#Altice top up

[djamesmartin0]

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[blackridge]

Top 10 Data Center Projects in Europe

Data centers play a crucial role in today’s digital landscape, serving as the backbone of industries such as telecommunications, cloud computing, and finance. In Europe, the demand for data centers has been booming, with record growth predicted for the coming years. In this article, we will delve into the top 10 data center projects in Europe, showcasing their size, innovation, and impact on the region’s digital infrastructure.

Here are the Top 10 Data Center Projects in Europe

1. Covilhã Data Center — Portugal

2. Vantage Cardiff Data Center Campus, CWL1 — Wales

3. FRA 1 — Frankfurt, Germany

4. Microsoft Dublin Data Center — Ireland

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To find out More about the Top 10 Data Center Projects in Europe check out

Top 10 Data Center Projects in Europe

Data centers play a crucial role in today's digital landscape, serving as the backbone of industries such as…

www.blackridgeresearch.com

1. Covilhã Data Center — Portugal

Located in Covilhã, Portugal, the Covilhã Data Center stands as one of the largest and most innovative facilities globally. Covering a staggering 800,000 square feet, this data center has gained recognition for its impressive architecture, environmental commitment, and design. Situated in the Centro region, the center benefits from favorable natural conditions such as low humidity, low salinity, low seismic, and flood risk. Notably, it is one of the coldest points across Portugal, making it an ideal location for data storage.

The Covilhã Data Center boasts a rainwater collection system, on-site photovoltaic solar power generation, and a captivating garden housing over 600 trees. These environmental commitments align with the center’s mission to minimize its ecological footprint while providing exceptional data storage solutions. Altice Portugal, formerly known as Portugal Telecom, operates this facility. Earlier this year, reports circulated about Altice negotiating the sale of its flagship data center for €100 million.

2. Vantage Cardiff Data Center Campus, CWL1 — Wales

Situated in Newport, Wales, the Vantage Cardiff Data Center Campus stands out as a remarkable facility in terms of size and capabilities. Spanning approximately 750,000 square feet, this three-story building houses nearly 375,000 square feet of technical space. The campus, designed to exceed Tier III standards, has the capacity to accommodate up to 19,000 cabinets.

Once fully developed, the 46-acre Vantage Cardiff Data Center Campus will include three data centers. Two of these facilities are already operational, catering to the increasing demand for data storage and processing. Vantage Data Centres, a leading data center provider, operates this campus, aiming to meet customer demand from around the world.

3. FRA 1 — Frankfurt, Germany

Frankfurt, Germany, stands as the leading data center market in the country, making it an attractive location for data center providers. NTT, a prominent player in the data center industry, established FRA 1, a facility spanning over 561,876 square feet of IT space. The FRA 1 data center consists of seven free-standing buildings, offering ample space for clients’ data storage needs.

With a focus on providing additional data center space for its clients, NTT strategically selected Frankfurt for this facility and its subsequent projects. The data center market in Frankfurt continues to thrive, and NTT’s FRA 1 plays a significant role in meeting the increasing demand for data processing and storage in the region.

4. Microsoft Dublin Data Center — Ireland

Microsoft’s Dublin Data Center, located in Clondalkin, Ireland, represents a pioneering facility that relies heavily on fresh air for cooling purposes. When the data center was commissioned in 2009, it set an example as one of the early adopters of fresh air cooling systems. The facility, with its 550,000 square feet of space, became Microsoft’s first data center outside of the United States.

Since its inception, the Dublin Data Center has undergone multiple expansions to meet the growing demands of Microsoft’s customers across Europe. The facility’s innovative cooling system, combined with its significant size, positions it as a key player in the European data center landscape.

Conclusion

The top 10 data center projects in Europe represent a diverse range of facilities, each contributing to the region’s digital infrastructure in its unique way. From the expansive Covilhã Data Center in Portugal to the innovative Facebook Luleå Data Center in Sweden, these facilities showcase the industry’s commitment to efficiency, sustainability, and cutting-edge technology. As Europe’s demand for data storage and processing continues to grow, these data centers play a crucial role in supporting various industries and driving technological advancements across the continent.

Find Upcoming Data Center Facility Projects in Europe with Ease.

Are you looking for a platform that gives you reliable, high-quality, and timely project insights for Data Center Facility Projects in Europe?

Discover the Global Project Tracking (GPT) platform by Blackridge Research, designed to provide you with the most recent Data Center Facility Projects in Europe better and faster across various stages of development:

Upcoming projects

Tender Notices

Contract award announcements

Projects in progress or under construction

Successfully completed projects.

The user-friendly interface helps you obtain early-stage awareness of projects and find the right business opportunity quickly.

Each project will have all the essential details, such as scope, capacity, CapEx, status, project description, companies involved, funding information, location, periodic updates, important event dates like construction start date, commissioning dates, and key contact information of project owners and stakeholders.

The database is a vital resource for a wide range of entities, EPC Companies, data analytics and software providers, consulting and advisory firms, investors, multilateral banks and financial institutions, and law firms.

Book a Free demo to learn more about the Data Center Facility Projects in Europe database and how we can help you achieve your goals.

[mostlysignssomeportents]

ISP announces 86% slowdown "in line with others"

The surging anti-monopoly movement has been greeted with skepticism from the left, some of whom suspect the whole thing is merely fetishizing competition for its own sake, irrespective of whether competing businesses produce value for their workers, communities and customers.

There’s certainly an element of the economic world that sees competition and market forces as a cure-all, jumping through farcical hoops to push pro-competitive policies to the exclusion of safety, quality and labor regulation.

But sometimes, competition really does solve problems — and even more often, a lack of competition creates problems.

That’s definitely the case for broadband, a “natural monopoly” that has been left to the private sector, who have colluded to avoid competition, allowing them to underinvest in capital expenditure and overcharge for sub-par service.

That’s why America, the birthplace of the internet, has some of the slowest, most expensive broadband in the rich world, which was bad enough before the lockdown turned broadband into a lifeline for education, health, employment, family life, politics and civics.

Now, as the lockdowns lift across the US, there’s credible proposals for public broadband infrastructure. In many places, public broadband will be the only service available, thanks to monopolists’ neglect of rural areas and poor urban neighborhoods.

https://pluralistic.net/2021/06/10/flicc/#digital-divide

In other places, publicly provided broadband will compete with monopolists’ offerings, forcing lazy, incompetent companies to up their game — both in hiring technicians and in providing good, fairly priced service:

https://pluralistic.net/2021/05/15/how-to-rob-a-bank/#fiber-now

Man, does America need this. To see just how cursed American broadband is, look no further than Altice USA, America’s fourth-largest cable operator. Altice just notified customers that it is slashing its upload speeds by 86%, effective next month.

Altice insists that there is no operational reason for this: there is no upload congestion on its network, no problems created by allowing its customers to participate actively in digital life rather than a passive mouse-potato “consumer.”

(Upload speeds determine whether you can be a Twitch streamer, participate in videoconferences, or produce and upload ambitious multimedia materials like videos; download speeds determine how fast other people and big corporations can shovel their ideas into your eyeballs)

So why is Altice slashing upload speeds? To be “in line with other ISPs.” In other words, “The rest of the industry is fucking awful, so why should we be any better?”

This is jaw-droppingly perverse logic — and a neat parable about the problems of market-based service provision without competition. It’s not always the case that competition sends corporations on a race to the top — but for-profit monopolies always race to the bottom.

As “Cowboy Economist” John T Harvey likes to say, competitive markets can be a tool to produce good outcomes, where they fit. The problem with neoliberal ideologues isn’t that they think markets are sometimes good — it’s that they think non-market systems are always bad.

An economist who thinks that any problem that can’t be solved with markets should remain unsolved is as weird as a carpenter who declares that only screw-fasteners are righteous and that nailing materials together is immoral and should be prohibited.

Public broadband provision is a no-brainer, just like electrification and interstates — essential public goods that required large-scale, muscular government intervention to weld the nation together and propel it into the future.

The experiment of creating private broadband monopolies has been tried, and it failed. America is full of broadband deserts.

Even if you’re lucky enough to get broadband, chances are it will be run by a perverse monopolist like Altice, who cuts service because they don’t want you to get used to nice things.

[borisbubbles]

Eurovision 2010s: 70 - 66

70. Zoë - “Loin d’ici” Austria 2016

Like many ranking high on this list, Zoë’s journey started in uncertainty. I don’t know what is about frivolous paperthin songs like these that make people dismiss their chances, but either way, many considered poor Zoë a borderline qualifier. I however, always knew she would make the finals 😊 And you know why? Because positivity, bitches. 

From Naviband to Lake Malawi to Laura Tesoro, Eurosnobs have a penchant for underrating “Happy Songs”, writing them off as silly and shallow. True, joy is a fairly simple empotion. Does that make it any less valuable however? Too often do we take happiness for granted. Zoë radiates mirth from every pore, adorably sprinkling her viennese fairy dust everywhere with every twirl, conjuring upside down frowns on even the grouchiest faces.

So basically, “Loin d’ici” is such a refreshing breath of air because it is so unpretentiously carefree. It isn’t bogged down by the strict standards that the musical industry imposes on so-called “quality songs”. Yes, “Loin d’ici” is repetitive and frivolous and has no deep underlying meaning (other than a shallow narrative about some faraway land), but it doesnt need to be anything else. Its mere existence makes people happy and I can’t think of a better quality in a song.

________________________________________________________________

69. IMRI - “I feel alive” Israel 2017

[2017 Review here]

Yes, that’s right “LIVE at the semifinal”. We rate songs according to their best performance here. (when it suits my interests 😈), which conventiently allows me to skip over IMRI’s awful finale performance. 😈 However... Imri’s voice breaking to pieces 😍 Self-prophesized irony is the best sort of irony.

Pictured: a metaphorical representation of IMRI’s vocal capabilities

Anyway, am I the only person who fucking LOVES Imri Ziv? I can’t be the only one, right? Leg-day skipping, sexually ambiguous (totally gay) meathead <3 There are two distinct reasons why I love him. The first and more obscure reason is his song. I mean, “I feel alive” is trashy mediterranean dance pulp 😍 with a wacky choreography 😍 and an underlying message that is about Imri’s ESC trajectory,😍 in which he has now pulled a hattrick 😍 Anthems of autofellation 😍 “I feel alive” made for a FANTASTIC closer, setting Kyiv en fuego with its dutiful dance droning. 

As for the second reason, well,..

I’m pregnant. ________________________________________________________________

68. Michela - “Chameleon” Malta 2019

Is your phone operator letting you down? Do you struggle getting a clean connection on the island of Gozo? Or would you simply wish to support our glorious entrant? JOIN VODAFONE NOW and get up to €500 if Michela wins in Israel!

I am still in shock at how GREAT “Chameleon” ended up being. I mean, I had my reservations for the song but give her WATER, SHE’S A SWIMMER

GIVE HER FIRE, SHE’S A FIGHTER

GIVE HER LOVE, SHE’S A LOVER

SHE NEVER WALKS AWAY NA NA

Other than the cutting edge, mesmerizing staging that totally SOLD me on the song and beyond, there is of course Michela herself. Now, I have read a TON of criticism about her performance “EW SHE’S SO WOODEN AND CLUNKY AND NERVOUS NOT CONFIDENT AT ALL EW EW EW DIE” which... only endeared here even more to me lmfao. Like, Michela wasn’t born a lioness like Bilal and ZENA were. She is an introverted eighteen year old who won X-Factor Malta performing only ballads, it is NORMAL to not feel perfectly at ease if you were in her shoes. SHOW SOME EMPATHY!!. You think people would learn from Ellie “Blanche” Delvaux (that shy teenagers have plenty of charisma not in spite of their vulnerability, but because of it), but I suppose they enjoy getting smacked in the face with the truthhammer when their objects of hate prove their undisputed awesomeness. 

PS: this is a mood:

________________________________________________________________

67. Eugent Bushpepa - “Máll” Albania 2018

[2018 Review here]

Eugent was is another of those entries I kind of overlooked during the preshow and ended up AWESOME. Though he comes with the advantage that I already liked his song prior the live show. Never the less, being Albania in the Red Wedding Semi, I had already resigned myself to his inevitable NQ though when suddenly

out of nowhere

he fucking OWNED the Altice Arena?

and I mean, I was in shock because um HELLO who are you and where were you all this time?? Of course, “Mall” is a good song in itself, a typical Albanian song: a quirky rock ballad that toes the line between dated and avant garde (though in this case it’s definitely *more* avant garde than dated), shot with cinematic precision.

However the main draw to “Mall” is obviously Eugent’s voice. Holy shit I swear this is something I don’t normally care about but Eugent hit the entire vocal spectrum with it, bullseye. He did things with his voice I never thought a human could do. It’s like Anja Nissen... on crack and if Anja Nissen had a good song, likable personality and epic sense of fashion. 

So, the conclusion I want to draw here is... is this the best male vocal performance of the decade? It might very well be. 

shouts to @admanholmo for reading and commenting regularly on my blog! I hope you’re not to disappointed I booted your favourite, but #67 isn’t too bad I think! Onward to (slightly) better things

______________________________________________________________

66. Minus One - “Alter Ego” Cyprus 2016

Entering with what is one of the BEST opening shots ever in a Eurovision song:

Minus One may appear underwhelming, being ranked right after Eugent and being in a year that has 😍NIKA KOCHAROV😍 in it, but holy shit I was INSTANTLY hooked by that epic close up and never gave up, nor gave in.  Actually that’s a lie because I fell in love with “Alter Ego” the SECOND it was released. 🤭 Thomas G:sson is often credited for penning “Euphoria” but his best genre is -without question- schlager. And yes, this wonderful, unique, beautiful blend of metal and schlager is exactly what WE ALL NEED in our lives. Denying it is pointless. BE SWEPT AWAY by the EPILEPSY

the LYCANTROPY

and just the general dark, moody INSANITY: 

WE’RE CAUGHT IN THE MIDDLE OF THE DAWN AND THE SUNRISE LIFE IS A MIRACLE I SAW IT IN YOUR EYES. 

I am not in love with Cyprus in this decade, nor do I think they were particularly good even though Eleni may make it appear that way. Cyprus have always been one of the most middling ESC nations to me, but it’s worth nothing that their highs are usually much higher than their lows are low. It’s just a question of getting highs consistently, which Cyprus normally don’t because the hellenic budget usually goes to Greece instead. With Greece going through a dark age however, I think they could reap the benefits and even clinch another top five soon though. 

[topweeklyupdate]

TØP Weekly Update #87: Keep Ned Bayou (3/15/19)

Another week, another batch of Tyler Joseph acting like a proper goober.

As the European Bandito Tour winds down, the band’s been throwing out plenty of morsels to keep us fed. The Emotional Roadshow Drum Battle briefly returned for the final London show. Paris stepped up big-time for The Quiet Game (and were not rewarded with extra songs). Tyler’s gotten better at opening up the pit. This week, Tyler and Josh will wrap up the European leg with their first ever shows on the Iberian Peninsula, visiting Bilbao (Bizkaia Arena; 26,000 capacity) and Madrid (Wizink Center; 15,000) in Spain and ending the tour in Lisbon, Portugal (Altice Arena; 20,000). The band will then have the rest of the month off for a mini-vacation before they are kick off a string of South American festival headlining spots in April.

The band took home an iHeartRadio Music Award for Best Rock Album, which they accepted on... TikTok... huh... I really got nothing.

If you’re a creative type, the band has launched a contest with Creative Allies for fans to design a tour poster for the next North American tour leg. Thirty-two winners will be awarded with tickets, merch, and $$$, and a grand prize winner will get flown out to Columbus for a meet-and-greet before the hometown show. Get on it, kiddos.

On the interview front, we saw a couple of interesting installments where the band go into actual depth in some of their response. Tyler revealed himself to be that guy who thinks he has really good opinions on movies. In an interview with 3FM Gemist, the dudes gave their advice about how best to pursue your passion (when they are able to restrain themselves from trolling the interviewer). The best interview of the week was unquestionably this longer one with Faceculture, where you can tell that Tyler and Josh both really vibe with the interviewer (who has interviewed them many many times before they were ever famous). In the most interesting section, Tyler goes really in depth to his rationale on keeping the creative team tight all of his projects, identifying the problems that he sees when people in “the hype” of a massive collaboration buy in to an idea because everyone else seems to and thus become unwilling to challenge or change a problem. The whole thing is definitely worth a listen.

Over on the charts, “Chlorine” continues to see slow and steady growth, becoming the band’s latest Top 10 on Alternative. Even if it never reaches the Hot 100, its music video has already surpassed “Jumpsuit”’s total views on YouTube. Our boy Ned Bayou really out here making promoting the biggest song on Trench.

Power to the local dreamer.

|-/

[don-lichterman]

Altice USA (NYSE:ATUS) Shares Up 2.3%

Altice USA (NYSE:ATUS) Shares Up 2.3%

… networks; over the top services; video-on-demand, high-definition channels, digital video …

[italiangorilla]

Our message of peace for Lisbon

(Meta-Moro interview translated from here)

Ermal Meta and Fabrizio Moro will represent Italy at the 63rd Eurovision Song Contest in Portugal.

Ermal Meta and Fabrizio Moro are ready to leave. On the 12th of May, after an intense week of rehearsals and interviews, they will represent Italy at the Eurovision Song Contest, the biggest singing competition in the world, watched by 180 million people. On stage in the Altice Arena in Lisbon, they will sing <<Non mi avete fatto niente>>, a piece with which, less than three months ago, they won Sanremo. And with which they now want to conquer the hearts of Europe.

You already knew you wanted to go to Eurovision before you won the festival? META: We talked about it, yes. This song has a strong message for some countries which are affected by war. The Eurovision is the perfect stage for it.

Per the rules, you have reduced the length of the song. Was that difficult? MORO: We have taken out an instrumental part. For us it was important to not give up any of the lyrics, to leave the message intact. It’s the thing we need the most.

But you have chosen to sing in Italian. META: Translating the song would make it lose some of it’s depth, right Fabrizio? MORO: And then I would be singing in English... (both laughing)

How will you communicate the message of the piece to the world audience? META: Subtitles of translations, so the meaning can reach everyone.

What should we expect from your performance? MORO: We will sing it like we did at the Festival (di Sanremo), simply, without confetti or artificial flames. META: The Eurovision is used to pyrotechnics, it’s true, but we have agreed that this song does not need choreography.

You both still seem to be in love with your song. META: We have believed in it from the start, we have fought tooth and nail for it. Representing Italy with this song is a huge honour.

Have any of the other songs from the competition struck you? MORO: I met a very nice Bulgarian singer in the elevator (laughs). META: We have not “surveyed the terrain” of the competition, we want to just go to Lisbon and sing our song. However, there are artists I’m interested in, such as the French.

Ermal, do you know of your compatriot Eugent Bushpepa, who is representing Albania in the contest? META: I don’t really follow Albanian music, but I know his song is very good. I can’t wait to meet him, I like the idea of being able to speak about music in my mother tongue.

Have you followed Eurovision in the past years? META: I watched it when my friend, Emma, was on it. It’s a great collaborative event and really matters – music is a beautiful way of sharing our cultural diversity.

On the 4th of May, rehearsals begin. You will be together for about ten days... MORO: We have “lived together” for six months already, ten days doesn’t scare us. If anything, the “slowness” of the Portuguese scares me – we were in Portugal for three days to film a thirty-second clip. META: That is not slow, Fabrì, it’s perfectionism!

Tell the truth, has there never been friction between you? META: It doesn’t matter! We’re actually two great pranksters. He’d never admit it, but Fabrizio is very good at making jokes.

Tell me one. MORO: (laughs) No no, I can’t. They’re all too dirty.

The original interview (in the link at the top) is easier to read if you open it in a new tab. I realised this too late.

I really enjoyed translating this, although there are a few phrases I’m not too sure on. If you spot a mistake, please let me know!

[official-portugal]

Portugal did not lose Net Neutrality

There is a post going around where a dumb European (or a troll, idk) decided the loss of Net Neutrality in the US is a matter of laughter, and people keep wrapping that post up with fake information that had gone around saying that Portugal had already lost Net Neutrality based off this image:

I can’t find that one post, but this was the image (which I grabbed myself).

Apparently, people got convinced this means that when we buy our internet, we have to pick a package of apps or whatever that the provider picks beforehand. Well, something like that.

The problem is, that is not what the is about.

This is what’s literally on top of the page (the part people left out of the print screen):

It literally translates to more mobile internet. Code word: more.

Here's the thing. We have Net Neutrality. The EU has reinforced regulations regarding Net Neutrality with the BEREC. Here is an article about it that sums it up nicely.

But people are confusing lack of Net Neutraity with abuse of customer service.

So here's some background: Meo is a company known for creating services that force their consumers to adhere to unless they specifically call the provider and have it cancelled. They've had tons of complaints regarding this. It was recently bought by the giant French company Altice, whose director has bragged about having people work as much as possible for the lowest paychecks possible.

About a year ago, the EU condemned Portugal because our providers forced us under customer retention. That is when they (illegally in the EU) force the costumers to be bound by contract for 2 years or more to their services. In return, we supposedly pay less, but if you break contract and change your provider, you pay a shit ton of money.

But you see, this type of shit is not about net neutrality. It's about customer rights that they keep breaching and violating.

Now, what is that image about, after all?

First of all, it's about mobile data. When you pick your mobile plan, you are given a monthly data to spend. These packages, however, are extra data that you can use on those apps alone, so that when you're on your mobile data, those specific apps aren't spending from your monthly data.

That's why in the header it says "MORE MOBILE INTERNET". Because it's literally an extra 5€ you can spend on something you already have.

We do have net neutrality. If we didn't, the EU would be on our asses.

Unfortunately, this issue has gone a bit overboard, and newspapers everywhere have reported on this, using Portugal as an example (including portuguese newspaper, which fucking baffles me).

Someone actually explains it well here.

And this is worth a read.

Net Neutrality and what's happening in the US is a very, VERY serious issue. It requires the right information to be fought accordingly. So please stop using Portugal as an example of something that it's not.

Stop using our country as an example of a country without net neutrality because it's not true.

[usstatesofsong]

2018 Eurovision Song Reviews - Poland

Semifinal 2, #11 - POLAND Gromee ft. Lukas Meijer - Light Me Up

Wahhaha! I’m at least one-eighth Polish, so let’s party! Poland is bringing the yearly DJ entry - and I don’t mind this at all, by the way. Norway’s “JOWST” ended up growing on me, but that whole thing where they wanted the fake vocals and threw a fit about it irked me. At least “Light Me Up” is real. But anyway…

In case you’re wondering, Gromee is the Polish DJ, and Lukas Meijer is Swedish. They had a 2017 hit in Poland together (“Without You”), and post-hit they must’ve decided to continue collaborating, coming up with “Light Me Up,” and then taking it to Krajowe Eliminacje where it captured first with the televote. The song then topped the Polish chart for four consecutive weeks, being the first Polish Eurovision song to do so in recent years.

Can you be so surprised? This song is arguably the most radio-friendly entry in the contest; it reeks of 2018 styles. It’s written to be a summery pop anthem: “Light me up, light me up now, baby - light me up and tell me where to go!” It’s not exactly deep lyrical writing, but it’s better than “I wanna feel alive - when I’m running through my life” or “So bring me back to a place - where my heart can finally reveal its face.” How does one run through their life? Do hearts have faces? Are you pondering a photo album? Are you trying to speed up your aging process? What do the metaphors mean? (P.s. They don’t.)

Lukas’ voice is all that you hear on the track. It’s not the most consistent, as the national final would show you, so I hope he brings some backing vocals to Lisbon. Even with or without this tool, however, they can make a spectacle out of those vertical beams of light - let’s turn the Altice Arena into a rave, dudes!!

It’s good fun to listen to - in that you’re turning off your brain for a moment to just live in the “now” and enjoy yourself. The music video exemplifies this pretty well: Gromee and Meijer wander around Barcelona, soaking up the sunlight, and hanging with friends. t’s no critical masterpiece; that’s where you can’t really defend this well. But that’s not the intent of its existence.

By being in the weaker of two semifinals, I think Poland has a good shot of making the Final. If they don’t, it’s because the juries pooped on their chances. But Germany votes in this semifinal, and Sweden will certainly throw points towards Lukas’ way.

In all, this is a formidable, enjoyable effort from Poland this year.

My Rating: 6.5/10 Ranking: 18th of 43

[themusicenthusiast]

Single Review: “Jumpsuit” by Twenty One Pilots

“…My jumpsuit is on steady…” and “…I'm careless when I wear my rebel clothes…” Those are two lines from “Nico and the Niners” that allude or outright mention the jumpsuit, leading one to wonder what exactly it is in the context of this believed concept album that Twenty One Pilots has concocted with Trench (due out on October 5th via Fueled by Ramen). The lead and primary song from the forthcoming record, “Jumpsuit” (along with the accompanying music video), aims to provide context to that. In this fictional city ruled by Nico and nine bishops, it is apparently these jumpsuits that allows rebels to safely traverse the city and carry out their work to undermine their oppressors, all because the outfits have a color that can’t be seen by the bishops. It’s a creative idea, the song fleshing out a crucial aspect of the story, which is poised to be massive in scale, leaving a great deal of ground yet to cover on the other tracks that will comprise Trench.

On top of that, “Jumpsuit” is -- for the most part -- a beast of a song. The rhythm section rules the track, the thick, pulsating bass riffs that get it underway along with the restrained yet sonorous beats that accent it quickly letting the listener know they are in for something heavy. Tyler Joseph and Josh Dun are artful chameleons, impossible to pigeonhole in terms of style because no genre is off the table for them. That’s easily one of the most appealing factors that Twenty One Pilots has going for them; this song being deeply rooted in rock, though it also includes components of pop and electronic genres which enhance how compelling it is. Loud and authoritative, it demands one’s attention, even during the lull that the bridge provides; Joseph being incredibly restrained until the end, the frontman suddenly seething as he lets loose all of this anger and frustration that has welled up in him/the protagonist of the story that he is portraying. It’s visceral, the raw feelings he captures calling further attention to what a sensational vocalist he is, his pipes seemingly capable of anything. However, “Jumpsuit” succumbs to the pitfalls that made Blurryface such a lackluster follow-up. For starters, it’s overproduced. The excessive voice modulation diminishes Joseph’s natural talent, masking it in unnecessary effects that provide nothing to the song. It’s more as if it’s for the sake of being “poppy”, since that has become a hallmark of current pop music. And like “Nico and the Niners”, “Jumpsuit” is just too repetitive, something that becomes readily apparent early on. To it’s credit, it’s definitely going to be a song people will sing along with, though it’s a song that lyrically is lacking any significant substance. There is a grand total of sixty-four words used throughout the track, many of them reused multiple times. It would be near impossible to write anything that had a significant meaning when limited to such a minuscule vocabulary. Despite that, some of the lines can be taken out of context in order to provide a sense of encouragement or support to those who might need it. For example, “I can't believe how much I hate pressures of a new place roll my way…” could potentially apply to an individual who doesn’t like to go beyond their comfort zone, due to anxiety, unease or whatever else could be a contributing factor. The track soon suggesting that sometimes you have to push yourself. “Jumpsuit” easily stands as one of the most intense songs that Twenty One Pilots has written to date, though out of these first two singles released to promote Trench, it’s the other that is the better quality of song. This one does do a great job at capturing their live energy that have made their shows so outstanding, though the other qualities on the production side foil it, making it mediocre at best. Still, one has to be curious about what all this story will entail. Where does it begin? How will it end? Because as hopeful as both of these songs can sound, there’s clearly a grave threat lurking in the shadows. That’s something that Trench will (hopefully) adequately explore. Purchase “Jumpsuit / Nico And The Niners – Single” on: iTunes | Google Play | Amazon MP3 Visit Twenty One Pilots’ websites: Official Website | Facebook | Instagram | Twitter | Youtube Current Shows: 2018 October 16--Bridgestone Arena--Nashville, TN 17--United Center--Chicago, IL 19--Enterprise Center--St. Louis, MO 20--Wisconsin Entertainment and Sports Center--Milwaukee, WI 21--Xcel Energy Center--Saint Paul, MN 23--Quicken Loans Arena--Cleveland, OH 24--Little Caesars Arena--Detroit, MI 26--TD Garden--Boston, MA 27--NYCB Live, Home of the Nassau Veterans Memorial Coliseum--Uniondale, NY 28--Wells Fargo Center--Philadelphia, PA 30--Madison Square Garden--New York, NY 31--Capital One Arena--Washington, DC November 2--Philips Arena--Atlanta, GA 3--Amalie Arena--Tampa, FL 4--BB&T Center--Sunrise, FL 6--Toyota Center--Houston, TX 7--American Airlines Center--Dallas, TX 9--Talking Stick Resort Arena--Phoenix, AZ 10--The Forum--Inglewood, CA 11--Oracle Arena--Oakland, CA 13--Vivint Smart Home Arena--Salt Lake City, UT 15--Moda Center--Portland, OR 16--Tacoma Dome--Tacoma, WA 17--Taco Bell Arena--Boise, ID 19--Pepsi Center--Denver, CO 20--Pinnacle Bank Arena--Lincoln, NE 21--Sprint Center--Kansas City, KS December 7--Perth Arena--Perth, Australia 10--Adelaide Entertainment Centre--Adelaide, Australia 13--Rod Laver Arena--Melbourne, Australia 16--Qudos Bank Arena--Sydney, Australia 18--Brisbane Entertainment Centre--Brisbane, Australia 21--Spark Arena--Auckland, New Zealand 2019 January 30--Palace of Sports--Shevchenkivs'kyi district, Ukraine February 2--VTB Arena--Tsentralnyy administrativnyy okrug, Russia 4--Ice Palace--Sankt-Peterburg, Russia 6--Ice Hall--Helsingfors, Finland 8--Ericsson Globe Arena--Stockholm, Sweden 9--Telenor Arena--Oslo, Norway 11--Royal Arena--København V, Denmark 12--Barclaycard Arena--Hamburg, Germany 14--Mercedes-Benz Arena--Berlin, Germany 15--Atlas Arena--Łódź, Poland 16--The O2 Arena--Prague, Czechia 17--Wiener Stadthalle--Vienna, Austria 21--Unipol Arena--Bologna, Italy 23--Hallenstadion Zurich--Z��rich, Switzerland 24--Hanns-Martin-Schleyerhalle--Stuttgart, Germany 25--Lanxess Arena--Cologne, Germany 27--Genting Arena--Birmingham, United Kingdom March 1--3Arena--Dublin, Ireland 2--SSE Arena Belfast--Belfast, United Kingdom 4--The SSE Hydro Arena--Glasgow, United Kingdom 5--Manchester Arena--Manchester, United Kingdom 7--The SSE Arena Wembley--London, United Kingdom 8--The SSE Arena Wembley--London, United Kingdom 11--Accorhotels Arena--Paris, France 12--Ziggo Dome--Amsterdam, Netherlands 13--Palais 12--Brussels, Belgium 15--Bizkaia Arena (BEC!)--Bilbao, Spain 16--WiZink Centre--Madrid, Spain 17--Altice Arena--Lisbon, Portugal

[mostlysignssomeportents]

The future is symmetrical

When Mitch Kapor articulated the principle that “architecture is politics” at the founding of EFF, he was charging technologists with the moral duty to contemplate the kinds of social interactions their technological decisions would facilitate — and prohibit.

At question was nothing less than the character of the networked society. Would the vast, pluripotent, general purpose, interconnected network serve as a glorified video-on-demand service, the world’s greatest pornography distribution system, a giant high-tech mall?

Or could it be a public square, and if so, who would have the loudest voices in that square, who would be excluded from it, who will set its rules, and how will they be enforced?

As with its technical architecture, the political architecture of the net is a stack, encompassing everything from antitrust enforcement to spectrum allocation, protocol design to search-and-seizure laws, standards to top-level domain governance.

Among those many considerations is the absolutely vital question of service delivery itself. What kinds of wires or radio waves will carry your packets, who will own them, and how will they be configured?

For decades, a quiet war has been fought on this front, with two sides: the side that sees internet users as “mouse potatoes,” destined to passively absorb information feeds compiled by their betters; and the “netizen” side that envisions a truly participatory network design.

This deep division has been with us since the internet’s prehistory, at least since the fight over Usenet’s alt.* hierarchy, flaring up again during the P2P wars, with ISPs insisting that users were violating their “agreements” by running “servers.”

https://www.eff.org/deeplinks/2019/11/altinteroperabilityadversarial

Above all, this fight was waged in the deployment of home internet service. The decision turn the already-monopolistic cable and phone operators into ISPs cast a long shadow. Both of these industries think of their customers as passive information consumers, not participants.

As an entertainment exec in William Gibson’s 1992 novel Idoru describes her audience: “Best visualized as a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the anointed. Personally I like to imagine something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It’s covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth…no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections.”

Contrast this with the other cyberpunk archetype, the console cowboy who doesn’t merely surf the digital, but steers it — the active participant in the technological/media environment who is more than a recipient of others’ crafted messages.

For a long time, Big Tech and Big Telco tried to have it both ways. AT&T promoted teleconferencing and remote family life conducted by videophones in its 1993 “You Will” marketing campaign. Youtube exhorted you to “broadcast yourself.”

But AT&T also set data-caps, kicked users off for running servers, and engaged in every legal, semi-legal and outright illegal tactic imaginable to block high-speed fiber networks.

Youtube, meanwhile, blocked interoperability, leveraged vertical integration with Google search to exclude and starve competitors, and conspired with Big Content to create a “content moderation” system that’s two parts Kafka, one part Keystone Kops.

https://pluralistic.net/2020/12/12/fairy-use-tale/#content-id

While the questions raised by broad participation in networked society are thorny and complex, one question actually has a very simple and factual answer: “How should we connect our homes to the internet?” The answer: “Fiber.”

There is no wireless that can substitute for fiber. Wireless — 5G, Starlink, whatever — shares the same spectrum. We can make spectrum use more efficient (by tightly transmitting the wireless signals so they don’t interfere), but physics sets hard limits on wireless speeds.

Each strand of wire in a wired network, by contrast, is its own pocket universe, insulated from the next wire, with its own smaller, but exclusive, electromagnetic spectrum to use without interfering with any other wire on the other side of its insulation.

<img src=”https://craphound.com/images/broadband_comparison.jpeg" alt=”EFF’s broadband comparison chart, showing the maximum speeds of 4G (100mb), DSL (170mb), 5G (10gb), cable (50gb) and fiber (100tb).”>

But copper wire also has hard limits that are set by physics. The fastest theoretical copper data throughput is an infinitesimal fraction of the fastest fiber speeds. Fiber is millions-to-hundreds-of-millions times faster than copper.

https://www.eff.org/wp/case-fiber-home-today-why-fiber-superior-medium-21st-century-broadband

We should never run copper under another city street or along another pole. Any savings from maintaining 20th century network infrastructure will be eradicated by the cost of having to do twice the work to replace it with 21st century fiber in the foreseeable future.

Trying to wring performance gains out of copper in the age of fiber is like trying to improve the design of whale-oil lamps to stave off the expense of electrification. Sure, you don’t want anyone sitting in the dark but even the very best whale-oil lamp is already obsolete.

But besides future-proofing, there’s another reason to demand fiber over copper or wireless: symmetry. Our copper and (especially) wireless infrastructure is optimized for sending data to end-points, not getting data back. It’s mouse-potato broadband.

(this is especially true of any satellite broadband, which typically relies upon copper lines for its “return path,” and even when it doesn’t, has much slower uplinks that downlinks)

By contrast, fiber tends to be symmetrical — providing the same download and upload speeds. It is participatory broadband, suited for a world of distance ed, remote work, telemedicine, and cultural and political participation for all.

Fiber is so obviously better than copper or wireless that America paltry fiber rollouts needed to be engineered — they never would have happened on their own. The most critical piece of anti-fiber engineering is US regulators’ definition of broadband itself.

Since the dawn FCC interest in universal broadband, it adopted a technical definition of broadband that is asymmetrical, with far lower upload than download speeds. Despite lockdown and broadband-only connections to the outside world, Congress is set to continue this.

The latest iteration of the Democrats’ broadband bill defines “broadband” as any connection that is 100mb down and 20mb up (“100/20”). Both of these speeds paltry to the point of uselessness, but the upload speed is genuinely terrible.

https://www.eff.org/deeplinks/2021/07/future-symmetrical-high-speed-internet-speeds

US broadband usage has grown 21%/year since the 1980s. 100/20 broadband is inadequate for today’s applications — let alone tomorrow’s (by contrast, fiber is fast enough to last through the entire 21st century’s projected broadband demand and beyond, well into the 2100s).

Any wireless applications will also depend on fiber — your 5G devices have to be connected to something, and if that something is copper, your wireless speeds will never exceed copper’s maximum speeds. Innovation in spectrum management requires fiber — it doesn’t obviate it.

Today, the highest growth in broadband demand is in uploads, not downloads. People need fast uploads speeds to videoconference, to stream their games, to do remote work. The only way a 100/20 copper network’s upload speeds can be improved is by connecting it with fiber.

Every dollar spent on copper rollout is a dollar we’ll forfeit in a few years. It’s true that cable monopolists will wring a few billions out of us if we keep making do with their old copper, but upgrading copper just makes the inevitable fiber transition costlier.

China is nearing its goal of connecting 1 billion people to fiber. In America, millions are stuck with copper infrastructure literally consisting of century-old wires wrapped in newspaper, dipped in tar, and draped over tree-banches.

https://mn.gov/commerce-stat/pdfs/frontier-service-quality-report-final.pdf

Indeed, when it comes to America, monopoly carriers are slowing upload speeds — take Altice, the US’s fourth-largest ISP, which slashed its upload speeds by 89% “in line with competitors’ offerings.”

https://pluralistic.net/2021/06/27/immortan-altice/#broadband-is-a-human-right

America desperately needs a high-fiber diet:

https://pluralistic.net/2021/03/30/fight-for-44/#slowpokes

But it has a major blockage: the American right, who have conducted history’s greatest self-own by carrying water for telecoms monopolists, blocking municipal fiber:

https://pluralistic.net/2021/01/17/turner-diaries-fanfic/#1a-fiber

It’s darkly funny to see the people who demanded that “government stay out of my internet” now rail against monopoly social media’s censorship, given that a government ISP would be bound by the First Amendment, unlike Facebook or Twitter.

Luckily, Congress isn’t the only place where this debate is taking place. In California, Governor Newsom has unveiled an ambitious plan to connect every city and town to blazing-fast fiber, then help cities and counties get it to every home.

https://pluralistic.net/2021/05/15/how-to-rob-a-bank/#fiber-now

In tech circles, we use the term “read-only” to refer to blowhards who won’t let you get a word-in edgewise (this being one of the more prominent and unfortunate technical archetypes).

The “consumer” envisioned by asymmetrical broadband futures is write*-only — someone designed to have other peoples’ ideas crammed into their eyeballs, for their passive absorption. A consumer, not a citizen.

As Gibson put it, it’s a person who “can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote.”

Cyberpunk is a warning, not a suggestion.

[borisbubbles]

14. Cyprus

Eleni Foureira - “Fuego” Runner-up

What is happiness? The feeling that power is growing and that resistance is overcome. --Friedrich Nietzsche

Judging by that quote, Eleni must be a very happy woman because she has overcome a LOT. She entered Eurovision with a slew of drawbacks: As a sexually confident woman with a sultry song, she was always going to inspire contempt. As a fugitive Albanian, the Greek support other Cypriot entries had would be only conditional for Eleni at best. Her voice (or apparent lack thereof), of course, was a major point of discussion, among Greeks and Eurovision Tumblr Bloggers alike (ahem). As someone who was hyped and pimped by her Loud Obnoxious Fanbase as someone better than she actually was, she was always going to alienate neutrals by proxy.

So going into this year, Eleni faced a fairly uphill battle. Guess what?

She fucking slayed it.

From the moment this woman, no, this GAZELLE, serenly glided onto the stage, unfazed, confident and battle-ready, she was snatching weaves left, right and centre. Any man would pay the price of sweet surrender, for the promise in her eyes it was so tender. She provided a action-pumped show that was captivating, mesmerizing even, for a full three minutes. My God, did “Fuego” look good. 

Out of all the acts that could’ve won the Sasha Jean-Baptiste Raffle, I’m glad “Fuego” did because Eleni absolutely was the one whom I felt needed it the most. Partially because Eleni is an utter gem of a person. She’s the epitome of the Lovable Dimwit Archetype (”Eleni what does your song mean?” “it means... yeah yeah, fire ^__^”) Mostly because Eleni had two pretty big problems: She has a fairly crappy voice and she has a fairly crappy song.

The voice I don’t mind though. Yeah, it’s not as crisp as the rest of the top five (literally crisp if we count Moro’s, whose voice sounds like someone crushing doritos with their bare hands), but Eleni’s vocals being shit was telegraphed way in advance so idek how you could be shocked at this fucking stage. For all the buzz it generated, I expected way worse? Eleni’s vocals don’t detract from the experience and at times even enhance it. Her voice just... withers at the funniest of moments:

And then the disaster note gets echoed around the Altice Arena TWICE <3 (also “Yeah Eyes of a Linus <3)

The song, however, I mind significantly more. Surely Cyprus made the most out of what they were given and “Fuego” was an excellent frame for that brilliant act, but Dear God. I’ve said it several times before, but “Fuego” would make an excellent winner in two-thousand-and-EIGHT, but not two-thousand-and-fucking-EIGHTEEN. Even by Eurovision’s hopelessly antiquated Musical standards (”Hey guys we found out about this CRAZE that’s sweeping the musical scene we should add it to all our entries” “what’s it called?” “Dubstep” -- Eurovision in 2013), “Fuego” is hopelessly dated. It’s a nice throwback to the halcyon days of the Eastern Miniskirted Goddess (and “Fuego” is better than, say, “Secret Combination” and “Düm Tek Tek”), but this is not even remotely near “My Number One”, “Qele Qele” or “Shady Lady” levels of glorious hip-shaking femdom imo. 

“Fuego”’s utter lack of originality also came to the attention of the Eurosnobs who began disliking Eleni for... the fucking wrongest, stupidest reasons why am I not surprised? “UM SHE’S LIKE BEYONCE HOW AWFUL” First of all, Beyoncé doesn’t fucking have a monopoly on this type of music, Second of all, you’re making it sound as if being like Queen Bay is a bad thing??? Third of all,  STFUUUU!!! WHY EVEN WATCH EUROVISION IF YOU’RE NOT WILLING TO BASK IN THE GLORY OF THIS DESPERATE SLUTPOP ANTHEM

At the end of the gay, I really like “Fuego”. Well, that is to say, I like what it became on the Eurovision stage, but that’s ultimately what matters most. Despite the hate she got, Eleni absolutely deserved to finish as high as she did based on her live performances. On the flipside, if I were to never listen to “Fuego” again, I wouldn’t miss it, at all. Now that we’re ready to fully move on to the next tier, I do have *higher* “spam replay button on Youtube” standards that “Fuego” sadly, does not meet. STILL A BETTER UNDERDOG STORY THAN NETTA THO

RANKING SO FAR:

14. Cyprus (Eleni Foureira - “Fuego”)

15. United Kingdom (SuRie - “Storm”)

16. Serbia (Balkanika - “Nova Deca”)

17. Portugal (Cláudia Pascoal - “O jardim”)

18. The Netherlands (Waylon - “Outlaw in ‘em”)

19. Ukraine (MÉLOVIN - “Under the ladder”)

20. Macedonia (Eye Cue - “Lost and Found”)

21. San Marino (Jessika ft. Jenifer Brening - “Who We Are”)

22. Sweden (Benjamin Ingrosso - “Dance You Off”)

23. Austria (Cesár Sampson - “Nobody but you”)

24. Latvia (Laura Rizzotto - “Funny girl”)

25. Azerbaijan (AISEL - “X my heart”)

26. Israel (Netta - “Toy”)

27. Norway (Alexander Rybak  - “That’s how you write a song”)

28. Montenegro (Vanja Radovanovic - “Inje”)

29. Armenia (Sevak Khanagyan - “Qami”)

30. Poland (Gromee ft. Lukas Meijer - “Light me up”)

31. Greece (Yianna Terzi - “Oniro mou”)

32. Georgia (Iriao - “For you”)

33. Belgium (Sennek - “A matter of time”)

34. Italy (Ermal Meta & Fabrizio Moro - “Non mi avete fatto niente)

35. Romania (The Humans - “Goodbye”)

36. Ireland (Ryan O'Shaughnessy - “Together”)

37. Croatia (Franka - “Crazy”)

38. Belarus (ALEKSEEV - “Forever”)

39. Russia (Julia Samoylova - “I Won’t Break”)

40. Spain (Amaia & Alfred - “Tu canción”)

41. Iceland (Ari Ólafsson - “Our choice”)

42. Australia (Jessica Mauboy - “We Got Love”)

43. Czech Republic (Mikolas Josef - “Lie to me”)

FOOTNOTES

1) I would argue that Eleni probably had the best underdog story out of everyone this year. This year had plenty of them, many of which are still in this ranking (Ieva, Eugent, DoReDoS, etc), but there really is something to be said about the constant barrage of persecution, xenophobia and mockery Eleni had to deal with and overcome in both LIFE and this contest. Pity she wasn’t a chicken woman or it would’ve won her the contest.

2) In case anyone wonders, I was pretty much “France or Estonia or DIE” for pretty much the entire season, so as you can imagine, I wasn’t too impressed with the top five we got (um, yeah not like I didn’t already boot 4/5 of them lul) Out of the DIRE top five we were given, Eleni probably should have won? (I loved Germany -obviousspoiler- but moreso because they didn’t win) Ugh I can’t with this year sometimes.

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A adaptation of this adventure aboriginal appeared in the bounce 2020 Artnet Intelligence Report.

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Optimum Internet: Reviews, Pricing, & Performance

Image: fizkes/Shuttershock

Optimum Internet: Reviews, Pricing & Performance

Optimum Internet

If you live in or near New York, then you might have heard of Optimum. Optimum delivers cable-based high-speed internet to about 4 million people in select areas of the Northeast, including Connecticut, New Jersey, and New York. In addition to internet plans, Optimum provides phone and TV throughout its service area and over 2 million WiFi hotspots, providing customers with connectivity even when away from home.

Optimum Internet Packages

Optimum offers seven different packages, from affordable to fast and powerful. Since some plans are only available in select areas, check their website to see which plans are offered in your location.

Altice Advantage Internet

A joint effort by Optimum and Suddenlink, this package provides discounted Internet service for participants in the National School Lunch Program, New York City residents attending a New York Public School, veterans receiving state or federal public assistance, and people age 65 and over who are eligible for Supplemental Security Income. In addition to discounted installation and a free Smart Router and Modem, participants get 30 Mbps download speeds for only $14.99 a month.

Optimum 10

The most basic plan without eligibility requirements, Optimum 10 provides connectivity with limited speed at XXXX Mbps and costs $24.95 per month.

Optimum 20

Upgrading from the basic Optimum Internet plan provides additional speeds of XXXX Mbps with only a small increase in price at $29.99 per month.

Optimum Online

This plan represents Optimum’s standard package, with speeds up to XXXX Mbps and a cost of $64.95 per month. The plan is the minimum requirement to upgrade to one of Optimum’s premium high-speed packages. For customers who lease one of their modems at an additional $10 per month, Optimum offers a Smart Router that is only available to Optimum Online subscribers.

Optimum 200

The first of their premium add-on packages, Optimum 200 increases speeds up to 200 Mbps for an additional $20 per month. At these speeds, customers can stream High Definition quality video to multiple devices and support multiplayer online gaming. Optimum 200 packages are only offered in select locations, so check their website for availability.

Optimum 300

Optimum 300 offers speeds up to 300 Mbps for an additional $55 per month. Users can stream 4K Ultra High Definition video on multiple devices while other household devices continue to run without interruption. As with the Optimum 200 package, the Optimum 300 package is only offered in select locations. Check the website for availability.

Optimum 400

Optimum’s top-tier package supports up to 400 Mbps network speeds, sufficient for even heavy-duty broadband usage. This high-end plan is available for an additional $66 per month. Optimum 400 premium packages are available in select locations; check their website to learn if it’s available in your area.

Optimum Availability

With coverage in Connecticut, New Jersey, and New York, Optimum Internet provides a large population with high-speed broadband connections.

Optimum Features

Optimum’s broadband connection can broadcast WiFi throughout the entire house. They also offer WiFi coverage through over 2 million hotspots throughout the three-state area. Customers can connect to an Optimum internet WiFi hotspot and enjoy the same protection, responsiveness, and speed as their home connection. The password-protected WiFi hotspot also includes McAfee cloud-based virus and malware protection.

Optimum Fees and Charges

The basic monthly cost doesn’t cover all of your internet service expenses. If you don’t have a modem and router, which must be a brand and model supported by Optimum, then you can lease a modem for $10 a month. If you lease a modem and have at least the Optimum Online plan, you can add a Smart Router for no additional charge. A network enhancement fee of $3.50 per month is also included in every bill.

To start your service, you must pay a one-time charge of $99 for standard installation or $149.99 for premium installation. Standard installation sets up one device wirelessly with a maximum of two outlets but does not include hardwiring. Premium installation allows customers to request hard wiring with Ethernet to a single device, Smart TV, gaming system, computer, or alarm system. It also includes setting up all available wireless devices and three outlets, with additional outlets costing $25 each.

Check Optimum’s website for additional services and charges.

Optimum Reviews

The American Customer Satisfaction Index compares Optimum against a number of other Internet service providers as well as other companies. Scoring 63 out of 100 in 2019, Optimum ranks highly among Internet service providers. In prior years, the company was ranked even higher, securing second place in 2016 and third in 2017 and 2018. If 63 out of 100 seems low, note that Internet service providers and TV providers are ranked last among all industries, causing their highest ratings to fall short of other industry averages.

Reviews.org gives Optimum a 3.5 out of 5, but it’s common for dissatisfied customers to take the time to post reviews, so this rating may not be representative of all customer opinions.

ConsumerAffairs gave Optimum a 1.9 out of 5 based on 724 ratings submitted. While there were a number of four- and five-star ratings, many reviews were one star, dragging their overall rating down dramatically.

Summary

Optimum offers high-speed internet at competitive rates in the New York area. If you need to connect outside your home, you’ll find their 2 million WiFi hotspots a major benefit. Review Optimum’s website to discover the packages available in your area and find the right service for your needs.

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