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Old 05-01-22, 08:42 AM   #1
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Default Peer-To-Peer News - The Week In Review - January 8th, 22

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January 8th, 2022




A Program for Cheaper Internet for Low-Income Americans Launches Today

The FCC extended assistance that started during the pandemic
Justine Calma

U.S. President Joe Biden participates in a virtual meeting on Infrastructure Investment and Jobs Act at South Court Auditorium at Eisenhower Executive Office Building August 11, 2021 in Washington, DC. Photo by Alex Wong/Getty Images

Starting today, eligible US residents can apply for help with their internet bills under the new Affordable Connectivity Program. The program launched today with $14.2 billion from the bipartisan infrastructure law passed in November.

Households can apply to take up to $30 a month off their internet service bill. For households on qualifying Tribal lands, the discount is up to $75 per month. The program could help to connect millions of people to the internet who haven’t had access to it at home, especially in communities that have historically faced more barriers to getting online.

Almost a third of people living on Tribal lands lacked high-speed internet at home in 2017, according to a report by the Federal Communications Commission (FCC). That’s compared to just 1.5 percent of city-dwellers without high-speed internet access. On top of limited infrastructure, cost is often another barrier. The United States has the second-highest broadband costs out of 35 countries studied by the Organisation for Economic Co-operation and Development (OECD). And American Indian and Alaska Native people have the highest poverty rate of any race group in the US, according to the US Census Bureau.

To even apply for the Affordable Connectivity Program, someone has to be able to get online. They’ll need to visit ACPBenefit.org to apply or print out a mail-in application.

Folks eligible for the Affordable Connectivity Program can also qualify for a one-time $100 discount for a laptop, tablet, or desktop computer from participating providers (including T-Mobil, AT&T, and Verizon).

The Affordable Connectivity Program is basically a long-term replacement of the temporary Emergency Broadband Benefit Program started to help Americans during the COVID-19 pandemic. That program offered a higher discount of $50 a month for households not living on Tribal lands, and will continue until March 1, 2022.

While the payout will be lower for some households, the FCC expanded the criteria for who can apply. Being eligible for WIC (the food assistance program for women, infants, and children) now also makes a household eligible for the Affordable Connectivity Program. And a household with an income that’s at or below 200 percent of federal poverty guidelines is also newly eligible.

There’s more funding on the way to close the digital divide in the US. The new $1 trillion infrastructure law includes $65 billion to boost broadband access. More than 30 million Americans live somewhere without adequate broadband infrastructure, according to a Biden administration fact sheet.
https://www.theverge.com/2021/12/31/...tivity-program





Public Corporation Created to Bring High-Speed Broadband to all of Erie County

Erie County moves forward slowly with plan to establish ErieNet, bringing broadband network services to all parts of the county.
Sandra Tan

It's taken a while, but Erie County Executive Mark Poloncarz's plan to bring high-speed internet to all parts of the county is starting to gain traction once again.

The Erie County Legislature recently approved plans to establish a new, county-controlled corporation to oversee and manage the creation of ErieNet, an ambitious county-sponsored fiber-optic network that could give all cities, towns and interested internet service providers unparalleled access to up to 500 miles of untapped fiber-optic lines.

The vision remains to provide high-speed, cutting-edge connectivity throughout the county, not just in the wealthier suburbs. The goal is a new network that could level the economic development playing field by offering super-fast speeds to poorer cities and to rural towns to the south and east that currently suffer from a distinct connectivity disadvantage.

Poloncarz first announced a $20 million ErieNet initiative in the spring of 2019, with hopes that the full network could be built by the end of 2021. Nearly three years later, there is still no shovel in the ground. Business and design planning was delayed by Covid-19. Business planning has now restarted, though detailed network mapping is still months away.

Major work is now expected to move forward, thanks to a second windfall of American Rescue Plan money that Erie County will receive this year. Poloncarz has pledged to use that $34 million in federal funds to get ErieNet jump-started again, with hopes of starting to lay fiber-optic cable before year's end.

The current ErieNet plan is for a more ambitious network than first proposed. Initially, Poloncarz said the county would lay roughly 360 miles of fiber-optic lines that would then be leased to public and private entities. But that was before federal stimulus aid was available. Now, county leaders are talking about an even larger network involving the laying of 400 to 500 miles of fiber.

This would make Erie County one of the largest municipalities in the country to operate this type of backbone network, which could be leased by private internet service providers, individual companies, public institutions and local governments.

To get that ball rolling, the Poloncarz administration requested that the County Legislature approve the creation of a local development corporation, with a board composed of elected and appointed county officials. This county-controlled, nonprofit corporation would administer and maintain ErieNet and market the program to interested users, who would be allowed to lease the county network. The board would provide governance and approve policies.

Officials from the County Legislature, the library system, the county budget office and the information technology and planning departments would serve as initial members, but the board would grow as stakeholders sign on to use the network, county officials and consultants said. The board would also be subject to open meetings and transparency laws as a quasi-governmental agency.

"It's open and transparent, but it's more nimble," said Robert Murray, the outside lawyer working on the county's behalf regarding ErieNet.

The local development corporation would be tax exempt and be better positioned to deal with regulatory issues, added Deputy Budget Director Benjamin Swanekamp.

The Legislature voted 7-4, along party lines, to support the creation of the new corporate entity, with the Republican-supported minority — which has long advocated for more rural access to broadband — objecting to the creation of a new layer of county bureaucracy before more concrete details are shared about where fiber lines will be laid.

"Without knowing more information about the actual project or the long-term implications of the LDC, I cannot, in good conscience, vote yes," said Minority Leader Joseph Lorigo.

Buffalo district Legislator Howard Johnson, meanwhile, pointed out that Spectrum is the only game in town for most high-speed internet users in Buffalo.

"We need competition," he said.

Matt Crider, vice president with ECC Technologies, based in Rochester, said the county would focus on a "middle-mile network," drawing lines from Buffalo's city center out like skeleton frame to all parts of the county, but not connecting service lines directly to residents' homes.

The new network would connect county-owned facilities, libraries and 911 call centers. It could also be available to connect other local governments, schools, colleges and hospitals, based on their interest, Crider said. The county would also lay the network across major economic development corridors and development zones to make those areas more attractive to businesses.

Major businesses in the county could also request direct access to the network.

A key goal of ErieNet is to attract private internet service providers who would be willing and able to build out "last mile" service connections to people's homes if they could lease the countywide network.

Major, local internet providers like Spectrum, Charter and Verizon have expressed no interest in partnering with Erie County, but smaller providers like Empire, Greenlight and Armstrong have, officials said. Numerous towns have also expressed interest in hooking into a county network.

There are still many hurdles to overcome associated with ErieNet, including the immense cost to maintain such a major network and the lack of assurance that private businesses will step in to enable to network to eventually break even.

Michael Santorelli, director of the Advanced Communications Law and Policy Institute at New York Law School was among those recommending the County Legislature proceed with caution. He pointed out that ErieNet is being designed based off of assumptions ECC Technologies made in a study produced four years ago.

Since that time, access to high-speed internet has expanded considerably, he said, so subscriptions to ErieNet alone are unlikely to be enough to financially sustain the network. Publicly built networks in other states have struggled to find partnerships with private internet service providers or been beset by cost overruns.

"So is the market viable for this new entrant into the marketplace?" Santorelli asked.

Andy Lukasiewicz, ECC Technologies director of broadband services, said Santorelli's concerns are being taken into account.

"When we give you the business model, you can be fairly confident that it's either going to be sustainable, or we're going to tell you it's not," he said.

The business plan is expected to be released early this year.
https://buffalonews.com/news/local/p...623092e0d.html





Rural New Mexico School Buys Starlink Internet for Students
Cedar Attanasio

A school district in northwestern New Mexico is providing high-speed internet to students’ families, most of whom are Indigenous, in a $1.2 million deal that leapfrogs piecemeal efforts by state and tribal officials.

Cuba Independent Schools superintendent Karen Sanchez-Griego said staff began installing Starlink’s $500 receivers at students’ homes in November and hope to connect all 450 families by the end of the school year.

Traditional fiber optic cables haven’t been installed around Cuba because of the area’s sparse population, lack of money, and crisscrossing red tape from tribal, federal, and state agencies that have to approve digging.

New Mexico education officials were ordered by a court in April to provide high-speed internet to students in Cuba and other areas but haven’t done so.

Wi-Fi hotspots from the state didn’t work well in remote areas far from cellphone towers. Education officials are planning on purchasing Starlink units for around 1,000 families around the state but haven’t specified a timeline for doing it.
https://apnews.com/article/technolog...cba60b03f1b745





China Calls on US to Protect Space Station from Satellites
AP

China is calling on the United States to protect a Chinese space station and its three-member crew after Beijing complained that satellites launched by Elon Musk’s SpaceX nearly struck the station.

A foreign ministry spokesman accused Washington on Tuesday of ignoring its treaty obligations to protect the safety of the Tiangong station’s three-member crew following the July 1 and Oct. 21 incidents.

The Tiangong performed “evasive maneuvers” to “prevent a potential collision” with Starlink satellites launched by Space Exploration Technologies Corp., the government said in a Dec. 6 complaint to the U.N. Committee on the Peaceful Uses of Outer Space.

The United States should “take immediate measures to prevent such incidents from happening again,” said the spokesman, Zhao Lijian.

Zhao accused Washington of failing to carry out its obligations to “protect the safety of astronauts” under a 1967 treaty on the peaceful use of space.

The first module of the Tiangong was launched in April. Its first crew returned to Earth in September following a 90-day mission. The second crew of two men and one woman arrived Oct. 16 for a six-month mission.
https://apnews.com/article/spacex-sp...9659e9a856d2ed





Here's Why You Probably Don't Need to Rely on a VPN Anymore

The widespread use of encryption has made public internet connections far less of a security threat, cybersecurity experts say.
Kevin Collier

VPNs, or virtual private networks, continue to be used by millions of people as a way of masking their internet activity by encrypting their location and web traffic.

But on the modern internet, most people can safely ditch them, thanks to the widespread use of encryption that has made public internet connections far less of a security threat, cybersecurity experts say.

“Most commercial VPNs are snake oil from a security standpoint,” said Nicholas Weaver, a cybersecurity lecturer at the University of California, Berkeley. “They don’t improve your security at all.”

It’s a development that highlights how the cybersecurity landscape has changed: Hackers are less likely to target people’s individual devices and instead focus on the login information to their most important accounts.

For years, experts warned it was dangerous for average people to use the Wi-Fi at a public place like a coffee shop without taking steps to obscure their internet traffic. Someone sharing a Wi-Fi network with strangers was essentially sharing all their traffic with others who were using it. If someone decided to check their bank balance, for example, they ran the risk of a nearby hacker being able to steal sensitive information.

VPNs offered a way to counter that problem. VPNs reroute a user’s internet traffic through their own servers. That can slow browsing speed, but provides the benefit of hiding a user’s Internet Protocol address — which includes their general location — from the websites they visit.

But that’s no longer the problem it once was. Most browsers have quietly implemented an added layer of security in recent years that automatically encrypts internet traffic at most sites with a technology called HTTPS. Indicated by a tiny padlock by the URL, the presence of HTTPS means that worrisome scenario, in which a scammer or a hacker squats on a public Wi-Fi connection in order to watch people’s internet habits, isn’t feasible.

It’s not clear that the threat of a hacker at your coffee shop was ever that real to begin with, but it is certainly not a major danger now, Weaver said.

“Remember, someone attacking you at the coffee shop needs to be basically AT the coffee shop,” he said. “I don’t know of them ever being used outside of pranks. And those are all irrelevant now with most sites using HTTPS,” he said in a text message.

There are still valid uses for VPNs. They’re an invaluable tool for getting around certain types of censorship, though other options also exist, such as the Tor Browser, a free web browser that automatically reroutes users’ traffic and is widely praised by cybersecurity experts.

VPNs are also vital for businesses that need their employees to log in remotely to their internal network. And they’re a popular and effective way to watch television shows and movies that are restricted to particular countries on streaming services.

But like with antivirus software, the paid VPN industry is a booming global market despite its core mission no longer being necessary for many people. Most VPNs market their products as a security tool. A Consumer Reports investigation published earlier this month found that 12 of the 16 biggest VPNs make hyperbolic claims or mislead customers about their security benefits. And many can make things worse, either by selling customers’ browsing history to data brokers, or by having poor cybersecurity.

The fix is largely thanks to activists who have pushed for more than a decade for a safer way to browse the internet.

In 2010, cybersecurity activists at the Electronic Frontier Foundation, an internet freedom advocacy group, launched a project to encrypt as much web traffic as possible by developing browser extensions to let users toggle HTTPS and giving websites free tools to enable it.

As more and more people started using HTTPS wherever possible, some of the companies that help most people use the internet got on board. In 2015, Google started prioritizing websites that enabled HTTPS in its search results. More and more websites started offering HTTPS connections, and now practically all sites that Google links to do so.

Since late 2020, major browsers such as Brave, Chrome, Firefox, Safari and Edge all built HTTPS into their programs, making Electronic Frontier Foundation’s browser extension no longer necessary for most people.

“Years ago, nobody could imagine that. It’s kind of one of those background wins,” said Alexis Hancock, who oversees the HTTPS project as the foundation’s director of engineering.

Users now need to worry far less about being hacked by a fellow coffee shop patron than by a hacker simply sending an email from anywhere around the world to trick them into giving up their passwords and other sensitive information, she said.

Hackers “would likely do a phishing attack on you before they would walk into a cafe with free Wi-Fi,” Hancock said. “Sending people nefarious emails, it’s much easier to do that kind of campaign. Those have been tried and true, unfortunately,” she said.
https://www.nbcnews.com/tech/interne...-wifi-rcna9348





BitTorrent is Creating a Token Economy but Its Prospects are Murky
Alex Sirois

People unfamiliar with cryptocurrency BitTorrent (CCC:BTT-USD) probably at least have some recollection of the name. It is a peer-to-peer protocol for sharing large, in-demand files.

The premise of the protocol is to first eliminate the need for a centralized server and then allow the transfer of data between clients who use the software.

Peers within the network share data with one another, and by iteratively gaining more data a user can piece together a full file. Back in the early 2000s when BitTorrent burst onto the scene, this sharing meant lots of music and movies. Anyone who was in college at that time likely remembers a power user among their inner circle.

These days it also includes a token called BitTorrent Token (BTT). It is connected to the peer-to-peer protocol and is worth understanding.

BitTorrent Incentivies Speed

BitTorrent Speed is an extension of the BitTorrent file-sharing protocol that is still available for Windows and Mac clients. Basically, BitTorrent users who want to get crypto rewards for sharing files now can via BitTorrent Speed.

It looks like all users will have access to BTT regardless of whether they plan to use it. As noted on its website, “When downloading or upgrading to the latest version of µTorrent Classic for Windows, or BitTorrent or µTorrent Web, a digital cryptocurrency wallet and a BTT token balance will be automatically enabled.”

BTT is bid to other users for faster speeds. So, users passively utilize BitTorrent as they always have. In return, they can earn BTT. In essence, the benefit of BTT is that it incentivizes nodes offering faster data transfer through BitTorrent via BTT rewards.

It’s fairly clear that this enables power sharers to potentially earn a nice amount of BTT. Right now, BTT is worth roughly $0.0028. That isn’t much money, but a case could be made that those who deliver the fastest speeds stand to be rewarded handsomely.

It’s All About Scale

Those who can best capture and utilize BitTorrent’s 1 billion-plus users and 100 million monthly active users can capitalize. It is also noted in a 2019 whitepaper that BitTorrent sees roughly 1 million new installs daily.

Those new installations are now automatically provided with a crypto wallet and a BTT balance. Again, this provides a great opportunity for the fastest nodes to capitalize within the BitTorrent network.

Over time, BTT can then become more valuable. That will theoretically happen as users become more willing to spend more BTT for faster downloads. It’s a kind of virtuous economic cycle that leads to greater rewards — greater amounts of more valuable BTT for sharing data — and quicker downloads for that BTT.

One of the positive aspects of BitTorrent Speed is that BTT is airdropped to users. That means they begin with a small initial balance. That BTT can be used to bid for any piece of data the user wants to get faster.

However, bidding is automated and users’ clients bid to and from their balance of tokens on their behalf. In the future, rates for bandwidth will be refined, which will determine a market rate.
The Bottom Line on BitTorrent

At its heart, BitTorrent Speed and the BitTorrent Token act as simple economic mechanisms. Their premise is fairly straightforward: receive a reward for doing something quicker.

I doubt investors will be extremely excited about BTT, though. It seems like those who will benefit most from it are those who already participate most in the network. I can’t imagine a scenario in which people suddenly decide to become power sharers on BitTorrent for the express purpose of receiving BTT.

On the date of publication, Alex Sirois did not have (either directly or indirectly) any positions in the securities mentioned in this article. The opinions expressed in this article are those of the writer, subject to the InvestorPlace.com Publishing Guidelines.

Alex Sirois is a freelance contributor to InvestorPlace whose personal stock investing style is focused on long-term, buy-and-hold, wealth-building stock picks. Having worked in several industries from e-commerce to translation to education and utilizing his MBA from George Washington University, he brings a diverse set of skills through which he filters his writing.-

The post BitTorrent is Creating a Token Economy but Its Prospects are Murky appeared first on InvestorPlace.
https://www.nasdaq.com/articles/bitt...ects-are-murky





Libraries Demand a New Deal on Ebooks
Hiawatha Bray

Public library patrons can’t get enough of free digital downloads these days; they’re snapping up ebooks and audiobooks at a record pace. But it’s not all good news for public libraries. They are often charged far more than consumers for digital books, and sometimes publishers won’t sell to libraries at all.

Now librarians are teaming up with Massachusetts lawmakers to demand a new deal. They’re calling for a law that would compel publishers to make all their digital products available to public libraries on “reasonable terms.”

Democratic State Rep. Ruth Balser modeled the bill after a law enacted in Maryland in May. Balser said she wants to ensure that libraries can get access to every published ebook and audiobook. “My understanding is Amazon and the other online publishers limit how much of their information is available to public libraries,” Balser said. “My bill doesn’t directly touch the issue of cost. It just says they can’t not sell to libraries.”

But publishing companies that have resisted selling digital assets to libraries are already changing their tune. Online retailer Amazon, for instance, not only sells books but operates its own publishing business. Until recently, Amazon Publishing didn’t sell ebooks or audiobooks to libraries. But shortly before the Maryland law took effect, the company announced a deal with the Boston-based non-profit Digital Public Library of America to begin licensing its ebooks to public libraries. The company said it is also working out a similar deal for Audible, Amazon’s audiobook publisher.

Library officials still back the bill, in hopes it will force publishers to negotiate better deals for digital books. “It would establish the idea that there actually is a problem here, " said Alan Inouye, senior director of public policy and government relations for the American Library Association, “and that there needs to be a coming together on a discussion on what are reasonable terms.”

The lockdowns and library closures forced by the COVID-19 pandemic have spawned booming demand for online book borrowing. OverDrive, a company that provides digital library services to public libraries, said that patrons worldwide checked out half a billion items in 2021, a new record. In Massachusetts the Library eBooks and Audiobooks program, which provides digital assets to patrons at 377 state libraries, has seen demand increase by more than 40 percent

Video: How the internet defeated multi-level marketing fad that sold bags of dirt for $110 (NBC News)

According to the American Library Association, libraries currently pay three to five times as much as consumers for ebooks and audiobooks. Thus, an ebook selling for $10 at retail could cost a library $50. In addition, the library can only buy the right to lend the book for a limited time — usually just two years — or for a limited number of loans — usually no more than 26. James Lonergan, director of the Massachusetts Board of Library Commissioners, believes that publishers settled on 26 checkouts after calculating that this is the number of times a printed book can be checked out before it’s worn out and in need of replacement.

And that’s what happens to a digital book after 26 checkouts. The library must “replace” it by paying full price for the right to lend it out 26 more times.

Lonergan admits that this approach makes a certain sense. Traditional printed books can only be borrowed by one user at a time, but in theory a digital book could be loaned to thousands of patrons at once. Also, printed books wear out and must be repurchased, but digital books last indefinitely. “You can’t have a book be available forever at the same price point,” Lonergan said. “The publishers need to make money.”

Lonergan thinks libraries and publishers can work out less expensive and more flexible terms. Publishers might charge a lower up-front cost for their digital products, for instance. Or they might expand the number of times libraries can lend out an ebook or audiobook. Lonergan believes that passing the Massachusetts law would give publishers further incentive to deal.

But the Association of American Publishers (AAP), which represents most of the nation’s leading publishers, is ready to fight. An emailed statement from AAP said the Massachusetts bill “raises significant constitutional and federal copyright law concerns and is an unjustified intrusion into a vibrant and thriving market for ebooks and audiobooks that benefits authors and publishers, booksellers, libraries, and the general public. “

The AAP has already sued in federal court to block enforcement of the Maryland law, arguing that only the federal government can regulate digital publishing practices.

Again, Lonergan thinks the publishers may have a point. But he said this is all the more reason for Massachusetts to pass the law. Lonergan noted that apart from the Maryland law, Rhode Island lawmakers are also considering the idea. “I think the hope is if enough states...make these efforts,” Lonergan said, “then Congress will step in and do something about this on the federal level.”
https://www.msn.com/en-us/news/us/li...oks/ar-AASjPlG





Tom Sachs Opens ‘Cassette Only’ Exhibition at Baldwin Gallery

New paintings and drawings celebrate cassette tapes and stolen music
Andrew Travers

The artist Tom Sachs has been thinking a lot lately about his teen years in Connecticut as a punk rock kid, going to hardcore shows and making tapes, pirating music and finding himself part of an artistic movement for the first time.

Leading hardcore bands, in his commuter zone stretch of the Northeast, would often stop and play a club called Anthrax in Stamford, he recalled, between Boston and New York concerts.

“It’s this all ages, no-liquor place where you could see, like, Bad Brains play and smoke weed with them in the van after if you wanted because this community was so small,” Sachs said recently during a late-night Zoom conversation, laying in bed under his NASA frieze headboard. “And pirating music onto cassette was an important and integrated part of that cultural phenomenon.”

He reminisced about borrowing records from friends and from public libraries and recording them onto tapes, building personal music libraries, often embroidering the tape cases with pen drawings and gifting them to friends. Sachs has saved much of his tape collection, which he showcased during a video walkthrough of his Queens home studio and his new “Cassette Only” exhibition at Baldwin Gallery this week on Instagram, showing off his bootleg tape of Michael Jackson’s “Thriller” among other personal gems.

“Cassette Only,” which opened Sunday at the Baldwin, is a collection of new Sachs drawings and paintings of cassettes, mostly the TDK SA-C90 model that he preferred to use pirating music from during the 1980s. Sachs recalled taking the train to New York City, buying boxes of taps on Canal Street and stocking up on these chrome tapes.

The tapes speak to the freedom that the technology provided and also to the punk ethos of bands encouraging fans to steal music and disrupt the music industry rather than pay for it. That idea was immortalized in the 1982 Malcolm McLaren song “C30 C60 C90 Go” about home piracy and in the Dead Kennedys 1981 cassette “In God We Trust, Inc.,” which included a blank side and the note: “Home taping is killing record industry profits! We left this side blank so you can help.”

IF YOU GO …

Tom Sachs’ “Cassette Only” show in the Baldwin Gallery in downtown Aspen opened on Sunday, Dec. 26. (Kelsey Brunner/The Aspen Times)

What: Tom Sachs, ‘Cassette Only’

Where: Baldwin Gallery

When: Through Feb. 12

More info: baldwingallery.com

Making tapes, of course, would evolve into burning CDs and then file-sharing on Napster. The piracy that interested Sachs went on, but it was never so personal as those mid-’80s nights copying songs onto TDK tapes.

Looking back, Sachs concluded: “I’ve only been exposed to two grassroots art movements in my entire life, and the first one was the American hardcore punk scene.” (The second movement is the recent birth of the metaverse and the phenomenon of NFTs, a big Tom Sachs story for another day.)

Best known for his bricolage sculptures and “Space Program” installations that recreate historic NASA operations, Sachs has shown regularly with the Baldwin Gallery in Aspen over the past three decades and been a frequent guest at Anderson Ranch Arts Center in Snowmass Village. Through the Aspen Art Museum, Sachs also installed the large-scale sculptures “Miffy Fountain” and “My Melody” on the Snowmass Village pedestrian mall in 2014.

Sachs scrapped a plan to come out for the opening after he and much of his studio team got hit with the latest coronavirus surge in New York. (The show went on and the gallery remains open.)

The Baldwin show also includes two of Sachs’ interactive boombox sculptures (one has a hidden machete) which he’s shown at Baldwin in previous exhibitions. Sachs is also showing a series of new Brancuzzi-style sculptures. Both fit in with the cassette-minded show and its tribute to physical media.

All made over the past two years, the “Cassette Only” works have been Sachs’ way of connecting back to some basics amid the increasingly complex productions of his conceptual art practice.

“I really just wanted to work on painting and drawing,” Sachs said.

Walk through the show and take a more than cursory look and you’ll note that the process of making the tape pieces varies. Some are nearly as perfect as the machine-printed tapes themselves — these are photograph transfers with clear lines of burned wood on gold leaf. Others, which Sachs has dubbed his “My Way” versions, are drawn and painted by hand and therefore imperfect with lines that waver and paint that smudges.

“They’re really rough and fast and they remind me that I’m an artist,” Sachs said.

Sachs, as a brand-name 21st century artist, often works in modes that have him disconnected from the simple mark-making and handcraft of the work and instead challenge him to create on an industrial level, as he has with his Nike sneaker collaborations.

“I get so caught up in the business of keeping the idea of art open,” Sachs explained. “I’m not afraid to do a sneaker, not afraid to do a piece of furniture, not afraid to do a sculpture or bronze or ceramics and make all these incredible things. It’s so diverse that I forget sometimes that the essence of it is just drawing and painting.”

But why not force himself to make a choice and make the work one way? Why not choose one as the right way (as most artists would)?

“They’re two different approaches to the same problem,” Sachs said. “I think they’re both part of who I am. And I feel really blessed that the community supports what I do enough that I could do something as risky as that and not have all the answers. It’s filled with contradiction, but this is the duality in my mind.”

They’re also not pure recreations of the tapes. At gallerist Richard Edwards’ urging, the new pieces do include small decal-like drawings and paintings of signature Sachs animals like kittens, monkeys and chicks, offering a link to some of his more familiar works.

Last year in the early months of the pandemic and its public health lockdowns, Sachs became a prominent creative voice of the odd moment. His work in the basement studio of his Queens apartment was based on the concept of “in-situation resource utilization” (ISRU). Borrowed by Sachs from NASA, it’s the practice of using found objects in space for exploration, which Sachs began using with his studio team years before the pandemic.

Sachs’ recent bout with COVID — a case not severe enough to keep him from working — helped him push the idea of quarantine creativity yet further. Sachs quarantined alone in his art studio for 10 days, holing himself in a small hallway-like space that he treated like a NASA airlock, sealed to the outside world.

When he needed materials or provisions — be it a specifically sized piece of wood or a Shake Shack snack — he would send messages to his studio team and they would leave them with a knock on the door.

“I did this and I was thinking, ‘Man, this is the life. I can do this work and no one can talk to me. No one can barge in,’” he recalled. “I don’t know if I’m going to get to maintain it.”

Sachs said the virus has given people the liberty to say no to so many obligations and excuse themselves from so many things they wouldn’t want to do anyway that he hopes it breeds a freer way of being.

“I’m going to start using COVID as an excuse to be more of who I am,” he said. “That’s pretty exciting.”
https://www.aspentimes.com/news/tom-...ldwin-gallery/





A Seattle Musician’s Spotify Wrapped Numbers Shed Light on how Streaming Services Upended Music’s Business Models
Jade Yamazaki Stewart

When KEXP DJ Gabriel Teodros started living on his own when he was 18, he made a living selling CDs of his hip-hop music.

He sold around 20 CDs for $10 each time he performed at a show (normally 40 to 80 times a year, making roughly $8,000 to $16,000). Along with the checks he got for shows, and later, for the music and writing workshops he taught in schools, his career paid the bills he needed to survive in Seattle in the early 2000s.

But as people started buying more of their music on iTunes or pirating it from sites like The Pirate Bay and LimeWire, CD sales declined. And they kept falling in the 2010s as streaming music service sites like Spotify took over the market. Eventually in 2017, Teodros decided to take a job outside of music to make ends meet as a driver for Lyft.

Teodros has been a full-time DJ at KEXP since 2020, so he doesn’t drive for Lyft anymore. But the amount of money he makes from recorded music has plummeted since the CD era.

When he looked through his 2021 “Spotify Wrapped,” the company’s end-of-year marketing campaign that compiles listening data for creators and listeners into shareable infographics, he found he’d only made $150.

Streaming services like Spotify, which charges a monthly subscription fee for unlimited music streaming, upended the music industry’s business model. The company, which has the biggest share of the music streaming service market and 381 million monthly users, says it’s helping generate more revenue for the music industry. According to Spotify’s website, part of the company’s mission is “giving a million creative artists the opportunity to live off their art.” But some in Seattle’s music industry say streaming services reduce revenues for artists, producers and record labels and make it harder to make a living. Other artists, though, are finding creative solutions for online revenue on platforms like Bandcamp and Patreon.

On Dec. 1, when Teodros shared his 2021 Spotify Wrapped on social media, he got lots of congratulatory messages. People thought since he got 80,000 streams for one of his songs, he must be making a lot of money. In response, Teodros wrote an article on his Substack titled, “There’s no money in streaming.”

“I just mean to really expose what these numbers mean and what they don’t mean,” Teodros says. After splitting the revenue with a collaborator, those 80,000 streams only made him around $90, just over $0.001 per stream.

He’s among a number of artists who’ve publicly criticized Spotify. Taylor Swift famously left some of her albums off the streaming service for years. Prince boycotted Spotify and Apple Music for a few years, insisting in multiple interviews that artists can’t get rich on digital sales. Thom Yorke and Nigel Gogrich also temporarily took their music off Spotify in protest of the company’s payment practices.

How Spotify pays

The way artists make money from streaming services is complicated. According to Spotify Loud & Clear, a website the company launched in March to increase transparency about its processes, Spotify doesn’t pay artists directly, instead paying those who hold the rights to a song or album (normally record labels, distributors, aggregators and collection societies) who take a cut and give artists the rest. It also doesn’t pay a flat rate per stream, rather, paying rights holders based on “streamshare,” a figure calculated from the number of streams of a rights holder divided by the total number of streams in a particular market.

So, the amount rights holders earn per stream varies. But most estimates range from around $0.003 to $0.005 per stream. Business Insider estimates most artists need around 250 streams to make a dollar.

Seattle-area music producer Ryan Hadlock, who’s worked with big-name artists including The Lumineers and Brandi Carlile, says 20 million streams typically generates $100,000 (based on a rate of $0.005 per stream). Though $100,000 seems like a good wage, Hadlock says artists normally only get a fraction of that amount, with record labels generally taking at least 50% and artists paying out much of the rest to managers, artistic contributors and lawyers.

Reduced revenue

Spotify says it’s helping the music industry bring in more revenue. Loud & Clear says Spotify hit the market when the recording industry was “ravaged by piracy,” and that it’s helped the music industry recover. According to the Recording Industry Association of America, music industry revenue peaked at $14.6 billion in 1999, dropped to $6.7 billion in 2014 and was up to $12.2 billion in 2020.

But Hadlock isn’t seeing this growth reflected in his revenue. He says when he compared the royalties he made on his last album that sold 1 million physical CDs (which makes it eligible to be a platinum album) and the royalties for his most recent album which went platinum by reaching 1.5 billion streams (a new RIAA definition of platinum in the streaming era), he found that he made 10 times less money on the streamed one.

The few people making lots of money off streaming services, Hadlock says, are the A-list songwriters the industry uses to write consistent hits for pop stars.

According to Loud & Clear, only 870 artists’ catalogs generated over $1 million on Spotify in 2020.

Spotify is steadily gaining subscribers and listeners and turned a profit of $2 million in the third quarter of 2021. But even with 172 million paid subscribers, the company, which is known for focusing on long-term growth over short-term profitability, only sometimes reports profits, according to the company’s financial reports. According to Loud & Clear, it pays around two-thirds of its revenue to rights holders.

Hadlock says the people who benefit most from streaming services are the consumers – who can listen to almost all the world’s popular recorded music for $10 a month.

New opportunities for revenue

Even though royalties from streaming services are often meager, the industry is finding new ways to make money.

Tony Kiewel, the president of Seattle record label Sub Pop Records, says though the company doesn’t make the same amount from streaming royalties as it did from CDs, increasing vinyl sales are making up for much of that loss. In the first six months of 2021, U.S. vinyl sales increased 108%. But even vinyl production has been hurt by pandemic-related supply complications. The increasing demand for vinyl, exacerbated by Adele’s November release of her new album, “30,” for which she pressed 500,000 records, has left artists struggling to get records pressed in time for album releases.

Kiewel says Bandcamp, an online music site where, unlike Spotify, people can pay to download music, has become a powerful revenue source. Teodros says he normally sets the price for his albums at $10 on Bandcamp, but the platform allows listeners to pay more if they want to. On his last couple of projects, he averaged $20 an album, with some people sending him as much as $100. Bandcamp also gives Teodros access to buyers’ emails, which helps him market new projects.

“I think a lot of music lovers go there because they know they’re supporting artists,” Teodros says.

During the pandemic, too, artists found new, creative ways to make money online. Spokane-based soul singer Allen Stone spent much of 2020 and 2021 making pay-per-view sketch comedy and music specials on Patreon, a site that allows independent content creators to run subscription services. Former KEXP DJ and multigenre artist Otis Calvin III (known as OCnotes) also has a Patreon and uses Bandcamp’s subscription feature to offer his entire discography for $5 a month, like a personal streaming service. Calvin III said in the spring that he had taken his music off Spotify and that he ended up making more money than he ever did with that streaming service. (Some of his music is now back on Spotify.) Seattle psychedelic jazz/soul singer SassyBlack has even turned some of her music into nonfungible tokens, or NFTs, which she’s selling on her website.

Spotify doesn’t have public plans to raise subscription rates (or rates for artists), but says it will in markets “when it makes sense,” weighing price increases with the risk of users going back to pirating music if subscription fees get too high, according to Loud & Clear. Kiewel, though, thinks the rates for rights holders like Sub Pop could increase without negatively affecting Spotify.

Teodros has his complaints about streaming music services, but he sees their upsides too. It’s easier now for independent artists to get listeners in other parts of the country or internationally.

As Hadlock puts it, “a lot more artists get some exposure,” compared to before.

Teodros thinks things might be easier for younger artists, too, who never had to switch from old ways of making money with music.

For them, he says, “I don’t know if it’s better or worse than before.”
https://www.spokesman.com/stories/20...umbers-shed-l/





Winnie-the-Pooh and Around 400,000 Early Sound Recordings Enter Public Domain

You’re now free to ‘copy, share, and build upon’ these works
Jacob Kastrenakes

A. A. Milne’s Winnie-the-Pooh, Ernest Hemingway’s The Sun Also Rises, and other books, movies, and compositions from 1926 enter into the public domain today in the US. The works are now “free for all to copy, share, and build upon,” according to Duke’s Center for the Study of the Public Domain, which tracks which copyrighted materials will become public each year.

This year, the usual list of books, movies, and compositions comes with a sizable bonus: a trove of around 400,000 early sound recordings. A recent law, the 2018 Music Modernization Act, standardized how early sound recordings are handled under federal copyright law. As part of that, it set today as the date that copyright protections would end for “recordings first published before 1923.”
"“The advent of sound recording technology all the way through to early jazz and blues”"

The recordings include “everything from the advent of sound recording technology all the way through to early jazz and blues,” Jennifer Jenkins, director of Duke’s public domain center, recently told NPR. The recordings include works from Ethel Waters, Mamie Smith, and The Sousa Band, among many others.

Until a couple years ago, a 20-year copyright extension had stopped additional works from entering into the public domain. Passed in 1998, the law was widely seen as a protective measure for Disney, since the earliest Mickey Mouse cartoons, released in 1928, were just years from falling out of copyright. Those are now slated to enter public domain in 2024 — as long as there isn’t another last-minute update to the law.

This year’s batch already starts to add some complications for Disney. Both Winnie-the-Pooh and Felix Salten’s Bambi, A Life in the Woods head into the public domain today. Disney still retains copyright over its newer works and adaptations (and, as Jenkins points out, Disney holds brand trademarks as well). But the public is now free to reprint the original book, adapt it into a play or film, write a sequel, or use the appearance and traits of any of its characters, according to Jenkins.

You can now do all of this “without having to seek a license from Disney,” Jenkins writes. “This is how the public domain supports creativity.” (But heads up: Tigger wasn’t introduced until a couple years later, so that character still belongs to Disney.)
Remixers may still have trouble navigating Disney’s control over the brand and later works, though. Jenkins has an entire piece up exploring how that could play out and explaining how brands aren’t allowed — or, at least, aren’t supposed to be allowed — to use trademark to bully people out of accessing public domain properties.

So what we see remixers attempt (and get away with) over the next couple years when it comes to Pooh and friends could be a preview of how Disney will respond when the earliest Mickey Mouse copyright expires in just a couple years’ time.
https://www.theverge.com/2022/1/1/22...-public-domain





Black Widow Pirating Cost Disney $600 Million
Brandon Davis

Marvel Studios and Disney released Black Widow in theaters and with the Disney+ Premier Access option on the same day, giving audiences the opportunity to see the Scarlett Johansson movie at home for a fee added to their Disney+ subscription cost. This lead to a lawsuit between Johansson and Disney which has since been settled but it also seems to have caused another major problem. A new report from Deadline claims that Black Widow was pirated by more than 20 million viewers, which translates to about $600 million worth of eyeballs.

"Following Black Widow, it was clear that day-and-date leads to a freefall at the box office in the subsequent weekend of a Marvel Cinematic Universe title; the Scarlett Johansson movie weathered the worst second-weekend drop for a Disney-distributed Marvel movie at 68%. The crimping in windows, which of course impacted the star's bonus, led to the twice-Oscar-nominated actress suing Disney and settling for a reported $40M+," Deadline reports, referencing the $80 million open which was followed by a second weekend take of $26.5 million.

"Adding to the further erosion of box office for any theatrical-day-and-date release on streaming is the fact that these movies are pirated promptly, with clean 4K copies in several languages spread around the world," the Deadline report goes on. "By the end of August, sources in the know informed us that Black Widow had been pirated more than 20M times. That's close to a $600M estimated loss on Black Widow in Disney+ PVOD revenue alone."

Furthermore, the Disney+ Premier Access release strategy also comes at an additional cost to the software and hardware offering the Disney+ app. The Google Play, Amazon Firestick, and other similar stores take an estimated 15% from each Premier Access purchase. This all seems to inform why Johansson targeted Disney in a lawsuit, as her contract for the titular Black Widow role which also came with an executive producer credit would have reaped more financial benefits if the film had performed better at the box office. Johansson and Disney have since settled their dispute, with Johansson now working on another Marvel project and saying, "I am happy to have resolved our differences with Disney. I'm incredibly proud of the work we've done together over the years and have greatly enjoyed my creative relationship with the team. I look forward to continuing our collaboration in years to come."

Despite the potential $600 million loss in revenue opportunities, Black Widow contributed to Marvel movies accounting for 30% of the total box office haul for 2021. The film was one of five Marvel titles to hit theaters in 2021 but the only film to have been made available at tome on the same day as it was released in theaters.

Disclosure: ComicBook is owned by CBS Interactive, a division of ViacomCBS. Sign up for Paramount+ by clicking here.
https://comicbook.com/marvel/news/bl...-marvel-movie/





‘Matrix Resurrections’ Ranks Behind ‘Godzilla Vs. Kong’ In Streaming Viewership; Pic Is Most Pirated Of The Week
Anthony D'Alessandro

Warner Bros./Village Roadshow’s theatrical-day-and-date release of The Matrix Resurrections didn’t wow in its 5-day opening at the domestic box office with $22.5M, while in its HBO Max debut in homes fared OK, watched by 2.8 million smart TV U.S. households over the Wednesday-Sunday period.

This is according to fresh stats from Samba TV which measures streaming viewership across 46 million TV devices with a panel of 3 million Smart TV households.

By comparison to the sequel’s theatrical attendance, box office analytics firm EntTelligence reported that 1.76M people bought tickets to see Matrix Resurrections over the last five days to Spider-Man: No Way Home‘s 12.6M admissions and Sing 2‘s 4.1M. Translation: HBO Max bit into ticket sales.

In the same breath, the Lana Wachowski-directed and co-written movie was the most pirated feature according to MUSO for the week of Dec. 20-26 with a 32.6% share of the top ten torrents, outpacing the clean-copy PVOD availability of Screen Gems’ Resident Evil: Welcome to Raccoon City (16.6%) and the rusty copies of Spider-Man: No Way Home shot by pirates in-theaters (12%).

All of this underscores the downside of the theatrical-day-and-date-in-home distribution model: Once you make clean copies available online, the movie can be duplicated several times in several languages. Thank God, Matrix Resurrections is the last movie which is part of WarnerMedia’s HBO Max day-and-date pandemic model for its event movies (we have yet to see how the studio will handle future adult-skewing Oscar bait titles).

Warner Bros

Among Samba TV numbers, Matrix Resurrections ranks behind the first 5-days of Warner Bros./Legendary’s Godzilla vs. Kong by 22%, that movie having pulled in 3.6M households from Wednesday to Sunday. That movie was one of the first tentpoles to open post NYC and LA’s cinema reopenings, earning $48.1M in its first 5 days.

In regards to 30-day numbers from Samba, Godzilla vs. Kong is the most watched theatrical day-and-date release on HBO Max with 5.8M households, followed by New Line’s Mortal Kombat with 5.6M and Suicide Squad with 5.1M. So there’s a chance that Matrix Resurrections could rank up in that echelon. The first weekend household viewership figure on James Gunn’s The Suicide Squad was 2.8M. Also by comparison, Wonder Woman 1984, the first of the HBO Max-theatrical pandemic titles was watched by 2.2M households in its debut Christmas weekend a year ago.

In an apples-to-oranges comparison, what Matrix Resurrections drew its first 5-days is the same amount of viewers which Disney+’s day-and-date PVOD release of Black Widow took in over its first month, 2.8M. Again, Disney+ subscribers had to shell out $29.99 to see that Scarlett Johansson movie whereas Matrix Resurrections was available to HBO Max subscribers for free.

Netflix

While WarnerMedia will claim that this whole model was temporary given hesitant moviegoers during Covid, and was designed so that they could watch movies from the safety of their own home, they’re unabashed to say the whole “Project Popcorn” (the plan’s secret nickname before becoming known to the public) was an effort to drive subscribers. However, making a movie available in both theaters and on TV is not experiential. And if you have a movie which isn’t favored by moviegoers (B- here in the case of Matrix Resurrections) available in both theaters and in homes at the same time, it’s a double-sinker. Best to window the movie with a premium start in theaters, even if it isn’t the most liked in the franchise, to spur some sort of demand in subsequent home windows.

Most studios have been yearning in pre-pandemic times to see the results of a theatrical day-and-date debut of a big tentpole. Well, here they are: lackluster and eroded by piracy. By comparison, streaming heavyweight Netflix saw 4.2M U.S. households measured by Samba TV watching its Dwayne Johnson-Gal Gadot-Ryan Reynolds heist action pic Red Notice in its first weekend back in mid-November. That’s arguably the most measured by Samba TV in the U.S. for any streaming feature.

Samba TV says that of the top 25 largest markets for Matrix Resurrections, Seattle, WA over-indexed the most (+59%), followed by Portland, OR (+58%) and San Francisco, CA (+50%) for L+4D. Hispanic and Latino households (+23%) Black (+23%) and Asian (+14%) viewers over-indexed compared to the U.S. overall.

In theaters, Comscore and Screen Engine’s PostTrak measured Matrix Resurrections pulling in 62% males, 57% between 18-34, with 46% Caucasian, 22% Hispanic and Latino, 17% Black and 17% Asian/other. Imax and premium large format screens, which were only booked for the Keanu Reeves’ pic’s first weekend, repped 22% of its business; $3.7M for Imax auditoriums only. Matrix Resurrections played best theatrically in the West.

Matrix Resurrections’ 5-day opening is the lowest for the 22-year old sci-fi franchise behind the 1999 first installment’s 5-day of $37.3M. The franchise opening record belongs to 2003’s The Matrix Reloaded which made $134.2M from Wednesday to Sunday.
https://deadline.com/2021/12/the-mat...cy-1234902062/





Movie Studios Weigh in on Preliminary Injunction Bond Issue in PrimeWire Pirating Case
Christina Tabacco

After a Los Angeles, California court issued a tentative ruling stating it was inclined to grant a half-dozen studios’ request for a preliminary injunction in a pirating case, the studios submitted the supplemental briefing on whether court rules require the court to order a bond to compensate defendant PrimeWire in the event that the injunction is unwarranted.

The case concerns the movie studios’ efforts to curb the allegedly illegal pirating activities of the online television and video content streaming site PrimeWire. The complaint, which named only Doe defendants, stated claims for copyright infringement. It argued that PrimeWire’s service erodes the market for the licensed distribution of original content and ultimately affords the defendants unearned revenue through the placement of advertisements on their sites.

In conjunction with their complaint, the movie studios, including Paramount Pictures Corporation, Warner Bros. Entertainment Inc., Columbia Pictures Industries Inc. and Netflix Studios LLC, filed a motion for a preliminary injunction. In a minute order and after a hearing, Judge Mark C. Scarsi stated the court’s “tentative views that it is inclined to grant Plaintiffs’ Motion for Preliminary Injunction re: Copyright Infringement” and asked for briefing on the bond issue.

In this week’s motion, the plaintiffs said that the bond decision falls within the court’s discretion, but in this case, it is unnecessary. Though Rule 65(c) seemingly mandates a bond as a precondition to a preliminary injunction, the Ninth Circuit has held that district court’s are vested with the flexibility to decide both whether to impose or not and how much a movant is required to post.

In this case, the plaintiffs said that their likelihood of success on the merits of their copyright claims weighs against a bond. In addition, the movie studios argued that the only harm that the PrimeWire defendants will suffer is that they will be unable to continue profiting from infringing the plaintiffs’ copyrights.

As such, the plaintiffs requested that Judge Scarsi order that no bond is required. Alternatively, the plaintiffs asked that if a bond is required, the court set it at a minimal amount, like $50,000. In support of this point, the brief pointed out that though the defendants have not appeared in the case, their “limited communications have said the revenue they earn from the PrimeWire service is low.”

The plaintiffs are represented by Munger Tolles & Olson LLP.
https://lawstreetmedia.com/news/tech...pirating-case/





Illegal Netflix Alternative, Popcorn Time, Is Now Dead

The platform was discontinued because people are "no longer" interested in it.
Mohammed Abubakar

Piracy is still one of the biggest competitors to leading OTT platforms like Netflix, Disney+, and Amazon despite strict laws and regulations. However, necessary steps are being taken to take down websites that deal with piracy. One such website dealing with pirating Netflix shows called Popcorn Time has been shut down today.

First originated in 2014, the app instantly became a hit among websites that dealt with pirated content. Due to legal issues, the app’s creators abandoned the website, but as it was an open-source project, other developers used the code, and new app versions were released.

The developer of the app, in 2015, told Bloomberg, “The service wasn’t responsible for piracy because it didn’t host any stolen material itself. Instead, the software offered a link to computers worldwide hosting the content through the file-sharing system BitTorrent. The torrent world is here with millions of users way before us and will be here with BILLIONS of users way after us.”

The platform bid its fans adieu with a goodbye poster that contains Google Trends data that shows the worldwide interest for the “Popcorn Time” keyword over the last seven years.
https://fossbytes.com/popcorn-time-is-dead/

















Until next week,

- js.



















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