convey its stupidity by itself. The only reason I'm replying is this...
Neither. Why'd you use English as an epithet, anyway? I can't say I've seen it used that way before.
It's from Saturday Night Live. They do a fake Jeopardy sometimes. I think it was the fake Minnie Driver that the fake Alex Trebek said it do. She answered a question rather stupidly and all he said was "Are you English, or retarded?" It's not an epithet, it's a question.
If you wanted to twaddle your turnips you should have got off your lazy ass and invented your own fucking machine before I did. But you didn't, or didn't have the skills, so shut the fuck up and pay up if you want one.
YOU might not care about my fortunes, but I do you pretentious twit. That's why I've worked my ass off making the best damn turnip thingy ever. I designed it, I built it, why in the naming of flaming fuck should I let some moronic jackass steal my shit and fuck me out of profiting off of my work?
This is either the dumbest fucking thing I've ever read, or the most successful troll in/. history. I'm torn as to which it is.
Which part is false? If your customers are that small-time, they're obviously not a national touring act or even a REGIONAL touring act.
This still doesn't change the fact that most bands could NOT survive the way they do without labels. You said it yourself, CD sales draw people to live shows. If the band can't afford to make CD's (including costs for recording, reproduction, and marketing), then how the hell are they going to get people to their shows? If the labels have no incentive to put out records due to rampant piracy then how the hell are artists going to afford to tour? No, I don't like the RIAA and I think most labels are run by assholes but this doesn't change the fact that if someone wants to be heard outside of their garage they need to either have a label that will provide for them or a steady and well-paying job.
So you don't agree that the inventor of a work should have say over what's done with it? Is that what you're saying? And please, have the balls to login or something. Fighting with an anonymous pussy is annoying.
But what I'm talking about is WHY WOULD WE DO THAT?
Give me a good reason for giving an author or inventor any exclusive rights at all with regards to their work or invention.
Let's say I invent something and try to market it. I don't have much money so my marketing sucks. I can't lower my prices because I can't produce enough of my product to make a profit off of quantity. There is nothing that precludes a larger company, most likely one that's already established in my field, from swiping my invention and using it. THAT is why patents were brought around. To protect businesses from competitors for a short time. It gives the inventor enough time to establish themselves and put their product out without fear of someone making a cheaper knockoff. This, I believe, was also the intent of copyrights. That copyrights have become distended abortions of what they once were is a problem, but copyright itself is neccesary.
Hell, without copyrights the GPL would be completely and totally unenforcable. It relies on copyrights to guarantee that the author of a work retains control of it. Copyrights are not a bad thing, but their current implementation is flawed at best.
No, what you're reading into it is support of the goverment. Considering that this isn't even an issue of goverment, that's a stupid fucking thing to do.
What I agree with is an artist's right to protect the works he creates. In case you've forgotten, copyright law is also the backbone of the entire FOSS movement. How would you feel if companies suddenly started using GPL'd material without releasing their changes or providing source? If you're like most here you'd whine like a bitch. So how is that any different than downloading music you have no rights to?
Beyond that, your argument that I'm a failed musician so I side with the goverment is borderline retarded. If I'd been fucked over by labels, why the flying fuck would I want to defend them?
It is YOUR understanding of copyright that is ass-backwards.
Copyrights were instituted as a sort of compliment to patents. It gives the inventor of a work a temporary monopoly on what may be done with their work. Copyright has been extended to an unbelieveably long term, this I would agree with.
I know organized crime existed before Prohibition, but Prohibition at that time was a bad idea. Organized crime would have boomed at that time whether Prohibition had occurred or not, but they did feed off each other rather well.
Yeah, for someone that sits in their bedroom and makes music on the weekend and then goes to their IT job on Monday that MIGHT be a viable option. For those that choose to actually make a living doing nothing but playing music, that is simply not reality.
If you want to make any money, you have to sell CDs or shirts or SOMETHING. You sure as hell aren't making it off of the shows you play (for bands that are just gaining national exposure you can figure $150-250 per show, spread among four people and a van that gets a whopping 10MPG).
So because people are illegally downloading shit they don't own and have no rights to, we should change laws that have been the backbone of music, film, TV, and many other facets of our everyday life? BULLSHIT.
Prohibition was a failure because it was instituted poorly at a time when organized crime was booming. If it had been brought about during the Great Depression things might have been different.
Slashdot Mirror
Who needs it? Just remember where you parked everything and you're good. ;-)
It looks like ass, the layout is confusing, and the individual pages are horribly formatted. Who cares if they want it to be different just to be different? What's the point in staying the same all the time simply because that's the way it's always been?
We're not talking about pixel-accurate scientific data here. It's headers and paragraphs with maybe some layout tables. It's not complex, and what rendering errors there are (if any) would be ENTIRELY ignorable. It's just a friggin' help file.
Ummm... me? And anyone else that's ever been to the LDP, I would assume.
This sounds very stupid until you have a problem that precludes X from running. A botched graphics card driver installation, for example. The CSS would definitely need to be done in a way that doesn't fuck up text mode browsing.
Testimonials had value in your eyes to begin with? They're PR fluff, what do you expect?
"No... No... Shit no, man. I believe you'd get your ass kicked for saying something like that."
It's 7:30AM on a Monday. If you can think of something better to post... you need to be less of a morning person.
It's nice to see this. What the fuck is wrong with the large record labels that they can't see past their own fat asses and USE the new technology? With the popularity of iTunes and other online music services you'd think these labels would be clamoring over each other to offer up something similar. Buy the album at the store for $14, or buy it online for $9 and burn the damn thing yourself?
You have no incentive to give me a patent. The public doesn't grant patents, the GOVERMENT does. It is in the goverment's best interest that small businesses flourish. The purpose of a patent is not to help benefit the public. It is to ensure that for a short time the developer has exclusive rights to his own inventions. It has fuckall to do with the public until the time that it expires.
Not every label has millions of dollars. Not every band is signed to multi-million dollar deals. Not every band even has the $4 per CD you quote for reproduction.
Maybe this will help. This was taken from http://www.4skinless.com, the website of a band called Skinless. They do death metal. Death metal is something that no major label would touch, but Skinless is on a fairly sizable indie called Relapse. I've seen their records in Best Buy, just so you know they have some actual distribution.
If there is one thing that I want our fans to know it's that many decisions are made that are totally out of our hands. With the poor economy and the music business literally on its knees, promoters are more likely than ever to flake on their end of the deal. A majority of promoters care about the bands and realize that a shows success is directly attributable to the bands performance. There are a handful out there that are just out for the quick buck and will cut every corner. Quite frequently we are shorted on food and basic rider requirements, something that the promoters are contractually obligated to provide but many times they pocket the money that should have been designated to feed the bands. This really sucks for 6 guys who have been riding hours upon hours in a van without anything real to eat and when people get hungry tensions run high. For a band like SKINLESS there is much more than taking the stage the for 40 min every night, many times we travel 300-600 miles to each show. We are responsible for getting ourselves where we have to go safely, loading all our own equipment, setting up, performing, tearing down and loading out and driving to the next city, it's hard WORK. Everyday just like everyone else has to go to work, we do to but we don't get to come home to our own beds every night. This makes it that more frustrating when a promoter doses not fulfill their end of the bargain. It's impossible for the human body to function properly with out at least one good meal a day. The bottom line is fighting with promoters over a couple bucks for food makes a negative impact on the nights performance for any band. Hunger aside, the absolute worst is playing a show for very appreciative fans who paid hard earned money for the show and having a promoter tell you at the end that you will not be getting paid. The guys who do this are not part of the scene they don't even come to the shows, they sit at home and wait for the money they STOLE from the bands. These types of promoters are the worst because they never have the balls to tell you to your face that they are going to rip you off. One last thing about shitty promoters and I'll move on to the positives. Promoters will often get cold feet at the last minute when they book a show due to poor pre-sales, metal has always been mostly a "walk up" business meaning people buy their tickets at the door and not in advance to avoid ticketmaster surcharges etc.. A couple shows on this tour were cancelled BY THE PROMOTERS. Frequently they will try and blame it on the bands but it's never the case. We're ready to play any show we're booked on; if we are physically able to play the show we are there. If we're not available to play we simply are not booked on the show, many times promoters will use the bands name knowing they were never booked or knowing the band has cancelled weeks in advance. Trust that we are here for the fans and know that there are greedy bastards out there that have no place in the scene that try to turn us on each other. With that negativity behind us, the real reason we are on the road is for you, the fan. It's certainly not for the money cause we're all back to the pizza shops and our normal jobs now that the tour is over. I swear the pizza business keeps Death Metal alive! We exist for the excitement of the fans and to deliver the music that makes us feel alive in a different venue and different city every night. I've come to realize that this music chooses you, it's in your blood. It's not something you can escape or separate yourself from,
Oh, you're not a moron. Just a pretentious tit. Nevermind, continue about your business.
Okay then, tell me exactly what incentive is there to innovate, to develope new ideas, to pour your hard work into doing something when the moment you put your product on the markt you're going to have a half dozen companies many times larger than you come out with the same exact product, copied down to every nut and bolt, and run you out of business? This is somehow a good thing? Please explain, because I seriously don't see the benefit.
Wow. Your entire argument is so fucking stupid that I don't need to reply, it's dumb enough to convey its stupidity by itself. The only reason I'm replying is this...
Neither. Why'd you use English as an epithet, anyway? I can't say I've seen it used that way before.
It's from Saturday Night Live. They do a fake Jeopardy sometimes. I think it was the fake Minnie Driver that the fake Alex Trebek said it do. She answered a question rather stupidly and all he said was "Are you English, or retarded?" It's not an epithet, it's a question.
Are you English or retarded?
/. history. I'm torn as to which it is.
If you wanted to twaddle your turnips you should have got off your lazy ass and invented your own fucking machine before I did. But you didn't, or didn't have the skills, so shut the fuck up and pay up if you want one.
YOU might not care about my fortunes, but I do you pretentious twit. That's why I've worked my ass off making the best damn turnip thingy ever. I designed it, I built it, why in the naming of flaming fuck should I let some moronic jackass steal my shit and fuck me out of profiting off of my work?
This is either the dumbest fucking thing I've ever read, or the most successful troll in
Who cares? Are you also pissed that it automatically loads the GUI too? I mean, it doesn't KNOW that you want it, it just ASSUMES.
Which part is false? If your customers are that small-time, they're obviously not a national touring act or even a REGIONAL touring act.
This still doesn't change the fact that most bands could NOT survive the way they do without labels. You said it yourself, CD sales draw people to live shows. If the band can't afford to make CD's (including costs for recording, reproduction, and marketing), then how the hell are they going to get people to their shows? If the labels have no incentive to put out records due to rampant piracy then how the hell are artists going to afford to tour? No, I don't like the RIAA and I think most labels are run by assholes but this doesn't change the fact that if someone wants to be heard outside of their garage they need to either have a label that will provide for them or a steady and well-paying job.
Ah, yeah, sorry about that. Got my terminology fucked up. It's still basically the same thing, just less... lawyerly?
So you don't agree that the inventor of a work should have say over what's done with it? Is that what you're saying? And please, have the balls to login or something. Fighting with an anonymous pussy is annoying.
Let's say I invent something and try to market it. I don't have much money so my marketing sucks. I can't lower my prices because I can't produce enough of my product to make a profit off of quantity. There is nothing that precludes a larger company, most likely one that's already established in my field, from swiping my invention and using it. THAT is why patents were brought around. To protect businesses from competitors for a short time. It gives the inventor enough time to establish themselves and put their product out without fear of someone making a cheaper knockoff. This, I believe, was also the intent of copyrights. That copyrights have become distended abortions of what they once were is a problem, but copyright itself is neccesary.
Hell, without copyrights the GPL would be completely and totally unenforcable. It relies on copyrights to guarantee that the author of a work retains control of it. Copyrights are not a bad thing, but their current implementation is flawed at best.
No, what you're reading into it is support of the goverment. Considering that this isn't even an issue of goverment, that's a stupid fucking thing to do.
What I agree with is an artist's right to protect the works he creates. In case you've forgotten, copyright law is also the backbone of the entire FOSS movement. How would you feel if companies suddenly started using GPL'd material without releasing their changes or providing source? If you're like most here you'd whine like a bitch. So how is that any different than downloading music you have no rights to?
Beyond that, your argument that I'm a failed musician so I side with the goverment is borderline retarded. If I'd been fucked over by labels, why the flying fuck would I want to defend them?
It is YOUR understanding of copyright that is ass-backwards.
Copyrights were instituted as a sort of compliment to patents. It gives the inventor of a work a temporary monopoly on what may be done with their work. Copyright has been extended to an unbelieveably long term, this I would agree with.
I know organized crime existed before Prohibition, but Prohibition at that time was a bad idea. Organized crime would have boomed at that time whether Prohibition had occurred or not, but they did feed off each other rather well.
Yeah, for someone that sits in their bedroom and makes music on the weekend and then goes to their IT job on Monday that MIGHT be a viable option. For those that choose to actually make a living doing nothing but playing music, that is simply not reality.
If you want to make any money, you have to sell CDs or shirts or SOMETHING. You sure as hell aren't making it off of the shows you play (for bands that are just gaining national exposure you can figure $150-250 per show, spread among four people and a van that gets a whopping 10MPG).
Er... wtf are you talking about?
So because people are illegally downloading shit they don't own and have no rights to, we should change laws that have been the backbone of music, film, TV, and many other facets of our everyday life? BULLSHIT.
Prohibition was a failure because it was instituted poorly at a time when organized crime was booming. If it had been brought about during the Great Depression things might have been different.