As someone who works in many facets of the music industry, I used to seethe with a mixture of anger and jealousy when I would hear people in more “traditional” goods-based industries argue in favor of music content-based piracy. They made all the classic talking points, like “I wouldn’t spend money on this artist normally, and maybe if I like it I’ll spend money on them when they come to town” (which never happened), or “artists are rich and I’m poor, they don’t need my money” (rarely the case), or the worst, “if it were fairly priced and worth paying for, I’d buy it” (not true).  I always wondered if they’d have the same attitude if 63% of the things acquired by customers in their industries weren’t actually paid for, as was conservatively estimated as the case for the music industry in 2009 (other estimations put the figure of pirated music at 95%). Well, we may soon see the answer to curiosities like that. Though one can say with tentative confidence that music piracy is on the decline thanks to services like Spotify and Rdio, it could be looming on the horizon for the entire global, physical supply chain. Yes, I’m talking about 3d printers.

Before I get into the heart of this article, let me take a moment to make one thing clear: I think these machines are incredible. It’s damn near inspiring to think of even a few of their potentially world-changing applications: affordable, perfectly fit prosthetic limbs for wounded servicemen and women; the ability to create a piece of machinery on the spot instead of having to wait for a spare to arrive in the mail, or en route if your car or ship breaks down in a far away place; a company based out of Austin, TX even made a fully functioning firearm from a 3d printer a few months ago.

If these machines become as consumer-friendly and idiot-proof as possible (like computers), it’s possible that in a matter of decades (maybe less), a majority of U.S. households will have their own 3d printer. There’s also the possibility they could take the tech-hobbyist path, one that is much less appealing to the masses. Dale Dougherty of Makezine.com estimates there are currently around 100,000 “personal” 3d printers, or those not owned for business or educational purposes. I don’t think they’ll ever be as ubiquitous as computers, but there are plenty of mechanically inclined, crafty hobbyists out there who would love to play around with a 3d printer if it was affordable enough.

That being said, is there reason to worry about the economic implications of consumers making what they want, essentially for free, instead of paying someone else to produce it? Or will the printers instead be used for unique items more so than replicating and ripping off other companies’ merchandise in mass amounts? The number of people working in industries that would be affected by a development like this is far greater than the number of people who work in content-based industries, so any downturn would probably have a much larger economic implications. Certainly, those times are a ways off, but a little foresightedness never hurt anyone!

It’s the eternal conundrum of a hiring manager – you have to hire for every single position in the company without any first-hand experience. How to do it? If you can have a trusted programmer sit in on the interview, that’s ideal, of course. But what if you’re hiring your first programmer? Or what if you’re hiring a freelancer? Or what if company policy dictates that you’re the only person allowed to do the interviewing? Well, in that case, you need some helpful advice and your innate bullshit detector. We questioned programmers and hiring managers and compiled a list of dos and don’ts. Here are some things to ask when interviewing programmers:

Past Experience

Ask the programmer about the biggest disaster of his career so far, and how he handled it. Did he come in at midnight to fix the code? Was he unaware of the problem until someone brought it up? Did someone else handle it?  According to our programmer sources, “Anyone worth their salt has caused a major meltdown. If they say they haven’t, they’re lying. Or very, very green.” Pushing a code with bugs in it isn’t necessarily bad. Not handling it well is bad.

As usual, your biggest asset is not knowing the field, it is knowing people. Asking about career disasters can be uncomfortable, but if the interviewee is experienced and honest then she won’t have a problem telling you about it, and you will get an idea of how she handles mishaps. Even if you don’t understand what the disaster was or how it was fixed, you should be able to tell how honest she’s being and how she handles being put on the spot.

There has been and continues to be a plethora of observational studies by different researchers in the publishing industry focused on how e-books have affected hard-copy book sales. Evidence from these studies has indicated that there is a significant and monumental shift away from hard-copy books to e-books.[1]These findings precipitate fears that hard-copy books might become more expensive in the near future as they begin to be less available.  This scenario could escalate to the point where only collectors of hard-copy books are willing to pay the high price for ownership.

The founder of Amazon, Jeff Bezos, made a statement in July 2010 that sales of digital books had significantly outstripped U.S. sales of hard-copy. He claimed that Amazon had sold 143 digital books for its e-reader, the Kindle, for every 100 hard-back books over the past three months. The pace of this change was unprecedented;  Amazon said that in the four weeks of June 2010, the rate of sales had reached 180 e-books for every 100 hard-backs sold. Bezos said sales of the Kindle and e-books had reached a "tipping point", with five authors including Steig Larsson, the writer of Girl with a Dragon Tattoo, and Stephenie Meyer, who penned the Twilight series, each selling more than 500,000 digital books.[2] Earlier in July 2010, Hachette said that James Patterson had sold 1.1m e-books to date.

According to a report made by Publishers Weekly, for the first quarter of 2011, e-book sales were up 159.8%; netting sales of $233.1 million. Although adult hard-cover and mass market paperback hard-copies had continued to sell, posting gains in March, all the print segments had declined for the first quarter with the nine mass market houses that report sales. Their findings revealed a 23.4% sales decline, and that children’s paper-back publishers had also declined by 24.1%.[3] E-book sales easily out-distanced mass market paperback sales in the first quarter of 2011 with mass market sales of hard-copy books falling to $123.3 million compared to e-books’ $233.1 million in sales.

According to .net sales report by the March Association of American Publishers (AAP) which collected data and statistics from 1,189 publishers, the adult e-Book sales were $282.3 million in comparison to adult hard-cover book sales which counted $229.6 million during the first quarter of 2012. During the same period in 2011, eBooks revenues were $220.4 million.[4] These reports indicate a disconcerting diminishing demand for hard-copy books.