factor industrial

The story of Phillip Phillips

I don’t know if you guys know Phillip Phillips - he sang those songs “home” and “Gone, gone, gone”. I don’t know him that well but I like his songs. He was the winner of American idol and has since then got into a massive legal battle with 19 entertainment who produce the show and run the record label he is signed to as a result of winning (so like what Simon Cowell/Syco is to the X-factor/5H). 

I know we are talking about American idol here and not X-factor, but they are basically the same thing and this whole thing has everything to do with Fifth Harmony. In fact, the two shows are so similar that Simon Fuller (owner of American Idol) actually tried to sue Simon Cowell by claiming the copyrights to the X-Factor format, and as a result, Fuller is actually now a partner in the X-factor. Basically Simon Cowell worked with Simon Fuller on American Idol but then sneakily fucked off to produce his own show that did exactly the same thing lol. No wonder Fuller tried to sue him!

Anyway, in January 2015, Phillips started a legal battle to basically get out of his deal with his management. His management company was the same as his record company - all run by 19 entertainment. So basically, Simon fuller had set it up so that he can control and reap the benefits from everything in the winning act’s career (similar to what simon has done to 5H). Apparently 19 entertainment  “Manipulated” him into accepting jobs that didn’t benefit him and his lawyer said the contracts were "oppressive, fatally conflicted.“ . 

Some of the ridiculous agreements included being forced to perform for no money and literally not even knowing the title of his album before it was publicly announced!!!!. He claimed that 19 entertainment repeatedly withheld information regarding his career (I think we all know 5H have been in similar situations of being kept in the dark regarding their careers…)

Basically, before phillips actually won the show, he signed a contract with 19 entertainment that allowed them to govern his management, merchandising, recording and publishing. You can assume a similar deal with 5H - From what I understand, the X-factor also makes contestants sign with Syco before the show finishes, making them remain with syco for 3 months after the show finishes… And during those 3 months, Syco/Sony can decide whether they want to exercise their option of signing the act to a full-on record deal. So what I’m saying is that all the bullshit reality TV style contractual stuff that they are able to get away with in that format, probably still applies when they go into the full record deal. These things are set up so that the labels get a lot of passive rights (where syco get a percentage of everything the x-factor contestants do for years) and active rights (where they also get to control everything about the artists’ careers so that the label can benefit the most). Syco/sony still retain a ridiculous amount of control over the artist’s career - probably way more than a normal record deal.

Phillips tried to use the Californian Talent Agencies Act to void his contract with 19 entertainment. (It’s quite a technical thing thats not that interesting). 19 entertainment then tried to sue Phillips’ manager, basically for turning against them and ‘manipulating’ him into trying to get out of his contract. Then, also, in summer 2016 (after 19 entertainment went bankrupt lol) 19 entertainment tried to sue Phillips for millions because he wasn’t carrying on with his contractual obligations to them while the whole legal battle was going on. The latest article I saw on the story from the end of last year was predicting that the label would not been able to sue him because of their bankruptcy. However… I only skimmed through the articles so if you find some more updates on the story please let me know. 

The details aren’t really that important - the important points are that these reality TV shows that artists sign record deals off of are notoriously horrible. The contracts give the label active rights to control almost every aspect of the artist’s career. And even when Phillips tried to get out of his management contract, his new manager was hit with a poaching lawsuit, and he himself was hit with a 6 million dollar lawsuit. It literally took actual bankruptcy of the company for him to not get sued in this process. Usually getting into a legal battle with a label is suicidal - they just have so much more power, money and resources, and have usually covered their backs in iron-clad contracts. i think another really important point to take from this is what Phillips said about how his label treated him - that they repeatedly withheld information from him regarding his own career - that he didn’t even know his album title before the public did. i think this stuff is particularly relevant to 5H. The execs are pulling the strings and the artists are the puppets. At times the girls may know just as much as we do regarding their futures. I’m sure as a coping mechanism they’ve learnt to just roll with it and pick their battles.

Anyway I’m not sure on the latest details of the legal battle… I assume he legitimately managed to get out of his management contract in the end, but here is his twitter is you want to support him.

anonymous asked:

I have to apologize for another "job in the industry" question. I've been in the tech industry for about a decade though my focus is on distributed systems and security (crypto). I have a stable and well paid Silicon Valley job but it's not in the game industry. If I were to ask you if I should try for a game dev job what reasons would you give me for absolutely NOT working in the game dev? And is there a reason to join other than the love of games?

Why shouldn’t you work in the gaming industry? There are plenty of reasons.

1. You get paid much less than other industries

Part of the problem of a “cool” job is that developers (especially engineers) get paid a lot less than another software engineer of equivalent experience doing enterprise software. There’s one engineer I know who left my dev team to work on casino games and his salary was practically tripled. This isn’t a problem for most fresh-faced bushy-tailed newcomers to the industry, but if you’ve already got things like a mortgage, a family, and commitments, this might not be the career for you.

2. You may have to work a lot of hours

Crunch is very real. Due to the waxing and waning need of people for AAA development specifically, there will be times where you spend 10, 12, or even more hours at the office each day. Working weekends will be expected. Again, not a huge problem for newcomers, but very taxing on those with families and friends. After crunching for months on a project and finally shipping it, I once had to relearn how to cook for myself since I hadn’t done so for so long.

3. Volatility sucks

Most studios don’t plan more than a couple of years out at a time. Layoffs could hit after any project, even if the project does well.  There will always be a new project spinning up, and another one crashing and burning. As such, you may need to be on the lookout for a new job or a new opportunity. I was very recently updating my resume and I realized that I’ve shipped ten games with nearly as many studios. This is a bit above the norm, but really not as far removed as it should be. There are some industries and employers where you can plan to work for your employer until retirement. Video games is generally not one of those.

4. You won’t get to work on your own ideas for years unless you go indie

Unless you somehow climb the ranks at a meteoric pace, you probably won’t get the opportunity to write your own ticket for years. Any game developer needs to spend years earning experience, proving competence, and increasing the scope of his or her responsibilities. Only a very exclusive number of developers will ever be able to make his or her own ideas a reality. Most of the time, it’s being assigned tasks by the producers and doing them. Unless you decide to give up AAA development and work on an indie title, you’ll be working for them for years.

5. Somebody will always hate what you do

Games are public-facing. No matter what game it is or how good it is, there’s going to be a very loud group of people that will hate it. They will happily let you know as well - any decision you make to improve the game will be second-guessed and dismissed into oblivion. And they will park themselves firmly in your game’s official social media channels and continue to shout at you for as long as the game continues to be maintained. 99% of the time, they won’t know anything about the actual circumstances of things, but that won’t matter to them. Not that you’re allowed to talk to them anyway.

There’s a lot of practical reasons why someone wouldn’t want to work in games. It’s a nice idea, but reality is a harsh mistress. For many, the lower pay and the regular crunch are the primary factors in leaving the industry. It definitely takes a lot of dedication and passion to stay with game development as a career. There’s always a lot of people who want to get in, but the intersection of both passion and competence is not a very big number. Of those who might fit, the above reasons tend to drive many of them out as well. Game development is often thankless and draining. It certainly isn’t for everyone.

8

Today is not about the douchebag. Today I want to talk about something different. I want to talk a little bit about who Polaris is.

(I’m dedicating this to (Polaris) people from ComicVine such as LordOfAllHumans (and a few others) who say Polaris is not recognizable… sounds funny guys, yes, I know but that’s what the troll said.

So, who’s Polaris? Lorna Dane? Green-hair Mistress of Magnetism? Any relation? Any team affiliations? Any abilities?

Lorna Dane AKA Polaris the green-hair Mistress of Magnetism is an X-Men since day 1. Who also is Magneto’s daughter and has 1 sister, 1 brother, and with 4 cute nephews and nieces. And all have super, cool, awesome powers. Plus they are all mutants (and inhumans).

Is she recognizable? I mean, is that a question to the obvious answer? Check on the images I posted above me and ask yourself if she is. I say FUCK yeah she’s recognizable and very well known. She is the Mistress of Magnetism who can generate magnetic energy pulses, create force fields, manipulate the Earth’s magnetic field, and allow herself to fly. By concentrating, Polaris can perceive the world around her solely as patterns of magnetic and electrical energy. She can perceive the natural magnetic auras surrounding living beings as well (Ain’t this sounds familiar?). She has bright green hair, the first indication of her mutation (which mean……she still a mutant DUH!). 

Briefly in her history, Polaris lost her magnetism power, but gained the ability to absorb negative emotions from the environment and use it as strength, endurance, invulnerability, and the ability to temporarily increase her height and mass.She eventually lost these additional powers and her original magnetic powers returned.

By The Way, Team Affiliations are……………………

1) X-Factor (Serval Industries) (She was a Leader)

2) X-Factor Investigations (She was also a Leader)

3) Starjammers (Second-in-command)

4) X-Men

5) X-Factor (Second-in-command)

6) Defenders for a Day

7) The Twelve

8) Acolytes (as Magneto’s daughter she was prob Second-in-command)

9) Horsemen of Apocalypse

10) Marauders (also lead the team Second-in-command)

11) Hysteries (Fantastic Force)

12) Exiles Vol.2

13) Academy of Tomorrow

14) Shi’ar

15) House of M: Secret Wars (She was the focus of the story)

16) House of M: Civil War (second-in-command and also lead her own team)

17) The Six

18) The Mutant Liberation Front 

19) Islanders (Muir island)

20) Brotherhood of Mutants

And a few others that I can’t recall, but her majority teams was the X-Men and X-Factor……no question.

So, is she recognizable? I guess LordOfAllBullShit failed the trolling.

3D Printing

I work for a large industrial and technology conglomerate. The largest, actually. I’m the lead engineer and project manager of a department called “Advanced Additive Manufacturing,” which is just a fancy way of saying “new 3D printing technologies.” The brass at Corporate are positioning our company to be at the apex of the additive manufacturing industry within the decade, so my department is lucky enough to enjoy a budget that’s nearly unlimited; far more than we actually need.

I work under the company’s chief technology officer and report my team’s research progress directly to him. So far our progress has impressed Corporate. This has resulted in a relatively laissez-faire managing of me by the CTO. What I’m doing works for him, and, in turn, works for his bosses.

My small team is pushed hard, but they get rewarded. They know they’re on the bleeding edge of technology that will be a primary causal factor in the next industrial revolution. Of course, the satisfaction that comes with that knowledge is augmented by salaries far beyond what they’d be making at other companies or research firms. Despite pushing them hard, I refuse to let them work more than 10 hours each day. I figure they need to have lives outside of work; their productivity will surely decline the moment they feel their job is oppressive. The only issue with that is it forces me to put in very long hours every so often. Nevertheless, I don’t feel overwhelmed or burned out. My family is on the other side of the country so I don’t see them much anyway and all my friends work with me in other parts of the company. I love my job and I am completely happy doing it.

Keep reading

3

Today’s brief:

| Shelf + Pipe |


Image 1: I like the idea that this whole unit has only one fastener. The pipe at the top is secured to the wall and a specific height off the floor.


The angle of the pipe determines the angle of the cantilevered shelves. The pipe could be installed in the opposite direction too.


Image 2: The shelves would be fully adjustable in height. The wall behind them stops them from swinging out and potentially sliding down. To adjust, lift the left hand side of the shelf and lift or lower.


Image 3: Shelves are added by removing the leg which rests on the floor. Shelves could be varied in size, material or thickness, the hole for the pipe is the critical factor.

The first time I spoke to Jimmy Iovine, it was on a 5 a.m. conference call with my management team and the top guys at Apple. Earlier that day, Father’s Day to be exact, I had written a blog post criticizing Apple Music, the new streaming service Jimmy had worked tirelessly to create and cultivate. The ‘Apple Letter’ went viral. I remember thinking, ‘Jimmy Iovine must hate me right now.’ But to my surprise, the voice I heard on the other end of the phone was jovial and thoughtful. He told me that he thought those of us in the industry speaking up about this were right. Later on I would learn that Jimmy was one of the voices that advocated in my favor, and in favor of fairly compensating all music creators for Apple’s three-month free trial period.

“Since that day, I’ve gone on to work with Jimmy and [Apple Music original content director] Larry Jackson on a concert film of The 1989 World Tour. The brainstorming sessions and meetings about this project were electric, with ideas being shared and bounced around with such excitement. Jimmy is one of those rare people who is thrilled by doing what he does every day. His energy is contagious.

“I’ll never know what would’ve happened if Jimmy hadn’t been at Apple, factoring his industry knowledge, humility and generosity into the equation. But I do know this: Jimmy respects the people who make music, and in turn, has become one of the most loved and revered people in the music world.

— 

Taylor Swift for Billboard on Jimmy Iovine, favorite #Power100 Executive (x)

anonymous asked:

What do you think about "ship" culture? Can you please tell me your thoughts about this?! How idols and agencies deal wtih this - on and off air. And, also, talk about the gay factor on k-pop industry. Do you think that pretty much is just delusional or is a mecanism to disguise real relationships and the "real gay ones"(cause Korea isn't a supportive country). And if your bias is indeed gay, do you will fell betrayed?

  1. Shipping in K-Pop was originally about who was best friends with whom, at least if we were talking about intra-group relationships. That has changed rather dramatically to almost be an almost exclusively non-platonic relationship.

    I have no problem with shippers. Some of them think of it as a fun game. Others are adamant that certain ships are “real”, and that it is crucial to the identity of the idols in question since the supposed reality of these relationships would shine light on the individuals’ sexual preferences (where relevant)

    I occasionally mention ships or feign support of ships for the sake of comedy. In most cases, I just write 2ny or Yulsic instead of “Sunny and Tiffany” or “Yuri and Jessica” because I’m either being lazy or the twitter 140 character limit is scaring me.

  2. Put it this way. In an open country like the UK, the proportion of gay people is something in the region of 1 in 20 to 1 in 10. Generally speaking, looking at how the industry works in other conutries, the population of people in the entertainment industry tend to have a higher proportion of gay people than in the general population.

    Koreans are humans too. I can’t imagine that there are big exceptions. It isn’t just Hong Seokcheon and Harisu who are LGBT in there, and we all know it. Koreans just happen to either deny it or like to pretend it’s not a reality.

    Even without the statistics, there are gay people in the industry. Consider them to be closely-guarded, open secrets. Everyone stays quiet about people they know about because of bonds of friendship and solidarity. Press don’t out them until they absolutely have to.

  3. If my bias was gay, I wouldn’t feel betrayed at all. They owe nothing to me, as the service and love I volunteer is just that… a volunteer service.

    Whether male or female, that is an entertainer working in a country and in an environment where their very identity and existence is not accepted in public. How difficult it must be for them.

    Sure, some of them make a lot of money but the sacrifice they make, of selling themselves to do things. The frustration of knowing that they have to remain self-locked in the closet with no end in sight. The sheer terror they must feel of being caught, if they are genuinely in a relationship.

    If I had my way, I would give them the warmest hug that I could give, and I would do everything in my power to keep their secret from getting out.
10

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anonymous asked:

(1) Hi, I'd like to discuss a serious topic with u and I’d appreciate it if u don’t give me the ‘I don’t care’ attitude. I reckon u’ve been a fan of BB for as long as they existed. I wanna ask u, aren’t u tired of ur favorite group passing off the hook every fucking time they get a scandal? Daesung and G-dragon should be in jail for their crimes and that Seungri dude too for choking/abusing that girl and speeding.

Rest of the ask:

(2) If a girl group got into what BB did, they would be long dead, finished and exiled by now. Take T-ara for example, they did a lot less than what G-dragon ALONE did and they fell like a rock in the bottom of the ocean. While he’s still at the top of industry. Another close comparison is Bom from the same label, her drug scandal isn’t even confirmed but she’s forced to disappear and 2NE1 is facing disbandment. (3) While G-dragon who admitted using drug, which is a fucking crime, didn’t even reflect and BB came back stronger than before. BB doesn’t get half the hate those girls do. And it’s all because they don’t have the same genitals.If SNSD who’s at the same level of popularity as BB got into the same scandals, would they even survive?BB survive because they’re boys.

First of all, please do not make the whole thing about double standards, feminism and sexism. It’s really not.
I don’t deny that double standards are indeed a factor of the entertainment industry in South Korea. Male idols can get away with things female idols can’t. Besides, the public’s view of female groups is different than that of male groups.

That being clarified, Daesung was proven innocent by the police. The victim’s family pleaded the public to not hate him. Who are you to say he needs to be in jail? And Jiyong’s charges were dropped by the police too.

As for Seungri, please read the definitions of both ‘abuse’ and ‘consensual sex’ in the dictionnary. The girl didn’t even press any charges. She ran to rotten tabloids. Police wasn’t even involved in the whole thing. And I would take it upon me the responsibility of teaching you about something called, ‘Korean law’ where speeding doesn’t lead to jail. It’s a mere fine. He only hurt himself.

Back to ‘boys’ vs ‘girls’. I don’t follow either T-ara or 2Ne1 but I know of their issues. It’s not VIPs fault that T-ara’s fandom left them after the bullying scandal –which involved the WHOLE group not just one member or two. Their own fandom turned on them, became antis and started posting evidences against them. Their company made things even worse and they simply lost the public.

And let’s not talk about 2Ne1 because they haven’t made a comeback yet. That’s a poor comparison.

As for Girls Generation, do I even have to talk about this? They rely on their innocent, cute, nation’s fairies’ image. While BigBang hasn’t been on the ‘good boys’ side at all –even before their scandals. Girls Generation come from SM and that company can break and make idols in a second. Do you think they ‘care’ like YG? Well, of course they do care because Girls Generation bring them the most money, but will they let one of the girls break the innocent image they built for them? Nope, they would rather kick them out instead.
Another thing that differs BigBang from Girls Generation is their bond. After 2011, BigBang relationships solidified more than ever but I can’t say the same about Girls Generation. Their recent ‘kicked-out’ member scandal is a visible proof.

But since you’re so insistent about the double standards’ thing, let’s talk about IU. She’s a girl. She got one of the worst scandals. She’s still leading a successful career. Public post hate comments but they still follow her.

Which is the same for BigBang. Only on a higher scale. Because BigBang make quality music the public can’t ignore. No, they don’t afford to. BigBang lead an international success. Jiyong have relationships with famous icons. Korean public can’t afford to lose their national pride. So they would be listening to BigBang’s music while they’re typing their nasty comments.

They can hate all they want but that doesn’t stop BigBang from topping the charts and winning every award possible each time they drop anything.

BigBang’s music has a huge public recognition that no one can deny.

BigBang has a solid loyal fandom that backed them up through all of their scandals.

BigBang has a company that knows how to deal with them.

So any other group who went through what BigBang did wouldn’t survive whether they were males or females. It’s not about gender. It’s about your quality as a group. Super Junior was a strong group in Korea but after their numerous scandals –and other factors, the public deserted them even when their fans remained loyal.

‘BB doesn’t get half the hate those girls do.’

Umm, have we been living on the same planet ever since 2009 through 2011? Or are you a new Kpop fan? Because signing a petition to force Jiyong into suicide and holding signs with ‘murderer’ on them in front of the church Daesung was reflecting in, is hardly few things to mention.
BigBang past scandals still get mentioned in every article about them whether it was positive or not. Jiyong is forever a ‘drug addict’, Daesung is forever ‘fleeing’ from murder and Seungri will always ‘choke’ the girl next to him. They do get hate but it means nothing.

‘BB survive because they’re boys.’

Let’s change that to: BigBang survived because they shut people up with their music and hard work.

India's Film Industry: A $10 Billion Business Trapped In A $2 Billion Body

India has the largest democracy in the world. A huge and fast growing middle class. It makes more movies than any other country, 1,500 to 2,000 annually. And its people are famously fanatical about those movies and their movie stars. By almost any measure, India should be the world’s highest grossing territory in theatrical revenue.

So why does India’s movie industry gross only $2 billion per year at the box office?

That amount is just a fifth of North America’s gross, despite a population more than three times larger. Less than a third the size of China’s industry. Even less than Japan’s, which has one-tenth the population that India has and far fewer movie screens.

Here are six reasons why:

  1. India is severely under-screened. With just 1 screen per 96,300 residents, it is the world’s most under-screened major territory. The U.S., by contrast, has 1 screen per 7,800 residents. China, which until recently was even less saturated than India, has been on a cinema building binge and now has 1 screen per 45,000 residents. With such a deep shortage of movie theaters and screens, many of India’s fanatical movie fans are simply unable to see movies in the theater.
  2. India’s movie theaters are sub-par. More than 10,000 of the country’s 13,000 screens are single-screen cinemas. The economics of these theaters are inferior to modern multiplex cinemas, which can charge ticket prices that are double those of single-screen theaters. And because they can operate more efficiently, multiplexes can generate higher capacity yields and revenues per seat. India clearly has an infrastructure problem.
  3. India’s film economy is splintered into several regional industries. Unlike North America, China, and most major territories, where the vast majority of films are distributed in a single language, India makes and distributes films in more than 20 different languages. The regionalization, and linguistic politicization, of the country’s movie business saps its overall strength. Average production and marketing costs are higher and profits are lower than they would be if India’s film industry were more integrated.
  4. Ticket prices in India are too low. It’s true that India’s population is mostly poor, but that doesn’t fully explain why its movie ticket prices are among the lowest in the world. It has a middle class of between 50 million to 100 million people who can comfortably afford to pay much more than the average ticket price of 150 to 250 rupees (US$2.25 to $3.80). Government regulations keep prices in some regions artificially low; in Tamil Nadu, prices have been fixed at a maximum of 120 rupees (about US$1.80) for years, making film production and exhibition there a risky proposition.
  5. Taxes are too high. Unlike any other business in India, movies must pay both an Entertainment Tax, which would seem to classify them as a frivolous activity, outside the ambit of a necessary service, and they must also pay Service Tax, which implies they are necessary. Businesses in India are normally taxed as either one or the other, entertainment or service. But according to the tax collectors, Cinema is somehow, inexplicably, both. India’s tax treatment puts the cinema business in a financial chokehold.
  6. Piracy is rampant, and government-supported. Every train in India teems with hawkers selling illegal DVDs. The Railway Police, who are supposed to apprehend these pirates, will happily ignore them for a modest bribe. The government owned internet service provider, Bharat Sanchar Nigam Limited (BSNL), which controls and sells all the bandwidth, receives sizable data revenues from illegal movie downloads. The BSNL website even promotes illegal downloads, advertising how one can get free movies on the internet. According to a 2013 article in WIPO Magazine (the journal of the World Intellectual Property Organization) the Indian film industry loses around INR 18,000 crores (US$3.34 billion) and some 60,000 jobs every year because of piracy.

Taken together, these factors constrict India’s movie industry so that it functions at just a fraction of its full potential. With concerted action, especially by India’s government, most of these impediments could be addressed and removed, to free India’s cinema business to perform at the level it deserves. -Forbes