#Video Distribution Service

[almayver]

Behind the scenes Episode 4 - part 1

[musingonward]

I personally think posting about barbershop groups as if they are your new favourite kpop b/g-group would be really fucking funny.

[neturbizenterprises]

Revolutionize Your Podcast with Podcastle AI

Explore the transformative impact of generative AI in podcast creation with us! This video delves into how AI technologies are revolutionizing the industry by automating content creation, enhancing audio quality, and personalizing listener experiences. We’ll discuss tools like Podcastle's clip generator and revoice feature that streamline workflows for podcasters and content creators.

Discover advanced methods for improving production processes, from AI-driven transcription services to programmatic podcast advertising. These innovations not only enhance accessibility but also help monetize content effectively. Join us as we uncover these exciting developments in media production!

Podcastle AI:

Explore the transformative impact of generative AI in podcast creation with us! This video delves into how AI technologies are revolutionizing the industry by automating content creation, enhancing audio quality, and personalizing listener experiences. We’ll discuss tools like Podcastle's clip generator and revoice feature that streamline workflows for podcasters and content creators.

[syro-digital]

Music Distribution Service | SYRO Digital

Music Distribution Service

SYRO Digital is a leading music distribution service that offers musicians and artists the opportunity to distribute their music to a wide range of online platforms. With the rise of digital streaming and downloading, it has become increasingly important for musicians to have their music available on popular platforms such as Spotify, Apple Music, and Amazon Music. SYRO Digital provides a seamless and efficient way for artists to get their music to these platforms and reach a global audience.

One of the key benefits of using SYRO Digital as a music distribution service is the convenience it offers. Instead of having to navigate the complicated process of submitting music to each individual platform, artists can simply upload their music to SYRO Digital's platform and let them handle the distribution process. This saves artists valuable time and allows them to focus on creating and promoting their music.

In addition to convenience, SYRO Digital also provides artists with detailed analytics and reporting. Once the music is distributed, artists can access real-time data on how their music is performing across various platforms. This includes information on streams, downloads, and revenue generated. Having access to this data allows artists to make informed decisions about their music career and marketing strategies.

Furthermore, SYRO Digital offers competitive pricing packages that cater to artists of all levels. Whether you are just starting out or have an established fan base, there is a package that suits your needs. This flexibility ensures that artists can choose the best option for their unique circumstances and budget. Overall, SYRO Digital is a reliable and efficient music distribution service that can help artists maximize their reach and potential in the digital music landscape. With its convenient platform, detailed analytics, and competitive pricing packages, it is an ideal choice for musicians who want to take their music to the next level. By partnering with SYRO Digital, artists can focus on what they do best - creating amazing music - while leaving the distribution process in capable hands.

[hsdigitalmedia]

Unlocking Success: Mastering Strategic Ads Bidding with HS Digital Media

In the dynamic realm of digital advertising, the key to unlocking unparalleled success lies in strategic ads bidding. At HS Digital Media, we’re not just a service provider; we’re your strategic partner, committed to maximizing the impact of your Google Ads campaigns. Let’s dive into the world of strategic ads bidding and how our Google Ads services can elevate your online presence.

Strategic Ads Bidding: The Powerhouse behind Campaign Success

1. Precision in Every Bid:

In the vast landscape of online advertising, precision is paramount. Our strategic ads bidding approach ensures that every bid is meticulously calibrated to align with your campaign objectives. Whether you’re aiming for increased clicks, conversions, or brand visibility, our bidding strategies are tailored to your unique goals.

2. Real-time Adjustments:

The digital landscape is ever-evolving, and so are consumer behaviors. With our real-time bidding adjustments, we keep your campaigns agile and responsive. This adaptability allows us to capitalize on emerging trends, ensuring your ads are always at the forefront of your target audience’s attention.

3. Maximizing ROI:

Your advertising budget is a valuable resource, and we understand the importance of maximizing every dollar spent. Through strategic bidding, we optimize your return on investment (ROI), ensuring that your ad spend translates into tangible results and a measurable impact on your bottom line.

HS Digital Media’s Google Ads Services: Elevating Your Online Presence

1. Targeted Keyword Optimization:

At the heart of effective Google Ads campaigns is strategic keyword optimization. Our experts conduct in-depth research to identify and target the most relevant keywords for your business. This ensures that your ads are displayed to users actively searching for products or services like yours.

2. Compelling Ad Copy:

In the crowded digital space, compelling ad copy is your ticket to capturing attention. Our creative team crafts ad copy that not only aligns with your brand voice but also entices users to click and take action. We understand the art of persuasion and leverage it to drive engagement.

3. Continuous Performance Analysis:

The key to sustained success is continuous improvement. Our team diligently monitors and analyzes campaign performance, making data-driven decisions to optimize your Google Ads strategy. This proactive approach ensures that your campaigns evolve with the ever-changing digital landscape.

Your Success, Our Priority

HS Digital Media is more than a digital marketing agency; we are architects of success in the online arena. With strategic ads bidding and Google Ads services designed for impact, we are committed to propelling your brand to new heights. Join us on the journey to digital excellence. Connect with HS Digital Media today and let’s redefine your online success story.

Ad Disclaimer: Google Ads services provided by HS Digital Media are designed to optimize campaign performance. Results may vary based on various factors, and ratio may be vary

[mediablacbox]

Introducing Blac Box Media's cutting-edge music video distribution service. We empower artists to share their passion and talent with the world. With our innovative platform, we connect musicians to their audience, amplifying their voice and expanding their reach. From catchy pop tunes to soulful ballads, we deliver high-quality music videos that captivate and inspire. Join us and let your music soar to new heights with Blac Box Media's music video distribution service.

Call us at: (754) 610-8029

[blacboxmedia]

Best music distribution for independent artists

Black Box Media is proud to be the top provider of music distribution and promotion services for independent artists. We offer a comprehensive range of the best music distribution for independent artists to help emerging artists in the USA connect with audiences around the world. Our vast network of digital partners ensures that your music and videos are promoted to the right audience at the right time. Our advanced technology and experienced team work together to deliver outstanding results for our clients. Join Black Box Media today and take your music career to the next level!

[prokopetz]

this is a stupid question but i'm young enough to not know this: i've noticed that baldur's gate 3 has picked up a lot of the same level of both broad acclaim and fandom presence as the Bioware games did during the 7th generation. were there western RPGs in the decades before then with about the same level of success both commercial and critical? if so, what were they?

That's one of those "yes and no" deals.

The critical thing to understand is that home Internet service only became a thing in 1994; prior to that point, video game fandoms not only didn't have the same kind of reach, they tended to be geographically regional owing to the lack of online distribution, so what commercial and critical success looked like was very different.

To a large extent, the popularity of Baldur's Gate owed less to anything about the game itself, and more to the fact that it was simply a major production from a major brand which happened to debut at the same time that home Internet service was in a phase of rapid expansion. You can see this phenomenon occurring in other formerly regional genre fandoms that had major titles drop around that time; for example, JRPGs with Chrono Trigger, and later, Final Fantasy VII.

That said, with the understanding that what being a critically and commercially successful video game franchise looked like was a fundamentally different proposition in the pre-Internet era, the king of Western computer RPGs was undeniably the Ultima franchise. Indeed, failure to fully understand the possibilities of the post-Internet era is arguably a big part of why the Ultima series lost its crown – which is ironic, given that Ultima Online was the first truly popular graphical MMO, but somehow they just couldn't stick the landing.

[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[dapg-otmebytheballs]

All or Nothing and lowave records

Strap in because this is gonna be a long one. This post will try to shed some light on how the whole lowave records thing works, how you can use this music, how it is being distributed, and what all a contract with lowave would include. All this and more below the cut!

Let us start with the basics: What is lowave records?

Quite succinctly summed up on their website as follows:

They make and distribute royalty-free music for content creators - specifically video-format content creators like Youtubers and streamers - they share some streaming revenue (30%, we'll get into that) with the creators who are labelled 'co-artists' and get promotion of their music through the content creators.

So, that brings us to the next big question: What is royalty-free music?

This is music that is free to use. Yes, by anyone, by Dan and Phil, by other creators, by you and me, any of us. This is by no means a new thing of course, anyone who has created content online would have come across other such services. just as an example, bensound.com hosts a large library of royalty-free music which you can use in any video by simply crediting the site in your description. Lowave works in a similar fashion. The music is not copyrighted. However, the rights to the music are held by lowave records and there are limitations on its use, which we will get into ahead.

How is the money working (preliminary edition)?

I will add details to this later when I discuss the contract, but let's see the info we get straight away from the FAQs: You do not have to pay them anything to make music for you

The money is coming in from the streaming platforms, depends completely on amount of streams, and is shared between lowave and the creators

Also from the FAQs: how can this music be used?

Anyone can freely use any of the music from lowave records, which means that yes, you can use any music from All or Nothing for your purposes with credit, it will not be taken down

Is this the only music we will hear on dapg now? Will there be more albums?

Not necessarily! This isn't an exclusive deal, DnP can use any music they want on the channel. As for new albums, seems like it depends on how this one does (and it seems to be doing quite well!) which will unlock future avenues for more collabs with lowave

Okay BASICS DONE if you're still reading you're probably here for the real meat so let us get into it

How is the money working (director's cut)?

Let us start with the terms on the partner agreement:

Content Creators get 30% of the 'remaining income'. This basically means any costs that streaming platforms are deducting, any processing fees, taxes etc will be deducted before the 30% share is calculated. The second point there basically means that the deductions here do not include business expenses of the label itself, ie when the label calculates its own profit production costs and various other expenses are deducted from the income, but these costs will not affect the revenue received by the content creators (You are probably already thinking 'how is this company earning enough to keep going?' and I will touch on that later as well)

Payment installments are simple enough but here we see a third party enter the chat: DistroKid. Who is DistroKid and why are payments going through them, Hazel? I hear you ask. Well I'll tell you dear readers:

It is basically a service that takes a yearly fee for putting your music on streaming platforms efficiently and then pockets 0% of the royalties. The royalties go from the streaming services (eg Spotify) to DistroKid who then send it to the rights-holders (in this case, lowave records). lowave records is using this service for a yearly fee to upload all their music through.

But wait! If DistroKid is working with lowave, and lowave owns all the rights, why is DistroKid making direct payments to the content creators?

Well, over the years they have offered a bunch of services:

I am guessing lowave is making use of the teams feature to send royalties owed to content creators ("collaborators") directly from Diskworld, which makes sense, the less people money goes through the less chances of mishandling.

People have of course been talking about what percentage Spotify even pays for many many years. The short answer: we don't know for sure because it is confidential, Spotify won't tell and artists aren't allowed to. The longer answer: people have estimated from a bunch of publically available data that the share seems to be 70-30 (rights-holders- spotify).

However spotify is not paying per stream anymore so that makes these figures harder to pin down. they are using a 'streamshare' system which is much more convoluted:

That was all about the money, now let's talk Licensing

Creators can use this music in any capacity, and do not have to share any of the revenue from their own content with lowave. They have put a stipulation that it may not be used in a way that is "illegal, immoral, discriminatory or derogatory to [lowave]" but what constitutes 'immoral' and 'discriminatory' is not really defined.

The other limitation applies to the contracted Content Creators only as far as I can tell: they are not allowed to remix, sample, or edit these songs without prior permission. This probably only applies to altering the songs and playing under the same name, so fan remixes should not run into issues here, as long as they are not monetised. (thanks kate @goldenpinof for making me think about this part a bit more, I think it should be safe, but even royalty free music cannot be transformed without permission at least in a commercial capacity)

They will also make more music free of cost if the streaming targets they set are being met by the albums produced. The process:

Other services they provide will be handling the creator's account which they set up (DanAndPhilBeats in this case) on streaming platforms and making changes as required, so the Cheeky Banter -> Project X thing was probably done from their end, possibly an older change that they forgot to update?

Also below are promotional obligations:

The promotion wasn't a one-time thing, it is expected to be ongoing, so we will probably be hearing about this in future videos as well. However, later in the partner agreement it is added that this has to be done as often as possible in a way that is "natural and appealing to their audience" which again, is pretty vague wording

Also the licensing goes both ways, so lowave can also use segments of the content DnP make that has the music in the background to promote their music:

Additional stuff from the contract:

lowave takes the guarantee of creating original works that it has the rights to and which do not infringe on copyrights, and the creators likewise take the guarantee not use the songs in content which infringes copyright. If there are any disputes regarding such infringement in the future the record and the creators have to back each other up (including sharing legal fees)

I mentioned before some parts of the agreement being written in vague language. There is also a clause that says if any provision ends up being illegal/not possible to enforce by a court (eg if a court were to it's impossible to say whether content featuring the songs was 'immoral') then only that provision will be removed, the rest of the contract stands.

The waiver part basically means that if any of the parties decide to not sue or forgo a complaint about breach of contract, that does not mean that those provisions are now unavailable, they can still sue later on or for some other breach if they wish.

That's the contracts done. Some of the framing there makes it seem to me like it's a pretty small company. The revenue they hope to generate does not seem to be very sustainable, especially since the revenue is being shared with content creators but the cost is not and they are additionally paying for other services like DistroKid.

So I looked more into this record label: they started business in 2022. If you go to their socials though, twitter and instagram they have followers in double digits and post very sparsely. Their tiktok seems to have nothing on it at all (thanks @lesbiandanhowell for the screenshot) and you may have noticed, Dan did not tag the lowave account at all when he announced the album on twitter

The agreement never mentions creators promoting lowave's social channels or tagging them either (and it is quite odd, I have worked with a bunch of organisations in their infancy and this is, now more than ever, a common requirement from collaborators). lowave records does not seem to be actively working towards promoting themselves on social media or building an online presence, even though they have been operational two years producing music throughout.

There are three people involved with the company on public record:

Benjamin Johnson listed as 'Head of Production' is probably the 'Ben' Dan has been talking about who made the songs. Seems like their scale of operations is not very big and possibly not a lot of producers in the records at all (despite the spotify page saying they have 'producers' plural, but that doesn't have to mean a lot many lol). Anyway, that would solve the mystery of 'how are they playing their employees?' if there aren't many employees to begin with (not even an intern to manage their social media it seems).

Look at the last person in the screenshots though: Robin. I looked at what other companies Robin is associated with and several of them - yeah several different operations that he's involved in - have the same correspondence address of '60 Thorpe Road...', so probably operating out of a ghost office (just to have a registered address and receive mail at etc). And one of these businesses that Robin is associated with is RWD, the business that made lowave records' website for them:

The no-cost production of royalty-free music, little attention to social media presence, vaguely written contract, seemingly small scale of operations with technical assistance like website design coming from an affiliated organisation makes me think that lowave records might be a side project. A labour of love, possibly, hoping to sustain itself enough to keep putting out royalty-free music in a time of extreme crackdown on copyrighted music use.

It makes sense to use content creators for promotion, gets you way more streaming than making your own music and putting it out. And the incentive of unique but guaranteed royalty free music at no cost is great for content creators of all sizes. It is far from sustainable on its own though, especially with streaming revenue being basically peanuts, and I do not think there's much interest in gaining a following or putting in that effort either, so it's probably a very small business by a few people. How long it manages to sustain itself as a project I am not sure, but it certainly isn't looking like something particularly geared towards profit and growth in its current state.

We are at an end! If you read this far, leave me like an A+ or a star for my essay so I can have academic validation from this please. Of course I probably have not covered everything possible in connection to this so if anyone has more info feel free to add on! And if this was all very long and there's something particular you wanted to know you can drop an ask into the inbox about it!

Thank you for coming with me on this journey! Back to the important things, which was your favourite song from the album? I think mine is Arcade Admission

[superchat]

UPDATE: THIS IS NOT AS SCARY AS IT SOUNDS. MULTIPLE SITES HAVE THIS EXACT WORDING AND ITS TO PREVENT BEING SUED

Transcription:

Your Rights and Grant of Rights in the Content

You retain your rights to any Content you submit, post or display on or through the Services. What's yours is yours - you own your Content (and your incorporated audio, photos and videos are considered part of the Content).

By submitting, posting or displaying Content on or through the Services, you grant us a worldwide, non-exclusive, royalty-free license (with the right to sublicense) to use, copy, reproduce, process, adapt, modify, publish, transmit, display and distribute such Content in any and all media or distribution methods now known or later developed (for clarity, these rights include, for example, curating, transforming, and translating). This license authorizes us to make your Content available to the rest of the world and to let others do the same. You agree that this license includes the right for us to provide, promote, and improve the Services and to make Content submitted to or through the Services available to other companies, organizations or individuals for the syndication, broadcast, distribution, repost, promotion or publication of such Content on other media and services, subject to our terms and conditions for such Content use. Such additional uses by us, or other companies, organizations or individuals, is made with no compensation paid to you with respect to the Content that you submit, post, transmit or otherwise make available through the Services as the use of the Services by you is hereby agreed as being sufficient compensation for the Content and grant of rights herein.

We have an evolving set of rules for how ecosystem partners can interact with your Content on the Services. These rules exist to enable an open ecosystem with your rights in mind. You understand that we may modify or adapt your Content as it is distributed, syndicated, published, or broadcast by us and our partners and/or make changes to your Content in order to adapt the Content to different media.

You represent and warrant that you have, or have obtained, all rights, licenses, consents, permissions, power and/or authority necessary to grant the rights granted herein for any Content that you submit, post or display on or through the Services. You agree that such Content will not contain material subject to copyright or other proprietary rights, unless you have necessary permission or are otherwise legally entitled to post the material and to grant us the license described above.

[canmom]

Hypothetical Decentralised Social Media Protocol Stack

if we were to dream up the Next Social Media from first principles we face three problems. one is scaling hosting, the second is discovery/aggregation, the third is moderation.

hosting

hosting for millions of users is very very expensive. you have to have a network of datacentres around the world and mechanisms to sync the data between them. you probably use something like AWS, and they will charge you an eye-watering amount of money for it. since it's so expensive, there's no way to break even except by either charging users to access your service (which people generally hate to do) or selling ads, the ability to intrude on their attention to the highest bidder (which people also hate, and go out of their way to filter out). unless you have a lot of money to burn, this is a major barrier.

the traditional internet hosts everything on different servers, and you use addresses that point you to that server. the problem with this is that it responds poorly to sudden spikes in attention. if you self-host your blog, you can get DDOSed entirely by accident. you can use a service like cloudflare to protect you but that's $$$. you can host a blog on a service like wordpress, or a static site on a service like Github Pages or Neocities, often for free, but that broadly limits interaction to people leaving comments on your blog and doesn't have the off-the-cuff passing-thought sort of interaction that social media does.

the middle ground is forums, which used to be the primary form of social interaction before social media eclipsed them, typically running on one or a few servers with a database + frontend. these are viable enough, often they can be run with fairly minimal ads or by user subscriptions (the SomethingAwful model), but they can't scale indefinitely, and each one is a separate bubble. mastodon is a semi-return to this model, with the addition of a means to use your account on one bubble to interact with another ('federation').

the issue with everything so far is that it's an all-eggs-in-one-basket approach. you depend on the forum, instance, or service paying its bills to stay up. if it goes down, it's just gone. and database-backend models often interact poorly with the internet archive's scraping, so huge chunks won't be preserved.

scaling hosting could theoretically be solved by a model like torrents or IPFS, in which every user becomes a 'server' for all the posts they download, and you look up files using hashes of the content. if a post gets popular, it also gets better seeded! an issue with that design is archival: there is no guarantee that stuff will stay on the network, so if nobody is downloading a post, it is likely to get flushed out by newer stuff. it's like link rot, but it happens automatically.

IPFS solves this by 'pinning': you order an IPFS node (e.g. your server) not to flush a certain file so it will always be available from at least one source. they've sadly mixed this up in cryptocurrency, with 'pinning services' which will take payment in crypto to pin your data. my distaste for a technology designed around red queen races aside, I don't know how pinning costs compare to regular hosting costs.

theoretically you could build a social network on a backbone of content-based addressing. it would come with some drawbacks (posts would be immutable, unless you use some indirection to a traditional address-based hosting) but i think you could make it work (a mix of location-based addressing for low-bandwidth stuff like text, and content-based addressing for inline media). in fact, IPFS has the ability to mix in a bit of address-based lookup into its content-based approach, used for hosting blogs and the like.

as for videos - well, BitTorrent is great for distributing video files. though I don't know how well that scales to something like Youtube. you'd need a lot of hard drive space to handle the amount of Youtube that people typically watch and continue seeding it.

aggregation/discovery

the next problem is aggregation/discovery. social media sites approach this problem in various ways. early social media sites like LiveJournal had a somewhat newsgroup-like approach, you'd join a 'community' and people would post stuff to that community. this got replaced by the subscription model of sites like Twitter and Tumblr, where every user is simultaneously an author and a curator, and you subscribe to someone to see what posts they want to share.

this in turn got replaced by neural network-driven algorithms which attempt to guess what you'll want to see and show you stuff that's popular with whatever it thinks your demographic is. that's gotta go, or at least not be an intrinsic part of the social network anymore.

it would be easy enough to replicate the 'subscribe to see someone's recommended stuff' model, you just need a protocol for pointing people at stuff. (getting analytics such as like/reblog counts would be more difficult!) it would probably look similar to RSS feeds: you upload a list of suitably formatted data, and programs which speak that protocol can download it.

the problem of discovery - ways to find strangers who are interested in the same stuff you are - is more tricky. if we're trying to design this as a fully decentralised, censorship-resistant network, we face the spam problem. any means you use to broadcast 'hi, i exist and i like to talk about this thing, come interact with me' can be subverted by spammers. either you restrict yourself entirely to spreading across a network of curated recommendations, or you have to have moderation.

moderation

moderation is one of the hardest problems of social networks as they currently exist. it's both a problem of spam (the posts that users want to see getting swamped by porn bots or whatever) and legality (they're obliged to remove child porn, beheading videos and the like). the usual solution is a combination of AI shit - does the robot think this looks like a naked person - and outsourcing it to poorly paid workers in (typically) African countries, whose job is to look at reports of the most traumatic shit humans can come up with all day and confirm whether it's bad or not.

for our purposes, the hypothetical decentralised network is a protocol to help computers find stuff, not a platform. we can't control how people use it, and if we're not hosting any of the bad shit, it's not on us. but spam moderation is a problem any time that people can insert content you did not request into your feed.

possibly this is where you could have something like Mastodon instances, with their own moderation rules, but crucially, which don't host the content they aggregate. so instead of having 'an account on an instance', you have a stable address on the network, and you submit it to various directories so people can find you. by keeping each one limited in scale, it makes moderation more feasible. this is basically Reddit's model: you have topic-based hubs which people can subscribe to, and submit stuff to.

the other moderation issue is that there is no mechanism in this design to protect from mass harassment. if someone put you on the K*w*f*rms List of Degenerate Trannies To Suicidebait, there'd be fuck all you can do except refuse to receive contact from strangers. though... that's kind of already true of the internet as it stands. nobody has solved this problem.

to sum up

primarily static sites 'hosted' partly or fully on IPFS and BitTorrent

a protocol for sharing content you want to promote, similar to RSS, that you can aggregate into a 'feed'

directories you can submit posts to which handle their own moderation

no ads, nobody makes money off this

honestly, the biggest problem with all this is mostly just... getting it going in the first place. because let's be real, who but tech nerds is going to use a system that requires you to understand fuckin IPFS? until it's already up and running, this idea's got about as much hope as getting people to sign each others' GPG keys. it would have to have the sharp edges sanded down, so it's as easy to get on the Hypothetical Decentralised Social Network Protocol Stack as it is to register an account on tumblr.

but running over it like this... I don't think it's actually impossible in principle. a lot of the technical hurdles have already been solved. and that's what I want the Next Place to look like.

[neturbizenterprises]

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[reasonsforhope]

Additional humanitarian aid trucks started rolling over the Rafah Crossing from Egypt to Gaza early Friday [November 24] morning, as the planned four-day ceasefire began. The aid trucks, fuel tankers among them, were a welcome sight amid the seven-week-long war between Israel and Hamas.

Since Hamas attacked Israel on Oct. 7, killing 1,200 people and taking more than 200 hostage, Israel has periodically [note: imho, this language is wildly minimizing the extent of the long-term, near-total blockade] cut off water, fuel and electricity to Gaza. An estimated 14,000 people have been killed by Israeli bombardment of the territory, the Hamas-run health ministry has said.

People in Gaza experienced reprieve on Friday after the warring sides implemented a new deal that included a temporary pause in fighting, delivery of more aid, and the planned exchange of a possible 50 Hamas hostages for 150 Palestinian prisoners held by Israel.

International organizations and Qatar’s foreign minister, who helped broker the deal, have said the new aid will not be enough to address the dire humanitarian disaster in Gaza. More than half of the territory’s two million-plus residents are internally displaced, with food and clean water now running out in north Gaza.

The United Nations and many aid groups have been calling for a permanent ceasefire.

Israel’s Prime Minister Benjamin Netanyahu has said that the country will continue its war to eliminate Hamas after the truce. Hamas told Al Jazeera in an interview that they want a permanent ceasefire, but said the group is “ready to deal with all situations imposed by Israel.”

What aid is entering Gaza? 

Between Oct. 21 and Nov. 23, more than 1,723 truckloads of humanitarian supplies entered Gaza through the Egyptian border, the U.N. said. Before the war, a monthly average of nearly 10,000 trucks of commercial and humanitarian commodities came in.

The U.N. said Israel allowed 19,812 U.S. gallons (75,000 liters) of fuel to enter Gaza on Nov. 23. Israel had previously prohibited fuel over fears it would be used by Hamas for military purposes. Fuel is now being distributed by the U.N. to support food distribution and to operate generators at hospitals, water and sanitation facilities, shelters and other critical services, the agency said. 

The Israel Defense Forces said in a statement shared on various social media channels that four tankers of fuel and four tankers of cooking gas were transferred from Egypt on Friday morning. 

Videos showed more trucks started passing into Gaza after the temporary ceasefire started at 7 a.m. local time. 

As of 10:30 a.m., 60 trucks of a total of 230 expected on Friday had entered Gaza, Al Arabiya reported, citing a Rafah crossing border official.

The Palestinian Red Crescent received two ambulances and 85 trucks loaded with aid through the crossing, carrying food, water, relief items, medical equipment, and medications, the group wrote on X (formerly Twitter)...

Multiple U.N. agencies have called for a humanitarian ceasefire, with U.N.’s Secretary-General saying in a statement on Nov. 19 that “this must stop.”

In a news conference Friday morning, Jens Laerke, spokesman for the U.N. humanitarian agency OCHA, told reporters: “We hope that this humanitarian pause leads to a longer term humanitarian ceasefire for the benefit of the people of Gaza, Israel and others.”

-via Time, November 24, 2023

[theconstitutionisgayculture]

Man, I like Daily Wire in concept but Matt Walsh needs to shut the fuck up about video games. The same guy who tried to resurrect the tired old "violent video games are harmful!" crap is now acting like he's the first person to notice that video games are pushing woke nonsense (even though there are about a hundred channels and outlets that have been talking about this for years) but his solution is to, of course, for the right to stop playing video games.

No. Just, no.

This is the same "bury our head in the sand and pretend pop culture doesn't exist" mindset that got us into this situation in the first place. You can't win a war (and there is a culture war going on, no matter how many people on both sides want to pretend otherwise) by retreating from every battlefield. You win by raising awareness of a problem and then offering a real solution.

And it's especially stupid seeing this cultural retreat mindset from someone working for DW because DW actually knows exactly how to fight this battle. They created their own media company to fight against woke Hollywood. Are all their movies and shows good? No, not at all. But they still did the right thing. They put their money where their mouth is, and created an alternative.

A much better example is Angel Studios, which is probably the only Christian movie studio I've ever seen that puts out top quality content with great acting, writing, and production values. They're raking in money and getting their content onto mainstream streaming services as well as theaters. In other words, they're taking their message to the people who need it the most. The ones who aren't already in the echo chamber. Unlike Daily Wire, which only offers its content on its own website through a subscription service to its own audience, and never advertises anywhere.

Another successful example outside of movies is Eric July's Rippaverse. He's been killing it with his comics, with every single one of his campaigns raking in over a million dollars, every cent of which is reinvested back into his business, helping it grow, creating more content, and expanding his already impressive roster of writers and artists. Mainstream writers and artists, by the way. Like Chuck Dixon, the guy who co-created Bane and wrote the seminal Tim Drake Robin comics, among many other credits, and Mike Baron, who wrote some of the best early Punisher comics. Eric had a following before he started the Rippaverse. He runs a successful YouTube channel and he's a regular contributor to The Blaze. He could have walled himself off with his fanbase, wrote comics about ancaps saving the world from the evils of government, and made some money while pandering to the people who already agreed with him. Instead, he went big. He invested his own money, runs his own distribution center, owns his own business with zero outside investors, hires the best talent he can, and offers a product that focuses on story and characters over messaging. His work isn't even "anti-woke". It's just not woke.

And that's what we need in video games. We need alternatives. We need to roll up our sleeves and wade into the deep waters and actually contribute our ideas and our talents. Offer an alternative. Hire people who know what they're doing, who care about quality content first and social engineering never. There is a huge untapped audience who would pay hand over fist for good video games free from microtransactions and woke nonsense.

But retreating is not an option. It's not brave or moral to hide in our echo chambers and scoff at anything fun. Entertainment is necessary. And maybe more importantly, it's not going anywhere. We will never live in a world where people go to work and spend time with their families at home and do nothing else. We need to engage with the world as it is. Not wait around for whatever our idea of a perfect world is to magically form so we can finally interact with it. You can't change society if you keep pretending large swaths of it don't exist.

[nor-4]

True Love?

They lack of wayne mccullough fic

Pairings - Wayne Mccullough x Reader.

Warnings - Out of character, grammatical errors

You guys met after your professor pick him as your partner for project since he knows that wayne needs a help with his grades.

Although he don't listen to no one he is surprisingly interested to you talk about the topic you guys are about to do.

After the project he has this feeling that he is longing for something, he didn't really know it at first until he asked orlando about it since he knows that orlando knows everything about feelings.

Once he knew that he is inlove with you he didn't hesitate to improve himself, he knew that he needs changes before taking the risk of asking you out.

At first you are hesitant to take the gifts he gives you especially when it's in a box, you think that it's the hammer he always bring to school.

After the few months of gifting, doing act of service, writing letters, improving his word of affirmation, doing well in his life, you finally answered his question on asking you out for a date.

It took a very long time getting ready for your first date, he take you out for a nice dinner after that he take you out for carnival and riding a ferris-wheel while admiring your beauty shining because of the lights.

Making the first date memorable is doing the first kiss when the ferris wheel finally got to the top. Trust me everytime he walks past the carnival he always remember that moment.

While walking back home you are wearing his jacket since it got so cold, he even carried you until you guys arrived home because you told him that your feet hurts from walking in heels while biting the fresh flower he bought for you earlier. (this scene is based on that one tiktok video i found probably last year)

After all that he just focused on his school works even avoiding the people he used to fought with.

With his parents he stopped caring about them since they give him that energy since he was a kid, he had the comfort of having a parent when he met you parent for the first time. They already knew about his past but they want to give him the chance and welcomed him.

He loves pets but he thinks he can't keep them for too long and they'll just die when he try taking care of one, although he is afraid to take care of one he still get the kitten he see at the street. Bro got gifted by the cat distribution system.

Once he got comfortable complimenting you, he can never stop, seeing you in new outfit? Gorgeous do a pose!😛

Speaking of pose he loves to take polaroid pictures with you and put it in his phone case, it's like a reminder for him that he is a changed man when someone is testing him.