Greetings and welcome to the Introduction to Astronomy. In this lecture we are going to discuss the structures of the outer planets and what we understand about how they are composed inside. And that can be difficult as it is with the inner planets because we cannot directly explore these areas. We do not cannot go down inside Jupiter and see what the interior structure is like. So we have to look overall at other properties that we see and use that to interpret what the interior of these objects will be like. So let's start off with some general properties. What do we know about these giant planets? Well first of all they're all far from the Sun. They are all very large and that means in size and in mass. All of the terrestrial planets that's Mercury, Venus, Earth and Mars would fit inside one of the smaller Jovian planets. They are low density meaning they have a higher concentration of things like ices meaning water, methane and ammonia and gases than the inner planets. They all rotate very quickly. They all have a large number of moons and each of these has a ring system. Only Saturns is pictured but Jupiter, Uranus and Neptune all also have ring systems. Now we differentiate between the giant planets or the Jovian planets and the terrestrial planets but even within the Jovian planets we see two distinct types. So what do we see here? Well we see that Jupiter and Saturn the two larger of the Jovian planets are primarily a gaseous and liquid hydrogen and in fact primarily especially in Jupiter what we call liquid metallic hydrogen. Now how is hydrogen a metal? We all know hydrogen is a gas but under very high pressures hydrogen can actually begin to behave like a metal. In a metal electrons are able to freely flow between atoms. Normally hydrogen does not allow this the hydrogen sorry the electrons are bound to each individual atom. However under extreme pressures the hydrogen is not only liquefied converted into a liquid but it also is converted to a metallic form where the electrons are free to flow between the different molecules of hydrogen and that allows for electrical conductivity which will be important later on. But this liquid metallic hydrogen layer is this darker area and is a very thick, thick part of the construction of Jupiter a much smaller section of Saturn and not present in Uranus or Neptune. So you need the very high masses high pressures that occur in the two larger planets. On Uranus and Neptune on the other hand the interior is icy. So we have things like water, ammonia and methane ices which are the primary components when you get down inside these smaller of the Jovian planets. Each of them does have a central core of rock and ice which would be several times would be more massive than the earth and we see that down at the center they would be highly compressed by all of the other material on top of them. So let's take a look at what we understand of the internal structures of these planets and first of all let's look at Jupiter and Saturn. Jupiter and Saturn would have a rock and ice core and that would be the material that we are used to that would include rocky and metallic material way down here in the center so we would see things like rocks, metals and even some ices because of where it formed. Remember that ices here are not necessarily icy as we think of them but are actually just the compounds of water, methane and ammonia and could still be present here deep down in the core. The large layer for Jupiter is the liquid metallic hydrogen and again the metallic part is the key that will be very important because it gives away for Jupiter to have an extremely strong magnetic field. Up a little further we would get just plain liquid hydrogen so not under the extreme conditions where it is compressed into a metallic material but where it is still liquefied so the vast majority of Jupiter's interior is this liquid. Then comes the part that we see the gaseous hydrogen atmosphere that is the portion that we see of Jupiter, the outer layers and then the structures in the various materials in the various clouds that occur on Jupiter. So again we have that rock and ice core that is way down inside, very thick layers of different liquids primarily hydrogen and a gaseous hydrogen atmosphere. Saturn on the other hand is really just very similar to Jupiter except it has less mass and that means that it has less pressure and forms less of the liquid metallic hydrogen and if we come back to this when we look at magnetic fields later on we will see that that is one of the reasons that Saturn has less of a magnetic field, a less strong magnetic field than Jupiter. Now the two outer Jovian planets have a slightly different structure and we'll look at those here this applies pretty much to both Uranus and Neptune. We do see the rocky core so rock and metal down here at the center. We do see a mantle note here how thick the mantle is by comparison we have a very very thick mantle as compared to what we saw with for example the earth and a gaseous atmosphere. So that is hydrogen, helium, and then methane gases and methane is what gives these planets their distinct color. Methane absorbs red light, so light from the sun the red and oranges are absorbed by the methane leaving only the blues and greens to be reflected back. So there is a structure to these again it is very similar you have something more massive than the earth at the center compressed down that is made primarily of rock you then have an icy mantle around that and then you have the outer atmosphere layers. Now the Jovian planets or at least most of them do have an internal heat source so they have an internal source of heat and most of them are quite significant. What this means is that they give off more energy than they receive from the sun so a certain amount of sunlight reaches them warming them up but they're actually giving off more energy than they are receiving. There are a couple of different reasons for this that can be for example for Jupiter considered energy of formation when we collapse an object down from very large distances we take potential energy, energy of position convert that to kinetic energy as material falls down inward and then that is converted into heat so there Jupiter still has some energy left over from its formation. There also can be energy from differentiation which is a separation of of materials by density and that happens in Saturn's atmosphere. Saturn is raining out helium so helium is going down to the down towards the inner layers whereas hydrogen rising to the surface and again that can cause an increase in the in the heat there as that energy that is formed that potential energy being converted to kinetic energy and then becoming heat warming up the interior of the planet so both Jupiter and Saturn have significant internal heat sources and give off a lot more energy than they receive from the Sun. Uranus and Neptune are more confusing Neptune does have some source of internal energy we can measure that it's giving off more than it can possibly receive from the Sun but Uranus does not and the big question then would be why? Why is this the case? So why does Neptune have a source of energy and Uranus does not? So that is something that is still has to be studied. Now I mentioned magnetic fields let's take a look at those Jupiter does have the strongest magnetic field and that is because of that liquid metallic hydrogen that spinning very fast will then generate a magnetic field currents in that metal as it spins will generate electric fields which spinning electrical fields will generate magnetic fields much as it does in the earth in the metallic outer core in that case made of iron and nickel but in this case we are looking at hydrogen that is doing the same thing and will give Jupiter the strongest magnetic field that we have seen that means that Jupiter will have aurora on it just like the earth and in fact any planet that has a magnetic field and has an atmosphere will have an aurora so that means that all of the outer planets will show auroral activity and we can see that with Jupiter here right around the north magnetic pole of Jupiter where we can see the particles from the Sun have excited and caused this to caused it to glow so just like the aurora we'd see here on earth we can see those on Jupiter Saturn Uranus and Neptune as well now Saturn by comparison has a weaker magnetic field less metallic hydrogen so it does not have as much of a concentration of that metallic hydrogen as Jupiter had so its magnetic field is going to be weaker Uranus and Neptune also have magnetic fields but the source is different remember they do not have the metallic hydrogen so there they would not be able to form a magnetic field because of that and we also note the little unusual is that their magnetic fields are actually offset from the center most magnetic fields are centered on or very close to the center of the planet well as we see here this we would have for this would be for Uranus we can see that there is the rotational axis right here this is the magnetic axis they're not aligned up for the most part they are lined up with other planets at least close to within a few degrees not almost 60 degrees apart and it also is not centered at the center of the planet which would be right at the middle of this circle instead it's about a third of the radius out so it's about a it's centered about a third of the way out from the center of the planet so it's not aligned with rotation and it is offset from the center that is something that we have to try to understand and we may wonder that it's maybe it's caused by something in the mantle of the planet instead so maybe those ices form some kind of electrical currents under high pressures remember that ices water methane and ammonia are present in great quantities in the mantles of both Uranus and Neptune so if it is something occurring off in the mantle maybe that would account for why it is not centered on the center of the planet and maybe something different about how that is generated gives us the fact that it's also not aligned so let's finish up here with our summary and what we've seen is that there are two distinct groups of planets in the outer part of the solar system we call them as a group the jovian planets but we have the liquid and gas giants which are Jupiter and Saturn and the ice giants which are Uranus and Neptune composed primarily of ices we know that the jovian planets have sources of internal heat with the exception of Uranus the other three have very significant sources of internal heat either left over from their formation or from differentiation or maybe from some yet unidentified source we do note that every single one of the jovian planets has a magnetic field but formed by different processes Jupiter and Saturn by the liquid metallic hydrogen Uranus and Neptune by some not completely understood process perhaps something in the icy mantle that would account for the differences between their magnetic fields and those of the two larger planets so that concludes our lecture on the interior structures of the giant planets we'll be back again next time for another topic in astronomy so until then have a great day everyone and i will see you in class


If the problem wasn't snow and wind, it was water. Record high tides hit the northeast, flooding some homes in Maine and New Hampshire. As winds and waves hit the Pimaquit Point Lighthouse near Portland, Maine, fishing vessels ran aground. The U.S. Coast Guard rescued its crew on Saturday, according to reports from Wigme. The coastal northeast was pounded by 1-2 inches of rain in the morning, and a storm surge amplified what was already the mince highest tide. National Weather Service meteorologist Michael Sempas said. In Portland, Maine, a gauge recorded a 14.57-foot difference between high and average low tide, topping a prior record of 4.3 meters set in 1978.


Let's have a look at a couple of other problems for students. One more aspect students have trouble with is when we start to introduce what we refer to at the beginning of the presentation, which is semi-modal auxiliary verbs. An example of a semi-modal auxiliary verb is need-to. Let's look at the structure of sentences when we use semi-modal auxiliary verbs such as need-to. I need to work every day, for example. Unlike true-modal auxiliary verbs that don't change their form, if we use the pronoun he, in this case, we add an s. To make a negative, such as I don't need to work every day, we use the auxiliary verb do. The same with the question, do you need to work every day? Again, we're using the auxiliary verb do.


If you watch Common Ground online, consider becoming a member or making a donation at lptv.org. Lakeland PBS presents Common Ground, brought to you by the Minnesota Arts and Cultural Heritage Fund and the citizens of Minnesota. Production funding of Common Ground is made possible in part by First National Bank Bemidji, continuing their second century of service to the community, a partnership for generations. Member, FDIC. Welcome to Common Ground. I'm your host, Scott Knudson. In this episode, Renee Dillard teaches traditional Anishinaabe bull rush weaving. Then watch the garden grow at the Boys and Girls Club of the Bemidji area. Weaving with natural fibers is not a hobby, it's a way of life. When you're on your phone, my grandmother does not know what this motion is. And I can spend a lot of time doing it. Or the smidgen-midgen on the computer. I spend a lot of time, we all do. It's the way our world has evolved. But my ancestors do not know what that is. But when I'm cutting bull rushes, or I'm weaving them or moving in them, or carrying them, or doing those things, those sounds and those motions, my ancestors recognize. And they go, who's doing that old stuff? I am Guasan, that come from the Little Traverse Bay Band of Odawa Indians. My English name is Renee Dillard. And I came to help my relatives here in the Bemidji area to learn how to weave with knock-knock. This is the earlier form of weaving. This is before non-native contact. A lot of these pieces don't survive and haven't survived in museums and such. So it's an art form that's been passed down from person to person. And so I came here to give it back to this community so they can pass it along to their relatives and bring this back. And in part, it's making a place for our ancestors to come and join us through ceremony. And although it doesn't have a practical use in our contemporary world, in this day, you know, in these contemporary times, but it does have a use when we're in ceremony so that we can make a place for our ancestors to come and join us. This is absolutely the correct time to weave because it's in the fall. The traditional time to weave is in the early morning when the dew is on the ground and towards the evening. In the meat of the day and the strength of the day, we're busy doing other things. I'm asking you to displace yourself in that world, BC, in the BC world before Columbus' world. We've got a couple of different projects. This one is a little bit more involved. I'm going to have you look at things differently now. This one has an actual bottom on it. We're not going to start there today. What we're going to start with is a simple one like this that's only folded over. So we're just going to do a small one and get started on that and then we'll see where it takes us because we have enough material to do more than one project. Oh, these are perfect. I'm excited now. I think I'm going to show you with the Knoshkorn. So I'm going to grab these and instead of splitting it I'm going to tie it together. So this is the beginning of the bottom of our bag. It's going to be easier to see with this than it is with that. So everything ends up happening in pairs. When you start you're going to find the center and the pair. Okay? Put them in here and this is all it is. You're going to feel like this is the beginning and this is called twining. That's it. But it's got to be done the same way every time. The utility bags are exactly that. They're utilitarian and if they have a strap like this one does then it would be used as a pocket and to hold on to your goods and a gathering bag someplace where you're going along in the bush and harvesting medicines or mushrooms or anything like that that you need. The ones without the straps and that have design and color and things like that on it those are more medicinal and they hold sacred items inside of there and there would be bag inside of bag inside of bag. This is on top I'm going to twist it and go like that I'm going to hide that knot it's going to end up in the middle just like with good beadwork. Then I'm going to put two more in since I cut them all the same I know that this is generally the right size and you got to make sure that this doesn't twist because if it does then it'll come undone. So you got to hold that here and go here this is all that part this is all this is so you got these are your twiners and this is the body of your basket this is the bottom of that little tiny basket that is folded over and so it looks like a stitch and that's all it is and we're going to do this all the way across all the way across the bottom I'm going to make a really small bag my idea about traditional knowledge is we have a responsibility once that has survived however it has survived and has been passed on to the individual it's our responsibility to give it away I often tell people that our communities have become really hungry for that information once again and they're so hungry but they don't know for what but they know that they're missing something there's a piece of something that isn't working and you have to understand where you come from in order to know where you're going and so as every generation within our communities come to decisions and challenges that our people face that's how we can heal ourselves from within is by passing this information along if one of these break and it will you'll find out then you'll learn something don't pull it that hard okay so on the last one I'm going to put one here there's a way of fixing it so that you can exactly see what happened they had a bend right in the place it's probably going to break so I'm going to avoid that I'm putting one in and okay now we're going to start going up the body of the basket I made three or four bends I don't know if this is a basket or a bag I'm calling it both you know Coco Pelagan is a basket and then a bag is a skim dance so I don't know through weaving because it has all of these beautiful values to teach us in the process of being able to make a mat or a bag or any of the items what ends up happening is the individual learns about themselves who they are and where they fit in this world I'm going over this way always knots up and I take one from a group of two and the next one from a group of two they have to be from two separate groups if you're taking them from the same group you've dropped one somewhere or something happened that's why you put one in at the end and it's going to continue like that all the way around now I don't have to keep track of it okay see how that is look at the origin of where it came from and now it's in a new group the neighbors became cozy we all have that neighborhood it's not necessarily the end product of having this bag is not the prize it's the process to get there that's the prize because Nakna Shkorn has taught me love and patience, perseverance it's taught me to be brave it's taught me trust it's taught me all of those things through harvesting processing these plants and then the end product all of those things manifest so there's the bottom of my bag so this ends up being like a coil it's a continuous that's what I mean it's a continuous weave and it just keeps going around and around now I'm going to come around and I know this is where I started because I got two in the same and I'm going to put one in there if you can count to two because you never have to go higher than two I certainly would hope and of course my desire is that our young people understand that our people have always had everything that we've needed always our mother has taken very good care of us and can continue to do so as long as we love and respect her and when I say our mother I'm meaning Shkokomikwa talking about our mother the earth and she gives us everything that we need and most of what we want we just have to redefine for ourselves what our needs and wants are she takes care of our housing she takes care of our clothes and our food all of those things and we need to acknowledge her in that way the difference is is that in a contemporary sense our wants have changed people think that they want something else that they don't really need is electricity needed not really do we want it yeah do we absolutely need it no we don't we don't need that do you need internet no you don't you want that it's a convenience thing it's a difference between cooking on an outside fire do you need the microwave no you don't do you want it yeah you do so we have to redefine the difference between what it is that we need and what it is that we want and where do we fit inside of there so it's kind of recapturing our purpose and our role why we're here visiting here on the earth when children are involved in a garden program like this year after year I see leadership skills being developed within these kids and also confidence in I know how to do this and then those children that develop those leadership skills are then mentoring the younger kids who are coming into the program and our goal is to keep that flow going well until kids are into adulthood and know how to grow their own food and share their own food this is also about access it's providing an opportunity to children that might not already have that opportunity it takes a lot of effort to have a garden and a lot of time and a lot of patience well my favorite part of the garden is because you feel really really proud once you know you helped plant something and I like how you help get food so you help the community you make friends too and you have lots of laughs my name is Andrea Onsted I'm the executive director of the Boys and Girls Club of the Bemidji area my name is Deb Dilly and I'm a SNAPEd educator with the University of Minnesota Extension I work in the health and nutrition program I teach nutrition to a lot of 4th and 5th grade students throughout Beltrami County I'm the manager for the Boys and Girls Club she is invaluable she has so much experience and expertise and she knows how to work with kids 11 years ago when I came to the Boys and Girls Club and approached them with the idea of what do you think about having a garden oh we can try this and we built one single raised bed behind the club and we decided to title it a pizza garden and so it was one raised bed like tomatoes and green peppers so that they could make pizza from those vegetables well it went pretty well so we continued year after year after year adding another garden bed up until we got to I think 9 or 10 raised garden beds behind the club at that point the program seemed to be going pretty well kids were engaged, kids loved the gardening we were doing lots of food preparation from the garden we were involved in actually planting and harvesting but we decided that maybe we would take it a little bit further and then in 2012 we got a grant from the Natural Resource Conservation Corps for the greenhouse which technically is a high tunnel because we don't heat it that high tunnel now allowed us to extend our growing season by a couple of months and decided to have raised beds inside that high tunnel and so that changed our program to where the kids were able to plant earlier and harvest later and it gave us much more produce than we had been growing before because the growing season is so much longer and beyond that now this past year we expanded that with an additional 15 raised beds so we began actually having the children plant seeds inside in the middle of the winter in January because by April we were able to transplant out to the high tunnel so this was a change for us we decided that we no longer were going to be needing donations from greenhouses but that we were going to take this program to an actual seed to table type of learning program so the children would be planting the seeds, putting them under grow lights and watching the seedlings grow and after about a month of doing that we would then take those seedlings we would transplant them into a little bit larger container continue to have them under the lights here inside and then in April depending on the weather it's warm enough evenings to be able to plant out in the high tunnel it would take us a few days and have a longer growing season kids love doing this and they really enjoy watching these plants grow and so many of the children have been involved with planting that seed in the dirt watching it grow through the different transplant stages and now they're putting it outside where it's a little bit larger and then to watch it continue to grow and produce fruit or vegetables throughout the summer is amazing to these kids so many of them have said I had no idea that this is how we get our peppers this is how we get our eggplant look at these tomatoes doing the same thing being that we had an extra 15 raised garden beds outside and of course being developed as far as the size and where they were going to go we met with T and K outdoors and said it would be really nice to do something like a three sisters garden being that the Boys and Girls Club has a lot of diversity within the population of the children that attend here there are a lot of children that have been involved with the garden community and the three sisters garden is a piece of that culture so the three sisters garden is where corn beans and squash are the three vegetables that are planted and there is significance behind how they are planted but to bring that education and that part of the culture to this garden was a really important thing to do at least two or three times during the summer the kids will have their own little farmers market right outside the Boys and Girls Club so what we do is we harvest what is available at that time and the kids and I come up with prices for the different items we set out a huge table the kids wash everything we have a tent it is like a farmers market only it is their market at their club and they I think take a lot of ownership in this so the garden is a unique program because it kind of ties together nutrition physical fitness and financial stewardship so we're tying those three things together we're asking them to kind of look at some of the market prices we know what the market price is but because we want to put produce in the hands of our club families at a reasonable rate so we're going to keep it very, very cost effective for our families but we tie that together with a program called Money Matters and that's where they are learning some of these entrepreneurial skills so they're learning, okay well you have this quantity of food and you're pricing at this we'll then multiply that out but through these farmers markets there's a lot of kindness about supply demand what's selling, what's not selling and also how to count money so we're teaching them those skills as well entrepreneurial skills physical fitness and the nutrition and making healthy choices for themselves the culmination of our garden program for the year is highlighted in a harvest dinner that the kids are harvest of all of our produce the end of the year harvest and so it's typically in October and we're pulling everything out of the high tunnel and everything out of the garden and coming up with a menu that's always vegetarian we use only the produce from our garden to create I think a very delicious menu and this year Chef Isaac Wally was our one volunteer he had seen us plant those seeds way back in February and bought produce from the club throughout the summer season and then we worked with him one on one to develop the menu for the harvest dinner and he helped work with our kids to create those things the children are preparing these foods up to a week and a half two weeks previous and then the day of all day affair many volunteers come in and help us out with this and during our harvest dinner the people who actually attend are the families of the children that were involved in the garden that year as well as some of the board members the donors and a variety of other community members that are kind of key to the club will always receive invitations as well and it's not just about the food that these kids feel in growing something and showing something to their family that they have like done and that they've accomplished and that they feel so proud of in one sense it's about the food and introducing their families to new fruits and vegetables because that's a key thing as well but also just the excitement the celebration of this whole program and its fruition we have a couple of months where things are cleaning up we're putting the garden to rest and we have a little bit of downtime and before you know it we're back at planting those seeds again every year we survey our kids through the national youth outcomes initiative so this is a boys and girls club national survey and every spring we ask our club members to give us feedback and out of that we have come to find out that our club members eat 11% more vegetables than their national peers so yay to that so by having kids planting seeds and growing these plants just from little bitty seeds all the way through till we get them out doors and then they're selling the food they're making dishes from the food they're having a harvest dinner where they're sharing their food with the community and that whole process is I think so enlightening to kids and showing the kids how and why to respect where good food comes from how easy it is to grow food how delicious that food is and how to share that food with others I think it's really important for children to see where their food is coming from common ground if you have an idea for common ground in north central minnesota email us at legacy at lptv.org or call<PHONE_NUMBER> to watch common ground online visit lptv.org and click local shows episodes or segments of common ground call<PHONE_NUMBER> production funding of common ground was made possible in part by First National Bank Bemidji continuing their second century of service to the community a partnership for generations member FDIC common ground is brought to you by the minnesota arts and cultural heritage fund with money by the vote of the people November 4th 2008 if you watch common ground online consider becoming a member or making a donation at lptv.org


Welcome to Teens on Topic. I'm your host Emma Arnston, and today I'm joined by Sam Sheridan. Howdy Shaw. Lisa Shake. Today we have a very interesting and pertinent issue to talk about, but first, let's hear what the people of Davis have to say about it. How do you feel about Democrats pursuing impeachment procedures with Trump at this time? I think that would be a big mistake. First of all, look at who the Vice President is. That would be a nightmare. And then, I think it would be hard for Democrat to win the 2020 election if they impeach Trump now. That's my opinion. Some people say that if Trump successfully defends the impeachment, it could actually give him motivation going into the 2020 election. What do you feel about that? I think that's absolutely true. Absolutely true. I think that would be the worst mistake we could make, and I thought that from the very beginning. Do you still believe that he's a criminal for some of the obstruction that he's accused of?  He lies. He cheats. He steals. He is terrible. He is a criminal for every reason you could think of.  He's a pedophile. Give me a break. He's everything. At this point, I have kind of lost faith in our government, and that's also if they're going to impeach him or not. Would I like to see it done? Yes, ultimately.  So I'm hoping they do, but at the same time, also fear it. So I guess I just have to wait and see what happens. Absolutely. Do you see more? For lots of reasons, basically, just because he's broken the law. Definitely. Awesome. Thank you. Yeah. A lot of people are saying that if it was anybody else, they'd be in jail. So the President shouldn't be above that. Right. And definitely obstructed justice. So I think there's enough evidence to at least start the impeachment proceedings. Definitely. Well, I don't see why they would, because they're not going to make it end of this term. So I just think there's a long ways away if they try to impeach him. That's my thought on that. Do you think he's guilty of the obstruction that he's accused of? Well, you know, if you listen to the media, you have to kind of form your own opinion. Because the media, we're not always hearing the truth. But for some reason, he got voted in. I don't know.  I'm not saying I love the guy. But he's probably doing like any other president does. It's common sense, you know. I know people hate him. But I can still go to the store. I can still come home. I see gas going up. I see this going up and all that. But what are you going to do? He's just like, like I say, any other president is trying to do his job. I don't hate anybody. That's saying I like some of the things you hear, but we're not there. We just listen to what we hear, right? Yeah. Awesome. Thank you so much. Well, those were some very interesting opinions that seemed to vary. But what did you guys think on what they had to say? I was just really glad to hear the perspective of that lady in the first thing. I didn't know he was a pedophile. I don't know what exactly she was referencing. No, I believe her. Okay. Well, I think it was interesting to see everybody try to find a crime to put an impeachment on. It's really interesting the way that we've made impeachment out to be like, you know, when you talk about high crimes and misdemeanors, that initially did not mean an actual crime like a jailable crime and met whatever Congress found to be a crime, right? So if the real question of impeachment isn't how provable the obstruction of justice isn't that provable, it's that do they have the votes in Congress and is Congress willing to take that risk?  She knows that if they impeach Donald Trump, he will not be acquitted by the Senate. He will remain president. And that will, I mean, it's really likely that that helps him that bolsters his base and the Republican base to go out and vote for Donald Trump against the Democrats. Yeah, like, obviously he's not the world's best man, but he definitely like, it's definitely at this point not a smart political move, I feel like, to try and proceed with impeachment, especially this late in the game. So I understand why you would just like get him out of office, but like putting Mike Pence there and then also like just fully setting up another Republican to win in 2020 is not a smart move for the Democrats at this point, I don't think. Yeah, I agree. I think it's a little too close to the next election to try to do this. And I think that it definitely the Democrats would have a greater chance of just voting him out in the 2020 election than have him be impeached and then have Mike Pence. And I think that make a lot of people very angry. And I think that would give inspiration to a lot of people to go out and vote for him again. I mean, we're mentioning the vice president a lot. The fact of the matter is that this impeachment will not happen, even if Democrats do decide to do this in the House, which I'm very skeptical of the Republicans in the Senate will not convict the president. Also, I find an inconsistency in a lot of people who are, or they say they're scared, I'm sure they might be, but they're scared about the unprecedentedness or how unprecedented the actions of this president are and how crazy this presidential term is. And on this other hand, they say that Mike Pence would be worse, which I think is kind of ridiculous. Mike Pence might disagree with every position you hold, but he's a conventional politician, I think, as opposed to our president right now. Cool, so we all agree. That's good news. Yeah, I think we're all kind of on the same page. I mean, obviously, the guy made kind of a good point of I'm still able to go to the store and go home every day. I guess that's true, but I don't think that impeaching Donald Trump would take down the political machine the way people kind of want it to. I think the way to do that is like setting up like strong Democratic candidates for the upcoming 2020 elections. Do you think impeachment in any situation is a good cause? I know that some people have the idea that because a person is a president, then they should be whatever they do is by default legal. Well, again, I think there's a distinction between legal and impeachable, right? So if you look at the articles of impeachment for Andrew Johnson, one of our worst presidents, article 10 was he's disrespected Congress, right? So impeachment, again, as outlined in the Federalist Papers, isn't a thing where it's like, oh, he's done obstruction of justice or he's done things with children. It's that Congress does not like the thing that they're doing. That's why Congress is a superior branch of government. But I think impeachment, yeah, definitely is a good thing. It's always a good thing to have Congress keeping in check the most powerful man in the country. I think it's always great that they can wield this power if the person goes out of step, if they betray the Constitution, if they betray our country. Yeah, like having those checks and balances in place, I feel like, is pretty important. So I don't think that Congress shouldn't be allowed to impeach the president if it need be. I know, I think, did you listen to Slowburn about Bill Clinton's impeachment process? Did you? I listened to that. I think the process that's in place should be there and it's important that it is there. I think throughout the Mueller investigation there's been this sort of muddying. I think we've seen this from critics of the investigation that you shouldn't have executive branch investigators basically doing the fact finding for an impeachment, which is what you kind of saw during the Clinton impeachment with Ken Starr. And basically what the Mueller impeachment, what a lot of people saw this was, was that this is, I mean, he's, if you look at the chain of the Department of Justice, Mueller reports to Rosenstein, who reports to now Barr, who reports to the president, right? You shouldn't have somebody who's under the president fact-finding against the president for Congress to run impeachment. And so a lot of people thought that Congress should have been the people who are investigating this, because with Congress they don't have these restraints that the investigator does, right? Congress makes their own intentions and based on their politicized or not intentions, they can go find facts. And I think that's really muddied the situation that we're in right now just because Mueller couldn't make a recommendation on anything, not that he should have, but the fact that these facts were from the executive branch rather than coming from Congress where they could have, you know, been building their own case in the House Judiciary Committee or wherever else. Yeah, I agree with that. Going in a sort of different direction, do you guys have any hypothesis of what will happen in the upcoming presidential election?  Bernie Sanders, baby, just kidding. I would bet for Trump. I mean, I don't really want to ever be in a situation where I'm obligated to give you $10. No, I think, like, genuinely, I think just Trump, because he's running for reelection, might have it for 2020. I think it's all up to who the Democrats nominate and we're so far away. I mean, what is it, 24 candidates? New York Mayor Bill de Blasio is now in the race, but there are so many candidates and we're all more than half a year away from the Iowa caucuses. So many of these candidates will have dropped out by then. We have no idea who's going to be at the top right now. Right now we see Vice President Biden and Senator Sanders and Pete Buttigieg for some reason at the top. I don't like him. I think he's kind of cool. I don't know. I don't really know that much about him. I think everybody thinks he's kind of cool. Yeah, I think he's kind of cool. I don't know. The guy who's running the Democrat is going to give everybody $10. Yeah. And all these people are qualifying for the debates, which is going to be crazy. Interesting. I literally... He's going to give us all $1,000. Kirsten Gillibrand will not be the Democratic nominee, but were she the nominee? Donald Trump would be President. But the equation could look completely different where Biden or Klobuchar will like even. I think Biden's done. I think he's done. After the simple accusations of him being somewhat predatory towards women, I think he's knocked out. I don't think that's a fair way to characterize it, somewhat predatory. He was like creepy towards women, I think. He's like creepy towards everybody. He's like a weird old guy, you know? Yeah. But you can't embrace it like Trump does. Yeah, exactly. Yeah, yeah. I agree. I think Joe Biden's public image has somewhat been solely. I don't think... I mean, the fact of the matter is, while he was Vice President, the entire, you know, the Tea Party, the Twitterati or social media would love putting up these photos of him with, you know, Ash Carter's wife or something. It's just the way that he is. He's into tactile politics as the New York Times called it. I don't think that's going to hurt his chances. You can see he's increasingly staying at the top of the race right now. I know we're so far away, but still, it's not hurting him. Work to hurt him, it would hurt him in the nomination race, not in the general election for sure. Makes sense. Yes. I think the oldness is the problem. Yeah. Yeah, he's old. Yeah. Ed Sheeran's not that old. He's not that old. He doesn't give me a thousand dollars a month. I'm telling you I know about him. Yankee. Yankee. Well, thank you all for joining us on this very exciting episode. And be sure to join us next week.


This is the animation minute As always let's start with jobs ILM Singapore is looking for animators Blasphemous game is hiring looking for senior pixel artists and senior pixel animator and a pixel animator 2k in Nevada here is looking for a senior facial animator And obsidian is looking for a 2d animator for a unity project switching over to news I would always check out the rise of animation talks are great And this time it's gonna be a focus on Gravity Falls, which is an awesome show speak of awesome This looks awesome Cuphead. There's a new trailer for the show coming to Netflix speak of trailer There's the wonderful winter of Mickey Mouse. I'm always looking forward to these. These are awesome another thread here by Edward I'll love these great stories tips. There's always something interesting to read here So as you go through 3d, this is crazy town. Let me go back here. You can see the Animation pass without the render. I'll love these I love seeing play blasts and how they animate this speak of animation Here's a great shot. Oh that transformation is so great. So you have a 2d Bananas, I love this. That is great. Watch out the whole thing. It is 40 seconds long I love seeing 2d effects. They're great. Just something like that swishing so cool. Speaking of 2d Watch this closely how the teeth go into the glasses how the lower teeth go into the Chin pierd here so great. This is great. This is weird and I love it starts off cute You go wait a minute and I'm so in That is cool too. I love that design everything here super cute. It's so much and speak of a jam I love things with a ton of details. Look at that. That's cool That is cool. It's a good idea. Love that Love that as a composition. Love to animate something like this That's super cute. I love it speaking of cool art. Yeah, that is cool Super cool More art and I said I love when there are lots of details. I mean calm on This could be more me Look at all that stuff in there Doesn't end here. I don't know. This is so my jam. I love it all those details. All those things in there. So cool Another one. That's a cool idea It's correct. We have so great And last but at least we have pixel art. This looks super cool. I love it And that is that for the animation minute. You can find it every Monday at 10 a.m on my channel


Alright, I think we can go ahead and get started. Unless anyone from the mayor's office disagrees, never want to upset the mayor. So unless I hear differently, we're going to get this thing going. So welcome to Metaverse NFTs Web 3, Navigating the Legal Landscape in the Music Industry. We've got a scorcher here. My name is Adrian Perry. I'm a partner at Covington of Burling, which is a law firm based in New York City, though the firm has offices all over the place. I'm co-chair of our music practice, and also part of our tech and IP transactions group. And I'm one of the folks that has been helping to lead our NFT Web 3 and Metaverse work. We've been pretty fortunate to do a lot of work generally in this space with lots of different clients, particularly in the music space we work with some artists, musicians, we work with some big labels and done a bunch of stuff in this space. So the idea is just give you all some information that might be helpful. And I've got a bunch of great colleagues with me who also are deeply involved in this space and have different expertise. So before we kind of dive in, I want to let everyone introduce themselves. So why don't we start with Marisa? Thanks, Adrian. Hi, I'm Marisa Pico. I'm an associate in the tech transactions group based out of New York. My practice mainly involves media, entertainment, sports transactions in a commercial setting. All right, Priscilla. Thanks, Adrian. Hi, I'm Priscilla Pistaro. I'm also an associate in our New York office. And like Marisa and Adrian, I work on tech transactions in the music space, as well as the entertainment space and just about any other space you can think of. So looking forward to the discussion today. Thanks, Phil. Hi, everyone. I'm Phil Hill. I'm an attorney in the New York office. I focus on music, media and entertainment, counseling, litigations, transactions, regulatory work. All right. So I'm going to set the table here and then we're going to just go around to each of our panelists and just talk about different topics that are relevant for folks in the music space. But just to sort of start us off, what is the metaverse? Lots of people talk about it. Ultimately, when people are referring to the metaverse, they're referring to real-time 3D rendered at mass scale through some sort of internet platform, some sort of virtual representation of the real world, which might be very detailed and realistic or very primitive.  So if you're trying to wrap your head around what is a metaverse, think of Fortnite or Roblox or Minecraft, any of these types of platforms where you have an avatar, you get into it and you're kind of living in some sort of world. Web 3 is another buzzword you hear about. And the best sort of high level summary I can give of that is just sort of another iteration of the internet that's more participatory that involves people being able to earn money and create content and more of a back and forth as opposed to Web 2.0 where it's more you're just sort of receiving content. So when people talk about Web 3, I think that's sort of a lot of what they're getting at. A lot of folks think Web 3 will be driven by sort of decentralization. Again, that gets to more, this concept of being more participatory when you're engaging in these platforms. And then we'll talk about NFTs and obviously NFTs have been a big buzzword as well for the last couple of years. And in the metaverse context, NFTs, I think you're going to be useful both as representing digital assets. A lot of people are going to buy and sell digital goods and NFTs represent digital goods. And they can sort of act as a backbone potentially. So first tracking rights in different digital assets. So that's how I think NFTs might fit in. That's what we've been seeing at least in our experience. So that's kind of the stuff we'll be talking about today. And there's a huge opportunity for folks in the music industry. We've all seen the headlines going back now for at least a couple years of virtual concerts and folks creating experiences where music is either a central part of the experience or is ancillary. And it's not just the music industry. I mean, there's all types of consumer brands, sports leagues and teams moving into this world. So it's relevant across frankly any consumer facing company, I think it's important to understand what the metaverse is and the opportunity there. But in particular, for music, great opportunity to really engage with fans, find new ways to use content and be creative. So with that, I think we should move into the first real substantive topic and I want to start with Phil. So Phil, it'd be great if you could start us off by talking about what are the relevant rights to licensed music in the metaverse. Well, as a general matter, we know if you're on this call, most likely you all know that music rights are notoriously complicated, ownership is diffuse. And the metaverse raises these same considerations and then some. So we might begin by just talking about one bucket of the quintessential music rights. You know, every conversation about music rights starts with the two fundamental copyrights in the United States, the composition and the sound recording. You might think of the composition as the notes on the page. You think of the composer or the songwriter who writes the song, and then the owners might be the composer or the songwriter, then then also music publishers, licensors might be their agents like PROs, the performing rights organizations, the United States like ASCAP, the MI and CSEC that deals specifically with sets of rights called public performance rights. And then the second of these quintessential copyrights for music is the sound recording. And that's the specific recorded performance of a composition. So the Beatles recording, you might think of the recording artist and the record label. Now each of these copyrights, the composition and the sound recording each come with their own sets of rights and different owners and fractional owners potentially and agents. But the rights that we be talking about here for the metaverse are generally going to be some combination of the basic rights that you'd expect in ordinary situations, the rights to make copies or reproduce the rights to distribute copies, you know, to sell them. You might think of it as sort of in the metaverse the equivalent of selling an MP3. Depending on the use case, you might have instances where it implicates the right to modify, to make derivative works, you know, maybe users or their avatars can manipulate certain types of musical assets or digital assets. And then you're dealing with the rights to publicly perform because the metaverse is happening as a massively aggregated group of people. You might be on many occasions, maybe all occasions dealing with performances that might be in front of a few people, a lot of people, people all over the world. And then of course, in the industry, we have combinations of these rights that have developed over time. One of the key ones that is the subject of a lot of discussion involving the metaverse is sync or master use. And specifically in industry terms, that's the ability to use a composition and or sound recording and manipulate it so that it can be played in time relation to visuals. We'll talk about that in a little bit. But that's an overview of the basic quintessential music rights bucket. And then another bucket you might think of as the sorts of experiential rights like Adrienne had mentioned, these virtual concerts. And these are some of the more unique applications that have come up in the metaverse for specific use cases. Some of the things that really excite people about virtual events are things where you can have limitless concerts or lots of microcosms, very close curated concerts, meet and greets with artists, lots of direct fan engagement. And that brings up not just the normal types of music rights that you have, but also name, image, and likeness, likenesses in the real world aspects of the artists, and maybe their avatars as well. So all of that is another bucket that's implicated by the metaverse.  And then each of these buckets are really governed by rights that happen, occur or enforceable under the laws of each country where that may be applicable. So there ends up being territorial rights that you have to consider as well when you're dealing with music in the metaverse. Got it. So it sounds like a lot of the rights we're talking about are things that we've been dealing with already in digital environments. Can you speak to maybe some things that are unique to the metaverse, maybe some unique challenges as far as obtaining these rights and creating these experiences for people? Yeah. So a lot of the negotiations and discussions that are happening are sort of how do we take the analog of what happens in the real world and apply it to a virtual environment. And so one of the things that comes up is that if you're going to be playing music or recording a composition in the metaverse with an avatar, that necessarily implicates some visual component. And there's some code that goes along with that and some audio visuals that go along with that. And so questions arise as to whether when you're playing music in the metaverse, is that also not just a public performance, but a sync? Is it a master use? And these are questions that people are working through now. But if you think about it sort of in the real world, if I'm running around Central Park with a boombox over my head blaring, sweet, click, Caroline, that's a public performance, but it's not a sync. If my avatar does that exact same thing in virtual Central Park with a virtual boombox, okay, it's a public performance if it's in front of a bunch of other people and other people can hear it, but is it a sync? And so we have these sorts of things playing out usually by analogy. Well, it's like this real world situation, or there's some nuance to this. That's one area where these issues are being tested. And another one, I alluded to this before, but this multi-territoriality issue, you might have different owners in the US and Canada and in Japan and in Europe, wherever you are. And so the clearance hurdles, licensing, determining ownership, paying out royalties, complying with the laws and the contracts in all of the different territories really raises a lot of concerns that people have to think about. And you might need to be aware, not just of where a user is using the music, but it might be where other users are receiving public performances of the music. It might be where the servers are that the assets are being served up from such that you can actually play the music. It might be where the platform company exists or the various places where it exists. And then a lot of the issues that come up are sort of on the horizon, lots of different use cases, lots of different ways that we can create and implement things from a technological encoding standpoint. And that creates a lot of options for us in how we set what the privileges will allow or not allow from a legal standpoint, from a technological standpoint. You might think of things in terms of the digital goods that I mentioned. And if you have a physical CD, you could lose that CD, the CD could get scratched, it could deteriorate over time. With a virtual good, it could exist forever. As the rights owners, do you want to build in decay over time? Do you want to build in a revision history? And do you want users to be able to access those things? Do you want users to be able to apply a hissing pop filter to make it sound like a vinyl record? And then do you want them to be able to undo that if they want to? Do you want them to be able to keep these virtual goods in perpetuity? Do you want to allow them to resell? Do you want them to be able to take these things with them across virtual environments? These are all things that are considerations that come up in terms of what agreements rights owners and platforms may agree to, what you might allow users to do, and how you might enforce things as you're going forward in the metaverse. Yeah, I mean, actually, why don't we pick up a little bit on the enforcement question? Because I think that's a question on a lot of folks minds on whether you're a content owner or whether you have a platform is how is enforcement going to work? How is compliance going to work, especially when you have this potential for cross-platform use and being able to use content in these more interactive ways? Yeah, and that's a really interesting and difficult question, both from a technological and illegal standpoint. One thing is for enforcement, obviously, there's these international and territorial considerations. So we'll set that aside for a moment, but it'll come back to it. Many of the people on the call will be familiar with the DMCA, notice and take downs in the United States. If a platform, a metaverse platform wants to operate as DMCA compliant, meaning they get the benefit of the safe harbor, they need some mechanism to receive notices and take down copyrighted content that has been brought to their attention, at least in the United States. And so from a technological standpoint, how does the copyright owner identify a particular asset? I think that that avatar's t-shirt is an unauthorized piece of virtual good, so take that down. How does the copyright owner identify that piece of merchandise to the platform so that the platform can take action? And then how does the platform actually take action? How does it remove or disable access? These are legal questions, but also coding questions. If you've got the avatar wearing an unlicensed band t-shirt, you receive the takedown notice. Does the implementation for the code, meaning that the avatar loses the shirt, reverts to the prior shirt that the avatar was equipped with, is the shirt blocked out? Whatever option you choose, does the platform apply that change globally across all jurisdictions, so all users see it? Or are there different experiences if you've got another user in the United States or a different user in a different country? Do they get different experiences based on these implementations? And of course, I chose the t-shirt because that's a visible sort of visceral thing, but you might imagine the same applications with music.  Or does it show up as a different song to other people? These are all, you know, considerations that we have to work our way through as the metaverse develops. Yeah, no, that all makes sense. And I think that's probably a good segue to now move to Priscilla to talk about some of these cross-platform issues and some of the user-generated content issues that could come up, right?  I think a lot of folks think that, you know, metaverse platforms, you already see it. I mean, there's a lot of user creativity and interaction that's something that's just going to continue.  Yeah, sure. So, you know, kind of one of the great things about the metaverse or metaverses, metaversi, I think we'll go with metaverses. The great thing about that is that, you know, they're going to be, they are virtual spaces that are shared with tons of people, you know, all over the globe who are interacting in real time. So this creates sort of limitless opportunities for creativity and for the ability to modify content. So, you know, if we take those examples of running through Central Park, you know, your digital avatar playing music, you know, maybe they meet up with other avatars that are playing music together or having jam sessions, for example, with music that's, you know, already copyrighted. You know, this means that as a content owner, you kind of have to be prepared for your content to be manipulated by users or for it to just interact with other content and perhaps a way that you did not expect. So like, for example, you know, if the user duplicates like a record label, right, creates their own record label in the metaverse, but they duplicate sort of an already existing one and start to release music and that music's really bad, you know, you as the record label that's being duplicated, you know, you're not going to be thrilled about that or, you know, if you're an individual artist and someone in the metaverse is remixing your songs and passing it off as their own, you know, that's not going to be great. But, you know, as a content creator, as an artist, you're going to have to sort of just understand that things like that are going to happen. And so once you sort of come to that realization, then you can sort of start to plan about that and think through how you're going to deal with infringement. You know, Phil gave a lot of really great examples, kind of using what we already have existing in the real world right now. It's a sort of a great first step. The law is still evolving in this area.  And, you know, they get sued right now for infringement or violations of rights of publicity and rights of privacy. For example, you know, if they're trying to create, recreate an NBA player in their game, and they want it to be real.  And I never got, I never gave permission for that. Or, hey, this avatar is using my dance move every time it wins something or wins a point. And I never, I never gave my permission for that. So these things are happening right now. You know, some of these lawsuits are successful, some of them are not. But I think the point is, you know, if you are creating content, you don't want to get hit with with a lawsuit. Or if you see your things being infringed, you know, you're kind of wanting to know what you can do. I think the first, the first sort of thing to keep in your mind is, you know, it's all about content control. So when you're granting licenses to your content for the metaverse, it's sort of the same thing that you would think of through think through in the real world.  Who's going to be able to manipulate it?  Or should that be a permanent affixed part of that avatar that is not changeable? And if so, in what ways can it be changed? You know, maybe you're okay with them changing the color of the shirt, but you don't want anything added to that logo or added to that brand. So those are kinds of things that you're going to want to think through and make sure is clear in your contract with whoever's, you know, whoever you're licensing your content to. Also in terms of risk mitigation, you know, to the extent you're combining your own content with the third party's IP, you know, you're also going to think through what rights do you need from that third party in order to not only combine it, but to, you know, further license it out to users or to the platform as well. So one way to sort of mitigate the risk here is to make sure you're playing an active role in designing virtual content, you know, work hand in hand with the platforms. If you're working with a third party to actually create the content, really be hands on there because that's a really great way to sort of head off issues before they even arise and making sure that, you know, the creative teams, the technical teams and the legal teams are all aligned on what is acceptable and what's not acceptable. And then finally, thinking through things like technical controls, you know, fill hinted at them as well. You know, those are also one way to monitor and enforce the proper use of your licensed content. Now, the types of controls that are available will be particular to the, you know, to the exact platform and metaverse that you're in. But, you know, you can also inform this.  Yeah, that's really helpful. And I think the theme that's kind of coming through here is it's a combination of, you know, dealing with legal issues in whatever contracts, but also making sure from a technical perspective that, you know, whatever use content controls you want put in place can actually be put in place. So, you know, it sounds like there's got to be a little bit of diligence too on, you know, particularly if you're licensing in content or content creator is sort of, you know, can these controls actually be implemented.  You know, right now, this is something that hasn't quite come to fruition, but a lot of folks foresee that. So it'd be great if you could talk a little bit about that and things people need to consider with that on the horizon. Yeah, so in a nutshell, you know, content interoperability is the ability for content, whether it's good, virtual goods or identities to travel across platforms. So for example, you know, your digital persona in a game like Fortnite might be able to be used in Minecraft. So that's sort of the idea that it can travel from platform to platform with you and sort of be accessible no matter where you're at in the metaverse. You know, this interoperability ability will raise additional content control considerations. You know, first, do you even want your content to be interoperable with other metaverse platforms?  If you're sort of licensing in third party content, you know, do you now need to go get permission from that third party again to move their content from platform to platform, or is the license from them, you know, only with respect to one platform. And now that they know you want to move it across platforms sort of the price skyrockets. So to the extent that it's going to be part of your plan as a content owner, again, you want to consider the scope of any licenses that you might need to allow for that kind of movement across platforms. And if, you know, if that if it will transfer with the content, you know, how are you going to monitor and enforce those licenses? You know, who and then more importantly, to the technical questions, who's actually going to be responsible for making that all work. You know, it's all great and good if you want your content sort of to move around anywhere, but you know, is that even technically possible? Can it actually travel across your desired platforms and can't travel in a way that's secure? And in a way that makes sure that when it's presented on another platform, you know, it looks just as good as when it's on that first platform. And I think this is particularly going to be true. Again, if you're licensing in some third parties IP and sort of combining it with your own, you know, your third party licensor isn't going to be thrilled if, you know, if the resulting product doesn't look so great or doesn't sound so great, depending on what platform it's on. You'll also want to make sure that the content is adequately maintained when it's on each platform. So kind of an analogy to this, think of things like collectible baseball cards or any kind of memorabilia, you know, once a consumer purchases it, it's sort of up to them to maintain it in mint condition, you know, and make sure that its value continues to rise and continues to rise because they're taking such great care of it. But unlike physical memorabilia or treating cards, you know, the preservation of your digital content is really going to depend on third parties. And so how that platform is maintaining your asset, how, you know, whoever created the digital version of your asset, did they create it in such a way that it can continue to be maintained, you know, indefinitely. So your chosen platform and service providers who are helping you to digitize your content or sort of distribute it in the metaverse are going to be key here and your relationships with them are going to be really important. So when you're, you know, negotiating contracts with them, you're really going to want to pay attention to things like service levels, as well as transition assistance. So making sure that, you know, there's no gap between platform A and platform B when that content is traveling and transitioning from one to the other. You kind of don't want them both pointing the finger at each other and saying, well, it looks like crap because it came from this platform and they don't use XYZ technology and it's not our fault. So you're going to always want to make sure that loop is closed. That's, that all makes sense. And I think now we, Marissa, be great now to turn to you because I think the interoperability question is a really compelling concept for folks, you know, being able to create this sort of integrated world of, you know, multiple metaverses. And, you know, I think NFTs are probably going to be important to that, as I mentioned, sort of at the top of this.  And then just generally talk about some of the digital economy questions. Since again, there's going to be a lot of opportunities for musicians and folks in the music industry, you know, to engage with fans and create new revenue streams, all that stuff in a metaverse. So, yeah, so why don't we start by talking about the NFT question? Sure. So, and the interoperability point is really just to provide an overview is really coming into play, I think in the metaverse industry. It was just announced that the metaverse standards form was launched, and that's a consortium between a bunch of the bigger players in the field. So we'll see what they come up with. But in the meantime, yeah, NFTs are looking like a technology that will help with this interoperability and transfer and digital assets across different metaverse platforms. And so just to back up, so NFTs are essentially made up of two components. There's the token portion, which is the code that's recorded on the blockchain. And then there's the content, which is linked to the code, but it's separate from the token, and it's usually stored on a separate server. So in terms of the rights, this also differs between the two components of what a purchaser usually gets when they buy an NFT. So typically, a purchaser will acquire only the token portion of the NFT and will then receive a license to the content that's associated. That means that the ownership rights in the content, including the intellectual property rights are still retained by the content owner. And this is an important distinction, especially when we discuss some of the legal issues in a second. But just in terms of how NFTs will be helpful in the metaverse, as mentioned, it will likely be helpful in tracking digital assets as they move across different metaverse platforms. And they're able to do this and help because they can keep track of title to those goods on the blockchain, which again, it's a digital ledger, so a public ledger. So anyone can view and verify the transactions, and it's not limited to a particular platform. So if you purchase a shirt for your avatar, for example, that shirt might be represented by an NFT, you would be recorded as the owner on the blockchain, your purchase would be recorded as well. And then if you ever sold that NFT, that transaction would get recorded as well. So it really does keep a good track of everything. Obviously, the hurdle is the technological capabilities, as Priscilla mentioned, for linking these different metaverses together and actually having the content itself show up and look good across metaverse platforms. But from a technical and theoretical standpoint, these NFTs should at least be able to track the content as NFTs as they move across. And so we're starting also to see NFTs do more than just represent content, whether it be an image or a video, but we're seeing NFTs being thought of more as utilitarian in function. So they're being used, for example, as tickets to gain access to certain goods, whether digital or physical, or various experiences that somebody could participate in. And translating that over to the metaverse, again, we could see NFTs being the key to unlock various items, either in a single metaverse or across metaverses. If you have this NFT, you could show that you have rights to go into XYZ or have a different experience, etc. So it is interesting to see the technology behind the NFT. It's not just used for memes or board apes or something like that. So we'll see where it goes in the future. And again, I think the difference between an NFT and maybe a different functionality or something that's maybe in like separate to a particular platform is that NFTs can help you not only verify ownership, but it has an open market. So you can sell your NFT, depending on the terms and conditions of your NFT. So even though you own it, you can sell it. And it's an open market for that purchase, which makes it unique in that way as well. Yeah. No, that makes sense. And it sounds like you're about to go to the broader topic, which I also want to make sure we talk more about the native economy aspect. And we hear a lot about the economic opportunity in the metaverse and what that could look like. And NFTs play a role in that. But maybe you can talk a little bit about sort of more broadly, how someone might participate in a metaverse economy, whether it's a musician or a content owner or a poop, different players in the music space. What are the opportunities? What does it look like? And what are the things that they have to be aware of when they're kind of trying to sort of move into the sort of economic side of the metaverse? Sure. So we're definitely expecting people to buy and sell in the metaverse, whether it's land or digital goods. And we're seeing even proto metaverses today have secondary markets, so people can buy and sell with each other, not just with the platform that's running the metaverse. And so I think in the future, what we'll see in the metaverse is not only purchasing and sales, but people might actually be able to build careers in the metaverse itself. And we've seen examples of this with proto metaverses, where, for example, there was one that actually had real people help run their virtual casino within the metaverse and help to operate it. And so we could see actual native economies within these metaverses that are sustaining and can cross over to various metaverses. But the question that arises is, how will people actually pay for things in the metaverse? What types of payment, what types of currency will be used? And this is up in the air right now, especially because they're contemplating various metaverses, but bottom line is whatever is used will have to be traded off-platform and across-platforms in order to retain its real-world value. And that's really the thing that separates this from, for example, just the traditional video game, where you might earn in-game coins or something where you can't really do anything with that, but having the ability to take whatever currency or money and move it across a different metaverse platform or even off-platform gives it that real-world value. And so cryptocurrency is definitely one option since it provides for secure transactions and it's decentralized, which is helpful if metaverses start to move in that direction. But there's obviously a lot of obstacles for one, as we know, it's very volatile. It has yet to be regulated, but really is likely to be so soon. And it's really not very user-friendly and hasn't been widely adopted or as widely adopted as we're expecting the metaverse to be in the future. So with that being said, we can definitely see traditional payment methods like credit cards being used. And there have been some new technologies in this space where they combine credit cards or traditional payment methods with cryptocurrency, so allowing people to purchase something with a credit card, but on the back end, it's really buying it with crypto. And so all these different technologies will have to kind of see where they go. But again, in order to retain the real-world value has to be usable off the platform. And I think one of the legal challenges to flag is that the transference of whether it be fiat traditional payments to crypto or vice versa could raise some regulatory concerns. So depending on what the metaverse platforms decide to do, it's something that will have to be worked out. No, that all makes sense. So before moving to the next question, I did want to remind any attendees, if you have questions, feel free to put them in the Q&A. We're happy to try and answer them with the remaining time. But the next question, I want to open it up now to any of the panel here. So Web 3 and the metaverse, a lot of folks think that it's going to give musicians new opportunities, new revenue streams. Curious if folks think that that's going to be better for smaller or independent artists or whether folks that are backed by major labels are going to have more of an advantage. Is there not really a difference? And the other thing that I think interesting for folks in the audience is if you're an independent musician, what kinds of things should you be doing to educate yourself? Answer the opportunities and risks other than of course attending this webinar. But yeah, so does anyone want to jump in first as far as whether you see a difference between whether indie artists or major label artists have advantages, disadvantages? Is it a wash? I'll take that one at least in the first instance. I'd say that the opportunities are good for everybody and they're a little bit different but still good. On the independent artist side, one of the things that comes up a lot in these discussions, harking back to my outline of the rights and the diffuse landscape and all the different countries, if you've got a really successful work with very sophisticated people, you might end up having multiple owners of the sound recording and multiple owners of the composition and then each of those across each of the 195 countries in the world, those might be different in each country in the most extreme case. And so that can introduce a lot of friction in the licensing world. If you're a platform or you're an organization who's trying to organize an event with an artist and obviously there's lots of sophisticated folks who are working on these issues and so it's not insurmountable by any means but one of the things that comes up for newer artists and emerging artists and artists who are building their career structured around a world where the metaverse is already here in large part, a lot of those rights structures can be I'm an artist in the United States, I own my masters and my publishing and therefore it's very easy to license with me. And so you become a more attractive target for certain applications anyway because you have the ability to act quickly, grant licenses to users that cover all rights throughout the world and reduce that friction for licensing that might otherwise come up. Makes sense. I don't know, Marissa or Priscilla, any other thoughts on that? Different views? Yeah, I think putting aside all the complications which there are a lot of them, I think that the opportunity for sort of smaller independent artists are really significant. I think with most things, people with more capital and more resources are obviously going to be able to, if they execute correctly, they'll probably likely continue to be successful and have a lot of resources. But I think with a lot of things that we've experienced probably in the past 15 years, I think this is just another avenue to sort of decentralize and take away sort of the gate blocking and gatekeeping aspects that have existed in the entertainment industry for a really long time. So think of things like YouTube, before YouTube in order to create a show, you had to have a deal, but now anyone with a cell phone camera can sort of create their own show. And I think with the metaverse, it's going to be something similar where maybe you're an artist who can't afford to travel the world and go on a world tour to get your music out there, but now with the metaverse, you can have a virtual concert and you can sort of have more of an ability to gain grassroots following for your music and for your content in a way that just sort of releasing it on SoundCloud might not, it might have a bigger impact, I think especially because people are not just listening to your music on the metaverse the way they would on the internet or through the radio, they're actually, they're in it, they're having this experience with you, their app is virtual concert with you, which as a music lover myself, that's one way that I in particular really sort of connect with the music is actually seeing it performed. And so being able to have that virtual experience and feel like you're even closer to your artist, I think is going to have a really profound impact on the entertainment space in general, but I think particularly when it comes to music. Yeah, I think also with the idea of Web3, it's really supposed to democratize what's available on the internet in general. And so I think even more seeing the tools available in this metaverse or proto metaverse and Web3 space, or they're making it more user friendly. And for example, if you take the sandbox game, their whole idea is to allow users to build worlds, to then have other people play those games or interact with those worlds. So it's really people are being provided the tools to actually create things. So it might, you know, make it easier for artists who maybe don't have as much capital as maybe being backed by a label to to get involved in the space. Yeah, no, that makes sense. I'd like to circle back to the the virtual concert thing, because, you know, obviously during the pandemic that there was an explosion, you know, in virtual events, generally in virtual concerts, because it was, you know, in a lot of time, the only sort of live music you could see would be, you know, a live stream or or these virtual concerts in different platforms. And folks were sort of questioning, well, is this going to stick around long term is just a creature of the pandemic. And now we're all going to get back to live music. And, you know, thankfully, like live music is is coming back, but virtual experiences are continuing as well. I'm curious for, you know, any or all of your thoughts on sort of, you know, the long term prospects for virtual concerts and and and how you've seen things evolve over time and what they might look like as the metaverse these metaverse platforms keep getting built up and and and, you know, expanded and become more user friendly. So curious if folks have views on on sort of the virtual concert front. Yeah, I didn't start. So I think this is sort of here to stay. I think it'll be interesting to see kind of where it it goes at first. I don't think we're sort of going to just completely go to virtual concerts and they're not going to be any more in like live experiences. I think what I'm most excited about is and I'm seeing more and more artists do this is they're sort of melding the two.  And they're going to do it in a virtual in a virtual space.  I think I'm most excited about about that because I think, you know, again, as someone who really loves concerts, sort of you're at the concert and you're, you know, you're having this amazing experience and that it ends and it's sort of like, man, I wish this could continue. So now imagine you get to go home and continue that on. And as an artist too, right, like you're only human, you can only make it to a certain amount of states or countries in a, you know, in a particular year. But now you've got this avatar and you've got the metaverse that is persistent and is always on. So, you know, if you're able to create an avatar that really resonates with people and it can sort of continue on your persona while you're sleeping or doing something else, you know, I think that's just going to open up even more revenue streams and even, I guess, less than likely more opportunities for artists to really connect with their fans. Yeah. I'm Arissa Phil. Any any views on on the virtual concert topic? Well, I think the option for virtual concerts is absolutely here to stay. I don't think that will ever be in a world where we're fully replacing it, but it's a legitimate decision that, you know, independent artists can make when you know, to lower the barriers to entry, but it's also a decision, an educated decision that record labels and hit makers can decide to make as well to say, I'm going to focus on virtual or there's going to be a virtual aspect to this. And as long as, you know, the metaverse keeps developing, becomes a viable mechanism, then it's just going to be a choice, a matter of preference, a matter of differentiation, a matter of, you know, your audience and your artistry and how you're going to reach the people that you want to reach. Yeah, I agree. And I also think it opens up the opportunity to reach new audiences too, just because it's a different warm and, you know, people might be wanting to see something virtual or in the metaverse, you know, might be somebody different than you typically reach with your music in general. Yeah, I mean, I remember back in back in the day when I had an indie rock band that was extremely unpopular, for whatever reason, we had a lot of fans in South America. We always wanted to get down there to tour, but it was too expensive. You know, we just couldn't, we could never pull it off.  Like that, that type of stuff, I think is really exciting. For any musician, you know, whether you're signed to a big label, small label, completely independent, you know, sort of a virtual concert as an option, can really open some doors and such as one of the many, you know, great opportunities, I think that it's going to continue to proliferate, you know, as these metaverse platforms, you know, continue to develop.   And so I think it also is going to provide opportunities for those who have been, you know, traditionally left out of live events, whether it's for money, but also think about people with disabilities. I think, you know, those folks who, you know, typically cannot go to live concerts because of their disabilities or their health issues, you know, hopefully now we'll be able to actually participate virtually, right? Because there are no disabilities in the metaverse or, you know, it allows for people to kind of get over that barrier as well. Yeah, that's a great point. So we got a couple of questions from attendees, which I want to get to now. So the first one that came in is, based on the discussion, it seems that each platform has unique features and audiences. How would music artists go about choosing which platform they'd like to use when establishing their metaverse presence? So I'll start it off and then everyone should jump in. But I mean, because right now it is sort of all these different platforms that are different, you have to figure out which one has the features you want, right? Let's say your goal is to have virtual concerts and you want something that has like a very realistic experience. So you would look for a platform that could achieve that and maybe has like focused on better sound quality, right? But if your goal is maybe to just, it doesn't have to be a concert, but you want to just have meet and greets and have some sort of interaction or some sort of gamified thing, you know, maybe you go with a platform that has more of that, more games and other types of things where you can be like interacting and doing something with folks, and it isn't necessarily a concert. But I don't know if the panelists, you know, please chime in. Yeah, I think that's right. I think like most things that maybe another avenue, you know, like Adrian's basically mentioning doing your due diligence. So figuring out what's important to you for your content and finding a platform that aligns with that. But also don't be afraid to just ask around, right? Ask other artists who have done it and say like, how was your experience working with this platform? You know, did it come out well? Did it not come out well? Would you recommend them? I think that's probably going to be like your best bet if you can, if you can actually find someone who's done it and see what they think. Anyone else, Phil?  So, you know, you would be the person who's designing the stage and the audience experience, the audio connection and the technical back end, the stack that all this stuff is built on, what quality audio you want to stream from, you know, the real-time effect, the lag, the latency, all of those things are things that, you know, you could have a team of people dealing with and then maybe where you go doesn't matter.  And it may be indifferent to which one you are on, but you would just want to be able to curate it to your preferences. Makes sense. All right, so I think we have time for one more question and I want to get this a question from Aaron, another attendee. So, basically, you don't own the rights to the content like your avatar unless you're the creator.  So again, I'll start that off. So generally right now, like if you're, if you go on any sort of platform, your rights and whatever content that you're consuming are going to be controlled by the terms of use, basically.  There's going to be some terms of use that govern that that will tell you what your rights are. There will be the terms of use will tell you sort of what rights you have and the things that you create, you know, things you upload, things you change in the platform. So it really, I mean, it's not standardized right now. It's all basically contract and the contract is a terms of use. You know, those things we all just kind of click through, they're important. Could the regime change as the metaverse proliferates and there are different platforms and maybe there's a new way to do things? I don't know, it's possible. But right now, it really is just, you know, you got to read those terms of use. So I don't know, again, want to allow anyone else to jump in, but that would be my answer there. Yeah, I think that's right. I think as a content creator, that's why we were mentioning before it's really important to one, understand how you want your content to be displayed or interacted with, even maybe you don't want it to be interacted with, you know, and making sure that when you are licensing your content out to a platform, that it's clear kind of what that platform is allowed to let users do and what they're not allowed to do. That that's why it's so important because once it's sort of there, it's there.  Got it. Okay. Well, we're out of time. So hopefully, folks found this useful. You know, to the extent anyone has additional questions or wants to follow up, I think all of our information is publicly available. You can always drop us an email. And we're happy to chat. This is the stuff we're doing day in, day out. And hopefully, you know, again, this was this was useful and gave you some stuff to think about. And you know, with that, I guess we'll sign off and everyone has a good evening. Bye. Thank you. Thank you to everybody.


When do we include by someone in a sentence in the passive voice from espressoenglish.net? When the person who did the action is completely unknown, we usually don't include by someone. For example, in the sentence, the bank was robbed. We don't need to say the bank was robbed by someone or the bank was robbed by robbers, because this doesn't add any interesting or relevant information to the sentence. Now, if we have some information about the bank robbers, we can include it. For example, the bank was robbed by five middle-aged white men. Even though we don't know the exact identity of the robbers, the phrase by five middle-aged white men adds extra and relevant information to the sentence, so we can include it. Now, when we do know who did the action, including by or not, depends. For example, if you're on a tour of India, the tour guide might say, the Taj Mahal was built by the Emperor Shah Jahan in memory of his wife. In this case, the phrase by the Emperor Shah Jahan adds some interesting extra information. If you're on a tour of New York City, the tour guide might say, the Empire State Building was built in 1929. He probably won't say by a construction company, because the phrase by a construction company is not very interesting or important. When you don't know who did the action, in general, don't include by someone in the passive voice sentence. And when you do know who did the action, you can include by someone if that detail is interesting or important. Thanks for watching English Tips from Espresso English. If you liked this video, please share it.


So let's introduce the three fundamental trigonometric ratios known as sine, cosine, and tangent. So one of the reasons that mathematics is useful is that in the real universe, there are some things that are easy to measure and some things that are hard to measure. Mathematics allows us to compute the hard things from the easy things. For example, acceleration is easy to measure, velocity is hard to measure. And we can use calculus to compute velocity from acceleration. Now calculus is a little bit further down the path of mathematics, but for right now angles are easy to measure and distance is hard to measure, and we can use trigonometry to compute distances from angles. Ultimately trigonometry will apply to any triangle, but we'll begin with a right triangle. So let's draw a right triangle. Not that, not that either. So remember, a right triangle has a right angle and two other angles. There we go, where the square marks where the right angle is. Now if we choose one of these other angles, we can identify the remaining sides. We have the hypotenuse, which is opposite the right angle. We have the leg adjacent to the chosen angle, and the leg opposite the chosen angle. And it's very important to remember that the opposite and adjacent sides are determined by where the angle is located. So now we can define three important trigonometric ratios. Given a right triangle and an acute angle with measure A, we define the trigonometric ratio sine, the length of the opposite side divided by the hypotenuse, cosine, the length of the adjacent side divided by the hypotenuse, and tangent, the length of the opposite side divided by the length of the adjacent side. And what that means is that given any right triangle and the length of all three sides, we can find the sine, cosine, and tangent of either of the acute angles in the triangle. So let's try to find the sine, cosine, and tangent of A in the triangle shown. Pulling in our definition, we have the sine opposite over hypotenuse, the cosine adjacent over hypotenuse, and tangent opposite over adjacent. Since we don't know the hypotenuse, we should find the value. Because this is a right triangle, we know that we can use the Pythagorean theorem in a right triangle with legs having length A, B, and hypotenuse C. We know that A squared plus B squared equals C squared. Now it's conventional to name the side after the angle it's across from. So this side here, across from angle A, we'll call that little a. This side here, across from angle B, we'll call that little b. And the hypotenuse is C. So that tells us little a is 3, little b is 7, and C is the hypotenuse which we don't know, but we can apply the Pythagorean theorem, and we find that the hypotenuse has length square root of 58. And so we know that the hypotenuse has length root 58, the side opposite A has length 3, and the side adjacent to A has length 7. And since we know our definition of sine, cosine, and tangent, we can use those to find the sine of A, the cosine of A, and the tangent of A. So the sine of A is the length of the opposite side over the length of the hypotenuse. So we'll substitute in those values and get... The cosine of A is the adjacent length over the hypotenuse, so we'll substitute in those values. And the tangent is the opposite over the adjacent, so we'll substitute in those values. It's important to remember that the terms adjacent and opposite depend on where the angle is located. So if I were to take a look at the sine, cosine, and tangent of B, my opposite side and my adjacent side are different. The hypotenuse is still the side across from the right angle, that's still square root of 58. But now if I take a look at the side opposite B, that has length 7. And the length of the side adjacent to B has length 3. And it's still true that sine is opposite over hypotenuse, cosine is still adjacent over hypotenuse, and tangent is still opposite over adjacent. So I can substitute in the lengths that we know for these sides and find the sine, cosine, and tangent. Or we might have a triangle that looks like this, and we want to find the sine, cosine, and tangent of our angle, which means we need to find the length of the third side of the triangle. So again, the hypotenuse C is always the side across from the right angle, this side.  And we can use our Pythagorean theorem to find the length of the third side. And that tells us that the hypotenuse is 13, the side adjacent to A has length 5, and the side opposite of A has length 12. So we can find the sine, cosine, and tangent.


Kok shuts are quite interesting and I see them very avant and timely in the situation of Uganda, given that land and land tenure issues have an impact in the way we implement research to impact on livelihoods. In my role as the Director of Research in Forestry, we generate and disseminate appropriate technologies, geared at help communities, plant trees for their benefit, together forest products and services that they deserve from this trees. In Uganda for example over ninety percent of the households use biomass energy for the fewa And in this case given the limited land the growing population we have seen the trend in forest destruction. So we come in with technologies that encourage people to plant on their farms to get the products and services that they need. So developing technologies for example in here areas Soil erosion is pro-un, we have technologies that help in controlling soil erosion. Woodloads are being encouraged in areas where people have relied on their remaining forests for the fewer wood and this has caused more depression, more degradation. So, to me these findings that look at policies are looking at land tenure reforms is very timely And if thoroughly implemented, we'll go a long way in helping out in restoration forestry, degradation, cubbing and getting people to get the products and services they need from trees.