Yeah, you know, he was great obviously and made some big shots and plays Starting to see a glimpse of the things he can do scoring the ball You know it like I told the guys after the game where we're a game past the quarter mark. We've played You know an incredibly dense schedule. I think we've played more games than anyone in the league And guys were tired tonight. We couldn't buy a basket made had a lot of good looks Tired shooting the ball, but also tired in that we were a little stagnant against the zone after a really good performance against it the other night so You know overall just the fact that they they hung in there and that that James stepped up and made some big shots down the stretch Brian Lewis with the New York Post Brian you're muted Brian. You're muted. I don't know if you can hear me.  Okay You would talk earlier about you wanted to be wanted James to be more aggressive and you figured this was coming that it would happen Was this a matter of game flow and obviously Katie wasn't hitting some of the shots He normally was was that game floor did he make a conscious decision to get more aggressive James? You'd have to ask him, you know, I I give James His space offensively. I think I mean, he's one of the greatest offensive players to ever play the game so I Trust in him figuring out where he's at with his game and how he can affect the game He has so many things manipulating the defense that he's such a positive for us, even if he's not scoring, but We know how capable score is and you know, he got it going got a little aggressive Got a little bit of a role and made some plays and showed what a tough cover he is and you know That's that's obviously the place we want him to get where you know He's confident and has freedom to create and and is balancing scoring and playmaking Alex Schiffer with the athletic Hey, Steve, you mentioned the gas and bit of a slow start offensively makes as the game around you guys continued to improve Was that anything tactical is as simple as shots you're starting to go when you're kind with a bit of a slow start But uh No, it really wasn't tactical.  We couldn't buy a basket I was proud of the guys for hanging in there and just finding a way to Give themselves time and and obviously Miami was exhausted, too So they they they didn't shoot them all well either and But the most important thing is that our guys found a way to Combat all those those ways that we could have You know found an excuse to lose this game. We and we kept plugging away. We guarded second half I think we gave up 40 points 14 in the fourth and uh, and then our offense kind of picked up at the end there but you know as One of those tricky games and like I keep saying, you know, we're going to see games like this throughout the season You know, we've seen all sorts of crazy scores crazy upsets A lot of people hovering around 500 and that's just the nature of this season And we have to be prepared to win some of these games when you know, you're you're not feeling it Greg Logan with news Steve did you uh Change anything defensively in the fourth period You got 10 straight stops during that 15-0 run Was that just because Miami was uh a little under man tonight or or did your guys step it up on defense? I mean the coaching was outstanding. Greg. I would say first of foot most um No, uh, you know, look, I think you had two tired teams out there and Our guys stepped up to the challenge when they were when they were tired I thought, you know, bam got going a little bit for a minute And then Jeff stepped up and really did a great job making a difficult form But the rest of the guys off the ball were diligent, you know, it's it's difficult with uh, Duncan Robinson flying around out there Um, we're having to be really crisp on our switches really crisp on our reads Back cuts and they do a good job off the ball. So You know, I all the credit goes to the guys the players because they have to step up We kept him very simple defensively and they did a good job down the stretch Bruce Beck with NBC new york Steve you have the top three scorers in the league in the fourth quarter What is it like to have that option and do you know who it's going to be on a given night or is it just kind of play out? Uh, you know, it's uh, that's well, it's the way this team is built We we we we went for it and have three great great offensive players So, you know, in any given night, it could be any one of them or it could be Joe Harris You know, it could be someone else. So Those guys also make each other and their teammates better by the attention they draw. So it's about trying to find that collective threat, you know by the ball moving by spatial Awareness and understanding and making each other Um better through collectively So, you know on on certain nights our guys are so capable of getting hot that it could be any one of them But uh, the idea is that it's not uh, it's his turn tonight It's that emerges and we welcome it, but it's we're going to play good basketball We're going to create good opportunities and we're going to step up and shoot the ball And if we create good opportunities more times than not, we'll be in a good position


and we're live. Hi, I'm Dazza Greenwood, a scientist at MIT Media Lab and I run law.mit.edu and this video is a flipped classroom prep session for the next MIT computational law course happening this January. And the key focus is of course music this year with our partners at Berkeley College of Music and the Open Music Initiative. And so today what we wanna do is focus in deep on copyright law and music licensing with co-instructor for the course, George Howard, faculty member at UC Berkeley and one of the original founders and lead researcher at the Open Music Initiative. So thanks for taking the time to get people prepped for your session on Wednesday, January 16th, George. And maybe you could introduce yourself a little more and provide a little more context and then get right into copyright and music licensing.  So thank you for setting this up and I'm broadcasting today from the cold wintery North Shore of Boston and eventually it'll warm up here. But one point of clarification, it's Berkeley College of Music, not UC Berkeley, but I think I'm sure it was just a, yes, it's okay. But so by the way. I'm from the East Bay originally and like sometimes by native roots, while you are not the first person who has ever confused Berkeley College of Music with Cal Berkeley, believe me. So as way of background, I am a guitar player and been playing all my life and I think I was born that way, I'll die that way and everything else is just sort of noise in between. But it's been a winding path to get here. I'll make this sort of brief, but I think it's relevant. I started a little record label in my dorm room a million years ago and my timing was good. It was sort of the Nirvana era. So a lot of big labels thought that the fortunes rested in the hands of youngins like myself who had their ears to the ground and they gave us disproportionate sort of value and credit. But I wrote that as well as I could.  Some of them did well. My little label was then purchased by a bigger label which was notable as being the first CD-only label, a label called Record Disc. And it was a really, really great and innovative label. I then was promoted up by Chris Blackwell, who was the founder of Island Records, signed Bob Marley, U2 and many others to run Record Disc at an age that I was way too young and unprepared for as an English major didn't know what the hell I was doing. But they gave it my best shot and we ended up selling the label to Warner Music Group in 2004 or five and did okay there. I then co-founded a company with one of my close friends named Jeff Price called Tunecore. And the gesture of Tunecore was in 2004 or five, iTunes had just emerged, but as an artist and still true to this date for the most part, you couldn't get your music up onto iTunes and now really any of the streaming services of Spotify's changed things a little bit without going through some sort of label or intermediary. And our conceit with Tunecore was, well, we'll provide that service but we're not gonna take any back end. Both Jeff and I were varying still hard, very disenfranchised by the habits and the norms of the traditional labels and find them typically to not be favorable for artists. So we didn't wanna replicate that, provided a service, took a fee for that service, but didn't take a quote unquote royalty. Tunecore grew to be the biggest independent distributor of music and has returned more than a billion dollars to artists. So, and we sold that company to Believe Music in 2014 or 15. Along the way, I ended up getting a law degree. I was a what you call an entrepreneur in New Orleans and got my MBA down there as well. Dominately because I'd been so royally screwed in various transactions in my life because I was outclassed by lawyers and MBAs, I was like, what is it gonna keep happening? So I wanted to learn the rules. Started a consulting business, advising artists and managing artists as well as non music entities. I managed Carly Simon and the composer Mark Isham. And started advising big companies from CVS Pharmacy to Brown University to Easter Seals on sort of how to better use technology to sort of emphasize purpose over product, which is the thread of my consulting firm. But it was all very much formed and framed by what I'd learned in the music business. I have long used the term or expression that music is a canary in a coal mine. And as the music industry goes, other industries almost inevitably follow. So there are good learnings to be gleaned from that or at least it's been a useful thesis for myself. But really what dawned on me a few years ago in keeping with purpose not product is that all of the stuff that I've done in my so-called life is really a byproduct of the greater purpose, which for me is to help artists create sustainable careers on their own terms. That's what I do. I remember R.E.M, probably my favorite band before they broke up on their last tour, they would, Michael Stipe would stand on stage and say, we're R.E.M and this is what we do. And what I do is very best to help artists create sustainable careers on their own terms. I think art is an empathy machine. I think art tends to get short-shifted for some reason. It's not as impactful as it should be, but I know that we as humans have a real need to create and we need to embrace that. There are rules around it. And of course like this is something that is meant to elucidate some of those rules, but then to be very much a practical way of application. I've structured my life so that I'm a straddle academia and actually being out in the field. So I love teaching. It's my bliss. It's something I get to do, I'm privileged to do, but I pay the bills by going out and working with other companies. And there's a nice symbiotic relationship between what I learned there and then what I'm able to report back to the classroom and vice versa, by the way.  But the other sort of threat in my life, ever since I was a little kid, learning how to code on a Commodore 64 was that I just naturally gravitate towards technology. As I said, RICO was the first CD-only label, which at the time was very high-tech. RICO was the first label with its own website. And so I just gravitate towards that. And about, I don't know, five years ago now, I read the Satoshi White Paper. I was far less interested in Bitcoin than I was in blockchain, the underlying technical substrate. And so that began a really long, ongoing deep dive around decentralized distributed ledgers, which resulted in just countless articles and a book on the topic. But again, all through this lens of how does this help artists. Interesting to me and Daza, you've been so instrumental in helping shape my thinking on this, there is a very clear linkage between distributed ledger tech and copyright law and art. And I don't think it's me just cramming a square peg through a round hole. I think it actually works. And so on the second day of our workshop, we're really gonna try to dive deep in showing not telling in order to sort of prepare for that. I wanna go through just a little bit of an overview on the important salient points of copyright law, how it intersects with the current market and efficiencies in the market and then how technology in particular, blockchain for a better word can potentially and I think actually obviate some of those challenges in the service of the artist. And so I'll just sort of dive in from there. That's okay. Great. So I think that the most important thing to start with and for many people, this will be obvious, but for far more than you would think it is not. Music copyright is unlike other intellectual property in the copyright sense. Copyright can copyrights fungible. It applies to films, to TV, to books, to pantomime, to architectural renderings. Obviously to music as well. The difference between music and the others is that at source, when you create a musical work, a song, two copyrights are generated. And to be clear, copyright is generated not through registration, but copyright occurs when you create an original work of authorship and fix it in a tangible form. Each one of those words, which is defined in the United States Code, and we'll put references to the various elements. I'm not gonna cite them here, but we'll reference them. But those words, a fixation of original work of authorship in tangible form are carefully articulated and really do show some of the challenges here. Recently, of course, there's been the long and recently settled suit between, or adjudicated, suit between the Marvin Gaye estate and Robin Thicke and Pharrell Williams over originality, quite honestly, of blurred lines. The song versus, gotta give it up, the song by Marvin Gaye. And there's a sort of play on words here, but the fact of the matter is originality, there's no bright line for that. It's a blurred line. And it's unfortunately, unlike, I think it was a Justice Story or Justice Brandeis or whatever who said that the obscenity, you know it when you see it. It's a little trickier to do that with songs. I think by most people in the field, when they hear the Robin Thicke song, they'll say, yeah, sure, it was maybe influenced, maybe the vibe is similar to the Marvin Gaye work, but it's not plagiarism, right? It's not in the sense of taking wholesale phrases or, but they lost the case. And so that to a greater or lesser degree has sort of sent a chilling effect into the market in terms of we don't know where that line of originality is. So in any case, so creating an original work is not necessarily as simple as you would think. One of the focus of, or a folk eye of day two will be joint works, which then you have to think about, you know, which party is contributing what and how much and how much of it is original. So originality is important, original work, it's just the definition of a work. If I just hum something without the intent to create a work, it's not a work, you know, it says a Burroughs Giles case with the lithograph of Oscar Wilde that sort of showed that there needs to be actual, they call it at the time sort of a sweat of the brow that the author was actually trying to make a work. And then authorial intent, duration, you know, de minimis, like how long does it have to be? All of these things are elements that when you think about music copyright need to be sorted through. As I said, registration does not get you copyright. Registration allows for you to bring soup in case of infringement and then collect damages if you win. So content creators out there, you need to be aware that if you write a work and it's an original work authorship and you fix it, you write it down or you notate it, you do have the copyright, but if someone infringes on that, you wake up one day and you realize that someone has sampled taking a piece of your work and put it into theirs and it's getting a lot of radio play. If you haven't registered that work, it will be impossible and really impossible to sue unless and until you do. And even once you do register, you're only able to sue for the time since you registered. So if your work had been being used and infringed upon for years, it's only after you sue. So you have to register that you can sue. So registration is important, but it doesn't give you the work. So as I said before, there's two copyrights that you get or that are created when a work is created. And one, for the purpose of this class, we're gonna call the composition, right? And that's the song itself. And I always use the mnemonic of the C with the circle for the composition, which stands for copyright. But back in the day when there were liner notes, you would see a C with the circle and then you see a P with the circle. Both reference copyright, both just mean copyright, but the C with the circle relates to this idea of the composition, the song itself, the melody and the lyric. And point of fact, it really means the idea of the work and then the physical manifestation. You can't copyright an idea, you copyright be the actual sort of rendition of the idea. So that melody and lyric is the copyright. And that is almost always under controlled by the person who writes the song and his or her publisher, right? In the music industry, you have publishers, you have labels, publishers historically, and things are changing, but this is still relatively set. Publishers historically work only with songwriters, people that write the song. So it's important to have a little bit of history, but it wasn't really until the mid to late 50s, early 60s, where at any scale, you had people who were performing the songs that they wrote. I know this is a very, you know, the music business was formed on a firmament of racism and it continues to this day. So the idea that there weren't people of color and writing and singing their own songs is laughable. Of course there weren't, right? Along the floor Bob Dylan and people began being known as songwriters. The point of fact, Little Richard was writing his own songs and recording them as a singer-songwriter, but never got the credit that he was due. It was given to Dylan and Dylan's my hero, so it deserves anything to get, but he wasn't the first, nor were the Beatles, or the Rolling Stones. In fact, the first Beatles record and the first Stones record were covers. And by that, I mean renditions of other people's songs. Frank Sinatra never wrote a song. Elvis Presley never wrote a song. They all were performers that covered, that sang someone else's work. And the publishers were the people that would find the songwriters and then match them or try to match them with performers. But their sort of swim lane was, okay, we're going to work with songwriters, protect, license those works, and then they would license them to the other copyright holder, which is the performer. And that for this, of course, we'll use a P with a circle on it. So you have the C side, and that's for the composition. And then the copyright for the P is for the sound recording. It's with a P because it stands for phonorecord, but nobody calls it that. So we'll just use sound recording. The copyright code calls it musical works now, which I think is wildly confusing, but we'll call it sound recording. So the sound recording is owned or controlled almost always by the performer of the song and or the label who releases the song. So there's a very, very quick example. Paul Anka wrote a song called My Way. He and his publisher was the own or control the copyright to the C, the composition. Frank Sinatra, of course, popularized that song on reprise records, which was on the Capitol Records. And Capitol Records owned the P, the sound recording for Frank's song, Frank's rendition of Paul Anka's My Way. Frank received a royalty for the sale of that. Paul Anka received a different type of royalty for the reproduction and distribution of that song. Another example, Dolly Parton wrote a song called I Will Always Love You, back in 78 or something. Released it, she was the holder and her publisher for the C for the song I Will Always Love You. I forget which label originally released it, but they put that out. But then a decade or so later, there's a film called The Bodyguard with Kevin, whatever his name is, and Whitney Houston sings the hell out of I Will Always Love You. It's the rendition that most people know. Whitney Houston didn't write that song. In point of fact, Arista Records who released The Bodyguard soundtrack that has that Whitney's version on it had to license the C, the composition from Dolly Parton's publisher. And then that enabled Whitney to do a rendition of it and Arista Records to reproduce and distribute that rendition without it infringing on her works. Dolly and her publisher made a fortune from the licensing fees for the reproduction and distribution, not to mention public performance when the song was played on the radio. And Whitney and Arista Records made a fortune from the sale, the reproduction and distribution of the P at the time, the vinyl, the CD, the cassette. Now the download of the stream. And Whitney and now her estate receive a royalty of the profits from the exploitation, the reproduction distribution streaming of the P even while Dolly still keeps getting the money from the C. So it's a little tricky. We'll put some resources out there, but you gotta know that. You can't be working in the music business whether as a performer or a songwriter, anyone in the industry without understanding the sort of bicameral, the two kind of copyright that are relevant to the music. And probably you can see just from the beginning of this little talk, how confusing this stuff can get when you've got these licenses back and forth. So the good news is, once you sort of grasp that there's the C that stays with the songwriter and the P that stays with the person who releases the song, usually the label, the rights that each party has that are enumerated in the copyright code mirror each other, but for a couple of very small exceptions, however there's exceptions across, like, calculable problems. And I'll go through them here now, but we'll also provide a resource point. So when you create a work, and again, whether that work is a song, let's do the song first.  I pulled my guitar out that's over there. I write myself an original song. I record it here into my iPad. I got to copy it. And so what do I get with that? And again, I didn't have to registering. Registration just allows me to bring suit.  I get the right to reproduce. I get the right to distribute, the right to display, which is not terribly relevant in the music business except for things like sheet music. I get the right to create derivatives, which is hugely relevant. Derivatives is sort of a fancy word that it's dominantly means in today's parlance samples, but it's more than that. Translations are derivatives. So if you've ever seen the Big Lebowski when I think it's the Gypsy Kings do Hotel California in the bowling scene, that's not a cover. That's because it's a translation. That's a derivative work. You've derived a new work from an existing one. So I have that right. I've got reproduction distribution, display, create derivatives, and then publicly perform. Publicly perform is the most complex and arguably the most important. Public performance is not limited to me standing up on a stage and singing though it does include that. Public performance means either through an IRL in real life or through broadcast, my work being put into the air into a setting which is more than just family members essentially, right? That's a public performance. So websites, restaurants, you know, car lots, not movie theaters, oddly, there's an exemption for movie theaters and we can talk about that. But TV networks, venues of course, all of them must have a license in place with the songwriter in order for that songwriter's music to be publicly performed. And again, that doesn't mean the songwriter shows up and plays because we've played off of a CD, radio, whatever. And if you think about the way music is consumed today and through websites, Spotify, whatever it does, all have a public performance element and it's growing like crazy. So you see this sort of tremendous growth and yet it's very, very confusing. So those are the rights on the seaside. They mirror or neighbor, and you'll understand why I'm saying that in a second, on the P side. So in other words, the songwriter has the right to reproduce the song. So too does the P holder have the right, exclusive right to reproduce their version. So, Dolly Parton has the exclusive right to reproduce her C of I Will Always Love You. Eris de Records has to license that right from Dolly for Whitney to do a version of it so that they can then reproduce via a download, a stream, a CD vinyl without infringing. But they both have exclusive rights. One has the right for the reproduction of the composition. The other has the right for the reproduction of the sound recording. There needs to be licensed. Now obviously, if you are the songwriter and the performer and you're releasing it yourself, you don't need to license it from someone. But when you bring in these other parties, deals must occur. Same thing on distribution, right? The P holder also has the exclusive right to distribute their rendition of a performance. Same thing with display. Now display for a sound recording is gonna relate to the packaging, the artwork, et cetera. And oftentimes artwork on albums, such as it even exists anymore and doesn't really is licensed in from photographers or something. But they still, you know, you bundle this all together and there's a right of display. Then you have derivatives. Just like if I want to sample just the chorus of Dolly Parton's I Will Always Love You, her singing the song and I wanna put it into a song that I've written, I gotta get her approval and make a deal with her for that derivative work. Now, if I'm gonna use Arista's version, Whitney Houston song of, so it's Dolly's song sung by Whitney Houston that I wanna sample, I need Dolly's approval because I need the derivative for the C and then I need Arista Records derivative for the P. I need them both, right? Now I could say screw it, I don't wanna deal with Arista Records. I'll sing it myself, which would be a mistake. But then I would only need Dolly Parton's derivative license, right? Her license from her for the derivative works. But so far we're mirroring. We've got exclusive right for reproduction and distribution and display and derivatives on both sides, right? C side and the P side. Here's where things go off the rails. I know, yes, hand tight, buckle it. In the United States, in North Korea, in Iraq and in Syria, there is no enumerated right for public performance for the P, the sound recording. In every other industrialized country, they honor what is known as a neighboring right. So as I said, all of these are the rights. If you imagine a street and then on one side of the street, you have the C and on the other side, you have the P and you have reproduction, distribution, all those things, they neighbor each other like houses, right? There's no neighboring right in the States for right of public performance. So what that means, when Whitney's version of I Will Always Love You gets played on the radio and it does constantly or is broadcast on TV or what have you, Dolly gets paid because there is an enumerated right for public performance. And it's her C, her song for the composition. Whitney and Arista Records do not. No money is due to them because there's no enumerated right. In the rest of the world, except for North Korea, Iraq and Syria were in good company. Both parties get paid. So the label and the performer do because of this so-called neighboring right.  So you have what is known in the industry and this wall kind of tied together here towards the end, black box money. And that is money that is collected by agencies that have either by government decree or remarket the right or the ability to act on behalf of songwriters and performers in some countries to issue licenses for public performance, collect the fees. They collect it, but because there's no reciprocal rights, no neighboring rights, they don't distribute it. So then it gets distributed out to guests. The biggest labels and publishers based on market share, whether or not they had anything to do with it. So in this, it just boils my blood to no degree. And we're not talking chump change here. It's just massive amounts of money that every year gets distributed out to the majors based on market share. That's not their money and they just keep doing it. So if you ever wonder why they're reluctant to change systems around this, there's your answer. Because in doing so, they would give up this bonus of songwriters money that doesn't get distributed either because of lack of neighboring rights, inefficient registration and tracking systems or whatever, money that's collected, not distributed, just gets distributed back to the majors over and over and over again. So why would you ever change it? It's just the gift that keeps giving. But so that anomaly in the States where there's no right of public performance between no neighboring right for the sound recording has caused just massive amounts of problems and hurt songwriters terribly. As part of the coverage reform of the late 90s, early 2000s, inclusive of what's known as the Digital Millennium Copyright Act, the United States put in place a new right for the sound recording orders, the P-orders. So Whitney, Arista Records. This right grants them a right of public performance through digital transmission. So Pandora. When Pandora streams Whitney's version of I Will Always Love You, it kicks off a public performance royalty to Dolly as the sea holder, just in the way it would in any other capacity. But now Arista Records has paid 50% of a fee that is collected from Pandora. The performer, the featured performer, in this case, Whitney Houston gets 45% of that fee and then background performers or unions get the other 5%. So this is an attempt to try to remedy the issue of no neighboring rights. And over time, as we move to a completely digital society, this will obviate the terrestrial lack of right of public performance and composition. We're not nearly as close as you think we would be in 2019, do that happen? So those are the rights. Again, we'll put a resource out there so that you can see those. But again, I'm sort of building this Tetris Tower here to show you how challenging these elements with music copyright are. It's not as simple. I'm sure every lawyer out there who represents photographers are going, George, it's not simple there either. But from my estimation, it's not as simple as, oh, I'm going to take a picture and I've got the copyright to that and I can reproduce the true. But you got these two different rights in almost naturally many parties having to sort of coordinate mistakes are made. Agency issue comes into play. It's a challenge. Okay, so one of the things that we're going to work on in day two is the sort of challenges of joint works because it acts as sort of a microcosm of what I just described. Two writers come together to create a work. You have to delineate who owns what. Copyright must be transferred in a writing. You can't make an oral contract or enforceable oral contract for copyright. There has to be a writing to delineate it. It doesn't have to be 50-50. So if I write most of the song and Daza writes a little bit, maybe it's 80-20. However, absent a writing and a dispute, most of the time the courts will go, we're not going to deal with this just split it down the middle. So you want to delineate it. Of course, once you have more than one writer, all of the complexities with registration, getting paid, et cetera, multiple publishers, multiple labels increased by orders of magnitude or certainly, you know, sort of geometrically. So it is a very challenging dynamic. So we'll work through sort of joint works, the act of creation, the act of defining the contractual relationship between the two writers, how they're going to get paid to separate companies need to be set up, can it be done under one LLC? Lots of things to be considered there. Does it default to a partnership? And the real lawyer out there knows you don't want your business to default to partnerships, right? Unless there's an intent and limited liability partnership. So you got a whole can of worms once the joint work occurs. But it's relevant because so much. I mean, at Berkeley, I think it's probably an anomaly when someone does a work that's not a joint work or that doesn't include a sample or doesn't include some contribution from some other party. If you look at the credits on a Beyonce song, it's just dozens of people, right? So this is the reality of the music industry where lots of different rights holders all trying desperately to get paid to get credit in the systems are still archaic in nature. And so what's happening is the benefit just continues to accrue to the incumbents are like, well, look, it ain't broke for us even while the artists continue to struggle desperately and more than ever, right? I mean, there are people that are smarter than I that will disagree with this statement and that's fine. But this idea that the music industry is healthier in 2019 than it's ever been is insane. It's like the great science fiction writer, William Gibson says the future's already here, so it's not evenly distributed. And so yes, there is a lot of money being generated by streaming services, Spotify, Domino, but that money is going to a very, very, very, very small number of writers and labels. And so most artists are having a much harder time making any type of money from their work today than they were 10 years ago or 20 years ago. It's just true. And some of that is because there's a vast, there are vastly more of them, but a lot of it is because of the systems that are not in place to sort of accurately register. We still exist in what I call a model-based system rather than a measurement-based system. And that's very problematic in 2019 where we can map a genome. I remember and maybe this still happens in places where the electrical company would come out a couple of times a year, look at the little wheel and go, okay, well, here's what you use in this time. We're gonna estimate what it's gonna be. We're gonna model out what it is today. They know exactly how much energy you're using all the time and they charge you for it. The same could occur with the music business, but there are many that benefit from the modeling system and so they have no incentive to actually be more accurate or precise. So how do we address this? Well, these inefficiencies in the market are, to my mind, addressable. In addressing them, it would not only help artists to better sort of track, monetize their work. It would also help music users. Right now, if you're gonna open a restaurant and you wanna play music in it, you're really locked into a very specific system where you're gonna buy a license for public performance from ASCAP, BMI, CSAC, and that's gonna allow you to play all of the works in their catalog even if you don't want to. You're essentially paying for things that you will never use. And most likely, the works that you do play a lot of, if there anything outside of very mainstream works, those writers will never get fairly compensated. So it's a very, very bad system. And there are analogs, and I gave a talk at one of the OMI meetings about this in which we could open up the system to just create tremendous more wealth not only in efficiencies, not only for writers and artists, but for the labels and it's based on, my thesis is based on the Sabre Database for the Travel Agency, where there's a unified database that has all of the prices for all the different markets that all of the airlines, all the rental cars, all the hotels put their prices there. And then at the top of the stack are all of the various, the hip monks and the kayaks and the travel velocities that are built in user interfaces for customers, travelers to find better and more efficient ways to travel. The net effect of it is the travel industry continues to grow robustly. They get tremendous amounts of new information about where routes that they otherwise wouldn't have known or thought of. Actually, there's demand, new entrants, whether it's the Ryanair's or whatever can pop up and fill voids. So it's almost a straight line analog as to what I believe distributed ledger system could address for the music industry by looking at the Travel Agency. And I had the good fortune to meet one of the people that actually built the Sabre Database and he tends to agree. So don't take it from me, take it from him. So how do we get there? Well, this is where sort of distributed ledgers come into play. The blockchain was sort of developed as too strong but certainly utilized, popularized in order to keep track of Bitcoin transactions to make sure that not a single Bitcoin wasn't sort of fraudulently or otherwise transferred to more than one party. And to do it in a manner that was decentralized, it's important to remember that one of the main genesis of Bitcoin was as a byproduct of watching the 2007, 2008 financial collapse and this feeling that we really, really, really should not have all of our fortune tied to not just a country but to a bank. Like just by Bear Stearns going down that can send the shock waves that it did and that's too much of a consolidation of power. So whether Satoshi or whoever, the genius there was really let's try to decentralize, not have any one particular owner of the database. Let's also have an audit trail. And so the immutability element of blockchain is very important. A block on a blockchain can't go anywhere. You may or may not know who put it up there but it exists and then you can watch and see the others. So you do have an audit trail. And then of course, and this is the buzzword that everybody loves and infuriates lawyers. This idea, Nick Sanzpo really sort of popular as sort of the smart contract. And I prefer to think of a smart contract in the blockchain sense is not a legal construct but more of an if this, then that set of binary rules. If a certain set of criteria are met, another set of occurrences happen. So contracts require certain elements, consideration, capacity, bargain for exchange that a smart contract just code. It's, can it be a binding contract? Maybe I don't know if it's been tested but what I'm looking for more is to have it be viewed as a set of business than that rules. Those are really the elements that need to be understood if you're gonna sort of try to work with blockchain and then hopefully you can see how that might relate to the music business. If we have a database that's not owned or siloed off by one party but rather can be explored or found or searched by anyone who wants and that on that database is a set of immutable records that actually show who the true owner is. And then you can set a set of rules on the asset itself that says, okay, if this set of criteria are met then a license will occur and then we'll keep track of that license through another block. There's the music business for you, right? The problem with it and the lack of adoption for it amongst incumbents is that they feel wrongly that it would disintermediate them into oblivion. They've always thought this. They've thought this since the piano roll, the cassette, vinyl CDs, downloads, they've always thought that any new technology is going to disintermediate makes them irrelevant. They're wrong, they should be embracing this in the same way they should have embraced the download and the CD and everything else. They won't and that has more to do with sort of an innovators dilemma problem in mindset than it does to necessarily sort of bad faith but there is an element of bad faith as well in my opinion. So in any case, so you have this blockchain decentralized database and this ledger can address the challenges that I've talked about. There are concerns that need to be thought through as we work on the project on day two. The first goes back to understanding copyright and hopefully I've given at least enough of an overview that we can have an intelligent conversation about the different rights holders. Many blockchain music startups have failed because they haven't understood that and or they've gotten a set of songs that have multiple owners and they just can't find the rights to holders or they didn't even know they needed to get the rights so they get sued into oblivion rate. So it's very important that we're conscious of the different rights holders. So we're gonna set this experiment up in a way so that we know who those are. The second thing that we have to be really careful of is that the blockchain technology is evolving quickly but we all know that it's not energy efficient for the most part. It takes a lot of time, a lot of electrical power to actually write to a blockchain. There are certainly technological Moore's law things that are happening that's gonna obviate that but it ain't easy. And then also smart contracts are as I described them they're not terribly nuanced. They do very well with sort of very binary if this than that actions that's why they're so great with supply chain. They don't do great if they're nuanced if it's okay if this and then this and then also this and then this then that they break. And so again, this will eventually be solved but it hasn't been so I think we need to calibrate expectations around the current state of the art with blockchain tech as it relates to music. So to kind of sum up, gotta understand that the two copyrights that sort of immediately occur with the song understand the different rights that each party has understanding that the licensing of the works in accordance with those rights is part of the United States copyright code where you can't kind of can't get around it understanding that certain of the licenses are what's known as compulsory. So in other words, the government has set a rate and a set of standards. So if I want to do a rendition cover of someone's song that artist probably cannot stop me but I must agree to the compulsory license to pay them a certain rate. Other licenses and one that we'll focus on is called a synchronization license, which is when a song is synchronized with a piece of music, I'm sorry, a moving image of film TV. There's no compulsory license for those. Those are negotiated licenses, derivative samples. There's no compulsory there. We can make the argument that maybe there should be, I would make the argument that if we're able to get a good technical solution through blockchain, you won't need a compulsory license. We could finally move to a world in which the free market would dictate how much songs are worth and to the marketplace. We know now, we don't know what the fair cost of music is today because of these compulsory licenses. All we know is that it's not fair, right? So unless and until we move to a more sort of invisible hand marketplace where artists can set their rate and adjust it based on demand and set rules around it. I mean, one of the frustrations that we see so much in political times is artists having their songs used in political campaigns by parties that take or politicians they don't support and the laws make it almost impossible for them to have any remedy to stop them because of the blanket licenses of public performance. So all of these things could be addressed with technology that exists even in its nascent form. There are reasons, again, dominoes and individual animal reasons but some bad acting too that's keeping that from happening. But I hope to use this day to sort of further emphasize these points through some experimentation and some building of things. So that's the plan. Wow, that was outstanding. Thank you for taking the time to walk us through some of the underbrush in a sense of the different nuances and facets of the rights holders and the sources of law and copyright and then the specific rights and sometimes non-corresponding that apply. And so looking forward, as you said, we definitely will put this video on one of our learning pages and we'll link to some of the relevant materials that you said on the day itself, it'll be somewhat emerging for sure but it does sound like we have a going plan to do a deeper focus on perhaps the sync rights and multiple composer rights. Is there anything that students that'll be joining us and others in the big wide world might want to know about how to construct an inappropriate co-author agreement? And do you have any advice on things like, you brought up the legal entity that you might want to perhaps now we'll see? Yeah, yeah, we can talk about all that. I mean, look, an agreement between two writers is like an agreement between two parties with anything else or you would need to define what percentage of the copyright. And again, we're talking dominantly probably about the composition side so if we make an actual sound recording of this, then we would want, which we will, then without a label, then those parties are gonna like who gets the rights there. So you'd have to define what the assets are, right? The copyright to the composition, the copyright to the sound recording, which party owns, which percentage of that? You know, maybe it's 50%, maybe it's not. Then as you say, you're gonna need some sort of fictitious business entity because you don't want to do this as a partnership because whose social security number would you use, right?  You set up a simple LLC and was a very simple sort of operating agreement that delineates out, you know, where the different percentages payouts, those types of things. And then you could copyright the work under the LLC too. So the LLC would be the copyright holder and then the payment would come into the LLC and you divide it out as dividends or whatever. But I mean, that may be too deep of a dive but there are structures for that. And then to your point about synchronization, you know, we will then look at how smart contract technology could obviate some of the issues with, you know, errors, omissions, bad actors with the division of money as it comes in. It should be able to be divided right as source through a smart contract. And then because I wanted to talk about SYNC because there is no compulsory license so we can then think about, well, you know, are you okay having one set price for this song? I mean, what if Spielberg wants it for his movie versus some student filmmaker who doesn't have a budget? It's gonna be the same price for both. You know, so we can talk about different granularities based on use. Or you may say, look, I'm not comfortable having my song used in a, you know, a film with content that, you know, whatever it may be. So we could talk about that with regards to SYNC and talk about whether or not smart contracts can address this at this point. I can't, but we can at least explore that. Okay, outstanding. All right, George. Well, thank you for taking the time to lay this out. We'll distribute it to all the students in the class later today. And then Mila and Brian and some of the other core team and I will work with you over the coming days to fill out the references page. So again, for folks that want to track and follow this you can find more at long.mit.edu forward slash learning. And for those of you in the class, the day two again is January 16th, Wednesday at the MIT Media Lab. So if you're, if you want to show up, please do register at that site first so that we can accommodate you. Okay, so with all that said, thanks again, George. And really looking forward to co-teaching this with you. You're the best. Thanks, guys. Take care.


Many of the state-of-the-art traditional medicine systems that the world is familiar with in these contemporary times were born and bred in India. These practices were established thousands of years ago. Under the visionary leadership of the Honourable Prime Minister, Narendra Modi, the path-breaking policy initiatives and new ideas of government of India have ensured a monumental surge in the worldwide popularity of yoga and traditional Indian medicine on the world stage. And now a landmark step in sync with the vision and efforts of the PM Narendra Modi towards Ayush and universal well-being is the establishment of the WHO Global Center of traditional medicine in Gujarat. WHO Global Center for Traditional Medicine is the place where India is chosen from the world, and you will work for the world from India. This will strengthen India's position as a global leader in research and innovation in the traditional medicine sector. This will also help in making traditional medicines more accessible to the masses. The state will also benefit from the growth of medical value travel, as the milestone event puts India in the driving seat of the global traditional medicine sector. With an investment of $250 million from the government of India, the Global Center will give a significant push to preventive and curative health care for the people of the state. It will greatly enhance the scope of affordable and accessible health care to all. As the GCTM aims to strengthen and streamline the research and development activity in the traditional medicine sector through education and training, Gujarat is said to become a hub for education, learning and skill development.


Good morning and welcome to the run-up. My name is Uche Chuku Onodo. And I am Bayo Lua, okay? It's a pleasure being here. Today we're going to be looking at very important topics. A lot has happened over the weekend, one of which is the UK and the US governments have issued what is it called now? Security advisory. Security advisory to their citizens in Nigeria, saying there's going to be terror attacks, especially in Abuja. They mentioned but not limited to government buildings, gatherings and asking people generally to remain, stay secure and stay safe. I have a lot of questions to ask. I'm sure Mr Bayo, you have a lot to say about it too. Definitely. And I think we'll be having an expert to also help us navigate through the various issues that have arisen because of the issuance of that security advisory. And joining us to have that conversation is our first guest this morning. He is a security expert. I'm talking about Dixon Osaji. Questions has arisen, like you said, Mr Bayo. The number one question on my mind is why is it people from the outside world?  How did we degenerate to that point where people, of course it's not news that there's been a lot of insecurity and people are not safe, but when it has come to the point where you have intel, you have knowledge that something like this is going to happen. And then it takes somebody from outside to give us this information. What do you say about that? I agree with you entirely. I think it's embarrassing to have a foreign embassy issuing an advisory, even if the advisory was to their own citizens in our country. We know that given the various platforms of communication that are available now, it will go viral. And this is why it's important for our own security agencies to also interact with Nigerians and to issue advisories or warnings, as the case may be, and not now be reacting. Because from what we heard, the Department of State Services, DSS issued a statement yesterday evening. And in the press statement that was issued, they were saying, following inquiries they had been receiving from Nigerians. So I think they shouldn't put themselves in a situation like this. They should proactively engage, which I think sometimes they do that, but it needs to be more consistent. And like you said, for something much more serious as this, they should be very proactive and we don't have to wait for a foreign entity to be a Latinus. I think our guest is here with us now. Mr. Dixon, can you hear me? Good morning. All right. You're welcome to the run-up. And we're looking at the security situation. The U.K. and the U.S. government has warned of possible terror attacks, especially in Abuja. What has gone wrong and how did we get to the point where countries from outside now inform us of security situations in our own country, even though the DSS has reacted. But of course, they are reacted off of people's reaction to, you know, whatever it is that the U.S. and the U.K. government has said. How did we get to the point, degenerate to the point where we are not secure and our security apparatus is now in our own country and not being proactive? Well, if you ask me that question, I will tell you that we don't have value for human lives. You rightly talked about intelligence information coming from outside of the offshore of this country. America is an intelligence-driven country. The United Kingdom is an intelligence-driven country. Australia is an intelligence-driven country. Any country that is not intelligence-driven is preparing for failure because the reason why we are not getting much of this information is because we just believe in physical security. When we talk about security, there are three components to security. It has to do with people that is physical, procedures, administrative documentations, then technology. Technology plays a very big role in security. Now, one of the major problems we have is this, is that we don't have an effective counter-intelligence component. You need to go to the enemy camp and all know what they are planning against the state. Here, we just wait for a time to take place, then we respond. When we respond to security, security is defeated because the old essence of security is the protection of life's property information. When we go after all this has been lost, then security has been defeated. So what I'm trying to say here in the North Shore is the Nigerian government must understand that Nigeria has been in a negative limelight globally. From being the third most affected terrorized nation in the world to the second most terrorized nation in the world, we are not between so well at all. This is not good for our image. This is not good for international engagement. This is not good for international businessmen to come and invest in this country because you need security to carry out your investments. Without security, your investments and your businesses will not flourish. So if you ask me how did we arrive at this stage, I will tell you because our leaders, our political class from 1999 to 2022 have failed us woefully. They must understand that the reason of governance is to take care of the people and not themselves, their families and their friends. They are in disappointment to this great nation. Sorry, Dixon. You were saying that the political elite, but what about the intelligence services? So are you suggesting that the intelligence services do their job but it's the political elite who are failing? Because we are talking about proactively informing Nigerians and Latin Nigerians to be conscious of an evolving security situation and that we didn't do that, okay? And rather it was an embassy probably who issued an advice to its own citizens and then of course this went viral. That is warning people. So why is our intelligence service not able to do that? Alright, that's an intelligent question. When you look at the strategic point of view in policing the states, we have the strategic level which has to deal with our center of gravity, the government. We have the operational level and we have the tactical level. The tactical level is the application of the operational mechanism and operational strategies. So here we have our security agents that are solely responsible in protecting the lives and property of Nigerians. But the relationship between our security agents and politicians is disturbing. Here in Nigeria you see security forces, military officers, soldiers running to politicians for promotions, running to politicians for posting, running to politicians to be appointed in their various states. We need to take a departure from that norm. It's very, very wrong. The security agent must understand that the sole priority of security governance is in their hands. Go to the United States for example. The FBI has power for autonomy.  Most of the security agents have power for autonomy. How come did they attack Trump? President Trump, a city president of America is simply because the security agents are solely responsible in upholding the constitution of that given nation. So if we have an effective security agent that are solely responsible for maintaining and taking custody of our constitution, protecting the territorial integrity of Nigeria, politicians will not mess up with them. So I am really going to blame our security agent, but what do you think of a nation where the security agents don't have the powers to carry out instructions themselves? So we need a total revamp in our processes. We need a total revamp on how our security agents are being managed. Now we've gotten information from the Americans, United Kingdom and Australia governments on an impending attack on a flooding natural disaster. Nigeria is a very black nation. We have not suffered from any natural disaster at all. Oh, these years we have been suffering from man-made disaster, a country at war against itself. Now a little flood came around and has taken a lot of human lives, Nigerian lives, which is highly regrettable, noise this year and day. What about the man-made disaster? What about those conflict entrepreneurs? What about conflict distributors that are making the Nigerian place ungovernable? We need to go back to the joint board and ensure we start holding people accountable because one of the problems we have in Nigeria is accountability from the horizontal plane and vertical plane. So for me, I will also hold our security agents accountable if anything happens to this great nation in Nigeria. When you go into the world map, Nigeria is the sixth most largest nation in the world. How come a country the sixth most grandest country in the world, a country of over 200 million are being messed up around with some criminal elements, a pocket of criminal elements, taking over our territory, staying in your government's place and making the government's place ungovernable? We must go to your government's place and make that place ungovernable for them. We must take them out of our territory, except we are not ready. If we are ready, it is achievable. Thanks for your perspective, Dixin. I would like to be done. From your vantage point as a security expert, what would be your advice to Nigerians as to how to stay safe, especially in view of this threat? Because even the DSS in its press release has asked Nigerians to stay alert, to provide information, to contact it. But from your point of view, what would be the tips you want to share with Nigerians as to how to be even safe, especially as well as we begin to go towards the end of the year and the festive season? Well, there are many processes you need to take to stay safe. First of all, if we have government selling Nigerians to be very careful and take care of their safe and movement, then they should put a halt in taxation. We can't have Nigerians paying taxis and you are telling them to take care of themselves. Then let them put a halt in taxation until they fix the problem that has been dealt with in Nigeria. Now we are suffering from multi-dimensional security threats, suffering from terrorism, insurgency, extremism, kidnapping, banditry and a loss just few days ago the life of a high-profile cleric was tested by some group of assassins and seven Nigerians and police officers paid the supreme price on necessary elements. So for me, I would advise, first of all hope owners to carry out an assessment of just surrounding. Know your neighbor. Know your movement. What is your neighborhood doing? A lot of people that are staying in the Earth City, don't even know their neighbors. Don't even know what their neighbors are into. You need to carry out an assessment of your environment and ensure that you are not going to fall prey to criminal activity. You also need to carry out an assessment on your domestic staffs because we've seen a lot of domestic staff selling out information to criminal elements. So carry out an assessment about domestic staffs and ensure you carry out an effective background check on your domestic staffs. Then going or moving around, you must also look at the crime rates of their environments. Carry out what we call crime mapping. For example, if Oshoody is a crime prone area, carry out a crime mapping in Oshoody. And know the time to move around Oshoody and the time not to go to Oshoody.  When you're driving, you have to make use of your two side mirrors. These two side mirrors are there for you to watch your back.   And show you you look at anyone moving in your back. If you observe that someone is following you and you don't understand that movement, you take right, you take left, you take right and if they follow you, drive to the nearest police station. Then for church and worship centers, all the chief secretaries of church must ensure they carry out an effective risk and vulnerability analysis of the worship centers. Ensure they have a plan, a security plan. In the case of an incident, what do you do? Because I've seen a situation where an attack took place in a church and everybody was ready to go to church. Nobody knew what to do and that is why all church must mandate their security officers to develop an emergency response plan. Emergency response plan is used to contain and events in emergency or an incident. So when you have such plan, make sure you put that plan in place and test on that plan. They must also look at the parameter fences. They must also carry out a technological approach in the given environment. Because the only sense of CCTV is made for two reasons. It's not for decoration. I've seen a lot of people putting CCTV in their office without being manned. When you have CCTV in your office or you have CCTV in your places of worship, somebody must man that CCTV live and direct. The reason why it's manned CCTV is to contain crime in progress. If there's a crime in progress or maybe there's an attack which is known as crime in progress, you will be able to call the nearest security post or the nearest security agent for a responsive approach. So that's why CCTV is there. The essence is for crime in progress and also for sports, motor, analysis. What went wrong? Just like when the CEO of one TV station was murdered by three demands a while ago, the hotel could not provide CCTV footage how people, these killers got into the room of these people. No hotel is expected to operate in legal state without CCTV cameras. Any facility that has both Nigerians or people or the public must be subjected to have a CCTV camera so that they could be able to tell the security agent how this crime was perpetrated in crime in progress or after the occasion of crime which has to do with post-mortem analysis. Therefore individuals you need to know how you talk how you post your profiles on your Facebook and other social media. A lot of people have been attacked.  So talk less and do not share your information in the public, in the social media because the social media is a threat to anybody. It is no longer a safer place it is a place where criminals go to fetch information. Without information your enemy cannot attack you.  That is what I can say for now. Mr. Dixon, so a lot of conversations have come up people saying that with the rates that insecurity and crime is rising in the country that there might not be elections come next year 2023 or maybe in some quarters. What is the political implication of this rise in insecurity and crime? What the political implication is that it is going to give us the negative limelight in the international world. I was speaking to a senior officer in the United States a few months ago and he told me something that Nigerians are not ready to protect themselves. The Nigerian leaders are not ready to protect Nigeria. Let me tell you the truth, security is achievable. Now the government-based policing started about pills. In 1829 highlighted some reformative processes. One of his highlights in his policy reform is that the absence of crime best proves the effectiveness of policing. Policing could be the police, could be the military, could be the DSS. Now the crime rate in Nigeria is on the high rise. The risk implication is on the high rise. Nigerians are highly vulnerable. Nobody can move around without being intimidated or being co-hosted in its own country. Now the problem is we need to start looking at the theory of victory. Our security agents need to start looking at the theory of victory. You want to ask me Dixon, what do you mean by general victory? General victory simply implies that when you do this, this is what you get. When you put on the most commercialized state in Nigeria, it's so sad and shameful that all the leaders in legal states in 1999 have not seen me fit to put a surveillance camera in all the streets of legal states. We have the money to do that, but we are unable to do so. Why are we unable to do so? It simply implies to my own perspective that we don't care what happens to the poor men. Hence, I am moving around with my FSCOT, I am moving around without being intimidated or being co-hosted. So, what we need to start looking at as a great nation is this. We need to go back to the joint board and ask our self-questions. We need to start asking our self-questions. Each time when we talk about vulnerability analysis, vulnerability analysis begins with asking questions. Vulnerability analysis simply implies what is the problem? Okay, the problem is terrorism. Then what is the solution? Oh, we projected military mites. Another question is to resolve these situations. The answer is no. Then what should we start looking at? We should start looking at multi-dimensional approach because when it comes to security, you don't just apply a single approach. You apply the three processes of physical security measures which has to do with people, technology and processes. So, when we have an effective administrative processes in place that we govern the operational and tactical processes then we will begin to do these processes. Just in mind, for instance, when opposed to just to fill a man's escape assassination, one of the assassins was arrested and a savvy police officer in the wrath of CSP pulled out his gun and shot this assassin. What that means is that he has eliminated the evidence. This tells you that if there is a problem with the standard operational procedures, why would you do that? So, we need to start looking at strategic procedures. We will look at operational procedures then we start looking at strategic procedures as well. Put it on the strategic approach in place because I must tell you the truth. There is any country in the world that does not prioritize its security will decline from investment more unemployment because we are kind of unemployment in Nigeria. Why? A lot of investors are relocating to Ghana. Do you think you want to come and invest your hard-earned money on the highway and is demanding for $200 million? What type of business will you do that will give you $200 million within a month or anything? So that is one of the problems we are having there. Our police leaders must also understand that the reason why they swore the oath of allegiance is to protect the Nigerian people not to protect the allies because as it seems now, the Nigerian policing system is allies protection. They only care about the allies even though they don't care about policing duties. They need to come back. One of the presidential aspirants has promised that when it comes to power it is going to withdraw all the police officers attached to dignitaries. Our police officers needs to come back and start doing policing duties. We need to start looking at community policing. We need to start looking at state policing and we need to start looking at federal policing. America today are purchasing this three states. What is the population of America? Nigeria is the population of 250 million yet we are practicing a centralized policing system. This is an intentional operational error by our state and federal government. We need to go back to the drain but eliminate this centralized policing system, decentralize the policing system, let's start policing system from the grassroots then you and I will be able to talk to the police officers face to face, communicate to them face to face at federal level. Then as a country we will begin to experience peace and move around freely without being intimidated by all this human beings that are taking the life of human beings like that of chickens. Thank you Dixon. Actually I was going to end with a question to you but you already touched about that and that was something to do with the structure of the security apparatus we have. Federal also state and as well maybe also to some extent the local governments. But then I think you already touched on that but perhaps a passing question would be what is your model because you spoke a lot about the police. What is your suggested model of a domestic intelligence service? What model in a very short if you don't mind maybe in 30, 40 seconds what would be your suggestion of the best domestic intelligence service to enhance what the DSS is charged with doing? I think the network wouldn't let us conclude with Mr. Dixon but he made a lot of points especially the last points that he made touching on federal and state police and I think it was two or three years ago the former deputy senate president of Nigeria, senator Ike Konrimad was talking a lot about state policing and after he left office I never heard any more conversations about that and I think that is something that should be looked at. Mr. Dixon is back, you might want to repeat your question. Okay sorry we lost you there temporarily but just a final question and if you can react in 30, 40 seconds what would be your ideal suggested domestic intelligence service? We have the DSS how can we make the DSS more efficient? Take them away from the political space let them take charge of the Nigerian security agencies of the Nigerian security situations we go to Israel there is a systematic approach in Israel that keeps the Israelite safe that is what we have in Nigeria and the DSS and I must confess the DSS are doing a fantastic job in Nigeria they are excellent people they must take a departure from politics and ensure that the survival injurians are their priorities so they must have an in-depth analysis of intelligence establish a counter intelligence department establish an effective high-powered intelligence department human intelligence communication intelligence and other intelligence network that will give them information swiftly before these criminal elements come to carry out their activities. Alright, thank you so much Mr. Dixon for joining this conversation it was really amazing and enlightening having this conversation with you we hope to have you again on the run up but this is where we end this conversation today thank you so much for joining us I appreciate you for having me You're very welcome our guest is sorry for our viewers please be safe especially not just today but as we go towards the end of the year be very aware our guest mentioned a couple of things many people hire house helps they do not have any information on the house helps in their houses many people hire so called security guards they have absolutely no information the security guards have no guarantors your house helps have no guarantors you don't know the addresses of your house helps so if they steal anything from you or if they endanger your life in any way you're expecting the police to do a miracle you're expecting the Nigerian police to arrest somebody that you yourself you have no information for the police you don't even know the name of the person maybe the person has only one name this person is charity and then they say charity what you say we don't know how did you get charity somebody brought her for us from where did they bring her we don't know so we need to really take this seriously and I think that's part of what Dixon was alluding to I think we should all come to the point where we understand the security is actually everybody's responsibility just like you were saying you don't know the first or the second name of your house help or your security guard these are basic things that you should know you should put in place before you even hire somebody and then when somebody asks you questions about imagine that your house help gave out information about whatever business you had doing and then you were attacked how do you even begin to ask questions when you don't know the answer to the basic questions security is everybody's responsibility when you see something say something we're going to take a quick break the news will come up at 12 and then when we return we will continue having these conversations stay with us


Well, I think that blockchain and crypto and Davos, so yeah, that's an interesting question.  I think that what we're seeing is more acceptance of a new type of system that might be better than the old. And I think that if you look at the financial systems, which really is one of the main things that are on stage here at Davos, being the economic forum, and you look at how we're creating a new version of a trustless market for how value can be exchanged. I think that's a highly relevant topic for not just the first world countries, but for the emerging world countries as well. And so in the emerging world, I think there's probably a lot more potential for early adoption of blockchain and crypto as just a means of providing infrastructure that didn't previously exist. We've seen this before with other types of technologies where cell phone usage penetration had leapfrogged other technologies in parts of Asia and in Africa and Latin America. And we're going to see the same thing here. We're going to see a leapfrog effect in the same sort of way that it happened with mobile phones. I'm the jury's out a little bit for me on this. I feel like there, to some degree, is important to have all of the Lambo into the moon types of people in the sense that they bring liquidity. I think the behind that wave is a series of very serious projects that are focused on delivering equality to the planet. So I think in 2018, we're going to begin seeing and weeding out some of these very serious projects and I look forward to that. 2017 was very, very lucrative in terms of, you know, ICOs, right? Getting a 10x, 20x, 50x out of ICOs projects that was, it was driven by speculations like totally speculative, right? Because you had many projects with just no underlying businesses, just white papers. I mean, from my perspective, from my angle, I don't like this, I don't support this kind of projects. What I support is the technology itself. If you have an underlying good business and a technology that is supporting it, then okay, but I'm not a supporter of just, you know, using ICOs just for fundraise and for speculations. But I think in terms of investments, it was pretty good. In terms of how it's going to evolve in 2018, I think we're going to look more for projects that are actually, you know, have an operating product, operating business, and more security tokens than utility tokens, that's for sure. So we have a lot of big, a lot of big funds investing into crypto right now. So it's going to be more regulated, that's for sure. I think that the crypto currency is like back to 2017, there was like a huge movement of ICOs, people getting into it. We have to know that it's only $700 billion market right now, comparing to a normal Wall Street and normal economics.  It's growing very fast, so there's a lot of child, a lot of young people going into it. So it's trying to grow and the ICOs, the new projects that come into the market are being pushed out, the shitty ones being pushed out of it. So then the only legit ones that have a next level trust stay into the market and they actually grow itself and that's what we should trust into right now. I think that it's hard to say that the crypto market is now matured but it's still getting into it, it's going to have to wait a couple of more years, I think that's going to be like next maybe next year, 2019 is going to be the best year to invest because we will be getting rid of the not mattering projects and we only have the mature backed by the government, probably projects only on the market. So I'm Kat, I'm the CEO and co-founder of Simply Vital Health and in the quickest way I can say we're creating a health care safe blockchain protocol and so the reason why we need to create a health care safe blockchain protocol is because we want to make sure that health care does not say no to blockchain. Right now in health care, I know it's a bit difficult to hear for us in the crypto community, but health care does not like the Bitcoin blockchain. They're a little bit nervous of the Ethereum blockchain as it is. So Bitcoin they immediately associate with Silk Road and I know that was in crypto time that's decades long ago but to them it's cemented in their mind and it's just it's wrought with just negativity and in law-breaking. They don't really understand the cryptocurrency and why you actually need a crypto to power the entire system and so for Ethereum they don't know where the nodes or the servers sit, they can sit in China, they can sit anywhere, you don't actually know who's powering the system. So what we're doing instead is we're creating this health care safe blockchain protocol. In a technical definition it is a fork of Ethereum but we use HIPAA compliant validators, proof of stake. So HIPAA compliance is a it's a globally recognized level of security around health care data and what that means is there's a certain requirement if you are working with or sharing with or utilizing health care data you have to be HIPAA compliant. It's a federal law and it basically says that even though we don't store data and I can talk a little bit more about that with HIPAA you have to be able to prove that you're storing data in a very secure way. You have multiple backups. You have to make sure that there's a level of security around the data that you have especially if you have demographic data so first name, age, gender, zip code, things that you could string together to essentially identify an individual and so this HIPAA compliant validator is a way for us to have an open-source free-to-build-on blockchain but a secure enough environment that health care says yes I will use that decentralized application that's on the health nexus protocol. So what we did is like everything started by seeing all these catastrophic events happening in the world like Puerto Rico with the hurricanes Mexico with the earthquakes and all that and we've been very very deep in involving to the financial industry creating automation financial tools so we said how can we contribute to the world and to cause an impact and help these all these people that are the victims based on these catastrophic events and we decided to create this social financial network that basically what it allows is like let's say an unprofit or a government what they do is like they just in the case of an unprofit they just create a profiling system and we enable them to aggregate all their crypto or their fiat accounts in one place they can create projects and they can they can publish it so the people they have an honest interaction with the communities so people can see exactly how they're spending the resources the more the more trust that they're that they deliver to the donors the more money the donors will send and the more the more resources that the people in need will receive. We are machine learning technology is predominantly detecting the characters in the documents taking out to see whether it seems a fraudulent or not and the more checks that we do the better it becomes that's why it's quite powerful detecting fakes more than the human eye would and we aren't on the blockchain ourselves but we power blockchain companies but be it's on the foreign identity use case or increasingly for crypto exchanges or even ICOs yeah I think the the environment open environment of blockchains bringing is the first important point so you know we're seeing that peer-to-peer economy you know distribution distribution of wealth away from the world's top largest companies into the hands of retail it's a case where retails led the institutional market and I think it's institutional time to catch up so 2018 we're going to see a lot of obviously you know securitized tokens and you know that's something I'm seeing from a hometown in Perth Australia we've got the Perth Mint they're looking to tokenize gold and you know that's a really an investment market that's you know really been dominated by old world it's not too many people 20 to 30 years old that I know you know that have said that they're looking to make you know portfolio weight into gold the Australian government has done an amazing job world-leading the reason how they've been able to do that is strong industry collaboration so the Australian Digital Commerce Association that's been a group that's been involved since 2014-15 originally ceded by the top blockchain companies you know they've been able to work with the government change the taxation so that Australia's on a very good and open environment for taxation they've been able to establish a code of conduct for digital currency exchanges which means that our consumers are going to be protected around you know using those exchanges make sure they you know they do the right thing by them and then finally you know there's a ICO working group so that Australia is able to take advantage of this you know evolutionary funding model you know it's a way for startups to get funded it's a way for companies basically to have you know a project that could change the world and get sufficient funding to give them an opportunity to get their leg up with cannabis I created a seed to sell tracking on the blockchain so you can see where this plant was grown how it was grown what the pH levels of the soil were you can also see the lab results of did it test positive for mold did it test positive for pesticides what the actual THC and CBD levels are these are all really important things for patients because if you have a low immune system you don't want anything that has pesticides that will later turn into carcinogenics but also very important for government because if a farmer says he grew 100 pounds of weed and he claims to the government that 50 pounds of it tested positive for mold that's a lot of weed he couldn't sell but how can he prove this to the government without just showing a piece of paper that they don't trust because they could have paid this lab off they don't know so the government has to do what they think is right and charging them 100% tax on that crop that they grew even though the farmer couldn't sell it all but with blockchain this farmer has the real proof of the lab that tested their farm products and put this lab result on the blockchain and the government can now see that it really was the lab that tested it and if they really want to retest it and see if it's true or not they can test it themselves and upload this as well but it gives them the power to see who's really able to sell what and who isn't if a farmer said 50% of his crop was positive for mold and he really has to throw it away now the government gives them the chance to be honest and say we'll pay 50% of our taxes on this because it's all we were able to sell just like a normal crop but this this will take some time they just need trust I think governments have to yeah look at least look into it and hopefully also not just regulate it but also see the huge opportunities and potential in the underlying blockchain technology and the whole use cases include including cryptocurrencies and crypto assets I mean in Switzerland last week we had the Swiss Federal Counselor at the event and he announced that he wants to create the crypto nation Switzerland so that's his that were his words so I think we see more regulation hopefully useful regulation to avoid all the negative and dark side of the whole crypto asset world which is by the way happening in all every other industry as well but I think we will also see that the few governments try are starting to understand that there's a huge potential and upsides not just regulating the whole space but really enabling smart and passionate entrepreneurs in his field to create the big and tremendous markets honestly I was quite well surprised by the mainstream people the the bankers the foreign affairs the international relation of as people who were super into blockchain they really wanted to understand a little bit more that then Bitcoin actually they really realized that Bitcoin is the top of the iceberg and the blockchain solution which is which is let's say behind it it's it's much more much more than a storage of value actually you can implement it in so many things you can track the supply chain of foods and drugs you can I don't know you can solve governance issues you can track the supply chains of arms weapons many really really good things that you can do with blockchain


dissociative identity disorder is basically when a person's mind cannot cope with some traumatic experience, and it creates a separate identity in a separate part of the brain, where it keeps those memories and impressions separate from from the the host from the core identity. And I only have two identities. Some people have so many that they wouldn't even be able to count some. I've heard of people about what was about a thousand, if not more.