Excellent point. As a linguist, I can tell you that literal translations don't serve the reader the translated language. As an example, Imagine if you translated the floating island "Laputa" from Jonathan Swift's Gulliver's Travels into Spanish!
I always buy CDs when I have the option because I'm free to rip them to any format I want, and unlike MP3s and AACs they don't come with my name and account ID embedded. CD's are also their own backup medium, which is another plus.
Also, you can get rid of them once you rip the data from them (Thank you, US Supreme Court for upholding first sale!).
There are lots of people out there claiming that they can hear the compression artifacts compared to a "lossless" file or even a 24 bit file. But they can only do so as long as they know which file is the lossless one and which not. In a blinded test you cannot separate them.
Even the author of that link recommends lossless. Check it out:
It's true enough that a properly encoded Ogg file (or MP3, or AAC file) will be indistinguishable from the original at a moderate bitrate.
But what of badly encoded files?
Twenty years ago, all mp3 encoders were really bad by today's standards. Plenty of these old, bad encoders are still in use, presumably because the licenses are cheaper and most people can't tell or don't care about the difference anyway. Why would any company spend money to fix what it's completely unaware is broken?
Moving to a newer format like Vorbis or AAC doesn't necessarily help. For example, many companies and individuals used (and still use) FFmpeg's very-low-quality built-in Vorbis encoder because it was the default in FFmpeg and they were unaware how bad it was. AAC has an even longer history of widely-deployed, low-quality encoders; all mainstream lossy formats do.
Lossless formats like FLAC avoid any possibility of damaging audio fidelity  with a poor quality lossy encoder, or even by a good lossy encoder used incorrectly.
A second reason to distribute lossless formats is to avoid generational loss. Each reencode or transcode loses more data; even if the first encoding is transparent, it's very possible the second will have audible artifacts. This matters to anyone who might want to remix or sample from downloads. It especially matters to us codec researchers; we need clean audio to work with.
To be fair, this Blu-ray new format would really sound awesome if there were a new player for it. That being said, I'm perfectly happy with the Vinyl revival and CD-Rs I burn from lossless sources such as Bandcamp and Beatport. If there's gonna be another digital audio format, it should be Blu-ray quality but downloadable over the internet. The Major labels are insane if they ever think they're going to get relevant again (except to distribute label-less indies who have made it on, say, Billboard, like Ingrid Michaelson, Macklemore and Anamanaguchi)…
Zach Gage, creator of Spell Tower and Bit Pilot, (and the extremely artistic "Lose/Lose" which I advise you NOT TO PLAY) had a hand in Ridiculous Fishing and did a lot of the programming. I've known him for a while and he is extremely talented as a game designer.
Good thing this year is Bloomberg's last term. Granted, he's done some good things (like improving the streetlights from walk/don't-walk to man/hand, updating the MTA by including LED displays for when the next train would come in Subway stations), but for all of that, he seems to have this fetish for banning Soft Drinks of a certain size and smoking in public places and removing the OWS from the city. He also is trying to replace public schools with corporate-run charter schools. I think the Stop and Frisk he'd introduced would be among the worst things he's done.
This is basically bringing the concepts behind SOPA and PIPA from the US to the UK. The Russian Mafia wannabes at the MPAA apparently want to try to do to the UK what they failed to do in the US and realize Cory Doctorow's Nightmare.
I've seen intellectually deficient (the currently PC term for "mentally retarded") people with better apprehension skills than the MPAA.
Now, there are plenty of caveats to go with this, since many, many musicians who release music are unable to do so full time, so they don't show up in this chart at all. But by all indications more part time artists are also earning more money than ever before as well, with thousands of artists now being able to make some money, whereas in the past they couldn't make any.
Of course, it would be great to get even more artists making a full time salary, but the argument made by the RIAA and others that now is a bad time to be a full time, performing musician, making and releasing music, just doesn't seem supported by the numbers. It sure looks like there are many more full time, performing musicians now, it's just that many of them are independent (and making more).
Still, the chip scene is a very communal and intimate scene and the people do this mostly as a hobby, albeit with hopes to get money on the side. Even though there are people who do this as a living (like Danimal Cannon and Infinity Shred) and even rarer are the mainstream breakouts (like the aforementioned Anamanaguchi), it's still a rare feat for a chip musician to make a breakout success. We do this for love with the hopes of getting money secondary. Sometimes there are artists that branch out into mainstream EDM (like Sabrepulse, Shirobon and Henry Homesweet), and that usually gains a more mainstream reception, but even so, those that do do it for love and not $$$.
Gaijin Games sure are good peeps. I met their dev team at Blip Fest 2009. Some of buddies in the Chip Music scene (like Anamanaguchi, Minusbaby (who did the artwork for my album The Aftermath) and Bit Shifter) have their music in their Bit.Trip games.
THIS is one that reasonable people could flip a coin over because so close, BUT still doesn't legitimize the grifting. If Kirtsaeng wants to profit from selling books, he should first write one, fact check and peer review it, find capital to get it published and marketed, pay all applicable taxes, risk it being pirated and him not getting money back, and so on. The rampant grifting where others do all the work and take all the risks needs to be outlawed.
I'll bookmark this quote the next time you have a garage sale (or yard sale, stoop sale, boot sale, etc.).
St. Thomas More is like the embodiment of an honest, idealist politician than politicians in general. Hell, I have a feeling that if he were a Senator in the U.S. Congress, he'd actually (and genuinely) work for the benefit of his constituents instead of the corporations/Hollywood/[insert lobbyist group here].
So you're basically saying he'd be Ron Wyden, right? :-P
I suspect (without much boldness) that large Kickstarter success stories are still dependent on a preexisting support structure of funding and promotion, and perhaps that rather than functioning as a kind of crutch or welfare system for starving artists the site is simply a way of outsourcing more of the costs of their chief financiers to the eventual consumers.
That is, without a doubt, true. Still, it must be noted that I have backed some artists I never heard before because I liked their idea. Like this one and this one. Sometimes, the strength of one's ideas alone is enough to say "SHUT UP AND TAKE MY MONEY!"