The WHO lost credibility to me when they, at the height of the pandemic, asserted as fact that COVID is not airborne.
Not "we believe", "we suspect", "data suggests" or anything like that, but asserted it as a fact.
2,076 karma · joined February 9, 2008
Not "we believe", "we suspect", "data suggests" or anything like that, but asserted it as a fact.
https://www.theinformation.com/articles/snowflake-in-talks-t...
I'm not sure what you mean by "rest of the world".
If you mean broadcast tv services in the rest of the world, they already have 30 second TV commercials. (They're actually the norm.)
If you mean other streaming services, Hulu, Peacock, Pluto, Paramount+ etc all already have 30 second non-skippable ads.
Before her downfall I thought it was some type of strange misogyny to accuse her of that. A lot of it was still misogyny, but turns out that part was right.
Slack now has the outage listed:
https://status.slack.com/calendar
The online cynicism is something I've never understood. It assumes the world is filled first first-order simpletons & somehow only the poster rises above it.
People aren't dumb & companies aren't dumb. People will notice a status tracker isn't accurate. They will have reduced confidence in the company. Companies know people will notice & think this way, so they generally don't engage in this type of deception. I'm sure there are exceptions, but in general, status pages have tended to be accurate in my experience.
I'm not sure if it's hyperbole or not. If it's not, what law was broken?
(Honest question. I'm not a fan of this, but I was curious if it's actually illegal.)
I very much enjoyed his Game Engine Black Books on Wolfenstein 3D & Doom.
That would have a significant impact on the earnings of publishers & creators.
This doesn't get a lot of attention because, well, what media outlet could write a positive article about Trump & get away with it, but healthcare price transparency was a big issue of his and during his administration the Hospital Price Transparency Final Rule was established.
The rule was issued by the Centers for Medicare & Medicaid Services (CMS) in November 2019 and requires hospitals to post prices.
The Trump administration argued that the rule would help to empower patients by providing them with more information about the costs of healthcare services, and that it would promote competition among hospitals and other providers, leading to lower prices and improved quality of care.
The rule was initially challenged in court by a group of hospital organizations, but in June 2020, a federal judge upheld the rule, clearing the way for it to take effect on January 1, 2021.
Mute your volume?
There are material differences:
- HN does not have a board seat for the Chinese Communist Party. TikTok does.
- HN does not have an internal CCP committee. TikTok does.
- HN is not subject China’s National Intelligence Law, which mandates corporations "support, assist and cooperate with the Chinese intelligence work". Tiktok is.
> If tiktok goes under, it takes these with it.
More than likely they would move to Shorts or Reels.
The US uses something called US Customary Units:
https://en.wikipedia.org/wiki/United_States_customary_units
Both US Customary & Imperial derived from British units but they have always had large differences. There was an effort to reconcile the two but it was an abandoned when Europe decided to adopt the metric system.
Still differences remain:
https://en.wikipedia.org/wiki/Comparison_of_the_imperial_and...
Um, yes?
Honestly, I'm not sure how one could sincerely make this statement.
Amazon's net income for Q3 '22 is roughly a third of its net income Q4 '21. If losing 2/3rds of your revenue isn't considered hitting the pocketbook, I don't want is.
Now you could yada yada yada they're still profitable, but that's a different argument.
Amazon was seeing 20-30% growth of its revenue. Their expenses were also growing at a similar base. Now that top line revenue isn't there, they need to address how to address bottom line growth.
For me, I came across it in the early 90s, as it was the first text for my CS class in college. I devoured it and it still holds a special place in my heart.
If I read it for the time now, would it be the same? Possibly not. (To wit, I read _The Catcher in the Rye_ for the first time in my 40s. I found it "meh" but can understand how reading it as a teenager would hit me differently.)
https://myadcenter.google.com/controls/ads-data/historical-l...
Advertisers are generally aware of this. They can control location & language targeting. Digital advertisers are aware digital target is imperfect, and that imperfection is often called "wasted" and is n priced in.
Your comment about Edge on your desktop makes me thing something beyond Google is going on, as Edge only runs on Windows (a non-Google product, made by Microsoft) and Edge is also a non-Google product, made by Microsoft. I wouldn't be surprised if something is confused in Windows & that's propagating into your web experience.
This is just regurgitating an older article from The Information about the new rating process. The part of layoffs is unsourced & pure conjecture.
You have complex business rules. How venues are laid out change. How tickets are marketed is very dynamic.
Bad actors have a strong incentive for fraud.
You have an insane delta between median traffic & traffic spikes. You need to be able to sell out the staple center in under 4 minutes to an audience of millions.
- Selling tickets is hard. I mean really hard. By coincidence, I just hit my 14 year mark at Google. I also spent 5 years at Yahoo! in the early 2000s. I'd like to think I've seen hard technical problems over my career. And again, ticketing is hard.
- There's not that much money it. Especially relative to the technical challenge.
- Most of the thoughts here are how to build a ticketing system that fans want. Ticketmater could already do that.
There's a few things about ticketing people don't realize:
(1) Ticketmaster doesn't own tickets. They don't see the prices. They don't set the fees. These are typically by the promoter or the artist.
(2) Ticketmaster doesn't keep much of the fees. Read LiveNation's financials. Last time I checked, I think Ticketmaster was keeping about $3 per ticket on average (i.e. revenues / tickets sold). Almost all the fees go to other parties in the value chain -- venues, promoters, artists.
One thing about $8 for Twitter Blue is it will make it easier to filter out the noise -- the trolls, the bots, etc.
Previously I would have worried that having a toll on communication would mean we'd lose some important voices. That may still be true, but I've learned that having no cost on communication results in a lot of garbage being spewed.
In the 60s, venues had to pay someone to run ticketing for them. Ticketmaster came along and said "Hey, we'll do it all for you, and you don't need to pay us a cent. All we ask is you let us add a $0.25 fee to the ticket."
From the venue perspective, it was a no brainer.
Later, in the 90s/00s, Ticketmaster was lightyears ahead in building a scalable infrastructure that could handle peak onsale demand for major artists. Want to sell out the Staples center for 5 nights in 4 minutes? Most LAMP stacks of the era would just melt. Most ecommerce platforms weren't built with non-fungible inventory in mind. Meanwhile Ticketmaster, through VAX assembly & sharding, was able to handle the load.
The tickets are owned by the promoter. The promoter is one who pays the artist.
People often underestimate how risky live events are, as whey they think about a concert they think about U2, Jay Z or other major artists.
In reality, less than 50% of live events sell out.
And there's a fair bit of risk in putting them on. You need to layout the initial capital for things like venues (far from cheaps) and artists often want to get paid a minimum amount, regardless of ticket sales. The promoter needs to figure out how to market & get butts in seats -- including how to effectively price tickets, etc.
Artists typically don't want to deal with all that. They just want to produce their art.
No.
This is just wrong. Pricing & fees are determined by the promoter and/or the artist. Ticketmaster takes a cut, but the tickets are owned by the promoter. The promoter has the final say in how revenue is shared with everyone -- including the artist & Ticketmaster.