In theory, it makes a lot of sense to combine the two operations, especially on the back end. But merging the two actual portal consumer experiences into a unified site will be a nightmare.
Popularity is the product of two factors: (a) how compelling material you offer, and (b) how easy it is to access it. Host free pirated movies and users will flock to the site, even if it's difficult to use.
Stonehenge had an aura but it was also just stone. Then in the sixties, it became a great hedonistic, hippie, druid, rock-n-roll party site. There are amazing pictures of people up on the stones going wild and that's the image I recreated for my model of the project: full access to everyone. I even invented a Stonehenge soccer team that uses spaces between the stones as goals.
We started out on the Internet, so I've been reading what people had to say about stuff since we were getting mean comments on iFilm, before we even had our site going. People are really, really rough on the web - that's their right, that's the whole point of it - but sometimes it can be a little bit brutal.
If a company is distributing images and video then obviously they need bandwidth solutions. But if they are looking to the mass market then they must develop WAP sites.
Downwinders, meaning those people, individuals, communities that were downwind of the nuclear test site. During those years when we were testing atomic bombs above ground, when we watched them for entertainment from the roofs of our high schools, little did we know what was raining down on us, little did we know what would appear years later.
What I had said in the morning was that this is what we know has happened, but there has been no significant off-site release. Only to find out moments later that, in fact, there had been an off-site release. I still haven't gotten over that.
The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.
When I first went on [Facebook], I found there were five or six Creed Bratton sites. It was all over the place. I had to compete with other people saying they were me. It was nuts, so this is nice that people know that if they're gonna send something to me, I'm gonna be with my weird little mind looking at what they have to say. And what they're seeing is actually me.
The biggest journalistic game-changer of our time has been the rise of social media and the overgrowth of faux news sources - league- and team-sponsored blogs, player tweets, fanboy sites, rumor mills - churning bits of information and speculation into a clattering fog storm. Who will cut through the drivel and whim-wham to tell us what's really going on?
We want to shut down the day laborer site. This day laborer site undermines and violates federal immigration law, and it can't go forward.
I find it hard to think of myself as selling books. I don't even have a Web site. I want to sit and write, not sell.
People enter Web sites hoping to be led somewhere, hoping for a payoff.
A Web site that promotes flow is like a gourmet meal. You start off with the appetizers, move on to the salads and entrees, and build toward dessert. Unfortunately, most sites are built like a cafeteria. You pick whatever you want. That sounds good at first, but soon it doesn't matter what you choose to do. Everything is bland and the same.
The online musical universe has become Balkanized, with many sites focusing on minute niches. That works well for reaching very specific demographics, which is wonderful for advertising, but it flies in the face of the common wisdom that people's tastes have become more diverse as music of any description has become a mouse-click away.
The great thing about Ticketmaster is that it's seen as the comprehensive site for ticketing, artist information, venue information. We're a marketing platform, not just a technology platform, and we're going to build on it.
I was one of the first artists to have a YouTube account, if not the first. I joined two months after the site launched.
I think we're proving ourselves as we go along. The past several months our strategy has been evolutionary - making maximum advantage of our client browser, as well as our enterprise software for people who want to build Web sites.
You don't let a historic site rot.
Pre-teens, teens and college students have unlimited access to the Internet - 24 hours a day, seven days a week. Because of the repeated exposure they have to illegal Internet gambling sites, they fall victim by the thousands.
Instapaper does support paywall sites. I have a list of them, that when someone saves something it sends a copy of the page as they are viewing it only to them. If you subscribe to a paid site, you can save the content. I'm not really touching the money.
It's creepy to see fan sites about me.
To me, the biggest surprise is that Google still functions despite the explosion in the number of sites.
I was dishwasher, then promoted to chef in a local kitchen in a restaurant in Seattle, and I was working on a building site as well, putting in insulation and painting houses, and then doing some classes at a community college nearby.
No, I got my web site going and said I have the record out. People were just falling on the floor - they couldn't believe it - after all that time. You know, it wasn't a compilation, it was new songs.
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