For more than a year, the Observer writer has been probing a darkness at the heart of Silicon Valley. Last week, at a TED talk that became a global viral sensation, she told the tech billionaires they had broken democracy. What happened next?
LIKE THE TITANIC STEERING STRAIGHT INTO THE ICEBERG
Carole Cadwalladr speaks at TED2019
The greatest and most important TED talk of our time @carolecadwalla@TEDchris@facebook
For more than a year, Cadwalladr has been probing a darkness at the heart of Silicon Valley. Her TED talk telling tech billionaires they had broken democracy has become a global viral sensation.
Have a teenager? Know a teenager? Please watch & share. Nobody under 21 voted for this. I wrote this for them. They need to know the truth of what happened. The lies, the criminality, the failure to hold to account. It’s their future. Please share
Journalist Carole Cadwalladr explores how social media platforms like Facebook exerted an unprecedented influence on voters in the Brexit referendum and the 2016 US presidential election. She speaks during
Session 1 of TED2019: Bigger Than Us, on April 15, 2019 in Vancouver, BC, Canada
Cadwalladr has a call to action:
“Democracy is not guaranteed, and it is not inevitable. And we have to fight. And we have to win.
And we cannot let these tech companies have this unchecked power. It’s up to us: you, me and all of us.
We are the ones who have to take back control.”
DELETE FACEBOOK AND ALL IT’S OWNED APPS NOW
In an unmissable talk, journalist Carole Cadwalladr digs into one of the most perplexing events in recent times: the UK’s super-close 2016 vote to leave the European Union.
Oh wow. This is what happened after my talk at #TED2019. This bit is not in the video. @TEDchris invited @facebook to respond.
‘We will make time for you,’ he said. Instead, they made an official complaint about what I said. And then: silence
Oh wow. This is what happened after my talk at #TED2019. This bit is not in the video. @TEDchris invited @facebook to respond. ‘We will make time for you,’ he said. Instead, they made an official complaint about what I said. And then: silence pic.twitter.com/NpBwDbmTHy
I did condense it into a 15-minute talk, and I did deliver it on the TED main stage directly to the people I described as “the Gods of Silicon Valley: Mark Zuckerberg, Sheryl Sandberg, Larry Page, Sergey Brin and Jack Dorsey”. The founders of Facebook and Google – who were sponsoring the conference – and the co-founder of Twitter – who was speaking at it.
I did tell them that they had facilitated multiple crimes in the EU referendum. That as things stood, I didn’t think it was possible to have free and fair elections ever again. That liberal democracy was broken. And they had broke it.
I did tell them that they had facilitated multiple crimes in the EU referendum. That as things stood, I didn’t think it was possible to have free and fair elections ever again. That liberal democracy was broken. And they had broke it.
You came into their temple,” he said. “And shat on their altar.”
2020 THE #NITCHIFICATION OF THE INTERNET
THE “HAVE IT YOUR WAY” — “HAVE IT WHEN YOU WANT IT” FRACTURED SOCIETY COLLECTIVE means there is no GOING VIRAL and famous for 15 minutes. NOW WE ALL WANT OUR 15 MINUTES OF PRIVACY
We only want to hear from the people in our circles.
We will turn off the internet fire hose experiment that started in 1994 with no security – whatsoever – (even though that generation built the bomb) and allowed it companies to COLLECT AND SELL DATA.
We will only want Technology explicitly for the purpose of being free from the surveillance capitalism. Federated social networks run people you know.
Tracking the result to a barrage of misleading Facebook ads targeted at vulnerable Brexit swing voters — and linking the same players and tactics to the 2016 US presidential election —
We are the ones who have to take back control.
Cadwalladr calls out the “gods of Silicon Valley” for being on the wrong side of history and asks: Are free and fair elections a thing of the past?
Why you should listen
Carole Cadwalladr is a journalist for the Guardian and Observer in the United Kingdom. She worked for a year with #whistleblower Christopher Wylie to publish her investigation into Cambridge Analytica, which she shared with the New York Times. The investigation resulted in Mark Zuckerberg being called before Congress and Facebook losing more than $100 billion from its share price. She has also uncovered multiple crimes committed during the European referendum and evidence of Russian interference in Brexit. Her work has won a Polk Award and the Orwell Prize for political journalism, and she was named a Pulitzer Prize finalist for National Reporting in 2019.
Of her award-winning work, judge Sir David Bell wrote: She “deserves high praise for the quality of her research and for her determination to shed fierce light on a story which seems by no means over yet. Orwell would have loved it.”
Despite legal threats from both Cambridge Analytica and Facebook, Cadwalladr and her colleagues went public with their findings, publishing them in the Observer.
“Facebook: you were on the wrong side of history in that,” Cadwalladr says. “And you are on the wrong side of history in this.
In refusing to give us the answers that we need. And that is why I am here. To address you directly. The gods of Silicon Valley; Mark Zuckerberg and Sheryl Sandberg and Larry Page and Sergey Brin and Jack Dorsey, and your employees and your investors, too … We are what happens to a western democracy when a hundred years of electoral laws are disrupted by technology …
What the Brexit vote demonstrates is that liberal democracy is broken, and you broke it.”
Cadwalladr offers a challenge to tech companies:
“It is not about left or right, or Leave or Remain, or Trump or not. It’s about whether it’s actually possible to have a free and fair election ever again. As it stands, I don’t think it is. And so my question to you is: Is this what you want? Is this how you want history to remember you? As the handmaidens to authoritarianism that is on the rise all across the world? You set out to connect people and you are refusing to acknowledge that the same technology is now driving us apart.”
And for everyone else, Cadwalladr has a call to action: “Democracy is not guaranteed, and it is not inevitable. And we have to fight. And we have to win. And we cannot let these tech companies have this unchecked power. It’s up to us: you, me and all of us. We are the ones who have to take back control.”
‘This is not democracy. Lies spread in darkness paid for with cash from God knows where.’ Two days ago I accused Facebook of breaking democracy. TEDchris told them they were free to respond at any time.
carolecadwalla/status/1120237389647990784This is actually very important I think. @facebook refused to answer questions of British parliament. It refused to address international committee of 9 countries. But @TEDTalks is its spiritual home. These are its peers. And it can’t face them either.TED sponsor Facebook claimed @carolecadwalla's TED talk contained “factual inaccuracies” & demanded to see her script. What factual inaccuracies, we both wondered. “Let’s see what they come back with in the morning,” she said. Spoiler: they never did.
Here’s Trump praising @stevehilton -the man who convinced @michaelgove to back Brexit. Your reminder that this whole thing is a transatlantic shitshow. At Vote Leave, Gove oversaw biggest electoral fraud of the century & is now a govt minister. And Murdoch connects them all https://t.co/ZSH0DzoxOh
Why fascism is so tempting – and how your data could power it.
Definitions of Nationalism vs. Fascism
In a profound talk about technology and power, author and historian Yuval Noah Harari explains the important difference between fascism and nationalism — and what the consolidation of our data means for the future of democracy.
The Library of Congress is continues to accept applications for our 2019 Summer Teacher Institutes for educators interested in using primary sources with their students. Interested applicants are invited to apply by the deadline of March 10, 2019. More information on this free professional development opportunity for educators of all disciplines, interested in using primary sources with their students, follows:2019 Library of Congress Summer Teacher Institutes
Immerse yourself in the practice of teaching with primary sources from the unparalleled collections of Library of Congress. Held at the Library of Congress in Washington, D.C., our Summer Teacher Institutes provide educators of all disciplines with resources and strategies to effectively integrate primary sources into K-12 classroom teaching. Each session will focus on pedagogy, with an emphasis on supporting student engagement, critical thinking, and construction of knowledge. While practicing these teaching strategies, attendees will explore some of the millions of digitized historical artifacts and documents available in the Library’s collections. They will also conduct research to identify primary sources and develop an activity related to their classroom content.
The Library of Congress Summer Teacher Institutes are appropriate for K-12 educators across many disciplines, including: Social Studies/History, English Language Arts, Science, Art, Music, or any other educators who feel that primary sources could be used with their curricula. Librarians and Curriculum/Professional Development specialists are also encouraged to apply.
Three week-long Summer Teacher Institute sessions will be offered this summer:
General Focus – open to K-12 educators across all content areas:
July 8-July 12, 2019
July 29-August 2, 2019
Science, Technology, and Engineering Focus – recommended for K-12 educators who teach science, technology, or engineering, or collaborate with those who do:
July 15-July 19, 2019
Institute and instructional materials are provided at no cost. Participants will be responsible for transportation to and from Washington, D.C., and any required overnight accommodations.
Applications for the Summer Teacher Institutes are due March 10, 2019 and require a letter of recommendation. Read more and apply now
NASA Education EXPRESS mailing list.
NASA Email Sign-up
NASA EXPRESS your STEM connection
The NASA EXPRESS message features updates from NASA and STEM associates about workshops, internships, and fellowships; applications for grants or collaborations; promotions for student and educator opportunities; online professional development; and other announcements.
The beginning of cloud based music streaming technology starts in 1899.
There is Nothing new under the sun, so if you were born after 1985 this may sound like fossil hunting, however this really happened!
Swing Hostess is a comedy that shows a fictional company named Jukebox Emporium Company using the real technology – serving music from vinyl records through the telephone wire that allowed Jukebox users to hear the requested songs.
Watch Swing Hostess 1944 Comedy
Lots of sexist, nasty comments about “those kind of women”
► 33:38 Jukebox User Request to the operator:
How About the Cook Stove Special?
Yeah, you know Home on the Range. 🙂
► 14:00 The Job Training explains the “File” system
In the beginning of Wired Music technology, you ordered your song to play by telephone. The company service had a central office with operators who loaded disks onto record players. It only served a limited area of office buildings and other businesses. The bandwidth of the premium phone lines was better than a standard phone line (300-3000 Hz), but still not exactly “hi-fi”, but for 78 records it was good enough.
► 34:00 Get the marines! we’ve got a war to wage.
► 34:24 The company phone operator receives a phone call from the Juke Box “User” who has paid .25¢, .10¢, or .05¢ cents to hear the vinyl record spin the requested song through the telephone wire to the customer/user who paid to hear it.
► From vinyl records, cassettes, CDs, Napster files, mp3, mp4, wav etc, ipod players, cell phones to Streaming companies where it is no longer necessary to own the file.
Now we pay $10.00 monthly for all you can eat modern cloud based streamingtech companies when a user can choose from millions of files.
The Shyvers Multiphone, released in 1939 by Kenneth C. Shyvers, was an early model of a coin-operated phonograph (also known as a jukebox). It allowed patrons at restaurants, cafes and bars to play music at their table, and worked through telephone lines. The user inserted the necessary amount of coins, and was connected to a team of all-female disc jockeys in Seattle, who manually put on the selected song on a phonograph, playing the music through the telephone connection. At the height of the product’s popularity, the 8,000 Multiphones were used in various establishments primarily on the west coast. – Shyvers’ 1947 patent for his music box design – Development of Telephone Line Broadcasting Systems -A Centralized Music Library
The Multiphone was a music selection device that operated over telephone lines mostly in Seattle, Tacoma and Olympia, Washington from 1939 to 1959.
It was created by Kenneth and Lois Shyvers of the Seattle, Washington area. This man also invented the pinball machine. The Multiphone is a version of a jukebox wall box.
These units were typically placed on tables, counters or bars. A patron could deposit a coin and speak with a telephone operator standing at a turntable at the Central Music studio, who would then play a selection in the speaker at the bottom of the Multiphone. These units became popular because they had a record range of 170 whereas jukeboxes only had a record range of 20-48.
How it worked
These units sat on tables, counters, and bars. The system required two leased telephone lines, one for the multiphone, one for the loudspeakers on the wall that were connected to the record playing station. First you would select from the 170 choices of tunes, drop the correct amount of dimes in the coin slot at the top of the machine, for your selections. The two lights in the middle of the unit would then light up, and thru one of the leased telephone lines the disc jockey would be alerted and then they would talk direct to you thru the speaker in the top of the unit to find out your choices. You would give the numbered choices, they would then be played, with the sound coming thru the four inch speaker in the bottom of the unit. These units became popular because they had a record range of 170 whereas jukeboxes only had 20-24. The jukebox was remodeled to play 180 45 rpm records and the multiphone could not compete and went out of business in 1959. This unit is buffed cast aluminum and has been rewired to plug in and see the lights work. There is also speaker wire attached to hook up to your unit if so desired. The condition is excellent for its age. All original except the cord, no dents, no rust and no pitting. … Empire State Building Shyvers Jukebox Selector Pic
played an important role in the evolution of the jukebox, an invention that grew to become a staple of its time and is still often used in cafes and restaurants to recreate the temporality of the mid 20th century. The first recorded coin operated phonograph was presented in 1889, in a public demonstration at the Palais Royal Restaurant in San Francisco on November 23, 1889.
Louis T. Glass, the operator of this initial model, is credited as “the father of the concept.” Before delving into the phonograph world, Glass worked as a telegraph operator at Western Union, but then left the company with the advent of the telephone, investing in various telephone companies in Oakland and San Francisco. He eventually became the general manager of the Pacific States Telephone and Telegraph Co. After his successful investments, he then partnered with businessman William S. Arnold to further develop the coin-operated phonograph.
Though Glass is considered to be the “father” of the jukebox, he and Arnold only filed a patent for the “Coin Actuated Attachment for Phonographs,” not a completely functional coin-operated phonograph in 1889.
The people of the 1930s and 1940s had coin-operated music players.
The Multiphone and jukeboxes created a new “social practice” of listening to the same music together as media scholar Jose van Dijck says in his article
“Record and Hold: Popular Music between personal and Collective memory.”
According to Dijck, a listener’s memory of music cannot be removed from the context in which it was experienced. For the people during the age of the Multiphone and jukeboxes, the conversations at bars and diners about selecting a song to play made a special place in listeners’ minds. More importantly, this very practice of going to a public place to listen to music is the effect of the technology’s power to create new rituals and thinking as media scholar, Marshall McLuhan discusses in his pivotal work, “The Medium Is The Message.”
2019 The Music Modernization Act passes
Copyright Royalty Board (CRB) ruled to increase royalty payments to songwriters and music publishers from music streaming companies by nearly 44 percent, the biggest rate increase granted in CRB history. These rates will go into effect for interactive streaming and limited download services like Amazon, Apple, Google, and Spotify for the years 2018-2022, and will transform how songwriters are paid by these interactive streaming services.
This was a hearing pitting songwriters and music publishers against five technology companies, including three of the largest companies in the world (Apple, Amazon and Google), which sought to reduce the already low rate of royalties that they pay to songwriters for the use of their music on their streaming services. [monopolies vs. antitrust law]
Even though the songwriters were looking for a per-stream rate, that they did not get, the digital services were fighting to reduce rates, so it is still a victory for them. Streamlined rate terms replace calculations with a simplified formula based on the “greater of” concept. This, under previous conditions, may have involved dozens of computations involving different offerings has been reduced to two variables. Originally, songwriters asked the CRB to grant the greater of 15 cents per 100 streams or $1.06 per user per month, but they did gain ground. Over the last decade, since the beginning of music streaming, writer royalties had been strictly based on a percentage of each streaming service’s revenue, putting them at the mercy of subjective corporate decision-making.
► Broadcasts are considered a public performance, and garner a higher performance license rate. For instance, Rodney Jerkins illustrated the discrepancy in September at the Recording Academy’s District Advocacy Day in Los Angeles by sharing an accounting statement for “As Long As You Love Me,” a top 10 hit for Justin Bieber in 2012. By 2013, Jerkins’ stake in the song generated $146,000 in performance royalties, while streaming revenue from the same period garnered $278 for 38 million Pandora plays and $218 for 34 million YouTube streams.
1) For the next five years (from 2018 – 2022) the per-stream royalty rate for mechanical royalties will increase incrementally from the current 10.5% of Gross revenue to 15.1% of Gross revenue. For example, in the current model, if a music service made $100 in Gross Revenue, then 10.5% of $100 is the pot of money being paid for all the compositions, an amount of $10.50. If there are 100 streams in that one month, the service divides $10.50 by 100 streams to get a per stream rate of $0.105 per stream Under the new model, by 2022, the 10.5% will increase to 15.1%. Doing the same calculation means each stream is now worth $0.151 per stream, an increase of about 40%.
2) If the music services pay the royalties late, they will be charged a late fee.
3) If a record label negotiates a higher rate with Spotify for the recording (as there is no government regulation or rate for recordings), then the royalty rate for the composition can also increase, but with a limit. For example, if a record label gets 70% of Gross Revenue, then the amount being paid for the composition could theoretically increase to above 15.1%.
HOW LONG HAS THIS BEEN GOING ON?
The Telephone Line Music Systems were an interesting but short-lived feature in the history of the jukebox.
► 2019 The CRB mandated 15.1% rate, phasing in over the next five years, is one of the highest rates in the world and is now a rate that must be met under the law.
2019 ARSC CONFERENCE The Outreach Committee of the Association for Recorded Sound Collections (ARSC)
53rd annual ARSC Conference, May 8-11, 2019, in Portland, Oregon.
The conference programs will take place at the Benson Hotel, an historic hotel located within walking distance of shopping, dining, and entertainment in the Pearl District, Pioneer Square, and downtown Portland. It is within striking distance of several of the city’s many record stores and Powell’s City of Books. Museums include the Portland Art Museum, Oregon Historical Society, and the Oregon Museum of Science and Industry.
The pre-conference workshop, “All Things Digital: Digital Audio Workstation Basics,” will be held on May 8, 9:00 a.m.-5:00 p.m., at the Crystal Ballroom, in the Benson Hotel.
A block of rooms has been reserved at special rates for ARSC conference attendees. ARSC’s contracted dates extend from May 7-11. Additionally, the group rate will be honored three days before and three days after, based on availability. The deadline for reservations at the group rate is April 12. After that date, reservations will be accepted on a space available basis at the prevailing rate.
Register early and save! In order to receive the early registration discount, you must register for the conference by April 19. Registration options are available for members and non-members. A special fee waiver program is available for student members. Online registration is now available at:
ARSC is dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. Reflecting this broad mission, the upcoming conference offers talks and sessions that will appeal to both professionals and collectors.
Presenters include representatives from archives across North America and Europe, as well as record collectors, dealers, audio engineers and producers, academics, historians, and musicians.
This year’s plenary sessions are:
► The Music Modernization Act and You
Discogs — Collaboration and Crowdsourcing in the 21st Century
Presentations and session topics include:
The Fabulous Wailers and the Founding of the Northwest Rock ’n’ Roll Sound
Phil Moore: Portland’s Forgotten Groomer of the Stars and Musical Genius
Portland’s Native Son Mel Blanc: “Wascally Wabbit” Making “Wecords” 🙂
Recent Developments in Audio Retrieval via Optical Methods
Discography, Then and Now
Recent Developments in the Preservation of Wire Recordings, Magnabelts, and Dictabelts
The First Black-Owned Recording Ventures Reissued: Black Swans
Jack Penewell: The Paramount Test Pressings and Private Recordings of the Inventor of the Twin-Six Guitar
Lacquers: Playback and Content
How to Leverage Open Mass Digitization Audio Projects
A Century of Concert Spiritual Recordings: The Pioneers
The First Days of Disco
Preserving NBC Radio Coverage of the Founding of the United Nations
Media Preservation and Digitization Principles and Practices
Portland’s DIY Scene: The Punk Underground, and Rock and Roll
Mahalia Jackson’s Apollo Recordings
How Archiving Challenges of the Past Can Be Used to Shape Future Approaches
Laurel and Hardy on the Radio: Rare and Well Done
Bob Fass and Radio Unnameable: Saving NYC’s Radical Radio History
Surveying Archival Yiddish Audio Collections: A Treasure of Yiddish Songs and Stories
Where the Music Matters: KEXP Audio Archives Digitization
Inventing the Recording in 1900 Spain: The Era of the Gabinetes Fonográficos
► Thursday evening “Ask the Technical Committee”
► Friday evening open to the general public “Collectors’ Roundtable” Friday evening, join Mark Cantor for the music-on-film event, “Music is Where You Find It.” Most fans of music on film are well aware of the riches to be found within feature films, short subjects, SOUNDIES, and television broadcasts. But popular music — jazz, blues, country, ethnic, and just plain “pop” — can be found in many other film genres. In this session, we will explore some of the other sources — often neglected when music on film is discussed — where great performances can be found: fund raising films, industrial shorts, television commercials, raw newsreel footage, experimental and independent films, propaganda pieces, animated cartoons, and home movies. This program is drawn from the Celluloid Improvisations Music Film Archive, perhaps the largest private collection of musical content where 16mm sound film is the primary source. Join us for a session of rarities that includes appearances from Benny Goodman, Duke Ellington, Helen Humes, Don Shirley, Big Bill Broonzy, “Cannonball” Adderley, Spade Cooley, Eddie Lang, and many more!
► PRE-CONFERENCE WORKSHOP
“All Things Digital: Digital Audio Workstation Basics” is a full-day, hands-on workshop on May 8, at the Benson Hotel. The workshop will give attendees a practical overview of digital audio workstation use for archival applications. It is intended for archivists, collection managers, researchers, students, and anyone who needs to have a working knowledge of digital audio. No previous experience necessary. The workshop is limited to 50 attendees.
OPTIONAL PRE-CONFERENCE TOUR
On May 8, tour Cascade Record Pressing, the first large-production, automated record pressing plant in the Pacific Northwest. It is Oregon’s only vinyl record pressing plant, and produces high-quality records for discerning artists and labels. Learn about all aspects of the record pressing process. Cascade Record Pressing is located about 20 minutes southeast of downtown Portland in Milwaukie. Grace Krause, Project Manager at Cascade Record Pressing, is generously offering a pre-conference tour for a limited number of participants (maximum: 15). Participants meet in the Benson Hotel lobby at 1:15 p.m. for 1:30 p.m. departure for the tour. Transportation will be by shared Uber vehicles. Participants return to hotel at 3:30 p.m. Fee applies (covers transportation).
NEWCOMER ORIENTATION and MENTORING PROGRAM
ARSC invites first-time conference attendees and conference veterans to participate in the Conference Mentoring Program. The program pairs newcomers with long-time members, based on their shared interests. Mentors provide mentees with an orientation to the conference, the association, and its participants in informal meetings over the course of the conference. Only ARSC veterans who are committed to the mentoring program should volunteer.
The conference will conclude on Saturday evening with the annual Awards Banquet. Winners of the 2018 Awards for Excellence and 2019 Lifetime Achievement and Distinguished Service awards will be honored. Finalists for the 2019 Awards for Excellence will be announced.
The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals — everyone with a serious interest in recorded sound.