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unpassive-viewer · 1 year

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Across the Spider-Verse Review (mild spoilers)

I have finally seen the long-awaited sequel to my most favourite movie. Y’all, I am in love with what Sony is doing for Spider-Man these days. I have literally not been this excited to see a movie since I was 12 years old waiting in line in a themed outfit to see Catching Fire for its opening weekend, and I think this film lived up to that hype. I have some critiques, but overall it was really good. I won’t include any major plot spoilers, but I’ve tagged it as mild spoilers just in case you’re the type of person who doesn’t like to know a single thing going into this movie.

The good (not in order of importance):

1. More Gwen character development. She’s in this one in a much larger capacity than the first one, and all of her parts were awesome.

2. Soundtrack. I started listening it to it before I even went to see the film. It’s good music already, but it is such a different experience to hear it over the movie. The art direction for these films is SEAMLESS, the different elements blend so well.

3. The visuals. The animation is genuinely so beautiful, I would use literally every frame of this movie as a screensaver, and I would tattoo them on the inside of my eyelids if that didn’t mean I’d have to pick only one. I want to give the animators a big kiss on the mouth because this film is so visually incredible.

4. The fight scenes. I love animation because you can capture things that cameras just can’t. The pacing of the fighting was so, so good. It’s one of the only movies I’ve seen that keeps the momentum of its fight sequences and really lets you feel the energy of the actions you’re watching. It was unique from movies like the second Captain America, whose fight scenes I also LOVE, because of the way it followed characters with such fast and dynamic movement. Whereas the Winter Soldier had great representation of real fighting styles, Across the Spider-verse was able to make use of a lot of its characters uniquely-inspired movements like Gwen’s dancer style. It could also follow them while they did insanely complex movements - if you’ve seen Gwen’s first fight scene, you’ll know exactly what I’m talking about.

5. The new characters are unbelievably cool. All of them. From the design to their personalities to their theme songs, they were really well thought out. In particular Spider-Man 2099 and Spider Byte are so beautifully visually contrasted with the rest of the movie. The characters also felt very honest to their backstories. By that I mean it felt like the animators and storyboard writers really did their research into the people they were trying to emulate, both from a source material standpoint and a cultural standpoint.

6. Miles’ story in the sequel is still really interesting, despite him being established as a character now, and the additional dimensions this film brings to his character are super cool.

7. The humour is top notch, and very true to Spidey humour that has carried through all of its iterations. I especially liked the first altercation between Miles and the main villain. It reminded me of Letterkenney and VEEP in that I felt like I needed subtitles to get all of the jokes because they were so rapid-fire and because the characters were talking over one another. It’s a very organic brand of humour that I appreciate.

8. The inclusion of so many Spider characters was well handled. The MCU movies now essentially make no sense because of how much background knowledge you need just to watch one film. Comparatively this handled having literally hundreds of similarly designed characters really well.

9. It seemed like altogether (much like the first one) there was a lot of creative license for this film. My biggest critique of Disney movies is that they’re soulless because of how much they’re supposed to appeal to a wide audience to maximize profits, but this movie and its predecessor have actual soul. If I learn that all the animators were treated like trash and they considered this film their personal hell I will be crushed, because it looks like something that is the product of a lot of amazing minds coming together for an incredible project.

10. A lot of fun nods to the other Spider-Man films and games. Spider-Man PS2 is in there, and I think Yuri Lowenthal even does a voice cameo. I’m a big fan of the “don’t get me started on Dr. Strange and that little nerd on Earth-199999″ line.

The less good:

1. Way too long. This film did not need a 2+ hour runtime. After about 1h40 I started thinking at the beginning of every scene “this has to be the end now, right?” wrong. This film had a “first book of the Lord of the Rings technically just being exposition” feeling to it.

2. Too many heart to heart scenes. One of my least favourite things in cinema lately is trying to force feed you character development through dialogue. There could have been like... 10 fewer drawn-out heartfelt conversations and the movie wouldn’t have changed.

3. The two major conflicts kind of got lost in one another. I enjoyed both but after a point I was confused as to what the real issue was. I know we’ll see the resolution in the second part, but I felt at least from my first viewing that I was watching a second movie after a point.

4. No comparable “what’s up danger” scene. To be fair, I think that scene from the first movie is my favourite in literally all of cinema. I want to inject it into my veins, I want to breathe it like perfume, I want to wrap it around myself like a blanket. It is beautiful and perfect and amazing and I don’t know if it can be topped, but it was strange to have so many smaller moments that were supposed to be cool that were sort of lost in one another. HOWEVER I have to assume we will get another one in the second part next year. Miles’ character arc is obviously not done, so it makes sense that we will get something like that closer to the climax of the next movie.

Anyways, I will be seeing it a second time in theatres. I usually don’t see films in the cinema because it’s so expensive, but I will happily give this franchise all of my money. I cannot overstate this - I am genuinely looking at getting a tattoo for this franchise. Sony owns me and I am okay with that.

#across the spider-verse #miles morales #gwen stacy #peter b parker #spider byte #spider-man 2099 #mild spoilers #film review

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seasurfacefullofclouds1 · 2 years

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Sea, what do you think about BMG? Do we trust them?

I’m worried about the fact that they didn’t expect Louis to have such a passionate fanbase which is…💀

Alistair Norbury (head of BMG UK)’s comments were really interesting to me. When I read between the lines, I hear some nice things. Here’s the article.

[[MORE]]

1. BMG runs a tight ship. They’re a smaller label, so they might not spend a lot on each artist, but their return-on-investment (ROI) for each artist is expected to be high. They invest in artists who already have a track record. Norbury talks about signing “heritage” artists and artists with big fan bases. It means they aren’t looking for newbies who are much less predictable. They’re looking for artists with a discography, people who have toured, who aren’t volatile or flaky. They’re also looking at artists who might have a catalogue to sell, because the streaming revenue and sync potential from that is ALL profit … no promo needed.

2. BMG doesn’t have deep pockets like the 3 major labels. So they work with an outside investor (KKR) — people outside of the music industry. This means the investors are more risk averse and less willing to take on unpredictable artists. BMG also hires outside of the industry. My guess is that they develop talent in-house so there’s more loyalty to BMG and less lateral movement. They don’t want people just shopping labels for better industry jobs. Also, people working at BMG are working at a relatively “young” and lean company. They are in from the ground up: they’re building with sweat equity, and they can reap huge rewards if all goes well.

3. In order to create “extra value” without money or promo, BMG have to find creative syncs. Enter Netflix and ITV… Kylie Minogue is promoting a single on a reboot of an Aussie soap opera she starred in years ago. Kate Bush had a resurgence on Stranger Things. BMG is partnered with Netflix to license songs from their catalogue to Netflix shows. This is creating value (placing music strategically) without spending tons on playlisting or advertising.

4. BMG Publishing is another way to create value. Being bigger than Warner Chappell in the UK is actually huge. The three biggest music publishers in the world are 1. Sony/Sony ATV, 2. UMPG, and 3. Warner/ Warner Chappell. Together they generated about $4 billion in publishing ALONE, globally, in 2020. So BMG UK being a bigger publisher than Warner Chappell UK is big stuff. Being in Publishing means that BMG is an all-around company for artists who write their own songs. They can be there for artists from beginning to end — from the very initial A&R stage of finding producers/ songwriting collaborators, to putting out records on the BMG label, to collecting songwriting and performance royalties. It’s a very water-tight system to maximize profit FOR THE ARTIST. You can see that most of their artists also have songwriting credit.

5. The fact that Norbury said signing Kylie Minogue led to signing Louis is very interesting, because both were artists that needed some rehab of their public image. They hit highs and then they sort of hit a wall. Both artists worked with Charlie Lightening. Both were willing to come back to the music industry through humble work and both were willing to start wherever they had to. The work was the most important thing. I’m betting that Louis talked to Rita Ora because they probably know each other pretty well. Rita came from Warner (Atlantic Records).

6. The point about Louis’ fanbase is that this is a surprise for BMG. They always expect fans to be engaged with an artist whenever the artist is active/ releases new works, but Louis’ fanbase is CONSTANTLY ACTIVE. In fact, we’re probably hyperactive, in monitoring every aspect of his career and looking at it with a microscopic lens… and it’s a bit scary for label execs. We’re too volatile, unpredictable, fickle, invasive (like when we called bullshit on Lisa Wilkerson posting from Harry Styles’ concert), and explosive. It’s hard to retool a fresh brand for Louis when the fandom is so married to his 1D past, and when we are willing to inundate the internet with huge emotions. So it’s both good— guaranteed support at the time of album release and tour sales and DSP streams— and bad.

7. So … I hope that BMG has its own in-house PR team, and this team studies Louis’ history in detail. I hope the company is really as nimble, lean, and hungry as they claim to be. Norbury kept emphasizing one thing. “It’s a great pleasure to be able to do a deal with a manager and say ‘you will get your rights back, you will have creative control and you will have an international campaign’.” “You will get your rights back.” The licensing deal isn’t a trap to force you to stay with a label that’s trying to rip you off. If you’re a mid or lower tier artist at Sony, you know that Harry Styles is their top dog, and they’re gonna spend $90 million on him to make $400 million, and they’re going to take the $100k they made from your tiny little album to promote Harry Styles. Too bad for you, Joe Blow Indie Guy. See ya!

@silverfoxlou reminded me of Tom Gray’s tweets about labels promoting their big artists, using Harry as an example (he later deleted the tweets). Contrast that strategy to BMG’s statement on the UK’s DCMS inquiry. Tom Gray’s response to BMG.

Sanju also found the quotes from BMG’s Jamie Nelson on Louis and LT2 (12 November 2021):

The Louis album is developing extremely well and I think he is going to surprise a lot of people. We can't wait for Louis [Tomlinson], it’s a really significant signing for us, we're looking forward to bringing that out in the world. So we’ve got lots ahead of us.

Louis is huge for BMG: not just because of his earning potential or artistry, but because of what he represents, the belief in BMG’s industry integrity— and all the people he can bring with him — artists looking for the same label system.

(Potentially, Louis’ signing could lead to Zayn. Just putting this out into the universe, Zayn performs at AFHF 2023 for the first time in 7 years. The safest performance environment for Zayn, created by Louis. To promote Zayn’s new music.)

(One last thing. BMG has already been in the ring with Sony. The KNOW how Sony works. Currently the executive office of BMG is in Germany— not the UK, not USA. It is different philosophy.)

#bmg #alistair norbury #bmg uk #louis tomlinson #zayn #8 august 2022

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followtrendings · 1 year

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FT Tech News 03: WhatsApp status to include voice notes | ChatGPT API with Microsoft Azure | Google removed embedded podcasts | iOS 16.3 features and release date

Let’s dive into the latest hot tech news.

WhatsApp to include voice notes in status

Currently, you can upload videos, photos, and texts as your status on WhatsApp. There is no option for uploading audio to it. Soon WhatsApp is going to roll out a new feature in WhatsApp status. This new feature will enable users to put their voices on the status update.

Sometimes people don’t want to upload pictures, videos and texts are boring. Also do not want to show their faces but still want to give information about their whereabouts. In such peculiar situations, voice notes will be significantly useful. There is no official date for when it is coming to the public. Of course, it will first go through alpha and beta testing then only will reach our hands.

ChatGPT is going to launch its API

Let’s understand what is API first. API full form is Application Programming Interface. API is a method of communication between two or more computer applications. It is a form of software interface that provides a service to other software applications. OpenAI has announced that it will provide its ChatGPT API complementary to whoever uses Microsoft Azure services.

OpenAI Logo As we have shared in our FT Tech News number 01 already, initially, OpenAI made ChatGPT for testing purposes. Soon it became a worldwide hit and Microsoft saw an opportunity in it. Microsoft offered a 2 billion dollar investment in ChatGPT to OpenAI. How could a new project reject such a huge investment from such a tech giant? OpenAI agreed and Microsoft partnered to make ChatGPT more advanced and powerful. Now after the announcement that ChatGPT AI features will be given to Microsoft Azure customers, they can make full use of high-performance AI models to scale up in the high-competition industry. How could Microsoft use ChatGPT in its services? Microsoft offers a lot of services that many businesses and companies buy. Businesses buy these services in order to give better customer service to their clients. ChatGPT is very smart and in case if you have used it, you probably know that ChatGPT talks (responds) like humans. It does one to one conversation with you. Just like you chat with customer service support staff.

ChatGPT User Interface Also Read: FT Tech News 02: Google’s own version of Airtag tracker | Sony new technology to block piracy apps on TVs | Samsung plans for One UI 5.1 rollout | Customizable lock screen feature for Android | Android to have wireless charging | Bill Gates prefers Android over iPhone If ChatGPT replaces customer care staff then first it will reduce the financial expenses and also the resources used. All this leads to financial profit. But this is not the ultimate goal, the ultimate goal is customer satisfaction. ChatGPT can provide this without letting the person on the other side know that it is an AI chatting with him and solving the query. It can answer any query and solve any problem within seconds that even human staff may not do. Microsoft has probably made the best move by including ChatGPT. Now its own search will get a huge advantage, customer support will get a boost, and the company itself will get a ton of benefits. It is a master plan of Microsoft to maximize profits and increase its dominance on the internet.

Google removed embedded podcasts from the search results page

Google launched the feature of being able to listen to podcasts right from the search results page in 2019. This move was appreciated by all because users did not have to enter a website to play the podcast. This made the work very quick and efficient. But Google has quietly removed this feature. Users can no longer play and listen to podcasts from the search results page.

This removal was first discovered by Podnews. He was surprised to know this and soon he asked for official confirmation from Google. He got a response from a Google representative confirming the change and that it was intentional. Now there will be just the podcast’s link on the results page and if one has to play the podcast then he/she will have to click the link which will direct him/her to the website where the podcast is hosted. The representative told that the change is made to serve a better user experience but this reply is completely illogical. How can this be an improvement? It just made the process lengthier and time-consuming. Those who were using it on regular basis are really gonna be frustrated. But it could increase the number of podcast subscribers as users need to visit the website to listen. On a bigger picture, it could be a plan of Google for its own Google Podcast product. As per Edison's research in 2022, YouTube is the most popular platform for users to listen to podcasts followed by Spotify. So it could be one thing that Google might be ending or just shifting podcasts from Google Podcasts to Youtube Podcasts. Also Read: FT Tech News 01: Intel’s most powerful processor | Twitter Data Leak Reply and Office Rent | Google Chrome Vulnerability | Microsoft’s Investment In ChatGPT | Google’s Software Developer Kit (SDK) | Microsoft’s VALL-E Project

iOS 16.3 coming next week for iPhone with these features

Apple has officially confirmed that iOS 16.3 will be released next week at a press conference. A new Unity wallpaper will be included for iPhones running on iOS 16.3 and Unity face for Apple watches running on watchOS 9.3. This Unity wallpaper will also be available on the lock screen on iPhones. Other features that iOS 16.3 will include are: Even after the countdown, iPhone will now wait until you let go of the buttons before dialing an emergency number. As the second level of authentication for your Apple ID, you can now use a physical hardware security key. We anticipate that beta testing for iOS 16.4 will start virtually right away once iOS 16.3 is made available. Apple Card Savings Account, Apple Music Classical, Apple Pay Later, and Advanced Data Protection for iCloud outside of the United States are some of the upcoming iPhone features that are officially announced by Apple but the rollout date is not fixed. So maybe with iOS 14, we might get these who knows? Read the full article

#ChatGPTAPIwithMicrosoftAzure #Googleremovedembeddedpodcast #iOS16.3featuresandreleasedate #technews #whatsapptoincludevoicenotesstatus

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tark-msi · 4 years

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Is Marketing Inherently Manipulative?

A business organization functions in a fairly dynamic, complex and unpredictable Environment where the needs, tastes and preferences of the customer vary frequently owing to the nature of industry in which the organization operates. Indubitably, marketing of its goods and services is the quintessential part of the organizational activity so that it is able to sell more and encounter greater profits. A business may adopt different techniques of marketing to align customer interest with Business interest in order to maximize revenues. It should be kept in mind that these techniques used by businesses should be under the scope of legal compliance and must not invite any litigation from 3rd parties. However, at times it might be just subjective in nature since consumers react differently to same promotional activities. Marketing Ethics: Persuasion vs. Manipulation

The Germane question revolves around distinction between persuasion and manipulation. The following factors assist you in making a relevant distinction between the two- Intention Intention is a prima-facie in the judgement of the situation or a person. If a marketer attempts to engage in a practice that is not in the best interest of another, they are deemed to engage in manipulation. Withholding Truth Manipulation involves distorting or withholding of truth. Often, this is seen through exaggerating the usage of a product/service. Nowadays retailers, wholesalers, agents etc on a daily basis manipulate the public through overstating the utility of a product/service. Anything other than honest representation is blatant manipulation. Coercion Coercion is the expulsion of free choice. It engenders the ultimatum – do it or else. In contrast, persuasion involves influence, but never force. As communication scholar Dr. Richard Perloff writes, “a defining characteristic of persuasion is free choice”. The individual must at all times have the option to accept or reject a proposal. Therefore, an invitation that one is unable to say no to is bound to be persuasive in nature, but is deemed coercive and hence manipulative

The manipulative advertising inside the spectrum of the persuasive advertising – The persuasive advertising turns into a manipulative one depending upon the range of persuasion in advertising. It varies from most rational (factual information) to least (Force).

It is clear from the above table that Manipulation begins from deceitful Advertising which uses untrue, non-material, misleading statements while promoting a product/service and hence is also labelled as false Advertising. Next on the list are fallacious arguments or bad arguments and last of all is Emotive persuasion which plays with consumer’s temperament promising astonishing result. Examples would include Advertising of Diet pills, exercise equipments, traditionally made products, Green Products etc

Breaking down the situation: -

One of the key job aspects of a marketer is to persuade people to buy the product/service of a particular brand. Often, this persuasion becomes manipulation. All real world scenarios can roughly be categorized into the following situations-

Bridging the gap – Here the marketer just bridges the gap between buyer and seller. Example– X is looking to buy a television and Y is looking to sell one. So, the marketer just bridges the gap between X & Y

Making Product Choice for the consumer – Here the marketer makes the choice for the consumer by persuading him with product features and benefits. Example- X is confused whether he should buy a Sony or LG TV. And the marketer persuades him to buy a Sony one explaining its features, product life cycle etc

Making Seller Choice for the consumer – Here the marketer persuades the consumer to buy from a specified seller by disclosing all material facts. Example – X can buy TV from Y or Z. Y sells first copy & thus cheaper products while Z sells original but costlier products. If marketer discloses these facts, and is still able to persuade X to buy from Y, he would be considered an efficient marketer.

Unknown wants – Here the consumer doesn’t know what he wants. And the marketer introduces the product to the market and generates demand for it. Ex- X has no idea what to buy. Marketer introduces a new Sony television to X and persuade him to finally buy it.

This is the heart of modern consumerism and essence of modern marketing i.e. pushing consumers for products that didn’t know existed. The classic example of this would be I phone launched by Apple Inc.

Changing Decisions- Here the consumer wants to buy something else but marketer either makes him believe that some other product would suit him well or aggressively pushes them to make impulsive purchase. Ex- X wants to buy a LG TV. Marketer familiarises him with Sony TV and he buys it. But if Marketer exaggerates features of Sony TV over LG when there is no real difference between the two, it would be considered unfair.

In the above five scenarios, the job of marketer ranges drastically from just bridging the gap to completely wiping out the minds of consumers which enumerates the fact that marketing ethics spirals fast from simple to complex and the intent of the marketer is the key factor in examining the situation. There is a very thin line between Persuading and Manipulation which depends on a lot of subjective factors not only from marketer point of view but also the impact the marketing has on buyers.

A pragmatic Approach against Manipulative Marketing –

Consciousness in consumption asks for conscious advertising. Consciousness in consumption and business are indispensable parts of a manipulative-free marketing. The conscious consumer has a complex mix of responsible behaviours in terms of macro-economic concerns. The conscious consumption, ethical in nature, leads to consumerism activism practiced through positive buying. The consciousness authorizes the business to adapt to its environment promoting its interest and goals in a fair and non-manipulative way. Customer is the king-pin of business and affects it directly. The company has to well know in advance and understand the conscious consumers, if it wants to succeed in making conscious advertising. The better they comprehend the intentions, the methods and the messages of deceptive and misleading advertising, the consumers easier can distinguish between truth and fallacies or lies. When the companies make uncorroborated claims, they risk breeding cynicism and distrust. The dynamics of the realities about the conscious consumers should have a staunch impact on the commercial advertising. The companies have to learn the lessons emerging from the values of conscious consumers and their evolution in the future and create advertising messages accordingly. More ethical behaviour, more proactive self-regulation, better marketing cooperation are few key determinants in regard to it. Harmonising of operations or marketing cooperation between the companies and the consumers. An enhanced cooperation in advertising between the two subjects becomes possible when the company, the marketer includes the consumers in its marketing solutions. The consumers should become partners of the marketers, in order to contribute to the creation of value for them and to make a non-manipulative persuasive advertising.Management practice for marketers: Changing perceptionsTraditional Marketing only focused on directing the flow of goods/services from producers to consumers i.e. product oriented approach unlike modern marketing which focuses on value creation for its customers i.e. customer oriented approach.To break the prevalent stigma that businesses are deceitful, marketing should seek to be a social influence, specifically the kind that does not use deception or abuse to achieve its aims. Given increasing awareness of marketing tricks among consumers, marketers need to approach customers with sustainability in mind. Marketers should strive to create sustained value, owing to long term and short term implications on the product/service and ultimately on their brand. This enunciates the deep study of consumer behaviour, the creation of experiences not just products and services, developing healthy customer- relationships and being considerate of the impact of all practices on society more broadly. Only then, will we be able to counter the perception that marketing is manipulative. Conclusion -This finally answers the question tagging all along – Marketing is not inherently manipulative. Efficient Marketing involves all that is required to persuade the consumer to buy a specified good/service without using any form of manipulation or force. There is a fine line between persuasion and manipulation upon which the whole thing rests, which pertains to the morality of marketer. Therefore assuming a fair share of the marketers of this blue planet are not ignoble, marketing is adding to sustainability paradigm, value creation, positive social influencing, customer relationship and everything that is related to it but manipulation! Everything comes with its own merit and demerits. If you breed an orchard of apples, some are bound to go bad. It might so happen that more than half goes bad. But that shouldn’t deter you to stop eating apples altogether, rather this should empower within you the spark of breeding more good apples than bad. In a similar fashion, manipulation in marketing is a defect that needs to be rectified by punishing the gluttonous corporate who is willing to go at any lengths to soar up their profits. Breaking the stereotype that ‘Marketing is Manipulative’ is the need of the hour by being conscious consumers practicing conscious consumption. The only question we need to honestly answer is ‘Do we care enough to do it?’ - Ankur Tulsyan

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tuesday5econlive · 4 years

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Price Discrimination and Video Game Industry

Price Discrimination and Video Game Industry Price discrimination is definitely bad news for the consumers—while consumers can even get positive consumer surplus in a monopoly market, in a market with some types of price discrimination the consumer surplus can directly drop to zero. Many of us might consider price discrimination to be illegal as it contains the discrimination against consumer’s preference for price, and as a matter of fact we can see a lot of examples of price discrimination—it is just that we do not fully know about them. There are three types of price discrimination, and in this post we will explain all three to you as well as the real-life examples that we usually see in the video game industry, an industry that has been greatly altered in recent years because of the digitization trend it is taking.

First-degree price discrimination This is also called perfect price discrimination and the business is maxing out the producer surplus by charging the customers the highest price that they are willing to pay, and an important characteristic is that the services or goods are the same no matter how much the customers pay. This, in the real life, means that a lot of negotiations need to take place between the business and the customers, and in the game industry, there are a lot of bundle websites, led by “Humble Bundle,” that give the customers the freedom to choose the amount they want to pay. While these websites are not exactly giving themselves all the profit as a large portion of the customers’ purchases go to charity afterwards, the action still constitutes first-degree price discrimination. Especially because a lot of people are not really willing to buy games in the bundle at a full price and they only consider the games to be valuable because they are on sale at an extremely low price, the retailers are basically retaining all the profit to themselves.

Second-degree price discrimination Second-degree price discrimination is the strategy of charging different amounts for different quantities purchased, and it often occurs in times of bulk purchasing. In game retailing industry, it is not technically possible to bulk-purchase, companies are still conducting second-degree price discrimination both for digital games and physical copies of the games. The method for second-degree price discrimination in sales of physical copies of the games are just like the price discrimination in all kinds of other retail industries, and the common strategy includes giving customers a discount after they have reached a specific purchase threshold. The more special thing about video games industry is the use of price discrimination for subscription programs. For example, Xbox currently has a program called Xbox Game Pass, and the holders of this pass can get access to a library of games that are free for download and play with the membership. More importantly, the price of a half-year subscription is just equal to the price for any AAA game at the release date, and subscribers have access to more than a hundred popular games. Customers are actually benefiting from bundling of digital games and Microsoft is practicing second-degree price discrimination in this case—factually, purchasing this bundle of games for the digital licenses costs exactly $59.99 a year, and the only difference from a traditional SD price discrimination is the fact that customers are at freedom to choose how many games they want for exact.

Third-degree price discrimination

All the major console producers, namely Sony, Microsoft, and Nintendo, have their membership programs. Third-degree price discrimination is most apparent in Sony’s business practice for its operations of Playstation, where people who subscribe to their Playstation Plus membership have special discounts in addition to the discounts that sales events are already offering to all the users. For example, while a sales event can offer 30% off on a lot of games, subscription to Playstation Plus program will give the members probably 50% off the original price of 30% off the price for everyone after the universal sale. This special access to membership and different offerings are exclusive to the members and this kind of price discrimination is even different than the price TD price discrimination in traditional retail industries.

Why price discrimination is easy for video game industry An important feature of video games that separates the video game industry from all the other industries is that games to get old and there is a certain period in which the video game value is retained. The marginal cost of delivering digital copies of games to customers is zero, and when customers get to choose what they want to pay for games, they are usually paying jut up to the point of their price expectancy. People do expect game prices to go down in the life cycle of every video game, and those who are willing to wait usually get games they desire at a significantly lower price than the price at release, and this is the essential reason why game companies are able to maximize the profit in sales events through discrimination.

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weatherfish · 5 years

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Vinyl Surfin’ In The 70s

ENDLESS SUMMERS & SIDEWALKS

It was all Bruce Brown’s fault.

On an uneventful Sunday afternoon in the spring of 1976 I happened to catch the better part of Bruce Brown’s seminal surf documentary “The Endless Summer” on our family’s 20” Sony television. And my life was changed. Like many others I was charmed by the film’s simple, idyllic look at the surfing lifestyle; traveling from beach to beach, searching for a ‘perfect wave’. But it was chiefly the film’s soundtrack that solidified my interest, especially the lilting theme song by The Sandals. “The Endless Summer” movie was originally released in 1966, riding at the last crest of the 60’s surfing fad, and soon after the sport of surfing began its’ bottom-turn back into the underground. By the early seventies surfing was a bit of an outlaw sport, but thanks to the swell of popularity in the sixties meant it was ripe for revival. So smack in the middle of the seventies that same elusive California myth of the early-sixties would be reborn just in time for my adolescent mind to get sucked right into it.

While I first saw “The Endless Summer” film in ’76, director Bruce Brown was retried in Santa Barbara, while I was a landlocked 14-year-old, living in a miserable logging town in the Pacific Northwest. In the mid-seventies the ominous specter of gas shortages, inflation/recession, Watergate, the cold war and other bullshit crisis hung heavy over life, even for a witless young lad like myself. The whole California surfing lifestyle was an enticing illusion, and its agent was music. And such is why I fell so utterly in love with that silly surfing myth, which consumed much of my tiny mind throughout my high-school years. Even though I was only several hours away from the Pacific Ocean, it might as well have been a thousand miles, as Washington’s surf was rather frigid and breaks in the main were unaccessible.

After being so perfectly charmed by the Bruce Brown film, I was subsequently engulfed by the California myth due to two major factors:

The first was the Beach Boys revival. Capitol Records had recently packaged all of the Beach Boys early hit singles into a two-LP set called, coincidentally enough – “The Endless Summer”. That compilation shored up the sagging fortunes of the band back up considerably in the mid-seventies. So it was not uncommon to hear Beach Boys tracks on popular radio stations back then, even mixed in with the disco throb of the top-40.

The second factor, and even more influential to me, was an article that appeared in a 1976 issue of Rolling Stone magazine called “The Endless Sidewalk”. Tim Cahill’s account painted a similarly idyllic view of a parallel revival coming from California in the seventies - skateboarding. Before that story appeared, what few skateboarders there were tended to be surfers too, and most of the land-board’s ‘tricks’ were derivative of surfing maneuvers, keeping a strong connection between the two board sports. But the wonderful thing about skateboarding to me (and most of the initiates of the mid-seventies) was that you didn’t need a temperate ocean break to ride. Even in a dismal backwater of rural Washington you could get your stoke on by rolling down any available paved street, sidewalk or parking lot.

Soon after I’d caught Brown’s surf epic on the television I visited our local five-and-dime and the only Beach Boys record they had in stock was a low-rent double-album called “High Water”. The first LP was an acceptable, if too-brief, compilation of Beach Boy hits. The second platter was an edited version of the band’s “Concert” LP from 1964. But combined with my purchase of a skateboard from the local toy shop, I was happily kick-turning around my parent’s driveway to Beach Boys’ music. The blissful combination of Beach Boys and the magic rolling board inspired me to actively seek out as much surf music as I could find. In those days albums of surf music were rare and rough, but this humble remembrance contains the records that I recall most vividly, as I began living the life of a ‘pseudo’ surfer.

NOTE - this is not meant to be any kind of definitive guide to surf music or even surf compilations of the 70s, these were simply the records I was able to acquire back in the late seventies, so a great deal of surf music of the early sixties is not represented here.

Surfin’ Safari - The Beach Boys (Capitol) 1962

Surfin’ USA - The Beach Boys (Capitol) 1963

Surfer Girl - The Beach Boys (Capitol) 1963

After starting with that marginal Pickwick compilation “High Water”, I decided to eschew the standard route of buying more Beach Boys compilations (which were plentiful and redundant) and instead got their original surf-era LPs. Thankfully Capitol had not yet gutted these early albums (back in the 70s Capitol reissued many of the early 60s Beach Boys LPs with fewer tracks than their original release, in some attempt to minimize manufacturing costs and maximize profits I suppose? It made the original complete Beach Boys LPs heavily sought-after back then. It wasn’t until advent of the CD that Capitol finally reissued the complete Beach Boys albums again with all of the original songs included.)

The first proper Beach Boys album I purchased was called Concert, again because the pickings were so slim at the local department store. I don’t own that album anymore and never bothered to repurchase it as it’s basically the sound of the Beach Boys being drowned out by a legion of screaming little girls. But soon after I acquired their 1963 album Surfin’ USA. I can honestly say I probably wore that album out from literally hundreds of plays. And it was soon joined by the other surf-era Beach Boys records of Surfer Girl and their debut record Surfin’ Safari. For the most part I just wanted the surfing stuff - but over time i began to appreciate the other songs and slowly but surely acquired the whole Beach Boys catalog up through their LA Light Album that closed out the 70s.

Surprisingly, the songs I liked the most were the instrumentals, which is not what the Beach Boys are typically noted for. It’s easy to look back on them now and see that they were probably just filler, but they still have an evocative quality to me. They covered Dick Dale’s “Let’s Go Trippin’” and his revved up “Misirlou” - and to this day I still prefer the Beach Boys’ version over Dick’s. They also covered the Gambler’s spacey “Moon Dawg” and the old barroom chestnut “Honky Tonk”. Their attempts at original surf instrumentals are mixed, “Surf Jam” is tuneless but energetic, “Stoked” is a little more developed. Their last attempt at a surf instrumental (from the record Surfer Girl) is a throwaway called “The Rockin’ Surfer” which is notable only for its use of a cheesy organ instead of a jangling guitar.

Soon after the Beach Boys dumped the surf-sham and developed into a formidable pop-group, with Brian Wilson’s genius given full reign until his collapse after the legendary Smile album was aborted.

The Big Surfing Sounds Are On Capitol - Various Artists (Capitol) 1963

My Son The Surf Nut - Jack Marshall (Capitol) 1963

I found these two albums in terrible condition while scouring the bins of the many used record shops in Seattle’s university district. They were both heavily scratched and skipped more than they played, but they were a bit like archeological finds for me. Both were released by Capitol to capitalize (sorry) on the surf craze. The compilation featured four artists; the Beach Boys, Dick Dale, John Severson and Jack Marshall. The BB tracks and Dick Dale were pretty well known in the surfing world. John Severson was surfing’s renaissance man, a film-maker, publisher, artist and musician. As far as I know only a small handful of Severson tracks were ever released, and the two on the this record are pleasant enough but not terribly memorable. Jack Marshall’s two tracks come from the album “My Son The Surf Nut”, discussed thus...

Considering who Jack Marshall was, his record “My Son The Surf Nut” is still a conundrum. Marshall was a well-respected jazz guitarist who’s best known for composing the theme song for The Munster’s television program. The first side of “My Son The Surf Nut” is a selection of mildly funny interview skits performed before a live audience. The second, and weaker, side is comprised of a comical surfing songs. I think that his “Monster Surfer” track would certainly be a strong contender for the worst surf song ever waxed. In fact most of the second side sounds like an alcohol-soaked studio session with nobody taking things seriously, but it’s all quite harmless fun. Side one’s interviews are better, and even jokes this old hold up OK after a half a century, and that’s saying something.

Big Surfing Sounds Are On Capitol was re-released in 1995 as “Surfing’s Greatest Hits”

Surfing - The Ventures 1965

I wasn’t overly keen on this LP, mostly because the Ventures seemed to be more of a covers band, just doing instrumentals of other pop hits. Certainly they’d had a big hit with “Walk, Don’t Run” but since this record’s theme of surf music was so pervasive, I decided to get it. They scored a hit by covering the Chantay’s “Pipeline”. I was also hoping the track “The Lonely Sea” was a cover of that lovely Beach Boys tune from Surfin’ USA. It wasn’t, but it was still a nice track. The other highlight was the ballad “Changing Tides”. The rest were more typical surf tunes, some covers, some original, with “The Ninth Wave” and “Diamonds” being better than the rest. This album was rereleased in expanded form in the CD-era, featuring other Ventures songs of the era as well as some newer material.

Endless Summer Soundtrack - The Sandals 1966

This album was nearly impossible to find in the mid-seventies, and so when I secured a dusty copy I was so delighted to finally hear the soundtrack that had turned me into a surf music fan. The vinyl was in pretty wretched shape, but it was still listenable. The album’s highlight was the title track, a lovely ballad that was the glue that held the film together. There are higher-energy tracks like “Route 1” and “Out Front” which are more traditional surf instrumentals in style, but have better melodic development. The soundtracks other high point is the evocative samba-like “Lonely Road”. “Wild As The Sea” and the silly “Good Greeves”, which is like surf music meeting Mancini’s “Elephant Walk”, are also quite good.

The Sandals re-recorded the entire album back in the early 90s, coinciding with the Bruce Brown sequel “Endless Summer II” (which the band contributed new material to as well). The remake of the original was quite faithful to the original, and sounds better overall, but I’m glad that Capitol reissued the original soundtrack recently as well.

Gotta Take That One Last Ride - Jan & Dean (2 LPs on United Artists) 1974

Ride The Wild Surf (United Artists) 1964

I’m unsure if this 1974 compilation came out before the Beach Boys’ Endless Summer set, but they both had a similar focus on surf’n’drag music and obviously were released to cash in on the surf revival. Featuring an eye-catching cover design by Dean (Torrence) this double LP focuses strictly on the duo’s surf/drag music, skipping over the team’s many other hits. This record’s standout track is “Gonna Hustle You”, which is curious as it’s one of the few that don’t fit into the surf/drag theme. Most of the record contains Beach Boys covers, rewrites and collaborations. Brian Wilson worked with the duo on several songs, and Jan Berry was adept at matching Brian’s production style and to a lesser extent, his songwriting ability.

Not surprisingly this set was reissued on CD, but only nominally, and now fetches triple-digits in the collectors market. But given the fearful plethora of J&D surf/drag compilations, paying such a premium probably isn’t necessary.

Another find in the dustbins of used record shops was a moldy copy of the duo’s ‘songtrack’ to the film Ride The Wild Surf. Actually that’s not even true, save for the title tune, nothing on the LP is from the movie, but it’s certainly packaged to appear like a movie soundtrack. Originally Jan and Dean were slated to appear in the film, but were not able to due to reasons you can scrounge up in Wikiland. Alas save for the signature song and “Sidewalk Surfin’” - their hit rewrite of “Catch A Wave”, the rest of the album is pretty underwhelming. About the kindest thing you can say about the album’s other songs is that they’re not as bad as the awful Bruce & Terry surf ripoffs of the same period (which featured future-Beach Boy Bruce Johnston).

Dick Dale & His Deltones (GNP Crescendo) 1975

I had amassed so many surf compilations by the late seventies that the last thing I needed were more Dick Dale songs. I only bought this album because of a single track, “Those Memories Of You”. I loved the spartan demo version that Jim Pewter included as part of the Surfin’ Roots compilation (q.v.). Pewter had written it for Dale, but Dale’s version didn’t surface until the mid-seventies. Alas Dale’s version comes off like a bit of fifties cornball, rather ruining the foggy allure of Pewter’s low-tech original. The rest of the record is the basics, “Let’s Go Trippin’”, “Misirlou”, “Surf Beat”, but is marred by some curious vocal tracks “Peppermint Man”, “Sloop John B” and Dick’s little ego-trip “King of the Surf Guitar”. But Dick was way ahead of his time and he actually was a surfer, all too rare a thing for surf music makers back then.

Golden Summer (2 LPs on United Artists) 1976

Probably the best overview of popular surf music available at that time. Compiled by Joe Saraceno and Jim Pewter it covers the basics from vocal hits from the Beach Boys, Jan & Dean and even some of the insipid Frankie & Annette beach movie tunes. But the best part is the surfing instrumentals from the Frogmen, Ventures and Dick Dale. Some tracks were faux-surfin’ cash-in hits, like the Markettes’ instrumentals and the Tradewinds’ “New York’s A Lonely Town”. The Venture’s cover of “Pipeline” is included instead of the Chantay’s original version.

Surfin’ Roots (2LPs on Festival) 1977

This follow-on compilation to Golden Summer attempts a little more serious look at surf music, chiefly the instrumentals. But it’s marred by the mysterious inclusion of two irrelevant Annette Funicello tunes. It also has several of the same songs as Golden Summer, but has better coverage of instrument tracks from the Pyramids, Frogmen, Rumblers, Denels, Sentinals and Dave Meyer and the Surftones. The Chantays original of “Pipeline” But the real gem is the understated demo tune “Those Memories Of You” by Jim Pewter, which is might be low-fi but has a wonderful ambience.

Five Summer Stories Soundtrack - Honk 1973

I had read some vague allusions to this classic surf film, but finally caught it on afternoon television sometime in 1981. Unlike most surf-o-philes, I didn’t think it was that great a movie (and still don’t). Sure, there were great moments in some of the surf segments, especially of the Banzai Pipeline, and a fascinating segment on skateboarding, but nothing to compete with Bruce Brown’s stuff. The film’s original soundtrack was a mixture of forgettable country-rock crap and some great seventies-era Beach Boys music (“Trader”, “Feel Flows”, etc). But the highlight was the wonderful theme used in the sequence at the Pipeline in Hawaii. The good news is that this soundtrack includes that ‘Pipeline’ instrumental, the bad news is the rest of the soundtrack is that forgettable country-rock crap I referred to. Honk’s music probably relished by the same kind of bong-heads that idolize jam-band-dung like the Grateful Dead. So, aside from their “Pipeline Sequence” tune the rest of Honk record is sonic garbage. And to make matters worse, they removed the Beach Boys songs from the DVD version of the movie, making it even less important. Honk sometimes reforms, alas, and you can bring your hookahs so you’ll actually enjoy their aural rubbish at venues along the Pacific Ocean. Legendary surfer Corky Carroll likes ‘em a lot.

My Beach - Surf Punks (Epic) 1980

Surf Beat 1980 - Jon & The Nightriders 1980

Now the 1970s are perfectly kaput and them 1980s hath arrived matey, therefore it’s not surprising that surf music was prepping for yet another revival. These two albums represent two directions that the second revival (or third-wave, if you prefer) of surf music took. Surf Punks were a combo of surfers that blended fierce localism, Ramones-energy and synthetic-weirdness whipped together with plenty of Zappa-esque silliness. Jon & the Nightriders were carriers of the Dick-Dale flame, retro-to-the-core surf instrumentalists.

I found Surf Punks “My Beach” while visiting a small shopping center in Florida and bought it on the spot as surf music was a pretty rare thing back then, not to mention obviously new surf music and not another repackaged compilation. The Surf Punks, unlike most surf music artists throughout the previous two decades, were actually surfers and were heavily territorial about it. The album’s title track sets the mood for the album with the beautifully crystalized sentiment of;

My Beach,

My Chicks,

My Waves,

Go Home!

Musically the band eschews any olde surf music conventions of reverb-soaked guitars and lush harmonies for a low-tech, low-brow approach. Drew Steele’s Gibson Moderne sounds like it’s amplified through a can of bug spray, Hunt’s bass sounds like suspension-bridge cables and producer Dennis Dragon’s drums sound like they’re buried under dozens of throw pillows. But the group has a surprisingly tactile sound which is well-suited to their torqued takes on the surfing life. The songs are peppered with beer-belches, beach-jargon, dorky asides under a relentless surfeit of goofy synthesizer spikes. Yet buried deep beneath the kooky anthems to the life on the shore, it’s pretty clear these chaps are not the saltwater-addled musicians they pretend to be.

Lyrically Dennis ‘n Drew spin tales of Malibu surf-men with simple wants; waves, tits, beer and waves. They have dreams of Hawaii and nightmares of being drafted into the army, they despise Valleys, weekenders and anyone who doesn’t live within ten minutes of the water. But even the album’s most sophomoric moment, “Big Top”, is relentlessly catchy and all in good fun. YouTube has kept their flame alive and most of their promotional music videos are still there to be experienced.

On the other side of the revival with have the loyalist sounds of Jon & The Nightriders. Centered around guitarist Jon Blair, who had published the first surf music discography just before this record was first released. Though most of Surf Beat 1980’s tunes were new, they sound as though they were recorded back in 1965. There are a few surf chestnuts thrown into the bargain, like “Latin’ia” and Dick Dale’s “Surf Beat” In fact, Dale himself provided the album’s liner notes. Blair plays with a Dick-Dale-like fervor, soaking his Fender Jaguar in plenty of spring-reverb. The best tracks are the Pipeline-esque “Banzai Washout” and “Baja”. Probably the most novel track is his surfed-up version of “Over The Rainbow”. Fun stuff! The following year Blair’s combo released a very good live album recorded a the Whiskey-A-Go-Go.

History Of Surf Music Volumes 1-3 (Rhino) 1982

Thanks to the musical stoke from the Surf Punks and John Blair, suddenly surf music became hip again. A few record companies were keen to cash in and the venerable Rhino issued three volumes, two retro volumes (covering the instrumental and then vocal songs)

The best of the three volumes is the first, featuring a good overview of the instrumental stuff tunes

The second volume is a spotty affair that features the stock vocal hits from the early sixties intermixed with a few oddities like “Surfer Dan” by the Turtles a couple of surprising female surf tunes from Dee D. Hope and The Beach Girls. The collection bottoms out with Bruce Johnston’s awful “Do The Surfer Stomp”, but it’s just one of the many surf’n’drag cash-ins that Johnston made during that era and eventually got him a lifetime gig with Mike Love, which they insist on calling The Beach Boys.

The last volume covers the revival and features a curious mixture of tunes, some excellent, other only tenuously connected with surfing. The Malibooz were a surf band during the original surf craze and then reformed for the revival, but the included track “Hot Summer Nights” has nothing to do with surfing. The same can be said of Steve Goodman’s “Sand In It” and

Summer Means Fun (2LPs on CBS) 1982

Featuring a rather weird, fantasy-esque cover, this equally-weird double-LP was primarily a compilation of Bruce Johnston and Terry Melcher’s collaborations in the early-60s. The songs fall into two categories; Beach Boys covers and Beach Boys rewrites (well, ripoffs.) The backing tracks for “Summer Means Fun” and “Surf City” sound the exactly the same as the ones from Jan & Dean’s singles, so it’s hard to know who waxed them first? The only gem in this derivative compost heap is “Like Summer Rain” from Jan & Dean’s undervalued “Save For A Rainy Day” album. Thrown into the bargain were a rendering of “Pipeline” by Flash Cadillac and Johnny River’s “Help Me Rhonda”. The impact would have been much greater if it was whittled down to a single LP.

OUTRO - CATCH A NEO-WAVE

Thanks to Surf Punks and Jon & The Nightriders, a full-blown revival of new surf music was under way. At first many of the bands were more inclined to follow the retro path, like The Surf Raiders. Even the original Surfaris reformed and issued the tongue in cheek “Punkline”, which owed just as much to the Surf Punks as the originators, The Chantays.

By the time the 80s were in full flood, a new surf-skew had emerged from center of suburban blight in Fullerton, California – Agent Orange. This young power trio took olde surf classics and transformed them into buzzsaw skate-punk rave-ups. But Agent Orange was wise enough not to let their skate-punk vibe be owned by surf nostalgia, and though they occasionally trickled out a surf music chestnut, they left that to the dozens of other surf bands that vied for public attention throughout the 80s.

As far as the new wave of surf were concerned, the Surf Punks' output was sporadic and by the time the 80s fizzed into the 90s, Drew and Dennis went along to their own separate breaks and never worked together since. They ended with a live album (recorded sans audience) in 1988. Some 30 years onward, Dennis Dragon passed away and it doesn’t seem likely Drew will pick up the torch again.

I spent most of the eighties avoiding the ravages of adulthood, generally wasting the whole decade in and out of colleges. And my fascination with synthesizer-based music flowered - ambient, industrial, synth-pop, etc - so I lost almost any interest in surf music and began to loath and despise the golden state. Some fifteen years later I actually tried surfing for the first time in my life. I spent two summers attempting to getting to grips with bellyboarding in the shore break on a few Washington state beaches. I was also interested in the revival of interest in 60s era longboarding, as shortboard surfing was nothing more than a derivative of skateboarding style. Rhino had released surfing mega-set called “Cowabunga” and surf music was actually being used in film soundtracks and suddenly people were diggin’ Dick Dale again.

In the first decade of the new millennium I relocated to SoCal - yep I’d become a despised ‘Val’, living a few short miles from the surf breaks that inspired so much of the music I adored in the seventies. So in a weird way, at the ripe age of forty-five, I started living that California myth. I don’t surf, don’t even want to, but still love the music.

#surf music #surf

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sincericida · 4 months

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I mean, I’m not opposed to Tobey and Andrew doing another movie together (preferably not spiderman related) but not like this……..

Exactly! I would love to see them again as their versions of Peter Parker, but not with a precarious and bad script, counting only on our love for the characters/ performers. A dirty fan service, just for the money.

Context

#ask box #my thoughts #about putting peter 2 and peter 3 in spider man 4 #sony acrew you #sony just wants to maximize profit #sony trying to make up money lost on morbius and will be lost on madame webb and kraven #sony nonsenses #i prefer the movie to be more grounded #andrew garfield #tobey maguire #tom holland #spider man no way home #ask anon #ask response

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violetsystems · 5 years

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#personal

The only drama I’ve been tolerating lately is my return to reading physical comics in public. The world has gone batshit insane and that isn’t the intro panel to Immortal Hulk. It’s pretty much real life for me without much explanation or external plot narration. After a year of writing here about how I feel on any number of issues nobody in real life knows any different. It’s always been here where the act of social sharing has fifteen layers of safeguards in terms of anonymity. The community has always been very subtle and muted in how it treats each other. It’s intimate how you come to know a person through their curation of content. There’s entire relationships I have with people on here that matter more to me than people I’m in daily contact with in Chicago. I’ve been submerged in the deep web like a cybernetic dolphin in a tank for years with the rest of you. The Tumblr fishbowl has always been much more comforting than the public eye. The only theory I have is that people really don’t pay attention to anyone in real life. I’ve come to know the pain of recognizing when people stop listening. Most people just project how great they are or how much more they know. Society in America especially under the guise of capitalism is always a competition. You can only assess the success or value of a person by the amount they make or more importantly spend. From there people splinter off into efficiently divided cliques, tribes and teams that people try to draft you into out of fear of isolation. Peer pressure doesn’t ever go away unless you shut the door completely or maybe even bust it wide open. Even then it just gets nastier and more sophisticated. You’d have to be the Hulk to enjoy that kind of constant abuse. My follower count has been mostly the same which has always been something I respect. Everybody knows I try to play it safe and genuinely respect different perspectives. I walk boundaries and I maintain layers beyond that. Around this time last year I had made a decision in my life to focus my attention on things that made me happy. One of those was my communications here with people. Things had grown from this into real life in a magical way. And then people starting hijacking the narrative for their own selfish reasons. Putting their own spin, opinion and value on the things they thought I was “trying to say.” That kind of thing has been happening to me since the beginning of time. People trying to turn something I do into something that can benefit them, influence or control. When it comes to blogging on the internet here the outside world is mostly negative towards this space. Truthfully I am pretty excited about the recent purchase of Tumblr but everything in the press is always negative. People are so conditioned to bad news these days that we just fixate on the drama and do nothing about it. People crave it in almost everything. Walk into a coffee shop and employees are trashing other coffee brands instead of focusing on their own. People talk behind other people’s back like it’s a secret trial and never face the demon within themselves. Sometimes these things escalate into crossing the line or threshold of your dreams overcome by some madness and zealotry. They think they have a say in whatever it is I do in my own time. And with me we already know how badly people have fucked up in this regard. It is sadly comical at this point and I am the butt of a constant cosmic joke. It would be a broken record to spend another year describing how I haven’t gotten over it. I don’t give a fuck about any of that shit really anymore. I changed my train route, subscribed to better coffee at home and read Hulk comics on the commute.

With all the drama between Sony and Disney over Spider-man people forget sometimes we’re talking about movies. Who owns the rights to the intellectual property of poor artists to bankroll their studio profits every summer is maybe important. If you didn’t have twenty two movies linked together already. I don’t know really I just read comics. I’m supposed to have an opinion about every part of the world I’ve never lived in. Within all these arguments it’s always picking a side. Mostly because people want a battle and a chance to feel right even when they are missing a perspective totally. We can focus on all the talking about the problems all day and never find a solution. It’s been particularly hard for me to come to grips with being in the environment I’ve been in. I spent five years traveling to Asia to figure out my place outside of all this. This last year I came back and focused closer to home. In that respect I’ve found New York to be much less pretentious than I thought it would be. It’s truly the city where you can cry on the street and nobody cares. That feeling of freedom is something I don’t feel lately myself in Chicago. There’s too much manipulation and utilization of public space. People so concerned about why you aren’t happy and never would do a thing to correct the problem. There has to be something wrong with you for feeling that way. In New York you kind of share the space and let things breathe. In Chicago everybody is trying to maximize your contribution to society. Your social obligations in the highest taxed city in America are also taxed if not just by patience and will alone. I pay taxes and I don’t mind paying them. But encroaching on people’s life, liberty and pursuit of happiness for the sake of a brand is a bit weird. Unless it’s Pink. This coming from a guy decked out fully in Nike and Undercover. You see these shirts that say “Chicago Over Everything” and then you see me rot in silence in my street wear coffin. I hear a lot of sentiments that don’t ever address me directly. People project what they hope you will hear and expect you to take the bait. Looking for a fight. Looking for a new friend to abuse. Looking for another cult member. People approach inclusion by never leaving you alone and make you feel crazy for feeling claustrophobic. I guess people have never been a victim of police entrapment. That’s some drama I’ve already written about and left in the dust. These days it’s ten thousand times worse and then again I’m over it. The double standard I see in the real world is mostly about making people question their legitimacy in the face of incompetence. I’ve been the victim of so many dumb social experiments for art’s sake and otherwise. All it ever really amounts to is intimidation and drama and it’s boring and ineffectual. We argue things we can’t or won’t change instead of leading by example. And leading in public by yourself with no safety net gets old after awhile. Especially when nobody remembers all that you’ve done. Or at least gives you the benefit of the doubt when the court of public opinion puts you on trial for the fifth week in a row. People who will talk about you behind you back all day but never address you to your face. Never acknowledge your validity. Too busy being negative to give you a chance to shine.

There’s an entire decade of my life that has been left behind and forgotten about outside of Tumblr. Imagine the irony that the people I shared things with here knew the deeper side of me. And we all watched me get passed over and ruminate about how I could be a better person. How I could right all these wrongs? How I could be the hero. And almost eerily like the Hulk comic I’m looked upon as something else. I haven’t really had a modern comic experience quite like reading that graphic novel. I just ordered the next volume and get to pick it up from another school’s campus after work tomorrow. I do have to work all day tomorrow. I’ve done that for almost two decades. People still treat me like a kid. People on Tumblr of course know I don’t feel like a kid or even remotely account for one mathematically. But I’ve learned people look for any excuse to write you off. They do it for years and when you grow better they find another thing to drag you down with. When they can’t find anything they just ignore you. And here we are a year later looking back. It’s that time of year again. People are actually back in school. Just like every other year really it feels like. People can acknowledge I feel invisible but not acknowledge me personally. That’s the whole curse of the Undercover aesthetic. You wear it so well even the police start getting it twisted. Nobody asks. Nobody has the guts to approach you and treat you fairly. And so you grow to know better than to waste you time on shit that doesn’t appreciate your value. It’s a mind fuck for me really to understand the way forward is more of the same. That being isolated and exiled in some way is far more safe at this point of my life. That maybe there’s things too precious for me to share with people who can’t fathom or know the value I place on it. Because they don’t make the sacrifices I do to keep things safe. To be responsible and be myself at the same time. A year ago I felt like that mad scientist locked in a lab. I’ve done enough barbell reps to be the skinniest Hulk alive. The title of that volume is “Or is he both?” It’s a far different vibe from either Professor Hulk or Planet Hulk. Bruce Banner is a transient who changes into the Hulk nightly. He’s tracking gamma ray signatures of what he calls Walking Ghosts. Toxic creatures exposed like a virus to gamma radiation by another scientist trying to heal his son. Banner is trying to right a wrong and at the same time stay in control of his inner core of responsibilities. He keeps a secret that grows out of control and finally the Hulk cannot be contained. Interestingly enough the Hulk exacts his rage in frighteningly calculated ways. He even speaks kindly of Banner. He also buries the other scientist in a mountain and makes him ponder hell forever instead of ending his life. The Hulk eventually learns about this green door through the Walking Ghosts that whisper about it in fear. There’s no gatekeeper at that door to hold the Hulk back. And I’m sure there’s so much more drama behind that door. It’s only Volume two after all. I can’t wait to find out because that’s about the only drama these days I pay attention to. I don’t need any drama getting in the way of my love for you. Hulk out. <3 Tim

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seasurfacefullofclouds1 · 2 years

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Do you know what it means to be signed as an independent artist to BMG? Do they just distribute his album? Based in what you said about Felix Howard assessing Louis' Orem show, they would be more involved than that? So they would do promo like getting him radio play and put on spotify playlists? Would they also be involved in getting him interviews (print/radio/tv)? Marketing, as you said, is difficult with the 1D/Larry baggage but they can make a strategy on how to combat it or use it to their advantage. I read something else you said awhile ago about image clause in perpetuity from being on XF. So can BMG not get rid of bg if they wanted to? Do they even know the truth about it? I know we don't know anything definitively but I was just wondering your thoughts.

Hey,

They do seem to be involved in Spotify (Simon Rugg is their man). And I’m sure they would want to maximize exposure and profit if their label reputation is associated with Louis.

For the first time, as far as we know, Louis is with a non-Sony label. So they may have incentive to promote LT2 better. Hopefully they’ll leave his private life out of any promo.

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vbucksps42367345-blog · 5 years

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Steps to make Far more Fortnite V Bucks Free?

What Is Fortnite And The Digital Currency V

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So that's everything you need to know by receiving put in Fortnite and Fortnite Battle Royale. We'll make sure anyone inside channel. With reaction , Epic staff member darkveil” said, Sure!” The plan is already in place but it remains formally a bit difficult,” according to the comment. Epic wants to give mini-BR” sports in Creative where users can configure the Hurricane, use the bus stop feature, and other points on the central Fortnite battle royale island.

To get Fortnite on a PC or Mac, you'll require a Epic Games account. Unfortunately, there doesn't look like a clear-cut way to stop childen from buying features in the balance, when they learn the password, though we've asked Epic Games and will update this tale when we consider back. The best Time Sound Option from the top soundboard for Fortnite. Use it in Reception, in Game or Like Death! Create your best moments with participating in online.

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That pattern must break. This functioned with CS:GO as it would really receive the hitboxes larger, but in Fortnite, going on the modern game engine, this right smushes the character model down. Any perceived effect it has upon your ability to show is a placebo. The creator may think about seeing in Fortnite's footsteps and insert another, limited-time game ways to sport with the BR formula, or perhaps map-changing elements that maintain game environment green. Or Respawn could see PUBG also put new, smaller maps with unique server measurements to merge things up.

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updatedc-blog · 5 years

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New Post has been published on https://www.updatedc.com/2019/01/12/long-live-disc-media-the-case-for-a-digital-media-platform-standard/

Long Live Disc Media: The Case for a Digital Media Platform Standard

I want to stop using CDs and DVDs but the lack of a standardized digital media platform is keeping disc-based content delivery around. While the 40-and-under crowd could probably live without discs, we have two generations of people ahead of us that just won’t get there. Of course, that means we’ll probably be burning discs for the next 15-20 years and keeping a should-be-legacy format alive.

This is all the fault of a fragmented consumer electronics industry that has failed its customers in providing a standardized digital media delivery platform in the same vein as it did with 78rpm records, 8-tracks, cassette tapes, VHS, CDs, DVDs and Blu-ray media and players. If you bought a cassette tape from any publisher, it played in your Sony Walkman. The same was true with CDs, VHS, DVD and Blu-ray media and players.

Along the way, we had format wars like VHS vs. Betamax and Blu-ray vs. HD-DVD but eventually a consensus was achieved and we had a standard. Now, we have a hodge-podge of digital media formats with no standardized delivery method. There is no format war . . . just tons of formats.

We have dozens of video streaming apps and hundreds, if not thousands, of video- and file-sharing services. Unfortunately, those apps and services don’t come close to penetrating the market as deep as VHS and DVD players managed. Now, our myriad of options has led to the curse of death by a thousand cuts for content creators.

Last week, I needed to get a video clip to an older lady who wanted to show it to her mother. The clip was already available online in two locations. I could also Dropbox it to her. None of these worked because the only method she had for watching it was on her TV . . . with a DVD player attached.

So what did I do? I created a standard defintion DVD from a 1080p video clip and the lady was ecstatic – as I died inside a little.

We need the equivalent of a DVD/Blu-ray standard for digital media delivery and playback.

There are countless ways to get your digital media onto your TV but there is no universal way to do so. Moreover, many of the methods of doing so are locked to a single manufacturer’s devices. For example, Apple’s iPhones work great with sending video to the Apple TV set-top box but not so much with a Roku. The same can be said for many Chromecast-enabled TVs and some Android phones. Even then, what if the media is on your computer, a thumb drive or a memory card?

Many manufacturers have tried (and are still trying) to make digital media work on their devices. Many (most?) TVs on store shelves today have a USB port for reading digital media off a thumb drive. Some manufacturers do better than others at (1) file compatibility and (2) user-friendly interfaces.

Some set-top boxes have developed import methods that are better than others. None of them work universally. Nearly all of the ways of doing so require digging into a multi-step set of instructions and hoping you have properly formatted files.

There are several media management platforms that do an admirable job of dealing with a variety of media and formats. Plex is a tool that comes to mind and one that I personally use. However, this is hardly a standard and some of the setup and troubleshooting can be quite technical.

The simplicity of (1) eject tray, (2) insert disc, (3) press play is long gone.

But that’s the nut that the consumer electronics industry has to crack.

With all the innovation in image quality from cameras to HDR 4K TVs to VR and beyond, we have to figure out a way for everyone to see it. That can’t be limited to watching Sony-created content on a Sony TV or sharing iPhone content with other Apple users.

How do you transfer your movies purchased on Apple TV to your Roku device? What about on Ultra-violet (did you know this was a thing)? Can you import those to your Plex library? How do you show your grandmother a school play that’s been archived on the PTA’s website? Or maybe you have a video of your martial arts competition on your camera that you want to send to your uncle?

All these tasks can be achieved but none of them are simple for the average consumer.

If you doubt this statement, think about how many people actually screenshot an image that’s already on their phone in order to share it via messaging or social media.

The amount of technical knowledge required to playback media across a range of varying manufactures’ TVs is unacceptable – particularly for older generations.

In the 80s, 90s and early 2000s, brands came together to create a standard that everyone can benefit from – including (and most importantly) the consumer. We are long overdue for a new standard for digital media playback in the living room. The responsibily lies on the joint efforts of Sony, Samsung, Apple, Roku and Amazon, among others, to make this happen for the benefit of consumers and the industry.

Or maybe, and I’m afraid this is more likely, we just play forget the consumer and maximize profits by driving our direct customer base to a locked-down DRM’ed ecosystem that shuns outside platforms and laughs at the idea of an industry standard. If that’s the case, I’m still afraid manufacturers and content creators are chasing short-term gains and missing out on a long-term, revolutionary win.

Do you still use disc-based media for clients, friends or family? What’s your solution to sharing digital media with non-technical consumers? I’d love to hear your thoughts.

#android #camera #innovation #om #Sony #technology

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generatorfree617-blog · 5 years

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What Is Fortnite V Bucks then So how exactly does The idea Succeed?

What Is Fortnite And The Digital Currency V

Fortnite is a co-op sandbox survival video game developed by Folks Can Journey with Epic Games. This was a fresh discovered spot before an individual in the Epic Games forums - it seems a number of Fortnite "movie" cases were in fact injured or corrupted. According to Marksman, selling Fortnite program is a safer bet than selling broken-into accounts, although the accounts can be more productive (one seller I have a word with was promoting the account with few skins for $900). Participants may restore stolen bill by contacting Epic Games' champion with replacing their information. The codes are immaterial.

It's already no confidence that scammers have taken place trying to make a fast buck in offering gamers free V-Bucks, the electronic currency that Fortnite players use to buy new entries and skins from the current battle royale game. May became probably the most successful month that we have stats offered, with Fortnite: Battle Royale giving with $318 million (concrete post-May statistics are trying to find). That makes that the best-performing diversion regarding its nature through this metric.

Fortnite Battle Royale has been free to play while its launch, and its virtual currency is a major revenue river for Epic Games While items obtained in the collection provide no competitive edge, they cause the game fun and moist. Your essential point to Fortnite, the biggest activity from the season, combining information in Campaign Royale and Bank the planet modes into the ultimate one-stop winner's manual.

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This development has to end. This operated with CS:GO as it would really make up the hitboxes larger, but in Fortnite, going on the modern game engine, that clearly smushes the character model down. Any perceived effect they have upon your own ability to play is a placebo. The builder might think respect in Fortnite's steps and insert another, limited-time game styles to compete with the BR formula, or perhaps map-changing factors that maintain game environment warm. Or Respawn may result PUBG also create another, smaller places with special server sizes to mingle points up.

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paulcoffey06-blog · 5 years

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wisecheesecakelight-blog · 6 years

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Rumor Confirmed: Xbox 360 Pro Is Dead, Elite Price Cut

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mellowstudentdefendoruniver-blog · 6 years

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The Importance of Car Stereo Shop near Me

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