Reflections On Streaming Rip-Offs by Mitch Santell
Every month I put out 14.99 and pay it directly to Apple, Inc. for a family streaming plan.
The reality is only some of your money is paid to the artists you listen to.
The rest of your money (and it’s probably most of your money) goes somewhere else. That “somewhere else” is decided by a small group of subscribers who have gained control over your money thanks to a mathematical flaw in how artist royalties are calculated. This flaw cheats real artists with real fans, rewards fake artists with no fans, and perhaps worst of all communicates to most streaming music subscribers a simple, awful, message: Your choices don’t count, and you don’t matter.
Technical and Social Musings about Apple Written by Mitch Santell
I’m not embarrassed to admit it. When the iPhone came out in 2007, I saw the potential that the device had to mess people up. Usually, I say that we are analog people in a digital world but based on current observations I think so many of our young people have been cloned off and are too distracted to think.
Apple, Inc. is at the crossroads of how it will forward as a company because when a company as large as Apple, Inc. allows all of it’s iCloud Chinese customers to have their data moved to Government servers, you are looking at a privacy nightmare.
Do you have to ask yourself, “When will this happen in America? I don’t know because I have followed Apple’s privacy policies closely and my data always felt safer with Apple than with their competitors. If you are a regular follower of my blog you know that I have written about Apple before.
Apple Transfers Chinese Users’ iCloud Data to State-Controlled Data Centers
There’s terrible news for Apple users in China. Apple’s Chinese data center partner has transferred iCloud data, belonging to 130 million China-based users, to a cloud storage service managed by a state-owned mobile telecom provider—raising concerns about privacy.
Back in February this year, Apple moved the encryption keys and data of its Chinese iCloud users from its US servers to local servers on Chinese soil to comply with the new regulation of the Chinese government, despite concerns from human rights activists.
For this Apple controversially signed a deal with Guizhou-Cloud Big Data (GCBD), a Chinese company who gained operation control over Apple’s iCloud business in China earlier this year.
Now, that sensitive data, which includes users’ emails, text messages, pictures, and the encryption keys that protect it, has been passed on to Tianyi cloud storage service, a business venture managed by government-owned mobile operator China Telecom.
Comments on Waking Up to Social Engineering by Mitch Santell
Happy Saturday dear readers and followers and thank you for being here. Pour yourself a fresh hot or ice tea or a cup of coffee and listen as Jaron Lanier shares how he is building his career without being on social media. Jaron Lanier works for Microsoft, and his employer opening encourages him to dump on any platform that he feels is messing with society.
On this week’s new episode of Too Embarrassed to Ask, Kara Swisher talks with Jaron Lanier, a VR pioneer and longtime technology critic who currently works at Microsoft Research. He’s the author of a new book, “10 Arguments for Deleting Your Social Media Accounts Right Now” and explains why those who have the opportunity to quit platforms like Facebook and Twitter should do so. He compares the problem to past crusades against “mass addictions” like smoking or drunk driving, arguing that hearing more voices from people who are outside of the addiction may be the most helpful way to turn the tide.
You can listen to Too Embarrassed to Ask on Apple Podcasts, Spotify, Pocket Casts, Overcast or wherever you listen to podcasts. Below, we’ve shared a lightly edited full transcript of Swisher’s chat with Lanier.
You can play the file here: (45 Minutes 6 Seconds).
After Steve Jobs, I have been searching my heart and soul for what is going to be Apple, Inc.’s saving grace. When Steve Jobs passed on the DNA that is Apple, a piece of the company died when Steve did. Not an easy thing to admit because I was inducted into the Apple Cult early on in 1984.
In 1984 I purchased a Fat Mac for 3,700.00 Dollars plus Tax in Los Angeles. Now fast forward to 2018 and look where Apple is now.
Apple can’t stand still, and it is trying not to be a casualty of its own success.
Apple has something big brewing. What is it? Apple is about to overtake Spotify as the top paid streaming service. There is a reason for this. The reason is Apple incredible relationship with its customers.
The streaming market is being fine-tuned. If you are a songwriter and artist, you are going to have to pay very close attention to what each of these streaming companies is doing.
Spotify is being as innovative as Apple in that the company is allowing artists to sign themselves to Spotify as a real artist giving them more control of their content.
Many companies offer the same product, but their pricing scheme is related to how they can accumulate the most amount of customers.
Take a deep breath investing a few moments in listening and watching what is happening at Napster. (Yeah, man, they are still around)! The company is now called Rhapsody / Napster. The new company adds 24,000 new streaming tracks every 24 hours. The company has their payout structure in place and are paying top dollar to the artists and companies.
Time to reflect on where the market is shifting. Let me know your thoughts. I’ll expand further on the challenges that face Apple and why but in the meantime, check out this reflective talk between Bill Patrizio, President & CEO, Rhapsody Int’l – Napster (USA) interviewer: Mark Mulligan, Managing Director & Analyst, MIDiA Research (UK)
Comments on iPhone Cloning of Humanity by Mitch Santell
The change is very subtle but you notice it still the same. What is it? The darting of eyes in the supermarket here in America as patrons (we call them guests), decide if they should pass you on the left or on the right.
The reason that most people don’t know is that the level of wireless wi-fi and radiation coming off portable smartphone devices, plus the cloning off of your thinking skills is enough to take for one person.
In atomization, the subcultural mode’s local communities cannot hold together, because they no longer deliver adequate meaning. The subcultural solution to the problems of self and society—intermediate-scale subsocieties that buffer individuals from national institutions—failed.
Instead, society moves onto global interactive media. Internet social networks support larger, geographically dispersed virtual communities. You no longer need to be in the happening place to get access to a genre or scene. You may not know the gender, race, or nationality of some of your closest friends. It is wonderful to find people who share your nearly-unique interests—but can online relationships replace in-person ones? Can electronic communities provide the same benefits as local ones?
The vestiges of systematic social organization are crumbling. As culture and society atomize, it becomes impossible to maintain a coherent ideology. Religions decohere into vague “spirituality,” and political isms give way to bizarre, transient, reality-impaired online movements. Decontextualized, contradictory, intensely-proclaimed religious and political “beliefs” displace legacy systems of meaning. These are not beliefs in an ordinary sense, but advertisements of personal qualities and tribal identification. The atomized mode generates paranoia, because without the systematic mode’s “therefores,” its structure of justification, there are no memetic defenses against bad ideas.
Technology divides us more than anything else. The more I read and observe, the more I am convinced of this.
Dystopia is everywhere. No longer just a narrative form in the vein of 1984 or Soylent Green, the very word is seeping into our daily news and culture, invoked as readily in the pubs of London as the checkpoints of Gaza. Far from “an imagined … society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic,” dystopia is now used to describe Facebook, Brexit, biometric data, militancy, antibiotic resistance, and HQ Trivia.
A 2017 article in the Nation summed up a great deal of liberal feelings about the current political climate: “With the election of an uber-narcissist incapable of distinguishing between fact and fantasy, all the dystopian nightmares that had gathered like storm clouds on the horizon—nuclear war, climate change, a clash of civilizations—suddenly moved overhead.”
Of course, the Western political and economic upheavals of the past few years are about as dystopian as a party balloon next to the reality of life in, say, North Korea, whose government sums up the rights of its citizens with a simple phrase—“One for all and all for one”—better known in the West for a book that is probably not discussed much in Pyongyang. Like Stalinist Russia and Nazi Germany before it, the totalitarian oppression of the DPRK feels so remote that it becomes almost pantomime. The hysterical weeping of party officials at the death of Kim Jong-il and the assassination of Kim Jong-un’s defector brother, with the killers allegedly told it was part of a “prank” show, feel closer to fiction than fact—stories to be marvelled at, rather than profound human truths. Propaganda and history collide, blurring the lines between fiction and reality; as these lines move, so does our cultural understanding of dystopia.