I found this on the internet: Good ol’ CSS
I accidentally typed this:
paddin-top: 25pxI noticed the error and, before I could think about it for too long, my fingers changed it to:
paddin'-top: 25px

I found this on the internet: Good ol’ CSS
I accidentally typed this:
paddin-top: 25pxI noticed the error and, before I could think about it for too long, my fingers changed it to:
paddin'-top: 25px
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This article is really good you guys.
Funny thing about decades: There are never really where they should be. People may say 50s and they don’t mean 50 to 59. They mean that time after the war where every body was happy in suburbia drove around in cars with big fins, and they listened to the beach boys, and mowtown coming out in the jukebox in diners. Its basically 1946 to 1963. Sure Mowtown started in 1959 but you cant run a 50s diner with out it, and The Kennedy family so embodied the happy 50s that they had to shoot him in order to end the decade. In reality things had been wrong all along.
Go read the whole thing.
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I found this on the internet: Beschizza’s Law
Beschizza‘s Law: “Any sufficiently advanced reality is indistinguishable from Photoshop.”
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I found this on the internet: Tracking the Hits Along the Musical The Long Tail
Summary of Billboard’s analysis:
- As more digital albums are released, the more popular titles lose market share to the less popular titles. In other words, demand has shifted from the hits to the niches. The head (what Anderson would call the top 5,000 titles) has lost market share to the tail (all other albums). The head accounted for 77% of digital album sales in 2005. By 2008, the head’s market share had steadily dropped to 65%.
- Sales of digital albums have become less hit-oriented while digital tracks have become slightly more hit-oriented. The top 200 digital albums have accounted for a smaller share of total digital album sales since 2004. In contrast, the top 200 digital tracks’ share of total sales has nudged upward during that time period.
- Sales of individual tracks (those purchased independently, not as part of an album) account for the majority of digital music purchased in the U.S. Individual tracks accounted for 57% of all digital music sold in 2008 (assuming 12 tracks per album).
- In any given week, the top 200 digital tracks account for nearly one in four track purchases. To put that in context, Amazon.com’s MP3 store currently lists 9.99 million tracks. So, the top 200 tracks represent only 0.002% of what a large download store stocks.
- Even titles in the tail (below #5,000) have lost some market share recently. In 2008, the top 8,000 digital albums lost market share to lower-ranked albums. But it wasn’t the best-selling albums that suffered the most. Albums ranked from #200 to #800 suffered the biggest drop in digital album market share from 2004 to 2008 – between 25% and 34%
- While lower ranks have gained market share over the years, any one title has not gained much. For example, an album ranked at #9,000 in 2008 sold about 1,050 digital albums. Less than 100 of those units can be attributed to gains in market share over the previous four years.
An expanded version of this story first appeared at billboard.biz.
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I found this on the internet: How to lose an argument online
- Have an argument. Once you start an argument, not a discussion, you’ve already lost. Think about it: have you ever changed your mind because someone online started yelling at you? They might get you to shut up, but it’s unlikely they’ve actually changed your opinion.
- Forget the pitfalls of Godwin’s law. Any time you mention Hitler or even Communist China or Bill O’Reilly, you’ve lost.
- Use faulty analogies. If someone is trying to make a point about, say, health care, try to make an analogy to something conceptually unrelated, like the space shuttle program, and you’ve lost.
- Question motives. The best way to get someone annoyed and then have them ignore you is to bypass any thoughtful discussion of facts and instead question what’s in it for the person on the other end. Make assumptions about their motivations and lose their respect.
- Act anonymously. What are the chances that heckled comments from the bleachers will have an impact?
- Threaten to take action in another venue. Insist that this will come back to haunt the other person. Guarantee you will spread the word or stop purchasing.
- Bring up the slippery slope. Actually, the slope isn’t that slippery. People don’t end up marrying dogs, becoming cannibals or harvesting organs because of changes in organization, technology or law.
- Go to the edges. This is a variant of the slippery slope, in which you bring up extremes at either end of whatever spectrum is being discussed.
Click through to see what you should do.
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I found this on the internet: Hey guys, check out my fancy unboxing video of the new Apple…
Magic Mouse unboxing from Marco Arment on Vimeo.
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I found this on the internet: Please Enjoy – The Work of Ji Lee
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Magical Wasteland recently discussed food in video games and may have accidentally summed up everything I loved about Oblivion—the emotional connections that are built over time and how they affect gameplay.. Here’s the ancedote from The Way to a Man’s Heart
If you missed Morrowind, one of the observations you make when starting The Elder Scrolls IV: Oblivion is the sheer number of discreet objects in the world. Every shelf is loaded with books and every table set with candles, plates and goblets, each of which can be picked up or taken. It occurs to you to proceed in the normal role-playing game way, gathering everything you can get your hands on, but it quickly becomes apparent that, much like the real world, most items are a burden to carry and basically worthless– certainly not worth the trouble of stealing them and reselling them later. So you spend most of the rest of the game not paying attention to these things, treating them as the background art they seem to be. It is probably only incidental that they can be moved and dropped like other, more important objects.
After dozens upon dozens of hours in combat against monsters and beasts in dank caves and crumbling stone ruins, you may realize you have earned enough money to purchase a house and furnish it (every major city has exactly one empty house, each of which which charmingly remains on sale until the player buys it). I was not particularly in the market for a home– there is no real gameplay-facing benefit for owning one– but I decided to do it anyway because I had more or less played the rest of the game to exhaustion.
But when I walked inside my new house, I saw it all completely differently– for there was my stout wooden table, lit in a warm amber glow, and my food: a loaf of rustic bread and a wheel of artisan cheese accompanied by a bottle (or two) of country wine. I experienced for a brief moment a kind of domestic reverie, of the sort that furniture sellers live or die by their ability to enkindle within us, imagining the simple, elegant lifestyle that we are tempted to believe lies just a couple more purchases away. I sat down– another feature of the game completely useless up until this point– and simply admired the scene for several moments, Jeremy Soule’s tranquil strings floating over the top. I might have even taken a deep breath in real life, a kind of contented sigh– even though I could not actually eat any of it, and the wine, I knew, would only debuff me.
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