Vacation is cheaper than severance and training.

Start with the understanding that contracts benefit both parties. Generally people go into a business arrangement with the best of intentions and a lot of assumptions. A contract makes those assumptions explicit by documenting the terms of engagement clearly.

“I usually xyz, unless you recommend something else…” “Can you say that in more/different words?” “I don’t know.” Good advice for any professional or non-intimate situation, not just ‘in the city’ as Frank writes.

“Isn’t it just so great that you can do everything yourself!” say people who don’t live the reality of having to do everything themselves.

In an online milieu where everyone markets themselves, net artists have made selling out its own medium.

Why Amy Hoy would not go with Freckle if someone bought it.

We’ve placed the entire onus of changing-with-the-times on musicians, but why can’t the educational, cultural and governmental institutions that support the arts adapt as well, extending the same opportunities to those whose music provides the soundtrack to our lives? If they don’t, Darwinism will probably ensure that only the musical entrepreneurs survive. I can’t say if the world of music will be better or worse off if that happens, but it will certainly be a lot louder.

Suggested for women, but good for non-confrontational complex-havers like myself, too.

Toyota’s emphasis on efficiency proved transformative for the Food Bank.

Here is what you need to meditate on before we deal with the rest of the issues: Standing up for your interests is going to destabilize your band status quo, but you cannot let the potential fallout or confrontations deter your course of action.

The effect is to enforce a historical blindness that’s entirely too common when we’re thinking about tech. If what we’re seeing now is totally new, there are no historical analogies to apply, no worker protections or regulations from the past that we might want to preserve — it’s all new, after all! And, therefore, all good.

There are all kinds of files. A song is just a file, as is a book, and so is a movie. People have been pointing this out for years, usually to explain piracy. For a long time, folks were gnashing their teeth and wailing that no one would pay for anything on the Internet ever; it was just too easy to steal. They went from renting their garments to renting out music. As solutions emerge, and marketplaces for licenses emerge, you have to wonder if new kinds of media will remain part of the free, “remix” culture of the Internet, or if they’ll want to participate in a for-pay market. Maybe the reason so much great creative work on the Internet is free is that it’s been too hard to charge. A Pandora, but for podcasts! A Spotify for funny animal videos! Once the framework is in place, the pitches will come. Then the licensing can start. After all, they’re just files.

An acquisition, or an aqui-hire, is always a failure. Either the founders failed to achieve their goal, or – far likelier – they failed to dream big enough. The proper ambition for a tech entrepreneur should be to join the ranks of the great tech companies, or, at least, to create a profitable, independent company beloved by employees, customers, and shareholders.

The old Google made a fortune on ads because they had good content. It was like TV used to be: make the best show and you get the most ad revenue from commercials. The new Google seems more focused on the commercials themselves.

Deep-rooted cultural ideas about productivity, success, and gender roles are holding us back.

The monied, celebrated, nuevo-social, 1% poster children of startup life spread the mythology of their cushy jobs, 20% time, and self-empowerment as a thinly-veiled recruiting tactic in the war for talent against internet giants. The materialistic, viral nature of these campaigns have redefined how we think about culture, replacing meaningful critique with symbols of privilege. The word “culture” has become a signifier of superficial company assets rather than an ongoing practice of examination and self-reflection.

The Windows and Android communities need to better understand why so many of us choose Apple, and the Apple community needs to better understand the large market of people who can’t or won’t.

We can and should support the companies we love with our money. Companies can and should have balanced streams of income so that they’re not solely dependent on just one. We all should consider the business models of the companies we trust with our data. But we should not assume that, just because we pay a company they’ll treat us better, or that if we’re not paying that the company is allowed to treat us like shit. Reality is just more complicated than that. What matters is how companies demonstrate their respect for their customers. We should hold their feet to the fire when they demonstrate a lack of respect.

Damon Krukowski of Galaxie 500 and Damon & Naomi breaks down the meager royalties currently being paid out to bands by streaming services and explains what the music business' headlong quest for capital means for artists today.

The solution to the growing global food crisis will not be technical; it will be social and political. The Oxfam report offers a good start: The World Bank, which operates under the leadership of a president chosen by the US, should stop financing dodgy land deals in the global south—as it has been doing—and start advising the governments of low-income, food-insecure countries to set up strict protections for smallholder farmers. Further, Oxfam advises, the World Bank should cajole low-income nations to insist that any land deals be structured to ensure that local food security is enhanced by them.

So then I looked to see about downloading it from Amazon, and they are selling downloads for $9.49. This is an album recorded 60 years ago. Most likely, everyone involved with it has been dead for a long time. Billie Holiday has been dead for 53 years. It was recorded live, cheaply. If the total cost of recording it was $200 I’d be amazed. And here we are 60 years later and I’m expected to pay $9.49 for digital files.

On one basic level, what happened in 1969 with Wonder—and what happens every day with mp3 leaks—illuminates a very basic economic fact: Official markets will always lead to unsanctioned ones that feed off of the legit products—and often operate much more efficiently. Consumer desire has never automatically limited itself to strictly legal operations, particularly when fans can convince themselves (often rightly) that they’re doing no harm to the artists.

Successful, but how successful, and to whom, and what does that mean in terms of getting along in the world?

A history of Tumblr and the monetization issue it faces.

To assess a film's odds of success (because even crowdfunders don’t want to back a loser), a prospective funder would want to know what people in the know—who are part of the “industry” in one way or another—make of it. This is the point often missed by those hailing Kickstarter as a revolutionary project that could emancipate the artists: What defines potential “success” for their film is still very much defined by the industry heavyweights.

Jobs has become a Rorschach test, a screen onto which entrepreneurs and executives can project a justification of their own lives: choices they would have made anyway, difficult traits they already possess. “Everyone has their own private Steve Jobs,” Sutton says. “It usually tells you a lot about them—and little about Jobs.”

In his new book, Mp3: The Meaning of a Format, McGill University professor Jonathan Sterne exhaustively and eloquently traces the history of the mp3 from the initial hearing model developed in Bell Labs to the current debates about piracy. As the author argues, each time we rip a CD to our hard drives, we're not only saving space in our living rooms or ensuring we have the appropriate gym soundtrack, but also reaffirming a fundamental idea about the limits of human perception.

I interviewed Jonathan Sterne for Pitchfork about his new book. While conducting the interview, I thought Pitchfork readers would like to know about how AT&T’s capitalistic policies in the 1910s and 1920s laid the groundwork for those compressed bits of data currently clogging their hard drives, and other gentle, science-laden facts about the mp3’s history. I was wrong. But not to worry! Here are the cut bits.

Good walkthrough of the essential sections of a web design contract.