Sony Name Quotes

It starts between two suns Between dream and sleep Like a sigh after oblivion -The way you hold the night. It goes on in a kiss So many pains exchanged Like a song of compassion -The way you reveal my name. It ends In my body It ends In a shiver Where we remain only Two souls And, naturally, We recognize each other.

I write you from a miss A train station and a farewell I write from a seashell The wave, the trace of its kiss I write you from a space A bud, under the light of spring I write you from a ruin This red flower, in my chest I write you to say a silence (The world is just an appearance) I write you from the shadow From oblivion, you remember? I write you from a misty window Your name, of breath and letters I write you from my soul This fire, and this scream I write you to talk about me This emptiness, embraced between your arms -and for all that is missing Another one will be saying.

It's a wonderful feeling to have a friend who defends your name in your presence and in your absence too.

But the Clash as a performing band, either live on-stage, or back together in the studio: that can never happen again. It was hard enough to envisage a Clash without Mick Jones in 1983, but it is impossible to envisage one without Joe Strummer now or at any time in the future. Even if the other members of the band do get back together, and they (or Sony) choose to use the name, it won't be the Clash. Joe Strummer is dead, and irreplaceable. That's it, now. From here to eternity.

Every Pirate Wants to Be an Admiral IT’S NOT AS though this is the first time we’ve had to rethink what copyright is, what it should do, and whom it should serve. The activities that copyright regulates—copying, transmission, display, performance—are technological activities, so when technology changes, it’s usually the case that copyright has to change, too. And it’s rarely pretty. When piano rolls were invented, the composers, whose income came from sheet music, were aghast. They couldn’t believe that player-piano companies had the audacity to record and sell performances of their work. They tried—unsuccessfully—to have such recordings classified as copyright violations. Then (thanks in part to the institution of a compulsory license) the piano-roll pirates and their compatriots in the wax-cylinder business got legit, and became the record industry. Then the radio came along, and broadcasters had the audacity to argue that they should be able to play records over the air. The record industry was furious, and tried (unsuccessfully) to block radio broadcasts without explicit permission from recording artists. Their argument was “When we used technology to appropriate and further commercialize the works of composers, that was progress. When these upstart broadcasters do it to our records, that’s piracy.” A few decades later, with the dust settled around radio transmission, along came cable TV, which appropriated broadcasts sent over the air and retransmitted them over cables. The broadcasters argued (unsuccessfully) that this was a form of piracy, and that the law should put an immediate halt to it. Their argument? The familiar one: “When we did it, it was progress. When they do it to us, that’s piracy.” Then came the VCR, which instigated a landmark lawsuit by the cable operators and the studios, a legal battle that was waged for eight years, finishing up in the 1984 Supreme Court “Betamax” ruling. You can look up the briefs if you’d like, but fundamentally, they went like this: “When we took the broadcasts without permission, that was progress. Now that someone’s recording our cable signals without permission, that’s piracy.” Sony won, and fifteen years later it was one of the first companies to get in line to sue Internet companies that were making it easier to copy music and videos online. I have a name for the principle at work here: “Every pirate wants to be an admiral.

I want to make of your life a monument For the days you lingered in sadness With high towers and wide gardens With stones engraved and carved marble For our names illustrated as immortal souls For your joy constantly reflected in my joy.

During the bust, fuckedcompany.com—a snarky twist on the technology magazine Fast Company—became popular with the tech crowd. As its name suggested, Fucked Company logged the era’s many misadventures. Several X.com employees remembered browsing Fucked Company daily during this period—not out of schadenfreude, but out of fear that they might be next. That Confinity and X.com didn’t end up in the Valley’s discard bin was attributable to a number of factors, not least that it had enough runway to ride out a rocky year. “Back then, there were probably five to seven other little piddling online money moving services… that just got starved of oxygen over time. And they all died out by the fall,” said Vince Sollitto. Former employees point to the $100 million round’s timing as a watershed for PayPal. “I don’t think people know how precarious it was,” Klement offered. “If we hadn’t raised that $100 million round, there would be no PayPal.” Mark Woolway extended the counterfactual: “If the team hadn’t closed that one hundred million,” Woolway said, “there would be no SpaceX, no LinkedIn, and no Tesla.

Egg had picked up some of the cards from the table and was looking at them affectionately. “Master Bun, the baker’s son—I always loved him. And here’s Mrs. Mug, the milkman’s wife. Oh, dear, I suppose that’s me.” “Why is that funny picture you, mademoiselle?” “Because of the name.” Egg laughed at his bewildered face and then began explaining. When she had finished he said: “Ah, it was that that Sir Charles meant last night. I wondered…Mugg—ah, yes, one says in slang, does one not, you are a mug—a fool? Naturally you would change your name. You would not like to be the Lady Mugg, eh?” Egg laughed. She said: “Well, wish me happiness.” “I do wish you happiness, mademoiselle. Not the brief happiness of youth, but the happiness that endures—the happiness that is built upon a rock.

Over the coming months, a feeding frenzy ensued, with pieces in the Chicago Tribune and Newsday, and on National Public Radio giving voice to former members willing to talk about its abusive practices. CNN aired a segment on Opus Dei as part of a series it was doing on secret societies, with host Anderson Cooper hearing from a former numerary assistant who talked about the “cult-like” practices of life within the prelature. To make matters worse, Sony Pictures acquired the rights to turn the book into a film. Bohlin wrote an angry letter, demanding a meeting with the studio’s head of motion pictures and requesting that the name of Opus Dei not be used. The request fell on deaf ears.

But in 1947, an American working in Japan turned that thinking on its head. His name was W. Edwards Deming, and he was a statistician who was known for his expertise in quality control. At the request of the U.S. Army, he had traveled to Asia to assist with planning the 1951 Japanese census. Once he arrived, he became deeply involved with the country’s reconstruction effort and ended up teaching hundreds of Japanese engineers, managers, and scholars his theories about improving productivity. Among those who came to hear his ideas was Akio Morita, the co-founder of Sony Corp.—one of many Japanese companies that would apply his ideas and reap their rewards. Around this time, Toyota also instituted radical new ways of thinking about production that jibed with Deming’s philosophies.

Although his focus was on the Macintosh, Jobs wanted to create a consistent design language for all Apple products. So he set up a contest to choose a world-class designer who would be for Apple what Dieter Rams was for Braun. The project was code-named Snow White, not because of his preference for the color but because the products to be designed were code-named after the seven dwarfs. The winner was Hartmut Esslinger, a German designer who was responsible for the look of Sony’s Trinitron televisions. Jobs flew to the Black Forest region to meet him and was impressed not only with Esslinger’s passion but also his spirited way of driving his Mercedes at more than one hundred miles per hour.

In the name of love, many people let their partners control them.

People talk a lot about having self-love, caring just for yourself, and ensuring you are happy ultimately because everyone is selfish. Sadly the term self-love, my life, and my rules have become a justification for people to use others and then cut off with them in the name of self-love.

My mother - Contained God itself A tarnished look of pain A hand clutching her heart A love we can not name A fog or a smoke An infinite thirst for life (But the wing is dead under the frost.) My mother - Is an uncertain form She gets lost when she walks And we sit in the valley And I shelter her to my love My mother Is a broken sky That exhales day and night Its beauty. My mother - Is the scent of a hundred roses And the suffering of so many things My mother Is no more than a dream - I suppose Of those who are said lips closed And behind her veil She sleeps - my mother - And her star Do not doubt anymore of its light.

The tree birds fill the air With their song And the roses intoxicate the rivers With their fragrance And From the lonely spot Where I stand I hear all the nature calling Your name And The feeling of being two -is tasted as one.

A few months later, Sandler got word that Netflix, newly interested in movies, had set its sights squarely on him. Using data gathered from Sony movies that Netflix had played through its Starz deal, Sarandos’s team knew that even as his box-office power waned, Sandler remained one of the most popular stars on the streaming service. His aging audience might be less likely to pay to see him in a theater, but they still loved laughing at his antics at home. “We knew he was popular in markets where his movies had never even opened,” Sarandos said. The mid-budget star vehicle, in other words, still worked great for Netflix. When people went to theaters, they preferred brand-name franchises. But when they were browsing for something to stream rather than pay fifty dollars for a night out, a familiar face doing the familiar shtick was perfect. Movies without massive visual effects were just as enjoyable at home, after all, if not more so. And if the stars had chosen to stretch their wings and you didn’t like the movie you clicked on, you could turn it off immediately. You lost a little bit of time, but not any money. And though there may not be as many fans of Adam Sandler, or any movie star, as there used to be, that didn’t necessarily matter to Netflix. All studios care about is how many people buy tickets or DVDs. They get their money whether you loved the movie or hated it. But Netflix measures success by how many people finish a movie and are satisfied enough to keep subscribing as a result, or who sign up just in order to watch it. Adam Sandler’s fan base may have shrunk, but those who remained were loyal and they were global—just what Netflix wanted. Additionally, Netflix wouldn’t have to spend millions of dollars on billboards and TV ads to market each film. Its algorithm would prominently suggest each Sandler movie to his fans on their home screen the moment it was available.

Consider the experience of buying a stereo system, as conveyed by Shane Frederick, Nathan Novemsky, Jing Wang, Ravi Dhar, and Stephen Nowlis in an aptly named paper, “Opportunity Cost Neglect.” In their experiment, one group of participants was asked to decide between a $1,000 Pioneer and a $700 Sony. A second group was asked to pick between the $1,000 Pioneer and a package deal where for $1,000 they could get the Sony plus $300 to be spent only on CDs. In reality both groups were choosing between different ways of spending that $1,000. The first group chose between spending all of it on a Pioneer or spending $700 on a Sony and $300 on other things. The second group chose between spending all of it on a Pioneer or spending $700 on a Sony and $300 on music. The results showed that the Sony stereo was a much more popular choice when it was accompanied by $300 of CDs than when it was sold without them. Why is this odd? Well, strictly speaking, an unconstrained $300 is worth more than $300 that must be spent on CDs because we can buy anything with the unconstrained money—including CDs. But when the $300 was framed as being dedicated to CDs, the participants found it more appealing. That’s because $300 worth of CDs is much more concrete and defined than just $300 of “anything.” In the $300-for-CD case we know what we’re getting. It is tangible and easy to evaluate. When the $300 is abstract and general, we don’t conjure up the specific images of how we’re going to spend it, and the emotional, motivational forces on us are less powerful. This is just one more example of how when we represent money in a general way, we end up undervaluing it compared to when we have a specific representation of that money.1 Yes, CDs are the example here, which nowadays is like thinking about the gas efficiency of a stegosaurus, but the point remains: People are somewhat surprised when we simply remind them that there are alternative ways to spend money, whether it’s on a vacation or on a pile of CDs. That surprise suggests that people don’t tend to naturally consider alternatives, and without considering alternatives, we can’t possibly take opportunity costs into account. This tendency for neglecting opportunity costs shows us the basic flaw in our thinking.

ALL RIGHTS RESERVED. No part of this book may be used or reproduced in any matter whatsoever without the written and signed permission of the author. All trademarked names are the property of their owner and are acknowledged by the proper use of capitalization throughout. OTHER ‘Game on Boys’ BOOKS Available on Amazon as eBooks or print books Game on Boys 4 can be read separately or part of a series FREE ebook Game on Boys 1:The PlayStation Playoffs(8-12) Game on Boys 2 : Minecraft Madness (8-12) Game on Boys 3 : NO Girls Allowed Game on Boys 5 : House of Horrors Game on Boys 6 : Galactic Zombie Other books by Kate Cullen FREE Diary Of a Wickedly Cool Witch : Bullies and Baddies(8-13) Boyfriend Stealer : Diary of a Wickedly Cool Witch 2 (8-13) Diary of a Wickedly Cool Witch 3 : Perfect Ten (8-13) Diary of a Wickedly Cool Witch 4 : Witch School for Misfits Lucy goes to the Halloween Party (Early readers) Lucy the Easter Dog (Early readers) Lucy's Merry Christmas Sammy McGann and the Secret Soup People (5-10) Follow KATE on TWITTER at Kate Cullen @ katekate5555 Or email gameonboysseries@gmail.com to receive email updates. (Copy and paste) Or visit her website for new books and giveaways Kate Cullen author website Contents 1. Wow 2. BYODD 3. Secrets 4. News 5. Brats 6. Santa 7. Wishing 8. Blocky 9. Monsters 10. Wolverine 11. Creepy. 12. Arachnophobia 13. Fartblaster 14. Superhero 15. Enderman 16. Teleporting 17. Lost 18. Potions 19. Scared 20. Spells 21. Fireworks 22. Homecoming 1. WOW You know how awesome Christmas is, and birthdays are sick as, Easter is just a big fat chocolate splurge, and even Thanksgiving is like pig-out insanity. Weekends are kinda cool too, but holidays are totally far out man. And when a new PS game comes out and they have a midnight release extravaganza at the game store, it’s like crazy time, coolness overload. All these things are the main reason I exist on this earth. Without all this stuff, life would just SUCK big time. But nothing, I repeat NOTHING comes close to the Christmas I just had. WOW! I repeat WOW! Where do I even start? This Christmas was a like a dream come true. Actually it was sort of like a nightmare too, if that makes any sense. A dream and a nightmare mixed up into one. Totally far out man. Totally gobsmacking, totally awesome, but totally freaking scary. So you’re probably thinking like I won a million bucks or something and then got mugged, or the owner of Sony PlayStation company sent me 1000 free PS games, and then the house got robbed at gunpoint. Or even better, the owner made me the new boss of the Sony PlayStation company. Yeah right! Like that will ever happen! In my dreams!! Although, after what happened, I’m thinking that absolutely anything is possible. 2. BYODD The last day at school before Christmas break was awesome. We had a BYOD day in the afternoon. The first part of the day we had to do all the boring Christmassy stuff like making soppy cards for our families, coloring pictures of Santa and doing boring word searches looking for words like (DER) ‘Santa, Christmas, present, jingle, stocking’. Like BORING. Capital ‘B’ Boring. Why can’t Christmas word finds have proper Christmas words like, console, iPhone 6, PlayStation games, Star wars, BMX, Nerf Modulous Blaster, Thunderblast, Star Wars darth vader vehicle, lego Star Wars Death star?

The electronics effort faced even greater challenges. To launch that category, David Risher tapped a Dartmouth alum named Chris Payne who had previously worked on Amazon’s DVD store. Like Miller, Payne had to plead with suppliers—in this case, Asian consumer-electronics companies like Sony, Toshiba, and Samsung. He quickly hit a wall. The Japanese electronics giants viewed Internet sellers like Amazon as sketchy discounters. They also had big-box stores like Best Buy and Circuit City whispering in their ears and asking them to take a pass on Amazon. There were middlemen distributors, like Ingram Electronics, but they offered a limited selection. Bezos deployed Doerr to talk to Howard Stringer at Sony America, but he got nowhere. So Payne had to turn to the secondary distributors—jobbers that exist in an unsanctioned, though not illegal, gray market. Randy Miller, a retail finance director who came to Amazon from Eddie Bauer, equates it to buying from the trunk of someone’s car in a dark alley. “It was not a sustainable inventory model, but if you are desperate to have particular products on your site or in your store, you do what you need to do,” he says. Buying through these murky middlemen got Payne and his fledgling electronics team part of the way toward stocking Amazon’s virtual shelves. But Bezos was unimpressed with the selection and grumpily compared it to shopping in a Russian supermarket during the years of Communist rule. It would take Amazon years to generate enough sales to sway the big Asian brands. For now, the electronics store was sparely furnished. Bezos had asked to see $100 million in electronics sales for the 1999 holiday season; Payne and his crew got about two-thirds of the way there. Amazon officially announced the new toy and electronics stores that summer, and in September, the company held a press event at the Sheraton in midtown Manhattan to promote the new categories. Someone had the idea that the tables in the conference room at the Sheraton should have piles of merchandise representing all the new categories, to reinforce the idea of broad selection. Bezos loved it, but when he walked into the room the night before the event, he threw a tantrum: he didn’t think the piles were large enough. “Do you want to hand this business to our competitors?” he barked into his cell phone at his underlings. “This is pathetic!” Harrison Miller, Chris Payne, and their colleagues fanned out that night across Manhattan to various stores, splurging on random products and stuffing them in the trunks of taxicabs. Miller spent a thousand dollars alone at a Toys “R” Us in Herald Square. Payne maxed out his personal credit card and had to call his wife in Seattle to tell her not to use the card for a few days. The piles of products were eventually large enough to satisfy Bezos, but the episode was an early warning. To satisfy customers and their own demanding boss during the upcoming holiday, Amazon executives were going to have to substitute artifice and improvisation for truly comprehensive selection.

That summer, Harrison Miller and Bezos butted heads in front of the board of directors over the size of the bet on toys. Bezos wanted Miller to plow $120 million into stocking every possible toy, from Barbie dolls to rare German-made wooden trains to cheap plastic beach pails, so that kids and parents would never be disappointed when they searched for an item on Amazon. But a prescient Miller, sensing disaster ahead, pushed to lower his own buy. “No! No! A hundred and twenty million!” Bezos yelled. “I want it all. If I have to, I will drive it to the landfill myself!” “Jeff, you drive a Honda Accord,” Joy Covey pointed out. “That’s going to be a lot of trips.” Bezos prevailed. And the company would make a sizable contribution to Toys for Tots after the holidays that year. “That first holiday season was the best of times and the worst of times,” Miller says. “The store was great for customers and we made our revenue goals, which were big, but other than that everything that could go wrong did. In the aftermath we were sitting on fifty million dollars of toy inventory. I had guys going down the back stairs with ‘Vinnie’ in New York, selling Digimons off to Mexico at twenty cents on the dollar. You just had to get rid of them, fast.” The electronics effort faced even greater challenges. To launch that category, David Risher tapped a Dartmouth alum named Chris Payne who had previously worked on Amazon’s DVD store. Like Miller, Payne had to plead with suppliers—in this case, Asian consumer-electronics companies like Sony, Toshiba, and Samsung. He quickly hit a wall. The Japanese electronics