Resources for High School Students Interested in Cyber Security
Summer Camps are a great introduction to cyber security.
Online Courses are the next step to growing knowledge and experience, while at the same time learn more about a potential career path.
Hackathons are the playground for testing how far you’ve come.
Many internship programs available to exact academic paths/interest. Generally speaking, cyber security degree seeking students may pursue positions at the CIA in STEM, Clandestine, Analysis, or Enterprise and Support Roles.
Must apply senior year in high school. Rigorous application process includes polygraph, mental health evaluation, financial need, background checks, high academic marks, abstinence from drugs, and more. Successful applicants will be provided a salary as well as have tuition covered up to a certain price. Successful applicants will work at the CIA in summers and continue to work for the CIA after graduation.
Meet the Terabytches: Fergus students prep for cyber security competition
‘We’re like the biggest collective knowledge in a girls’ team,’ Emily Younghans says
In the next two weeks, Russia is planning to attempt something no other country has tried before. It’s going to test whether it can disconnect from the rest of the world electronically while keeping the internet running for its citizens. This means it will have to reroute all its data internally, rather than relying on servers abroad.
The test is key to a proposed “sovereign internet” law currently working its way through Russia’s government. It looks likely to be eventually voted through and signed into law by President Vladimir Putin, though it has stalled in parliament for now.
Pulling an iron curtain down over the internet is a simple idea, but don’t be fooled: it’s a fiendishly difficult technical challenge to get right. It is also going to be very expensive. The project’s initial cost has been set at $38 million by Russia’s financial watchdog, but it’s likely to require far more funding than that. One of the authors of the plan has said it’ll be more like $304 million, Bloomberg reports, but even that figure, industry experts say, won’t be enough to get the system up and running, let alone maintain it.
Not only that, but it has already proved deeply unpopular with the general public. An estimated 15,000 people took to the streets in Moscow earlier this month to protest the law, one of the biggest demonstrations in years.
So how will Russia actually disconnect itself from the global internet? “It is unclear what the ‘disconnect test’ might entail,” says Andrew Sullivan, president and CEO of the Internet Society. All we know is that if it passes, the new law will require the nation’s internet service providers (ISPs) to use only exchange points inside the country that are approved by Russia’s telecoms regulator, Roskomnadzor.
Operating hours Mon-Thu 8:30-17:30 Fri 8:30-16:15
+7 (495) 987-68-00
These exchange points are where internet service providers connect with each other. It’s where their cabling meets at physical locations to exchange traffic. These locations are overseen by organizations known as internet exchange providers (IXPs). Russia’s largest IXP is in Moscow, connecting cities in Russia’s east but also Riga in neighboring Latvia.
MSK-IX, as this exchange point is known, is one of the world’s largest. It connects over 500 different ISPs and handles over 140 gigabits of throughput during peak hours on weekdays. There are six other internet exchange points in Russia, spanning most of its 11 time zones. Many ISPs also use exchanges that are physically located in neighboring countries or that are owned by foreign companies. These would now be off limits. Once this stage is completed, it would provide Russia with a literal, physical “on/off switch” to decide whether its internet is shielded from the outside world or kept open.
What’s in a name?
As well as rerouting its ISPs, Russia will also have to unplug from the global domain name system (DNS) so traffic cannot be rerouted through any exchange points that are not inside Russia.
The DNS is basically a phone book for the internet: when you type, for example, “google.com” into your browser, your computer uses the DNS to translate this domain name into an IP address, which identifies the correct server on the internet to send the request. If one server won’t respond to a request, another will step in. Traffic behaves rather like water—it will seek any gap it can to flow through.
“The creators of the DNS wanted to create a system able to work even when bits of it stopped working, regardless of whether the decision to break parts of it was deliberate or accidental,” says Brad Karp, a computer scientist at University College London. This in-built resilience in the underlying structure of the internet will make Russia’s plan even harder to carry out.
The actual mechanics of the DNS are operated by a wide variety of organizations, but a majority of the “root servers,” which are its foundational layer, are run by groups in the US. Russia sees this as a strategic weakness and wants to create its own alternative, setting up an entire new network of its own root servers.
“An alternate DNS can be used to create an alternate reality for the majority of Russian internet users,” says Ameet Naik, an expert on internet monitoring for the software company ThousandEyes. “Whoever controls this directory controls the internet.” Thus, if Russia can create its own DNS, it will have at least a semblance of control over the internet within its borders.
This won’t be easy, says Sullivan. It will involve configuring tens of thousands of systems, and it will be difficult, if not impossible, to identify all the different access points citizens use to get online (their laptops, smartphones, iPads, and so on). Some of them will be using servers abroad, such as Google’s Public DNS, which Russia simply won’t be able to replicate—so the connection will fail when a Russian user tries to access them.
Could someone really destroy the whole Internet? YES
The Internet is more than just a technology. It is a domain similar to the domains of land, air, sea and space, but with its own distinct challenges.
The following is the first in a two-part post about Amazon’s dependence on an obscure process known as commingling, which has become essential to underpinning its instant fulfilment services, especially its Prime offering.
If you work in finance, the concept of commingling and its cost benefits will be instantly recognizable. But so will its risks.
And it’s these sorts of risks that are now creeping into the entire Amazon system due to the online retailer’s open-ended fulfillment structure, which allows any third party to supply inventory into commingled stock.
Not only is commingling becoming a means by which a huge number of sub-par or counterfeited goods are entering the Amazon network, it’s arguably the reason why Amazon is being forced to take increasingly extreme steps to take control of its suppliers.
As it does so, it turns itself back into a conventional vertically-integrated retailer like Tesco or Walmart, losing much of the scaling, and cost advantages, associated with its “Fulfilled by Amazon” model (FBA). This also forces an ever greater “unapproved” seller network to deal in the increasingly cut-throat dynamics of its wider marketplace offering.
The consequences of all this, as we will explain, are glaring.
Unless you make your money from selling stuff on Amazon, chances are you won’t have heard of an FNSKU. The acronym stands for Fulfilment Network Stock Keeping Unit and represents a location identifier for products sitting in Amazon warehouses. This, to all intents and purposes, equates to an Amazon barcode.
If you’re a seller on Amazon’s marketplace who has chosen to be fulfilled by Amazon’s warehouse system (a scenario which sees Amazon dispatching the seller’s products on their behalf from its warehouses) you will always need an FNSKU.
Apart from the times you don’t.
At such times all you need is a manufacturer code. And it’s these instances, sellers tell FT Alphaville, that are introducing a counterfeiting vulnerability into the Amazon system.
Not using an FNSKU is appealing for sellers. It means products sourced from manufacturers do not have to be relabelled, ensuring they can be sent into Amazon’s network directly, saving time and money. Sellers who have chosen to be fulfilled by Amazon otherwise add an additional logistical layer into their operations if they have to relabel the goods independently.
Using manufacture bar codes also means products are more likely to qualify for Amazon Prime classification, pushing them higher up the search rankings.
Sellers tell FT Alphaville that, as it stands, the Amazon system seems to structurally incentivise the use of manufacturer codes over FNSKUs as a result. Indeed, Amazon itself promotes the fact that the process speeds up delivery in its own literature:
If multiple sellers have inventory with the same manufacturer barcode, Amazon may fulfil orders using products with that barcode when those products are closest to the customer.
This happens regardless of which seller actually receives a customer’s order. We use this process to facilitate faster delivery.
But there is an important downside. Not using FNSKUs turns sellers’ products into cold, hard commodities which are treated as fungible with equivalent products sent into the system. This happens because of a process called commingling.
How does commingling work and why is it important to the Amazon Prime model?
If you have ever wondered how it is possible for Amazon Prime to guarantee 24, or 48, hour delivery for a hugely diverse range of products, the answer is commingling.
In its simplest and idealised form, commingling allows sellers to share inventory to the mutual benefit of all, especially with respect to speed of dispatch.
The larger the geographic area, the more effective commingling becomes. In the US, for example, a seller who supplies an Amazon warehouse in Florida can — thanks to commingling — fullfil a customer living in Minnesota as easily as customers in their home state.
To explain, consider that the time it might ordinarily take to deliver to a Minnesotan from Florida is bound by the physical limitations of travel. In other words, there’s no way a parcel can arrive more quickly than via a plane. That’s its effective speed of light limit.
However, if the buyer’s parcel can be dispatched from an equivalent commingled stock just around the corner, this theoretical speed of light limit can be broken.
<If you label your commingle units by printing labels from your inventory page, and ship them with labels where you said to commingle, Amazon will likely delay your items being received and provide a warning to you about shipping items with labels when you said you want to commingle your inventory.>
<There are some inherent risks involved with using the stickerless commingled inventory option. The main risk is the loss of control of the item that the end customer receives. In addition to this there is the risk that there are counterfeit products that were sent in by other sellers, or sellers that are trying to pass off items as new that should be listed as used. The problems arise when one of these counterfeit items or less than new items are sent to a customer that orders from you.>
<august 12, 2017
I ordered the top-rated eclipse glasses on Amazon a few months ago and they were counterfeit. If you put them on during daytime you can see indirect sunlight and even my kitchen light. They were shipped from China despite having “Made in the USA” markings and all the proper ISO certification fine print. I haven’t received any communication from Amazon, so people who haven’t heard from them should not assume their glasses are safe (contrary to Amazon’s statement). I contacted Amazon support and they were quick to initiate a refund. For some reason Amazon rejected my review warning that items from third party sellers may be counterfeit and explaining how to tell. Here are a couple photos of the counterfeits>
In January 2018 a group of hackers, now thought to be working for the North Korean state-sponsored group Lazarus, attempted to steal $110 million from the Mexican commercial bank Bancomext. That effort failed. But just a few months later, a smaller yet still elaborate series of attacks allowed hackers to siphon off 300 to 400 million pesos, or roughly $15 to $20 million from Mexican banks. Here’s how they did it.
At the RSA security conference in San Francisco last Friday, penetration tester and security advisor Josu Loza, who was an incident responder in the wake of the April attacks, presented findings on how hackers executed the heists both digitally and on the ground around Mexico. The hackers’ affiliation remains publicly unknown. Loza emphasizes that while the attacks likely required extensive expertise and planning over months, or even years, they were enabled by sloppy and insecure network architecture within the Mexican financial system, and security oversights in SPEI, Mexico’s domestic money transfer platform run by central bank Banco de México, also known as Banxico.
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.
The video highlighting the comments, posted by the YouTube creator Matt Watson (also known as MattsWhatItIs) and viewed 1.75 million times since it went up on Sunday, accused YouTube of “facilitating the sexual exploitation” of children.
Mr. Watson said YouTube’s recommendation system also guided predators to other similar videos of minors — many of which carry advertisements for major brands.
BUSINESS, BANKS, POLITICIANS HAVE BUILT A 170 BILLION DOLLAR TAX HAVEN
Historian Rutger Bregman
Industry had to “stop talking about philanthropy and start talking about taxes”, he said, and cited the high tax regime of 1950s America as an example to disprove arguments by business people at Davos such as Michael Dell that economies with high personal taxation could not succeed. “That’s it,” he says. “Taxes, taxes, taxes. All the rest is bullshit in my opinion.”
Winnie Byanyima, an Oxfam executive director, took up the fight and said high employment was not a good thing in itself because many people found themselves in exploitative work. She cited the example of poultry workers in the US who had to wear nappies (diapers) because they were not allowed toilet breaks.
“That’s not a dignified job,” she said. “those are the jobs we’ve been told about, that globalisation is bringing jobs. The quality of the jobs matter. In many countries workers no longer have a voice.
Addressing Goldman, she said: “You’re counting the wrong things. You’re not counting dignity of people. You’re counting exploited people.”
Billions of dollars were leaked by tax avoidance every year which should instead be going to alleviate poverty in the developing world, she added. #Davos #WorldEconomicForum #RutgerBregman
“The vast majority of Americans for years and years now … including Fox News viewers and including Republicans are in favor of higher taxes on the rich — higher inheritance taxes, higher top marginal tax rates, higher wealth taxes — it’s all really mainstream,” Bregman said. “But no one’s saying that at Davos just as no one’s saying that on Fox News. And the explanation for that’s quite simple, it’s that most of the people in Davos, as well as most of the people on this channel, have been bought by the billionaire class. You’re not meant to say these things.”
1993 politician paid policy initiative to constrain CEO pay was actually a loophole to not pay taxes.
1993, Bill Clinton and congressional Democrats tried to stop the growing pay inequality of Reagan-era America — Section 162(m) of the US Tax Code.
“Revenue that is paid out to employees as salaries and benefits is not profits, and thus doesn’t get taxed. But section 162(m) created an exception to that rule — any salary of over $1 million paid to top executives would not be deductible for tax purposes.
This was supposed to stop outrageous 1% executive compensation packages.
Except there was an exception to the exception
compensation that took the form of stock options or stock grants would still be deductible and
the loophole incentivize companies to use a lot of stock-based compensation for their executives.
WHAT STOCK BYBACK ACTUALLY MEANS
A company like AMAZON could give stock-based compensation by taking money out of Jeff Bezos’ bank account and using it to buy back shares on the open market and pay his executives with shares but no… that would involve using his real money.
Any company, just churns out shares of their stock anytime it wants to, kind of like an ICO of some cryptocurrency. This costs Amazon shareholders (or holders of andy crypto) where creating new shares devalues the existing ones, but it doesn’t really cost the company anything at all.
What a game!
This policy loop hole allowed AMAZON to get away with NO corporate income tax in 2018 despite the huge surge in profits.
AMAZON got away without paying any tax by giving executives stock-based compensation packages and the
eliminating what would otherwise have been a non-zero tax liability.
research and development tax credit
Trump tax bill included a temporary provision allowing companies to take a 100 percent tax deduction for investment in equipment.
2018 is the fact that companies can deduct the cost of stock-based compensation from their taxable earnings even though it doesn’t actually cost companies any money to hand out shares of their own stock to employees. The more your share price rises, the bigger the deduction for handing out shares.
Why Mercer matters: “Mercer, who declined to comment for this article, has risen from relative obscurity to become one of the most influential figures in US conservatism.”
“Leaked documents … show how the billionaire Mercer family built a $60m war chest for conservative causes inside their family foundation by using an offshore investment vehicle to avoid US tax,” The Guardian reports:
Do you think the Mercers will eventually fund 8 JCN billboards, one for each of the 8 Bermuda offshore tax avoidance vehicles they’ve been linked to in the Paradise Papers?
► Nicholas C. Zakas on Twitter:
“Mom: Dad said you invented a thing? ESLint?
Mom: What is it?
Mom: Huh. Do people use it?
Me: Basically everyone writing JS.
Mom: How much did you make on it?
Mom: I don’t understand your industry.
Me: Me either.”
► Open Collective @opencollect
Organizing the Internet generation, one community at a time.
► Bryce Weiner “The true financial power of cryptocurrencies aren’t in the limited supplies which drive market volatility, but in the ability to mint your own money. That’s what “being your own bank” really means.”
► Hacker Fantastic “2,982 bitcoin miners exposed to the Internet, have factory default credentials of “root/root” and an insecure unsigned firmware update process… this is going to end in tears
►Shodan is the world’s first search engine for Internet-connected device Antminer
► Tim Bray · Google Memory Loss is ongoing – google isn’t coughing it up anymore / they don’t waste their effort going back to get what you are looking for – this has become the worst search engine to use.