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Comment Re:Jurassic Park (Score 1) 1200

Heck yeah. Irix, was it? SGI actually used to have that graphic interface as a free download on their website, but it's now a dead link. That film was one of my favourites as a kid. Watching it again, after being more familiar with computers, looking at that Irix screen and recognizing folder names, you can see... oh yeah, it really is "a unix system."

Comment wrong question (Score 1) 1

Any kind of offsite backup would be the simplest (not always cheapest) guarantee that if somebody is vindictive enough to nuke your DB, you can recover all or most of it easily (and I've actually seen this happen). But you may want to look at this from a wider perspective and think what it is it you can possibly do that would drive somebody to become so vindictive. Now avoid doing it. When admins go rogue, something has usually driven to that. Generally, if people are treated with respect, even if they are being let go from a position, this is enough to ensure that they don't become vindictive.

Comment I hope this catches on (Score 1) 377

I would LOVE for cbc.ca to pick up on this. The comments on cbc.ca usually serve to accomplish little but expose rampant prejudice and ignorance across Canada. I swore off reading the comments after an actor from my hometown was shot in Mumbai and was interviewed in the hospital where he was recovering. A commenter criticized him have "hamming up" the interview.

Comment zero-sum (Score 1) 973

"arguing with teenagers is a zero-sum game" I love this line. Anyway, I completely understand and respect Jason Robert Brown's opinions and I admire that he has managed to make a living writing music and selling sheet music. That said, being a musician and composer who has worked on countless musicals, I've seen the flip-side of this equation. I have seen producers lose their shirts because of the prohibitively high cost of obtaining the rights to full scores (notably more than $4.00 a song). Simply put, it's not pretty. Brown is right to defend his rights and defend his trade, however I think there is room for modernization in the copyright model employed by broadway show rights holders. Personally, I am a fan of (and often employ) creative commons licensing. I like the idea that if you're not going to make any money on my material, I won't either. This gives me and my material exposure (and hopefully a little popularity) and doesn't lose me any money. If, on the other hand, you're going to make a killing using my works, for sure I want a piece of the action. Most broadway shows do work on a sliding scale, however the scale does not slide low enough to accommodate most amateur productions. The other issue with the current copyright model is that it is only concerned with short term gains. The actual term of a copyright before it is released to public domain is obscenely long. Obviously, this is to benefit the publishing houses. This means that even decades after a work is published, it can be extremely difficult to obtain the rights to put on the production. This has been shown to actually diminish the popularity of works since it is easier for amateur productions to find older public domain works, instead of fresher newer works (hence the continued popularity of Gilbert and Sullivan). Releasing works into the public domain (after the initial run) can help to boost the authors popularity and prevent them from dying in obscurity as so many composers do.

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