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
Women’s Work
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
The Multiphone
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.
Streaming Revenues
► 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.
The CRB ruling legitimizes and secures higher rates while also allowing for the possible removal of a contested provision in the controversial Music Modernization Act.
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.
► 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.
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.
AWARDS BANQUET
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.
refuses to police accounts of Pedophiles that Swarm of innocent children with lewd or sexual comments. they just sell advertising no matter what.
They want the public to “Flag” what is nasty.
THAT IS NOT OUR JOB
THAT IS GOOGLE’S
New York Times found that disturbing content was showing up in YouTube’s children’s app, which is meant for users under 13.
Youtube Videos make money with advertisers. Videos targeted by pedophiles do not violate YouTube’s rules became overrun with suggestive remarks directed at the children.
Many of the advertisers identified in the video Epic Games, GNC and Nestlé’s companies in the United States, Walt Disney Company.
Advertisers like Nestle run ads on on these videos
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.
and
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?
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRejectRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
