In the few remaining minutes before Firefox 3.5 storms its way around the world, I wanted to highlight two Firefox-related accessibility projects that are just getting under way, courtesy of special funding from the Mozilla Corporation. Both projects address key goals in the proposed Mozilla accessibility strategy. The first is a project by the Paciello Group to continue work they’ve previously been doing under Mozilla Foundation funding to make the Firebug developer tool more accessible, with a particular focus on the Firebug releases intended for use with Firefox 3.5. This work is complementary with related Firebug work by the University of Illinois Urbana-Champaign (funded by the Mozilla Foundation), with the overall goal being to integrate accessibility for web applications into the standard tools used by web developers (i.e., Firebug), as opposed to having accessibility testing confined to special accessibility-focused tools used by only a small subset of developers. ...

Given the extent to which Michael Jackson the person was crushed beneath the weight of Michael Jackson the commercial phenomenon, it’s sadly appropriate that his death should allow Sony Music Entertainment and eMusic to conduct a natural experiment in maximizing profits through price discrimination. Jackson’s death has rekindled interest in his music, to the point where Michael Jackson albums now dominate the charts at the iTunes Store and Amazon. As far as I can tell all the Michael Jackson digital releases on the iTunes Store are being sold at full-price; the same is true for Michael Jackson releases in MP3 format at Amazon. Individual Michael Jackson tracks range from $0.99 to $1.29 on both services. ...

My apologies for not passing this on earlier: Universidad Rey Juan Carlos in Madrid, Spain, is organizing a three-month course on Mozilla technologies in cooperation with the Mozilla Foundation and Mozilla Europe. The course is almost completely on-line, but it includes a one-week face-to-face “sprint” session in Madrid in July; students are welcome to apply for financial help with travel costs for the Madrid portion of the course. The course is open to international students and will be taught in English. You can find further information—including a course outline, important dates, FAQ, and a forum—at mozilla.libresoft.es. The deadline for applications has been extended to June 20, so get your applications in soon!

For today’s instance of our weekly Mozilla Education call at 11 am EDT / 8 am PDT / 1500 UTC we’ll be talking about a proposed multi-disciplinary multi-school “meta-project” to move the Processing programming language to the open web. (Processing is currently Java-based, though there is a JavaScript port in progress). I’ll also be glad to answer any questions people might have about the SoftHum workshop that I attended last week and blogged about.

I was at Drexel University in Philadelphia last Thursday and Friday participating in the SoftHum Workshop on Involving Students in Humanitarian Free and Open Source Software Projects (to use its official name). I was there representing Mozilla, and in particular to talk about our Mozilla Education initiative; I was one of the folks invited to provide the open source project perspective, along with Greg Dekoenigsberg of Red Hat and the Fedora Project and Darius Jazayeri of the OpenMRS project. ...

Mary Colvig mentioned this on the Monday Mozilla call, and I wanted to follow up with more information. Briefly, the Mozilla Foundation is one of the sponsors of the Personal Democracy Forum conference to be held June 29-30 in New York City. To quote from the conference blurb: More than 1,000 top opinion makers, political practitioners, technologists and journalists will come together to network, exchange ideas, and explore how technology and the Internet are changing politics, democracy, and society. ...

In my previous post I lamented the demise of eMusic as I’ve known it, and in preparation for the future discussed my “jobs to be done” related to discovering and listening to music: Casual listening to familiar music at my computer. Casual listening to familiar music when I’m offline. More focused listening to a) familiar and b) less familiar music while driving. Auditioning music for inclusion in my core collection. Here’s how my jobs to be done match up with various digital music products and services being offered today: ...

In less than a month my grandfathered eMusic Basic 2-year plan (40 tracks per month at a cost of $7.49 per month or $0.19 per track) will end, and I’ll face a choice of what to do next. eMusic’s suggestion is that I go for a eMusic Plus Annual plan: 35 tracks per month at a cost of about $14.33 per month or $0.41 per track. However rather than simply going along with an almost doubling in cost of my music buying habit, I’ve decided to rethink how I actually discover and listen to music, and look at additional possibilities beyond eMusic (or to supplement eMusic) that might serve me better at a comparable cost to what I’ve been paying. This also leads to some thoughts on how eMusic could become a better service from my point of view or, alternatively, how a new service could replace eMusic in my affections. ...

Most of the press coverage of the eMusic/Sony agreement has been either regurgitated press releases and echoes of the original New York Times story, or stories about the backlash from eMusic subscribers. I have a standing Google search for “eMusic” and see tons of this stuff. However there is actual smart analysis being done out there, and here are two examples. As seems to be typical nowadays, these are not from traditional media or business journalists but from a blogger turned pro and a musician who blogs. ...

As is amply clear from recent postings on the eMusic message boards and comments on 17 Dots, eMusic pretty much made a hash of its announcement of the Sony agreement, angering current subscribers not just about the accompanying price increases but also the way in which eMusic CEO Danny Stein’s 17 Dots blog post addressed—or rather, didn’t address—those increases. While I’m quite unhappy about my personal eMusic habit more than doubling in price, I can also see the economic justifications for why eMusic did what it did. I thought it would be an interesting experiment to create a fictional letter to subscribers that Danny Stein might have written in some alternative universe. ...