Re: Re: If you keep on idolizing libertarian assholes like Snowden and Greenwald
The "issues" need tissues because they are full of shit like the people that bring them up. There`s more important things to be concerned with than who`s looking at somebody`s mail, and instead of addressing them, the left is self-ratfucking itself into oblivion at warp speed, and taking other good progressive movements and people with it. Snowden just did this because he was a libertarian asswipe who got disillusioned and suddenly hated Obama (or maybe his underwear got too tight, I don`t know.) Either way, he`s full of it, and this bullshit he spawned is dragging the left and progressive politics down with it.
There is no government of which you speak; it feels like the Obama Derangement Syndrome that's been gripping the left since since the late 2000's has done some nasty work on people's minds.
Why do you believe this nonsense? Are you aware that this makes the left no better than the right?
Maybe Snowden needs to man up, come back to the USA, and accept the consequences like the adult that he claims he is. But the problem is, he's a whiny man-child who thinks that he's just like MLK (at least MLK and others like him went to jail for what they believed in, unlike this bozo.) Please get wise and stop believing in bullshit.
Nobody's got their hand up Obama's ass; you and the other emoprogs, on the other hand, have sticks up all of yours. Any chance that the paranoid tinfoil hat bullshit can be nipped in the bud, or at least maybe medicated away? The Obama Derangement Syndrome being exhibited here is annoying.
If you keep on idolizing libertarian assholes like Snowden and Greenwald
...It will go badly for us all come mid-term election time, and with the Demms losing a a result of all this bullshit wanking over who wants to look at our emails or porn stashes (hint; nobody in th NSA wants to.) Leave the paranoia bullshit in the Phantom Zone where it belongs, along with the two idiots who are hell bent of profiting from it.
We need what they've got in Japan as far as training of cops is concerned...
Education is highly stressed in police recruitment and promotion. Entrance to the force is determined by examinations administered by each prefecture. Examinees are divided into two groups: upper-secondary-school graduates and university graduates. Recruits underwent rigorous training—one year for upper-secondary school graduates and six months for university graduates—at the residential police academy attached to the prefectural headquarters. On completion of basic training, most police officers are assigned to local police boxes called Kobans. Promotion is achieved by examination and requires further course work. In-service training provides mandatory continuing education in more than 100 fields. Police officers with upper-secondary school diplomas are eligible to take the examination for sergeant after three years of on-the-job experience. University graduates can take the examination after only one year. University graduates are also eligible to take the examination for assistant police inspector, police inspector, and superintendent after shorter periods than upper-secondary school graduates. There are usually five to fifteen examinees for each opening.
About fifteen officers per year pass advanced civil service examinations and are admitted as senior officers. Officers are groomed for administrative positions, and, although some rise through the ranks to become senior administrators, most such positions are held by specially recruited senior executives.
The police forces are subject to external oversight. Although officials of the National Public Safety Commission generally defer to police decisions and rarely exercise their powers to check police actions or operations, police are liable for civil and criminal prosecution, and the media actively publicizes police misdeeds. The Human Rights Bureau of the Ministry of Justice solicits and investigates complaints against public officials, including police, and prefectural legislatures could summon police chiefs for questioning. Social sanctions and peer pressure also constrain police behavior. As in other occupational groups in Japan, police officers develop an allegiance to their own group and a reluctance to offend its principles.
There's nothing wrong with the NSA; it was doing its job as a spy agency. Snowjob didn't like it, got pissy, and then decided to bail, taking sensitive documents that he was going to use to reveal the NSA's so-called 'crimes' against the American people (why couldn't he do this during the Bush administration? I'm guessing Obama Derangement Syndrome is one of the causes and reasons.)
Removal from office for politicians for not going on the word of a whiny crybaby's so-called 'revelations?' Good luck with that.
The emotarian left is barking up the wrong tree on this, and taking good people with them to the gutter.
Snowjob doesn't deserve anything but a very long jail sentence, for reasons I've already posted (but am willing to post again so that people can get the point):
Why are things like this? Because people are like this now, and don't give a shit.
For my part, I buy my CD's and DVD's as much as I can (including purchases from iTunes), but there are sometimes when I can't always buy songs legally, and have to download-I do this by using YouTube to make a copy of the song, then using another program to make an MP3 out of it. I do this because money's tight, and I have to eat.
The REAL problem I see here is that of radio and how it won't expose any new artists (that aren't pop), and until radio (in North America) is re-regulated back to the degree that it used to be (only one station can be owned by one company in a certain market) and with what used to be the definition of a radio station brought back (live DJs that knew music and played it instead of computers that have music stored on big hard drives), artists that aren't pop tarts like Katy Perry/Justin Bieber/Rhianna/Drake will have to jump through the hoops that you described.
This was said quite a while ago, and applies now:
Lest you require any more proof that indie-soft-rock is the new mainstream, this week offers conclusive evidence. On Dec. 1, Feist plays a sold-out show at Massey Hall; five days later, her friend Bon Iver begins a two-night stand of his own at the historic concert hall on Shuter Street, on the heels of picking up four Grammy nominations last Wednesday. On Dec. 8, their equally sophisticated peers in The National make the leap to headlining the Air Canada Centre—a venue that recently hosted the likes of Kanye, Jay-Z and Prince. Not that anyone should be surprised by these plum bookings: These are artists who debut in the Billboard Top 10 and appear on Saturday Night Live and at the Grammys. Their songs have been used to sell everything from iPods (Feist) to whiskey (Bon Iver), or to soundtrack crucial scenes on Grey’s Anatomy (The National). But despite these artists’ successes and accessibility—heck, even Barack Obama’s a National fan—you will not hear any of them on mainstream commercial radio in Toronto. Some might argue that Feist, The National and Bon Iver are already overexposed. While that may be true within the hive-mind mentality of internet music discussions (or, in Feist’s case, among CBC Radio 2 listeners), the fact is, if those artists actually received consistent mainstream-radio airplay, they could potentially be headlining stadiums instead of theatres. Even though radio has shed many listeners to self-curated iTunes playlists and other digital distractions, it’s still the major determining factor between an artist being a household name versus a dorm-room one. As a mate in the music industry recently told me, when it comes to breaking a new band, “Radio has never mattered less…but nothing will ever matter as much as radio.” Now, I’m not under any illusion that mainstream commercial radio’s goal is to facilitate artists’ careers. Its function is to get as many people as possible in a specific demographic to listen to the Speedy Glass commercials that run between the songs. However, if audience retention and expansion are the ultimate end games, shouldn’t our mainstream rock radio stations actually reflect what’s currently happening in mainstream rock? Alas, Toronto’s commercial rock stations adhere to a rigid demographic science, which dictates that playlists are compiled according to eras rather than actual shared musical aesthetics. Classic-rock kingpin Q107 refuses to acknowledge that any new bands have emerged since The Black Crowes and the Hip; its fellow Corus-owned counterpart 102.1 The Edge pretends music didn’t exist before 1990, judging by its post-grunge, alterna-jock-baiting music selection (which one wouldn’t expect to include the statelier likes of Bon Iver or The National, yet the station still makes room for UK aesthetes like Mumford & Sons and Florence + the Machine). Boom 97.3offers a more accurate reflection of postiTunes shuffle-mode listening habits (by recognizing that a Rush fan might also enjoy The Cure and Green Day), but its playlists are based on purely nostalgic ’70s, ’80s and ’90s parameters. A recent survey of radio listeners revealed that their primary reason for tuning in is not to hear the current selection, but rather the anticipation of waiting to hear what’s next. The flipside to this theory is that listeners will tune out—a station’s greatest fear—if the next song doesn’t fulfill their expectations. However, radio playlists compiled according to era ultimately lead to false and forced associations, and, by extension, reactionary turns of the dial. During a recent listen to Boom, I heard Lou Reed followed by Gowan—do you know anyone who’d want to hear those artists back to back? Such curious combinations highlight the sheer illogicality of Toronto rock-radio playlists: The Sheepdogs and The White Stripes (both 102.1 the Edge property) have way more in common with Q107 staples like The Rolling Stones, Allman Brothers and Zeppelin than the Edge-rotated Foster the People and Crystal Castles, who would be more at home with the ’80s new-wave hits heard on Boom. Ultimately, Toronto’s rock radio stations serve to separate music from the audiences who would appreciate it the most. Ironically, smaller-market stations outside of the GTA, like Y108 out of Hamilton, or Windsor’s93.9 The River, have proven to be far more progressive than their Toronto counterparts when it comes to matching classic-rock artists with their contemporary equivalents. (The former boasts a more brawny mix of Black Sabbath and The Black Keys, while on the latter you’ll hear Adele and Metric alongside Talking Heads and Bowie. Neither station is perfect—Y108 is not immune to Nickelbackitis, and The River still dusts off its Jewel albums—but at least they understand that just because I came of age in the 1980s doesn’t mean I only want to hear music from then.) If a complementary mix of old and new can play in these proverbial Peorias, what are our radio stations so afraid of? Radio is, of course, an inherently conservative of medium, but in the case of artists like Feist, Bon Iver and The National, the market research has already been done, in the form of those prime-time TV appearances, sold-out concert-hall tours and high-profile ad placements—what more do they have to do to prove they have mass appeal? And why are our commercial rock stations so convinced that their listeners aren’t among the thousands of Torontonians going to see them play this week? Maybe I’m naive, but I find it hard to believe that a Joni Mitchell or Neil Young fan would immediately tune out upon hearing a Feist song on Q107, but will eagerly keep it locked on for another spin of .38 Special or Styx. Speaking purely from a business standpoint, what’s the bigger risk for a commercial radio station: following up a song that a listener loves with a similar-sounding one they don't know, or one that they’ve always despised?
We need to start making our voices heard to stop this state of affairs, now, and make it clear that the airwaves belong to everybody, not just pop stars 'singing three minute songs about the moon and June' as Marvin Gaye once said when interviewed about why he recorded What's Going On.
Re: RIAA, FBI, and college- Guilty until Proven Innocent
Why the frack did you pirate a Taylor Swift song if you hate her music?
BTW, there's a way to get songs without downloading from P2P/file swap services; download the song off of YouTube, and then convert it to an MP3 (or just download the song as an MP3). There are browsers that will let you do that, like Torch and Opera (Opera has the app for said MP3 YouTube downloads).
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re: Re: If you keep on idolizing libertarian assholes like Snowden and Greenwald
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re: Re: Re: Re: If you keep on idolizing libertarian assholes like Snowden and Greenwald
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re: Re: Re:
Why do you believe this nonsense? Are you aware that this makes the left no better than the right?
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re: Re: If you keep on idolizing libertarian assholes like Snowden and Greenwald
http://www.thepeoplesview.net/p/search.html
On the post: Sheriff's Deputy Fired For Harassing Journalist Taking Photos Of An Arrest On A Public Street
Re: COPture, Police Policer, Rap-App, Bust Trust.....
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re:
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
Re:
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
There are no puppets or puppateers
On the post: Snowden's Lawyer Interrogated By UK Authorities At Heathrow Airport
If you keep on idolizing libertarian assholes like Snowden and Greenwald
On the post: Sheriff's Deputy Fired For Harassing Journalist Taking Photos Of An Arrest On A Public Street
We need what they've got in Japan as far as training of cops is concerned...
Law enforcement in Japan-Conditions of service
On the post: NY Times Argues, Forcefully, That The US Should Offer Snowden Clemency
Re:
Removal from office for politicians for not going on the word of a whiny crybaby's so-called 'revelations?' Good luck with that.
The emotarian left is barking up the wrong tree on this, and taking good people with them to the gutter.
On the post: NY Times Argues, Forcefully, That The US Should Offer Snowden Clemency
Re: Re:
President Obama Slays Edward Snowden's "Whistleblower" Myth
The Plot Thickens on Edward Snowden's Sino-Russian Love Affair
A few thoughts on Snowden, Greenwald, and the NSA
In 2009, Ed Snowden said leakers “should be shot.” Then he became one
On the post: Oh Look, Hollywood Had Yet Another Record Year At The Box Office
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Why pay for compressed video when you can see a great file that somebody made taken from a HD master that looks and sounds better?
On the post: Chicago Sandwich Shop Emails Employees On Dec. 23rd To Say Merry Christmas And You're All Fired
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On the post: Four-Star General Screams At Reporter Working On Snowden Documents
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On the post: NSA Gave RSA $10 Million To Promote Crypto It Had Purposely Weakened
Re: Re: I hate to break it to everybody about Snowden, but
On the post: NSA Gave RSA $10 Million To Promote Crypto It Had Purposely Weakened
Re: Re: I hate to break it to everybody about Snowden, but
On the post: The Future Of Music Business Models (And Those Who Are Already There)
Re:
For my part, I buy my CD's and DVD's as much as I can (including purchases from iTunes), but there are sometimes when I can't always buy songs legally, and have to download-I do this by using YouTube to make a copy of the song, then using another program to make an MP3 out of it. I do this because money's tight, and I have to eat.
The REAL problem I see here is that of radio and how it won't expose any new artists (that aren't pop), and until radio (in North America) is re-regulated back to the degree that it used to be (only one station can be owned by one company in a certain market) and with what used to be the definition of a radio station brought back (live DJs that knew music and played it instead of computers that have music stored on big hard drives), artists that aren't pop tarts like Katy Perry/Justin Bieber/Rhianna/Drake will have to jump through the hoops that you described.
This was said quite a while ago, and applies now:
Toronto’s mainstream rock radio should
be more mainstream
We need to start making our voices heard to stop this state of affairs, now, and make it clear that the airwaves belong to everybody, not just pop stars 'singing three minute songs about the moon and June' as Marvin Gaye once said when interviewed about why he recorded What's Going On.
On the post: The Future Of Music Business Models (And Those Who Are Already There)
Re: RIAA, FBI, and college- Guilty until Proven Innocent
BTW, there's a way to get songs without downloading from P2P/file swap services; download the song off of YouTube, and then convert it to an MP3 (or just download the song as an MP3). There are browsers that will let you do that, like Torch and Opera (Opera has the app for said MP3 YouTube downloads).
On the post: GCHQ, NSA Spied On Known Terrorist Haven... UNICEF
Pardon me for asking
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