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But she was barely listening. “There’s this newish thing from Amazon? Called an AMI—an Amazon Machine Image. Basically it runs a snapshot of an operating system. There are hundreds of them, loaded up and ready to run.” Evan said, “Um.” “Virtual machines,” she explained, with a not-insubstantial trace of irritation. “Okay.” “But the good thing with virtual machines? You hit a button and you have two of them. Or ten thousand. In data centers all over the world. Here—look—I’m replicating them now, requesting that they’re geographically dispersed with guaranteed availability.” He looked but could not keep up with the speed at which things were happening on the screen. Despite his well-above-average hacking skills, he felt like a beginning skier atop a black-diamond run. She was still talking. “We upload all the encrypted data from the laptop to the cloud first, right? Like you were explaining poorly and condescendingly to me back at the motel.” “In hindsight—” “And we spread the job out among all of them. Get Hashkiller whaling away, throwing all these password combinations at it. Then who cares if we get locked out after three wrong password attempts? We just go to the next virtual machine. And the one after that.” “How do you have the hardware to handle all that?” She finally paused, blowing a glossy curl out of her eyes. “That’s what I’m telling you, X. You don’t buy hardware anymore. You rent cycles in the cloud. And the second we’re done, we kill the virtual machines and there’s not a single trace of what we did.” She lifted her hands like a low-rent spiritual guru. “It’s all around and nowhere at the same time.” A sly grin. “Like you.

The long tail is a myth, a fact evidenced by the current music business, in which 80 percent of the revenue is generated by 1 percent of the content. Even at the height of the early blockbuster era, spawned by Michael Jackson’s Thriller, 80 percent of the revenue was spread among the top 20 percent of the content. So even in a different winner-takes-all scenario, the revenue was spread out among more artists than it is today. Economists have noted that winners “take all” in many sectors (including hedge funds), and that this has clearly contributed to global income equality, but in the digital media business it seems especially Darwinian. In a world where four hundred hours of video are uploaded to YouTube every minute of every day, the commodification of what was once considered an art (or at least a craft) has become inevitable. For all the stories promoted by Google about YouTube millionaires, the traffic statistics tell another story. Most YouTube videos have fewer than 150 views.

There is discrimination, and the opportunities are not equal to everyone. Most countries are blocked from using several crucial features on Google, Amazon, Shopify, AliExpress, and many more platforms that the "internet millionaires" use to get all of their wealth. They are not smarter than you! They simply have access to markets that are blocked to you! When you try to compete inside their markets, the domain owners alter the algorithms to favor people in that geolocation and put them and their products in front of your. I have been stopped from uploading books for no other reason than being in east Europe. People don't believe these stories are true because they don't want to believe they are living in such a world. It's like the story of the Native Americans, who were offered blankets contaminated with diseases to kill them. Now you are being offered a blanket of illusions that gives you lies. And when you say the truth, they call it a conspiracy and hate speech.

this has been YouTube’s strategy: pretend not to know there is infringing material being uploaded by users and take down the content when notified by the copyright owner. But this of course neglects one crucial provision of the DMCA—does YouTube receive financial benefit directly attributable to the presence of infringing content on the site? The answer, of course, is yes: in fact you could argue that YouTube achieved success in a crowded field precisely because of its laxity toward pirated content. Competitors such as Yahoo and RealNetworks were thinking they were in a boxing match, where there were rules, while YouTube was performing in a professional wrestling match, where there are no rules.

The false democracy that places art and random uploads side by side has, I believe, led too many to believe that art is easy to make and therefore not valuable.

We recommend uploading content in HTML format, usually as a single .html file.

the “safe harbor” provisions of the Digital Millennium Copyright Act (DMCA), which Bill Clinton had signed into law just weeks after Google went live on the Web. The statute protected online service providers (OSPs) such as Google and YouTube from copyright infringement prosecution provided that the OSP not have the requisite level of knowledge of the infringing activity… not receive a financial benefit directly attributable to the infringing activity [and] upon receiving proper notification of claimed infringement… expeditiously take down or block access to the material. Since Hurley’s 2005 email, this has been YouTube’s strategy: pretend not to know there is infringing material being uploaded by users and take down the content when notified by the copyright owner. But this of course neglects one crucial provision of the DMCA—does YouTube receive financial benefit directly attributable to the presence of infringing content on the site? The answer, of course, is yes: in fact you could argue that YouTube achieved success in a crowded field precisely because of its laxity toward pirated content.