Video: Big Government: Impact on the Markets?

Sorry, Readability was unable to parse this page for content.

Source: http://video.msnbc.msn.com/cnbc/48979139/

travis barker get back on board rob lowe peyton manning what is sopa marianne gingrich ibooks author gabrielle union

Victims of severe weather in Oklahoma identified

{ttle}

{cptn}","template_name":"ss_thmb_play_ttle","i18n":{"end_of_gallery_header":"End of Gallery","end_of_gallery_next":"View Again"},"metadata":{"pagination":"{firstVisible} - {lastVisible} of {numItems}","ult":{"spaceid":"2145868275","sec":""}}},{"id": "hcm-carousel-331041850", "dataManager": C.dmgr, "mediator": C.mdtr, "group_name":"hcm-carousel-331041850", "track_item_selected":1,"tracking":{ "spaceid" : "2145868275", "events" : { "click" : { "any" : { "yui-carousel-prev" : { "node" : "a", "data" : {"sec":"HCMOL on article right rail","slk":"prev","itc":"1" }, "bubbles" : true, "test": function(params){ var carousel = params.obj.getCarousel(); var pages = carousel._pages; // if same page, don't beacon if(("_ult_current_page" in carousel) && carousel._ult_current_page==pages.cur) return false; // keep track of current position within this closure carousel._ult_current_page = pages.cur; return true; } }, "yui-carousel-next" : { "node" : "a", "data" : {"sec":"HCMOL on article right rail","slk":"next","itc":"1" }, "bubbles" : true, "test": function(params){ var carousel = params.obj.getCarousel(); var pages = carousel._pages; // no more pages, don't beacon again // if same page, don't beacon if(("_ult_current_page" in carousel) && carousel._ult_current_page==pages.cur) return false; // keep track of current position within this closure carousel._ult_current_page = pages.cur; return true; } } } } } } })); }); Y.later(10, this, function() {Y.namespace("Media").ywaSettings = '"projectId": "10001256862979", "documentName": "", "documentGroup": "", "ywaColo" : "vscale3", "spaceId" : "2145868275" ,"customFields" : { "12" : "classic", "13" : "story" }'; Y.Media.YWA.init(Y.namespace("Media").ywaSettings); }); Y.later(10, this, function() {(function() { try{ if (Math.floor(Math.random()*10) == 1) { var loc = window.location, decoded = decodeURI(loc.pathname), encoded = encodeURI(decoded), uri = loc.protocol + "//" + loc.host + encoded + ((loc.search.length > 0) ? loc.search + '&' : '?') + "_cacheable=1", xmlhttp; if (window.XMLHttpRequest) xmlhttp=new XMLHttpRequest(); else xmlhttp=new ActiveXObject("Microsoft.XMLHTTP"); xmlhttp.open("GET",uri,true); xmlhttp.send(); } }catch(e){} })(); }); Y.later(10, this, function() {if(document.onclick===YAHOO.Media.PreventDefaultHandler.newClick){document.onclick=YAHOO.Media.PreventDefaultHandler.oldClick;} }); }); });

Make millions of dollars playing video games

12 hrs.

Todd Kenreck

"Defense of the Ancients 2"?players gathered in Seattle to show of their talent and watch the best players in the world compete in?"The International" for the game "Dota 2"?in just one of many game competitions across the world.

You can follow Todd Kenreck on Facebook and Twitter

Source: http://www.nbcnews.com/technology/ingame/make-millions-dollars-playing-video-games-990657

iman shumpert mayweather vs cotto shumpert hopkins hopkins dear john derrick rose torn acl

KIDS WOD 9-11-12 Tuesday | CrossFit Synergistics Kids & Teens

Warm up:
3 Rounds
15m Bear Crawl -> 1 Skin the cat -> 15 Crab walk -> 15m Line hop

Skill work:
Handstand Kickups

WOD:
15-12-9
Overhead squats (WD,D)
Handstand kick-up

Game!

0.000000 0.000000

Like this:

Be the first to like this.

Posted in Kids WOD

Source: http://crossfitsynergisticskids.wordpress.com/2012/09/10/kids-wod-7-31-12-monday/

directv rashard lewis curacao curacao home run derby kourtney kardashian kourtney kardashian

How the first subscription-based music service was built online, and ...

Nearly fifteen years ago I began hashing the plans for what would become, as far as I can tell, the first subscription-based music service online. What we built was pretty straightforward and, as a result, the initial business model was nearly identical to that model later adopted by services such as Spotify. (Aside: True old-timers will remember that?Patronet would also launch, but it offered music from only one artist, Todd Rundgren?who built Patronet).

Importantly, neither technology nor copyright law were ever really the roadblock to opportunity, even back in the Web 1.0 days. What and How people?meaning artists, lawyers, owners, consumers, developers, and even policy makers?thought about these music services were the speedbumps that would prove to be large enough to block the road, even still today.

In the end, I am pretty certain the following hold true:

• The business model of subscription music services is and should be brain dead simple.
• No amount of ?That?s not how it?s been done,? or ?Are you sure this won?t cannibalize iTunes?? or ?But I make more from a CD sale? is going to change the fact that adapting to this model is both required and will require change.
• The longer any adaptation to change stalls and the higher the price for that change, the fewer the number of ecstatic fans, the fewer the number of happy customers, and smaller the pile of money that will be on the table for the music artists and owners involved.

It is time, quite frankly, to move on? regardless of the road conditions.

In the beginning?

In 1998 we launched a simple subscription-based music service online, thanks to a number of artists who were willing to experiment?way back then?with something new. That paid site would later shift to a free site, Noisebox, through which we shared ad revenue with artists and copyright owners. The business model was designed to fit within BDS (Brain Dead Simple) constraints.

The pitch to consumers, artists, and copyright owners for this way-too-early-to-be-plausible music service was pretty simple:

(1) Consumers were charged a monthly fee to stream/download music from the site. The initial price was $2.99/$3.99.

(2) Artists, and any other party with a financial interest in the recording and/or the composition/lyrics, would split the subscriber revenue based upon each song?s proportion of all songs streamed each month. The initial pool for royalties was 70-80% of revenues. The initial catalog of music came from self-released artists, which limited the complexity in who/what was in the pool.

For context: Napster had yet to be released. MP3.com was still for the most part a news site, with only a few music downloads. DimensionMusic, or dMusic, was more actively engaged than MP3.com in hosting MP3 files for artists. IUMA was still hosting MPEG2 audio files. eMusic was still for CDs, and the digital download store of the day was called NordicDMS. Neither iTunes nor the iTunes download store would exist for nearly half a decade. Spotify would not exist for a decade.

Ironically, points (1) and (2) above basically describe the subscription music service model by which services such as Spotify operate today, nearly 15 years later. Why? Because that model was and is brain dead simple.

This model also happens to be the same one that is debated almost daily on music news and artist sites, as people try to grapple with the implications of not being paid $X for every album sold, or ?Y for every iTunes download sold, or a guaranteed ?Z for each stream on these sorts of services. Even though part (2) is essentially the same method through which radio royalties have been distributed (weighted by actual rather than imagined listener numbers) for decades?either as a portion of ad revenue or license monies.

Frankly, its time to move on.

And so I figured I would describe how simple that basic design truly was, and why neither technology nor copyright law were ever really the roadblock. Any roadblocks were in the minds of copyright owners, artists, developers, policy makers, and even consumers.

How does a music service work?

Technically, in the simplest of terms, you really only need three things to build a subscription-based music service:

(A) A number of music files, encoded in a streamable format (or mime type, back then), and stored on a working storage device that is connected to the internet;

(B) A method for preventing access to those music files unless the user can present appropriate credentials (e.g., show they are a paying customer); and

(C) A means to accept some form of payment (e.g., credit cards) on a regular schedule (e.g., monthly) the result of which is the user acquiring the credentials mentioned in point 2 so they can access and stream the files mentioned in point 1.

Some copyright owners would add an additional lettered point that would require truly bullet-proof security on the files. But that point, in the end, is pointless.

Aside: Negotiating licenses is not a technical problem, its a time/effort problem. However, yes, I realize that acquiring these license can be a real challenge. But, in my opinion, the law was not the ultimate roadblock. It took us less than 30 days to license the music we were looking for in the initial experiment and the law never stopped us. Artists/owners who participated were willing to license and learn?and these were the two dimensions that mattered. The law simply gave these artists/owners the right to say, ?No,? if they wanted to.

That was it, and that?s what we built through the absolutely simplest means possible via a traditional LAMP (Linux, Apache, MySQL, and Perl/PHP) setup.

All the music files were placed in a folder that was ?protected? through .htaccess (those in the know will know why I used quotes). When a user paid for a subscription they were given a password. That password was added to the .htaccess list. If the user did not pay the next month, the password was removed from the list. Voila, Subscription music service in a box!

Modern services use a wider and more sophisticated range of technical means to accomplish their objectives, but the A, B, C?s listed above are ultimately ?the basics? that inform any subscription service?whether in music, film, text, or otherwise.

Since those early days, very little technical or legal change has intervened. Technology still provides the means to accomplish the A, B, C?s listed above?the formats and acronyms have simply changed. Copyright law still spells out the necessity of negotiating licenses with the appropriate parties.?Most importantly, after years of music service licensing deals that are highly-punctuated with sophisticated protections (e.g., per stream minima) the underlying business model is returning to its origin:

(1) Consumers are charged a monthly fee to stream/store music from the site.

(2) Artists and/or those parties with a direct financial interest in the recording and the composition/lyrics, split the pool of subscriber revenue based upon each song?s proportion of all songs streamed/accessed each month.

Any substantive change that has occurred over the last decade and a half?meaning the sort of change that made this BDS business model more acceptable?has occurred in the minds of people, not the granite or silicon pillars of institutions or technology within which these minds make decisions or with which they take (virtual) action.

Change has been slow. Glacier, slow.

What I have found is that over the last 10-15 years I keep hearing the same questions, having the same conversations, and meeting with many of the same people (who simply work at different companies, have new haircuts, or wear different hats). From conferences panels to research chats to board meetings, the discussions usually leave me in a nearly perpetual state of deja vu. Bookmarked by entrenched positions at extremes.?Punctuated by far too many egos (one of which is my own).

What was once thought of as ?renting music,? is now thought of as ?renting music.? Except, fewer consumers are freaked out about that idea. What was thought of as ?the end of CD sales? is still in part ?the end of CD sales,? and so what. Executives who used to think $19.99/month for music was a bargain now think $9.99 is a bargain (that?s a change), regardless of what consumer behavior suggests (that?s not a change). What was thought of as a challenging licensing market is still a challenging licensing market?except the incumbent firms now see that challenge as a barrier to competition.

In the end, and as I said at the beginning of this post, I am pretty certain the following hold true:

• The business model of subscription music services is and should be brain dead simple.
• No amount of ?That?s not how it?s been done,? or ?Are you sure this won?t cannibalize iTunes?? or ?But I make more from a CD sale? is going to change the fact that adapting to this model is both required and will require change.
• The longer any adaptation to change stalls and the higher the price of that change, the fewer the number of ecstatic fans, the fewer the number of happy customers, and smaller the pile of money that will be on the table for the music artists and owners involved.

Frankly, it is time to move on.

Like this:

Be the first to like this.

Source: http://davidtouve.com/2012/09/10/how-the-first-subscription-based-online-music-service-was-built-and-why-its-time-to-move-on/

e cards smash kate upton sports illustrated outback chaka khan taylor swift safe and sound delilah

Al-Qaida's No. 2 in Yemen killed in airstrike

SANAA, Yemen (AP) ? An airstrike killed al-Qaida's No. 2 leader in Yemen along with five others traveling with him in one car on Monday, senior Yemeni Defense Ministry officials reported. If confirmed, Saeed al-Shihri's death would be a major blow to the militant group.

They said the attack killed al-Shihri, a Saudi national, as the al-Qaida in Yemen deputy left a house in the southern Hadramawt province with his five companions.

The officials say the missile was believed to have been fired by a U.S. operated drone. The U.S. doesn't usually comment on such attacks but has used drones in the past to go after al-Qaida members in Yemen.

The Yemeni officials were confirming a brief Defense Ministry statement sent to Yemeni reporters on their mobile phones. A senior official at the Yemeni president's office confirmed the attack, but said DNA tests have yet to establish al-Shihri's identity. The officials all spoke on condition of anonymity because they were not authorized to speak to the media.

Al-Qaida's Yemen branch is seen as the world's most active, planning and carrying out attacks against targets in and outside U.S. territory. If confirmed, the death of al-Shihri would be a major blow to the group as it faces a major crackdown in the south. The Yemeni military has retaken several towns that had been captured by the terror network during political unrest inspired by the Arab Spring last year.

Source: http://news.yahoo.com/al-qaidas-no-2-yemen-killed-airstrike-144744825.html

2012 groundhog day groundhog phil pee wee herman ketamine tracy morgan ground hogs day 2012 goundhog day

Forest mortality and climate change: The big picture

ScienceDaily (Sep. 9, 2012) ? Over the past two decades, extensive forest death triggered by hot and dry climatic conditions has been documented on every continent except Antarctica. Forest mortality due to drought and heat stress is expected to increase due to climate change. Although research has focused on isolated incidents of forest mortality, little is known about the potential effects of widespread forest die-offs.

A new analysis of the current literature on this topic by Carnegie's William and Leander Anderegg is published September 9 in Nature Climate Change.

Along with co-author Jeffrey Kane of Northern Arizona University, the Andereggs examined papers dealing with different aspects of forest die-off events from studies all over the world. They divided their findings into the effects on a forest community of trees and other species; on ecosystem processes as a whole; on services forests provide to humans; and on the climate.

"This study provides a state-of-the-art overview of the many benefits forests provide to humans, from water purification to climate regulation," said William Anderegg, "Many of these roles can be disrupted by the widespread tree mortality expected with climate change."

They found that heat and drought, including drought-related insect infestation, can disproportionately affect some species of trees, or can hit certain ages or sizes of trees particularly hard. This can result in long-term shifts in an area's dominant species, with the potential to trigger a transition into a different ecosystem, such as grassland. It can also impact the understory--the layer of vegetation under the treetops--as well as organisms living in the soil. More research on forest community impacts is needed, particularly on the trajectories of regrowth after forest die-off.

From an ecosystem perspective, forest die-off will also likely affect hydrological processes and nutrient cycles. Depending on the type of forest, soil moisture could be increased by the lack of tree-top interception of rainfall or decreased by evaporation due to more sun and wind exposure. Debris from fallen trees could also increase a forest's fire risk.

Forests also have an effect on the climate as a whole. Forests play an important role in determining the amount of heat and light that is reflected from the Earth and into space and in taking up carbon dioxide from the atmosphere. On one hand, forest mortality increases the reflection of the sun's energy back into space, thus providing a cooling effect. But on the other hand, the decomposition of fallen trees releases carbon into the atmosphere, thus producing a warming effect. Overall, whether forest die-offs result in local cooling or warming is expected to depend on the type of forest, the latitude, the amount of snow cover, and other complex ecosystem factors.

Mass tree mortality would likely cause substantial losses to the timber industry, even if saplings and seedlings were unaffected. Little research has been conducted on other types of forest products that humans use, such as fruit or nuts, but there would presumably be changes in those sectors as well. Recent research has examined other services provided by forests which would likely be affected by die-off, such as declines in real-estate property values following widespread tree mortality.

Overall, the analysis found that although there are many recent advances in understanding the effects of severe forest die-off, many critical research gaps remain. These gaps are especially critical in light of increasing forest die-off with climate change.

One urgent gap is how this summer's US-wide severe drought might affect forests. William Anderegg is helping to tackle this question by spearheading a project involving dozens of research groups from around the country.

"The varied nature of the consequences of forest mortality means that we need a multidisciplinary approach going forward, including ecologists, biogeochemists, hydrologists, economists, social scientists, and climate scientists," William Anderegg said. "A better understanding of forest die-off in response to climate change can inform forest management, business decisions, and policy."

Share this story on Facebook, Twitter, and Google:

Other social bookmarking and sharing tools:

---

Story Source:

The above story is reprinted from materials provided by Carnegie Institution.

Note: Materials may be edited for content and length. For further information, please contact the source cited above.

---

Journal Reference:

1. William R. L. Anderegg, Jeffrey M. Kane, Leander D. L. Anderegg. Consequences of widespread tree mortality triggered by drought and temperature stress. Nature Climate Change, 2012; DOI: 10.1038/nclimate1635

Note: If no author is given, the source is cited instead.

Disclaimer: Views expressed in this article do not necessarily reflect those of ScienceDaily or its staff.

Source: http://feeds.sciencedaily.com/~r/sciencedaily/top_news/~3/lFoZB9VkF1k/120909150444.htm

giants vs 49ers san francisco 49ers san francisco 49ers sf 49ers joe paterno died 49ers game ravens