Note that with rare exceptions, creators are not supported by your purchases. Rather the studios, labels and publishers wh cheat creators are.
If you want to support the creators, pay them directly, or go to one of their performances / signings / functions. But still pirate their work.
I’d expect the Waymo video to have captured footage of these guys. It might not be that difficult to track them, and street harassment might well qualify as assault if the DA of San Francisco were interested in prosecuting.
That said, it’s telling that they freely and openly harassed a strange woman on the street once the threat of being run over was not a factor.
ETA: One short-term workaround is to tint the windows so that passengers cannot be seen from the outside, but there might be causes to harass occupied Waymo vehicles regardless of the passenger (say, to mug them). I’m curious if this is going to lead to equipping autonomous vehicles with anti-riot ordnance.
Public domain and abandonware and forgotten media are regarded by the media companies as a threat to their business model, since it is possible you can be entertained by them rather than their own for-cost offerings. It is no longer enough for them to control what you consume media, but insist on controlling whether you consume.
And the courts regard them as persons and members of the public as not. We don’t count as invested parties.
According to the US and the EU we common folk don’t figure.
It is now more ethical to pirate (or simply not consume it at all) than it is to obtain legitimate licenses.
We knew this was going to happen before he made the purchase.
Everyone said, the best way for Elon to keep his money was to change very little, or even take a hands-off approach.
Masnick suggested this would happen
It was that and so much worse. Moral of the story: Running a huge social media service is hard. Maybe don’t assume that because you’re a billionaire you’re the best at doing stuff.
Part of the problem is the failure of patent offices to do due diligence. Granted, this was exacerbated by the lack of an electronic database that tracked prior patents, public domain stuff, and things declared too general to be patented by the courts.
The project in the US to transfer old patents to digital and make them searchable is way underfunded and understaffed, and still is expected to take decades to finish.
The thing is, big companies like being able to win IP cases just by outspending their opponents, so they lobby to keep IP law byzantine and draconian, and to install judges who are either ignorant or just will side with the bigger company.
WTF?
Wow. Is this normal behavior for you?
Well, I certainly can’t make my point to you. You have bested my patience, my fellow lemming.
Nah, I’m good.
I think an athiest would have a better chance trying to deconvert a Catholic Bishop than I’d have getting you up to speed.
I kind of inferred the /s by the end of the post, but respect that such inference isn’t universal. Also there are many /s comments that I wouldn’t infer if it wasn’t explicit.
I’m even more baffled by your criticism that YT cares more about shareholders than creating an egalitarian society. Thats true of literally every business including the one you work for. YT never said they were trying to make society egalitarian. Where do you even get that shit from?
The pissed-off engineers that develop effective adblockers, for which there remains robust support.
Much like the west coast oyster monopolies of the 1880s that were scourged by oyster pirates, YouTube is fighting a losing battle.
PS: I take you’re aware of the cord-cutting epidemic of cable television, yes?
Yes, but I’m curious what Nintendo is talking to the courts about, or if this is merely a weaponization of litigation.
It doesn’t, which informs the rise technical mitigations of YouTube’s terrible ad schemes. YouTube isn’t interested in a more egalitarian society but serving its shareholder masters, and it sucks even at that.
YouTube subscriptions are not a good deal for the consumers, so they’re not going to be popular, which might serve to explain to you why everyone is not a paying subscriber, nor will they ever be.
The Jessica Fletcher problem?
The ratio of income to bills is way lower on our side than YouTube’s.
We need that money more than they do.
Are you talking about some heist on Nintendo’s blueprint vaults?
Because IP infringement is never theft.
So Nintendo is suing them over the monster design similarities? I thought it was a patent suit, not copyright.
For-profit tooling tends to get usability right
Until enshittification happens and the photo-editer that’s turned into the shorthand slang for editing a picture is suddenly an unaffordable subscription.
If we crowdsource such tools, or otherwise make them FOSS then they dont fall into that trap. Even one that sells out can be split off back into a FOSS project.
Sony will pirate from anyone who isn’t Sony. Same with Time-Warner. Same with Columbia. Same with every studio, every label, every publishing house.
Absolutely no-one in the industry takes piracy seriously until it’s their own stuff being pirated by someone else.
Moreover, they all are used to Hollywood accounting, in which lawyers try to justify not paying someone for work whenever they can.
Hollywood. You will never find a more wretched hive of scum and villany.
Have you played Pokémon and PalWorld? One is a pit-fighter-trainer where the other is a base-builder. Or does the capturing of creatures and the similar art style make them too much alike?
In a truly competitive capitalist market there should be room enough for both. But Nintendo wants their players to be obligated to own only Nintendo approved products.
The short answer, I don’t know.
But from my own observation there were a lot more general key changes in 1980s-era rock, which may have been the result of fewer other ways to escalate a song for the final chorus and outro, which is to say, yes, new tech (mostly sampling, looping and higher-fidelity recording) reduced the need for creativity much the way that movies had a lot more stage effects before they just filmed actors in green-screen and added everything with CGI.
Last year I went to a SGMC concert of mostly Queen, and was noticing how much their tunes bounced around, often having two or three key-changes per verse+chorus.