Hey everyone. Hey everybody. This is amazing stage, isn't it? It is literally like a tree stump So Alexia you are a former editor for tech crunch. You're now in the world of VC Why are you so worried about the state of media right now? Whoo. All right. Well, we've got 22 minutes. I could actually spend 22 hours or 22 years talking about this The reason I'm concerned about it, and I think the reason Everyone should be concerned about it Has to do with the fact that the current business model is rewarding the worst angels of our our nature so we've gone from print dollars to web pennies on a on a Add spaces so I guess you're saying about the shift You know when we think about companies like the New York Times in the past being multiple multiple billion dollar companies Yeah, this shift away from print to digital, but why is that a concern for you? What what's the issue? so I think it's I think in order to get those ad dollars media companies have resorted to volume plays and Volume plays really play to face human desires.  You've seen your chart beat base human desires anger Free stuff winning You know random tweets things that human things that humans Really don't I think a lot of this stuff is is maybe related to what's going on in the world right now I'm sure many people in the audience here. We're worried about what's happening with Brexit, you know that the B word I promise I'd never mentioned today Within the European Union and obviously where where you are from the u.s. I have the T word the T word Well, I mean what what why is it now that you're worried about it? Has there been something that's really prompted you or caught your attention? Yeah, I think what's prompted me and what's called us caught my attention is fake news And so I think the internet presents information in an equal format So an article from the New York Times and an article from Hillary Clinton invented AIDS Ru or whatever your fake news site is Looking look very similar. Yeah, so readers are are coming across these articles and taking the information On each at the same value So that's creating kind of an alternate reality for all the people that aren't using critical thinking to filter out their news But do you think that people generally everyday consumers of news? Do they understand that difference? Do you think there are people out there that can understand that nuance? I mean I look at my Facebook feed now, and it's even telling me when things are fake So I think media people could understand that nuance because we're we're dealing it with it all the time We have media literacy. That's our whole jobs, but I think the average person is Very confused by Journalism by online media by the purpose of media by all of the jargon that we use so off the record anonymous sourcing they're confused as As to why you'd have journalistic standards at a blog or Journalistic standards at the New York Times, and you wouldn't have journalistic standards on something like Info wars. Yeah, I think we're not doing a very good job or people in media are not doing a very good job of explaining the value of Quality journalism versus just bloggy writing and so much of this really comes down to trust, doesn't it? I mean, I'm really curious. We have an amazing audience here right now Can I have a show of hands to see does anyone feel that they've lost trust with the media? Do you have you so we've got a couple here? Say that's a sizable chunk of people here with our with our sample at slush I mean, we asked them whether it's because the media is doing a bad job Yeah, do you believe the media is doing a bad job? There's a few people out there. Do you think it's because it's too biased? Yeah, so over to you for the solution ha ha. How do we rebuild trust in the media? What do we build trust in the media? So for one we have to eliminate the ad-based business model I think people value things that they pay for and I think if somebody pays ten dollars a month for a subscription to some news site That's gonna pay for fact-checking. That's gonna pay for editing. That's gonna pay for Better quality quality journalists, but do you believe that's universe? I mean I look across the media in the UK where I'm from and there are many touch points that people receive free newspapers at the train station We have we have a state broadcast to the BBC which we kind of pay for in a different way But not everyone pays for media. Do you think it's everyone should I think everyone should in some form I don't think it's an all-or-nothing model. It's it's all a cart. It's multiple revenue revenue streams So it's some free some paid some events some Tote bags, I guess is what BuzzFeed's trying. Yeah, wasn't it the BuzzFeed solution to financial model was selling some tote bags? Tote bags and kitchenware, so they're selling pots and pans at Walmart But no, I think first off you have to you have to kind of rethink the model of media I don't think the ad model is serving anyone except for the T word and Kanye and Boris Johnson and a bunch of media savants that have figured out how to catch our attention or manipulate our attention because When writers write about the T word or the B word people read and that makes more money. There's a The New York Times and a couple of different outlets have talked about how they got a Trump bump Which is after the 2016 election many more people subscribed Why because that that media savant knows very well how to attract our attention through getting us angry through calling Mexicans bad things through manipulating People's nationalistic desires He's he is very good at getting us to pay attention to him and unfortunately the display ad model Rewards that rewards people covering that so I think we need to wean ourselves off of ads We know ourselves off of Facebook and Google and figure out other ways to support journalism That's one way another way is to actually as tech people build in mechanisms for trust So I'm invested in a company called true story and what true story is trying to do is trying to use consensus to verify claims on the internet and They're rewarding people who want to think critically about claims to go in and either up voter claim or down voter claim What Facebook's doing with the the flags on whether a story is disputed or not That's the same kind of a mechanism But would you say that the crowd is always the most wise on the internet? I mean we've we've seen this go wrong a few times. No, nothing's perfect Alex Nothing's perfect wiki wikipedia seems to work, but again, you can put a quote on wikipedia and Have it have weeks pass before someone catches that it's fake. Yeah Nothing's perfect. It's it's approximating truth approximating honesty see the thing that I've so as they mentioned in the introduction I'm an exit entrepreneur. I've sold to Forbes and in my journey of learning about a company like Forbes It's been really interesting to learn about the contributor model. So right now we have 380 plus writers across Europe who are effectively freelance contributors they they contribute columns to Forbes website and as An editor as a traditional journalist I found that a really interesting concept to get my head around because it's like this giant newsroom across all of Europe All these people putting different views in but actually the more I've learned about that process I think it's quite beautiful because it means that we have this Multiple viewpoints across Europe. We have viewpoints that us's traditional staff writers would never think of and I actually believe that It is a really potentially a big part of the future of media. I mean, would you agree? I? Unfortunately, I am suspect of contributor models. I think a Lot of the times the voices that you get into those models aren't them aren't the most vetted voices I think they're definitely Very biased they have incentives to to write on your platform whether that incentive is pushing promoting their startup Promoting their their services or promoting some ideology I think that there's a similar issue with native ads. So I I read the statistic somewhere that 18 percent of of Readers knew what a native ad was that's when people pay to write a story about how great their Their businesses on something like Forbes or TechCrunch. I think those also native ads kind of are disingenuous and and Degrade trust because they're presenting something like a media entity or like a journalistic entity when in actuality It's an ad or it's something that's been paid for I mean, I would count that in saying that some people I agree that sometimes people get confused and there are there are Definitely examples where you look at it. It's like I can't tell the difference between editorial and not but I Think it's really interesting sometimes when you do involve brands and allow them to tell an interesting story That is not obviously advertising themselves. There are ones that are just you know, obviously my company is great I'm showing off. Yeah, but when you allow brands to be part of that Conversation around a broader topic. Do you think that that's a that's a comfortable thing? I think it's an uncomfortable thing. I think in these times you really need to Encourage voices that are trying to find the truth in some way shape or form are Using evidence to back up their claims and in general have a longer timeline from thought to publication But how do we shift that framework then because we've we we now exist in this world where you know Everyone here is going to be looking on Twitter wanting their news in real time How can we move to a place which is more considered more frankly old-fashioned? Yeah, it's so cats out of the bag It's it's like we've opened Pandora's box and out of the box came trolls and Nazis and Incells and weird reddit threads and porn and you open the box and all these bad internet things came come out We can't put it back in the box.   I'm gonna write on medium I'm not a journalist. I'm a VC writer and I have my own incentives to promote my portfolio companies You're not gonna get me to stop writing online just because the online information environment is toxic What you can do and What the parable of Pandora's box teaches us is There's hope and I think that hope lies in innovators like you guys in rethinking the ads based model people like Jeff Bezos and Benioff and especially lowering pal pal jobs investing in Institutions like the Washington Post investing in new forms of journalism. So Lorien Pell jobs invested in a VR experience called Karne and arena and In this experience you go and you put on the VR mask And you're basically an immigrant trying to cross the border into from Mexico into California And once you've done that you're once you've gone through that experience. You're running. There's your family's behind you your view of immigration is completely Changed because you've lived through the experience of crossing a border That's a form of journalism. That's entirely new and I think increasingly will be Relevant and a solution to the fact that all website writing looks the same, okay? Yeah, I want to talk about the other B word not Brexit blockchain So in the space of media a lot of people talking about it my own employer Forbes with dipping our towing with civil at the moment as well Do you think it's part of the solution? I don't not not currently. No, I think I I think the token based network like the company I have invested in is but I don't see why blockchain would work where a Simple database wouldn't right these ideas of using blockchain for distributed verification for following the Where the sources have come from to have like almost a distributed newsroom of editors Is that something that excites you and as an investor and not currently maybe Maybe in the future, but right now I think it's very early days Where do you see the from your investor perspective? Where do you see the the the best? Possible short-term solution for improving the state of information the moment What's really got you excited? Subscriptions, so I've seen companies that try to use the blockchain to bundle subscriptions I'm excited about what Tony Hale is doing with scroll. There's a company called called a broadsheet that's trying to Get big publications to come together in a bundle where you'd pay something like Five dollars a month to be able to read the economist and the information and strotechery. I think that's very promising I've seen companies that are trying to Outsource local news to local residents and I think that's actually a big part of the solution because a lot of the reasons People think the media is biased is because they don't see their point of view and a lot of the times That's because their point of view is a local point of view. Yeah Do you think there's a bit of a conflict with local residents getting involved as well? Can they? Everyone's got their own agenda. I mean we have them where I live in London We use some next door which I know is big in the the US the kind of local Facebook and I can tell you There's a lot of conflict on there Yeah, yes I'm gonna check in attend some questions We've had some amazing questions from the audience already as you've heard you can send your questions in using Slido I've got a question here from Stella Saying regarding the business model What is your real view our consumers ready to pay for quality content? Do you really think they're ready to get their wallets out? Yeah, I do I think so the history of newspapers in the US There was partisan press so it was it was pressed for for different political parties and then it turned into Yellow journalism at the beginning of the 19th century and everything was scandalous and salacious and very much like the situation we're in now and Then at the turn of the century in the 20th century a guy named Arthur ox bought the New York Times and he was like enough or Took over as publisher. He said enough is enough. We're gonna start Really printing all the news that's fit to print. We're gonna charge up subscription We're gonna make sure people know that this paper has Standards of truth and honesty and adheres to reality I think people are gonna start paying for news because I think we're we're we're in an Epistemology problem where no one knows What's real anymore because People like Trump and and other media manipulators it Benefits them to confuse people to the point where they don't understand what's true So I think people I think people will pay for news because we're in such a bad state that people are desperate for information That's actually accurate and following on nicely from that. We've had an anonymous question Older people are more likely than young to believe fake news as they're more trusting Isn't that a problem that will sell will solve itself event As the older consumers leave the environment. I really appreciate that levity Well, you know Before it solves itself it has the potential to cause a lot of damage as Brexit is showing I hope you know you can't in a society just say okay We're gonna let the older people fall off the cliff. We're not we're not you can't that's not how society functions You can't just let a whole generation Go If I were ruler of the universe or Jeff Bezos or Lorraine Powell jobs what I would do in America specifically because I think Europe Has is a more critical thinking in America I would I would provide a theory of knowledge class I would I would make it a part of public education from the earliest stages. So how we know what we know What's real how to how to provide evidence for your assertions? What sense data? I would sit there and go from first principles philosophy How do you know if a story is true? And then I would offer that for for the boomer generation as well, and I would incentivize them I don't know how you incentivize that generation. I I Would ask people who are smarter than I how to do it, but I would make people take a class Okay, I would make people take a media literacy class theory of knowledge class Okay, is mainstream media to one-sided and thus giving way to fake news You know what studies show that it is one-sided I think one big reason people point to As to why in the US people no longer trust mainstream media is that the liberal media or the mainstream media Was so optimistic and hopeful for a liberal outcome that they really missed a lot of the signs that Trump was gonna win the 2016 election. Yeah, and this is a local news problem as well And I think that's a function of people who who become writers people who become journalism people who take Risk like that are more open and by definition more liberal. Yeah. Yeah, I mean speaking from my perspective in the UK It's really interesting that often people Make the argument the BBC is extremely left-wing and support socialism The right-wing tends to use that narrative, but actually it's been proven in academic studies It's the other way around and the BBC is actually slightly right-wing and often sometimes people can create this narrative to almost De-stabilize the other side. Oh, yeah I mean, I think that's one of the reasons people don't trust the media because the right-wing has told them not to trust the media Republicans want a republic they want people they want a few people to to run stuff Democrats want everyone to run stuff So you've had a really nice question here people would like to know your own favorite media and recommendations.  I think if you just read the Economist and nothing else you'd be fine. I Like books so what I've been doing In this current, you know on real environment, I've been kind of getting offline and Reading books and trying to be Informed in that sense. There's a great book called factfulness about Using data to come to conclusions versus sensationalism There's a book called trust me. I'm lying About how PR people manipulate the media I find that if you wean yourself off of the real-time newsfeed March and go back to More longer form more slow materials like books like the Economist like White papers not the crypto kind, but the research kind You end up being a more informed human Do you think it's kind of interesting that you are someone with amazing tech expertise? And I see this a lot with people in the tech world, but almost going backwards a bit, you know back to books back to that kind of traditional thing It's yeah, I think that I think that's one of the Solutions, I don't know if it's the correct solution because we're in the thick of it now, but There's a post-structuralist philosopher Baudriard who said that we're And We're a simulation which is media and it turns into some the locker room So that's when reality TV stars become presidents and the the way out of the simulacrum or reality mirroring unreality or reality mirroring Media is to get back to what's actually real and that's going to first principles That's that's going back to Plato and being like we're in a cave. Are those shadows or what are those vases? it's it's really stepping back and Asking yourself, how do we know what we know? I think that's a fantastic point and Alexis. Thank you so much for being a great guest. Thank you


Hey, this is Brett, and today we are checking out this 2020 Chevy Equinox Premier. The stock number is 21J229B. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used SUV headquarters. This 2020 Chevy Equinox has the 1.5-liter turbocharged four-cylinder engine. It puts out 170 horsepower. This Equinox has been fully-safetyed and inspected by our service shop for the state of Wisconsin inspection process. It has a fresh oil and filter change. All the fluids have been checked and topped off, and this vehicle is 100% ready to go. We're going to go all the way around inside, all the way around on the outside, start it up, and take a look under the hood in this video. Summit White is the color, and we shoot all of our videos in 1080p, 60 frames per second. You may have HD capabilities on your computer, tablet, smartphone, or television. I highly recommend turning them on right now because it is your best way to check out the quality, condition, options, and cleanliness of the vehicle before seeing it in person. If you like the video on how we do things here at Summit Auto on the upper right-hand part of the screen, there's a link to subscribe to our YouTube channel. Click that, and then click the bell notifications. You'll get updates every time we do videos here at Summit Automotive. This one comes with the 19-inch painted black rims with the red lines on them. This is, I believe, a red line package. You get the red on the Equinox logo there as well, and it comes with hand-cooked Ventus S1 noble tires, and these are 23550R19s. They look like they're pretty new. I would say 60 to 70% of the tread left on those. Front fender is in excellent shape, but in sceny denser dings in there, it does come with the projector lamp, headlamps, the LED running lights, and factory fog lights. The bumper is in excellent shape. I didn't see any scuffs or scrapes or cracks on there. The hood looks like it's in really nice shape as well. I didn't see any dense or dings, and the headlight lenses are nice and clear. Passengers side front fender is in great shape too, and the passenger side rim, no major scuffs or scrapes. As you go down this side of the vehicle, take note of how clean the body is, how reflective and mirror-like that paint is. We take these HD videos so if you are far away, or even if you're close by and just cannot make the trip down but you're still interested in purchasing the vehicle, you can see the vehicle, hear the vehicle, and have confidence in what you're looking at before you even get here. So when you do get here, there's absolutely no surprises, and you can make a smart and informed buying decision from wherever you're at. And if this video helps you make that decision, let your salesmen know that you saw the video, that it was helpful, and that Brett sent you. All wheel disc brakes on this one, the back rims in excellent shape, and the back tires look like they have right around the same amount of tread as the front tires. Coming around to the back of the vehicle, you'll notice that you do get the all-wheel drive logo right there, so this is an all-wheel drive vehicle.   So it does come with a spare tire and a set of factory cloth floor mats. Those seats do fold down for extra storage, and this gate comes down by pressing that button right there. And coming around the driver's side, just as nice as that passenger's side, rear quarter looks really good. Does have the capitalist feel-fill, which is a really nice feature. And for full disclosure, this back rim is in excellent shape as well. Down the rest of the side of the vehicle, doors look really good. Does have blind spot monitoring in the mirrors, built-in directional signals. Inside the Premier package gives you the black leather interior. General rips or tears on the seats, you kind of get the gold stitching on there. Power driver seat with lumbar comes with the factory all-weather floor mats, auto headlamps, power windows, power locks, power mirrors, and memory driver's seat. A little hop inside. Check out the miles, radio, and everything that this equinox has to offer on the interior. I can't dim it down. But anyways, it does say 23,050 miles on there. There we go. Compass display, instrument cluster is very nice and clean. Comes with the leather-wrapped steering wheel, Bluetooth and information center controls on the right, lane departure warning, forward collision warning, and cruise controls on the left. You get the Chevy infotainment system here, AM, FM, and Serious XM radio capabilities as well as Bluetooth. You also have an Apple CarPlay and Android Auto where you can project your cell phone to the screen. And if you've got a nav system on your phone, such as Waze or Google Maps, project it right to the screen, then it's like you have nav on the screen. So a really cool system. And then this is also where your backup camera shows up. Down here you get a wireless cell phone charge pad, the USB, USB-C and an AUX jack. There are your heated seat buttons and dual climate controls, automatic transmission, keyless entry, remote start and power rear gate controls. Passengers side floor mat and seat are in excellent condition. And the headliner is in great shape. You do get home link buttons for your garage door security systems and lane systems, map lights, on-star and SOS buttons in the center console there up there. We'll take a quick look at the back seats and then we'll start it up and take a look under the hood. Back seats are just as clean as the front seats. No rips or tears back here. It does have the latch child safety system. You saw it has cup holders there too. And these seats are in excellent condition. You get factory all-weather floor mats back here as well. And we're going to put these seats down. You can see just how nice and flat that those go down and you get the rubber backing on the back of the seats.  Those go up just like so. You get two USBs back here. There's also a 120 volt, 150 watt plug-in down there. Child safety locks on the back doors and the bottoms of the doors all look really good on this vehicle. We'll start it up and take a look under the hood. Show you the backup camera is working nicely. And no check engine lights or anything like that. I would personally like to thank you for checking out the video today. And hopefully from this HD video you will have been able to verify the quality and condition of this Equinox all the way around inside and out. Get the LED running lights. And under the hood here we have the 1.5 liter turbocharged four cylinder engine, 170 horsepower. Once again this vehicle has been fully safety and inspected by our service shop. As a fresh oil and filter change all the fluids have been checked and topped off. And this one is 100% ready to go. There is your emissions sticker. And I would highly recommend the Equinox from a quality and condition standpoint. And to see more pictures of this vehicle or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, you name it. We got to go to that website right there www.summitauto.com. Full pictures and descriptions of every single vehicle from two locations all at summitauto.com. And if you'd like to check out more HD videos you can go to youtube.com slash summitauto. Remember to like, subscribe, and share on this video and all the videos that you see there. Click the bell notifications. You'll get updates on the videos we do each and every day here at Summit Automotive. In fact in a second we'll see a link to subscribe to our YouTube channel on the upper left to link to more Equinox videos like this one on the upper right. A link to this vehicle on our website on the lower left and a link to one of our latest YouTube videos on the lower right. Click those check us out. And we're super excited to help you with this Ultra Clean 2020 Chevy Equinox Premier All Wheel Drive in Summit White Clear Coat. Thanks again for checking out the video. Remember to like, subscribe, and share.


The team from Taccom HQ was nice enough to ask us to do a little bit of testing on our 416 Barrett structured barrel that they built for us. And so we conducted some testing, that's what this video is about. We also have the data available in a spreadsheet, also JPEG image on our website, and there'll be a link down below for that. There's also a link for the thermal camera that we used to get the data. If you want one for those of yourself and the GoPro we used, those are all in the description. So yeah, sit back and watch our testing go on and see what you think. Our overall impression, which I'll get to in just a little bit, was that it's great. Totally 69.1. Gotcha. Okay. Our chamber temp is 66.3. First reading is 63.3. 63.3. 63.3. Got it. Then we're at 58.8. 58.8. 58.8. Then 54.8. 54.8. Yep. Those are our initial conditions. Okay. You're going to need a timer. You remember the drag and start. Anybody comes up if you could not let them see fire for the next We talked, we told them, thank you. Okay. And the lab radar is set. Ready to go? Now it is. Cool. Good to go. All right. We're doing it? Yep. Okay. And to make sure my sequence is right, I'm going to shoot, press the start on the timer, unload, and then set all that stuff, and then three seconds to the next one. Yes. Okay. Thank you. All right. You guys ready? Yep. Send it. All right. Firing. Gotcha. So first temp is 64. or 65.4. 68.3. 64 or 61.1. And 56.4. We got way more time. Yeah, it's nice to have another time. Yeah. Okay. So we're going. Yep. Five seconds. Here we go. Hold up. All right. So we are at 66 even 66.0. We're at 69.9. 64.2. And 59.0. Nice and gentle on the hold forward. Yep. When you're when you're ready, I think that'll help firing. So we're at 63 or 64.2. 64.2. Yep. Okay. 74.4. 68.1. And 63.1. It's crazy because they're still climbing the times they're just rising the whole time. I'm looking at it. All right. Firing. 64.5. 64.5. Yep. Okay. We're at 79.8. 71.9. 64 or 64.9. Yep. Sticky three. Two, one. So we have 64.4. 79.1. 75.3. And 79.4. Three, two, one. Chamber temp is 65 or 65.1. We have 83.6. 80.4. And 75.7. Turn in five, four, three, two, one. That was a rich show. Hear that thing? Yeah. We're at 65.6. 79.5. 84.5. And 78 or 79.3. All right. Going in five, four, three, two, one. As 65.4. We have 80 or sorry, 93.5. 93.5. Yep. That was a jump. Yeah. 85.0. And 80.0. Going in five, four, three, two, one. We have 68.5. We're at 96.8. 94. See that again? 94.0. And this one is 88. Or sorry, 90.3. Curious about on the temp on the chamber versus the action. All right. Going in five, four, three, two, one. We're at 78. Even. This one is at 102. Even. We're at 95.3. And 90.3. Going in five, four, three, two, one. Hold up. Okay. That one opened smooth. We are at 69.4. 96.9. 98.2. And 96.4. Going in five, four, three, two, one. We have 69.8. That is 109.8. 109.8. Yep. Okay. This one says 102.0. And 96.0. Two, one. That is 71.7. This one is 111.9. 119. Yep. 104.1. Repeat. 104.1. This one is 100.7. Going in five, three, two, one. We're at 71.2. This one's at 114.8. This one is 108.3. And 104.0. All right. Last shot. Five, four, three, two, one. And we have 72.5. This one is at 117. Highest number is 119.3. One more time. 119.3 was the highest. Right there is at 111.5. And that is at 107.4. 107.4? Yep. Okay. And just for kicks too. Internal is 147, which is crazy. Well, I imagine you're just as impressed as we are with the structured barrels. When we kind of realized we needed this, it was when we were going for the Wyoming State Record, we were shooting it just a little over three miles. And we found out with our 375 Shitech that as we were putting rounds through it, we could get about six or seven rounds. And we had about a minute of climb on each shot. And then when we got up to six, seven, eight shots, the next one would just be a flyer. We thought it had to do with barrel temperature. So that's why we went with structured for our world record attempt. So the structured, yeah, we're happy with it. These temperatures are incredible. When we went out and did our shooting for the world record attempt, we had almost five hours we spent shooting 69 shots. And it never even, I mean, you can put your hand on it. It never got hot to the touch, which is just incredible. So thanks for watching. We highly recommend it. No, we're not being paid by TACOM HQ. I wish they would, but they're not. So we're just saying this because they're an awesome family business. And of course, Ken, I don't think he's family, but he's an awesome engineer been been wonderful for us. I strongly encourage you to check out their products. They really do a good job, both their structured barrel and their optical prism thingy units, those were just incredible as well and allowed us to do what we did. Thanks for watching.


So apologies for the delay. I'm so glad that we found the solution and that we can all be here together. It's really a pleasure and an honor for me to be moderating this session. And I'm so glad that we can finally make it. So my name is Luja Dvizna and I'm the director of Policy and Open Culture at Creative Commons. And I'm really thrilled to be here with Deborah, Yolanda, Giovanna and hopefully Viviana who will join us in a few moments. I'll introduce them a bit later. And with this incredible panel of speakers, we'll spend some time discussing the many facets of copyright reform to promote better sharing of knowledge and culture in different parts of the world. Giovanna is joining from Brazil and Yolanda and Deborah are in Italy and Viviana should be joining us from Colombia. So I think that on this panel we all share the understanding that preservation, access, sharing, use and reuse of cultural heritage are essential for communities to thrive. And using the COVID-19 pandemic, it's also essential to build resilience. And it's imperative that we in the open and free knowledge movement support these critical activities. And that's one of the reasons that Creative Commons already 20 years ago launched the copyright licenses. But here we are today and people are still facing an incredible amount of challenges in sharing cultural heritage online. Cultural institutions, for example, they often struggle to just carry out their legitimate activities like digitizing collections for preservation and to make them available to the public. So why do they struggle where, well, there are many reasons and we recently shared a report on barriers to open culture and I'll share the link in the chat if I can manage that. And I'll invite you to take a look. And in this session now we'll zoom in into one of the most prominent challenges of copyright audited, inadequate, unclear or improper copyright policies that generally raise unnecessary barriers to cultural heritage sharing. So what can we do about this? Well, I'm glad that our speakers today will be able to shed light on some of those barriers, share their experiences about how within their various initiatives they can strive to overcome such challenges. We'll see that all these initiatives are different, but they share common elements. One more thing, I know that we reserve some time at the end of the session for questions. So hopefully we'll get them through the chat and feel free to ask them. We'll take them towards the end. So without further ado, I would like to introduce our first speaker and this will be Giovanna. We are changing the order a little bit from what we had planned.  She works as a program officer for Glam and Culture at the Wikimedia Foundation. So she's a familiar face to you and she's a general coordinator of Creative Commons Brazil besides being a member of the Creative Commons Global Network, WikimMovemento Brazil user group and ICOM Brazil. So her current activities are related to Glamwiki, OpenGlam and linked open data initiatives in addition to other projects on diversity, mainly gender, knowledge, and sorry, knowledge equity. So over to you, Giovanna. Thank you, Brigitte, thank you so much. It's a pleasure to be invited to this panel beside other people with amazing work and to be part of Wikimedia this year. I'm a Wikimedia, so I'm very glad to be always in this conference. I'm gonna share my screen a little bit. Oh, I see that I can't share. Let me see. Okay, I don't think I can share. That's okay, I have prepared some slides. Maybe I can just work with them without the image part. Oh, I can't know. Oh, one moment please. I hope that you can see my screen. Yes, okay. Yes, we can see it. So today I am presenting this brief presentation supporting Glamwiki in Brazil, advocating for open access, guiding the usage of CC license and contributing to the Wikimedia projects. And I would like to start with, oh, this one, with this slide. So Brazilian laws that are related to copyright are not that bad. We do respect public domain, different from the experience that I think we will hear in a few minutes. And we have freedom of panorama and we do have some laws that find exceptions. Like the law number 13146, the Statue of the Person with Disabilities, that states the person with disabilities have the right to culture, sports, tourism, leisure on equal basis to other people. And on the paragraph two, it says that the public authorities must adopt solutions aimed at eliminating, reducing and overcoming barriers to promote access to old culture heritage in compliance with the accessibility environmental and national historic and historic heritage standards. And that law makes it possible for Brazilian heritage institutions to create alternatives for people with disabilities to access culture that help forest and this kind of accessible content like 3D versions of 2D works and tactical exhibitions. And even though we have a good law directly at people with disabilities, which is great, we still have a long way to go. And I would like to highlight this platform that in translating it for English, even though it's a platform in Spanish, it is about flexibility to the copyrights in Latin America. And when we see here at the side, we can see the session about libraries and archives and a few different lines like public loan, exchange between libraries, out of commerce works, offer works, evasion of digital rights management and other possibilities. And when we change that and we can, I don't know if I could share this, but I don't think, sorry. I don't think it's good for me to change tabs right now, but I would very much like you can after this presentation to go into that website to check what I'm talking about. But basically when you change this, you can see the variation of this section here within the Latin American countries. And in Brazil, in the case of Brazil, we appear as red in every single one of those possibilities, which is of course a problem. We still have a very long way to go. But there's also the fact that we live in the global south in a marginalized society. And the survey of open-glam access and policy practice by Douglas McCartney and Andrew Wallace is an amazing research that helps us to identify open-glam initiatives around the world. And we can see that we have two worlds in the global south and especially in Latin America. So we have 30 seconds in, actually here's not South America, it's Latin America. I have out of 1,435 institutions. We have 37 in Latin America and nine in Brazil. Through this survey, we can see quite clearly the problem we face in the global south. This is an overview of the Brazilian in the Latin America situation. But at the same time, we are in the global south, we are 80% of the population with access to internet in the world. And we do have a lot of heritage, formal heritage institutions. So what is the problem? What is happening so that we can see that being reflected in open access, open-glam initiatives all over the internet. First, we have our structural problem. These charts here from digital collections in museums, a manual for carrying out projects, a publication about current shorter state of Brazilian glam institutions by the Tainacum project. It shows that most of the institutions, they do share their collection catalog on the internet is 83%. But when we see the below chart, we can see that only 23% of them share their digitalized collections to the public over the internet. And that's, of course, a problem. But the second problem that we do have is the problem with qualification. So if you see here this first chart, we can see that the major difficulty is the lack of funding. The second major problem is the lack of a qualified staff. And that staff, I meant by technical staff that knows not only the technical ingredients to make it possible to share the content, but also the understanding of copyright. Here is another chart that shows basically that a lot of institutions do share their collections, but only in the place of the institution, even though it's digitalized, and only 14% of them do share over the internet, but only on the social media. And what the French for Commons Brazil is trying to do as best as it can on a 100% volunteer basis, especially in its glam coordination since 2020 and the mix of the pandemic, is to help institutions that are interested but don't have necessarily the means to understand copyright and the license. And we provide guidelines to them, participating in lectures, workshops, and education events. And we translate or write posts about open glam, updates on the copyright law reform, and the difficulties of the Brazilian institutions such as fires and other problems, explain topics like NFTs, open glam, and how to share the collections on the Wikimedia projects. But these glands really want is for their institutions, even if they are small ones, to be able to share their collections more widely, especially the ones that are public, academic, or nonprofit. They usually want their knowledge to reach more people, but they just don't have the means and the staff availability to understand the particularities of copyright laws. In 2020 and 2021, we talked to more than 30 institutions. We created a special email address to attend these institutions. And at the beginning of the pandemic, we sent several emails offering meetings with guidelines to interest institutions and talked to several museums, archives, libraries, and universities. They also searched for us to give them, provide them with lectures, presentations, and sometimes to help their students if they were connected to educational institutions. At one point, we were contacted by Digital Vargas Foundation to help law students to understand open access and open glam policies. Now project with the São Paulo Art Museum. This was an interesting occasion as it was a way of helping the lack of quality professionals problem. And something that occurred to me during that presentation was the fact that in Brazil, the copyright area is not that big, especially if you consider the interface between copyright and heritage. And even more so when we talk about open access. There needs to be more incentives as well as awareness, conversations, and advocacy in these two areas in parallel which just doesn't happen in Brazil often and in order for us to enhance copyright exceptions. We need more policymakers to understand the situation. And without this kind of action in investment, open glam cannot fully happen in Brazil and in Latin America. We had a big meeting with Rio de Janeiro Super Internets of Museums with more than 70 guests. But the main set of the meetings that we had in that approach that I described earlier was the Abrete Código Hackathon which had several institutions and staff involved. We did guidance meetings, live sessions, and a video about open access, the license, open glam, and other policies which was part of the legislation section of the event as well as we shared a brochure with a 38-page document with frequently asked questions related to glams. Oh, sorry. During the meeting, staff had many, many questions. In some instance, they were desperate for help, especially because they didn't want to make mistakes and infringed copyright, compromising themselves and their institutions. And the foremost frequently asked questions were, how do I use a CC license? How do I apply a CC license on institutions' websites? How do I, how to do with the copyright of works that are not in public domain? And finally, how can we use Creative Commons license for the collections to reach a wider audience? This last issue was the major concern to COVID at the time. Another very common question was about the case of orphan works. In some of our presentation, usually explain copyright, Creative Commons, and the license, open glam, and practical application in the Wikimedia project so they could implement their outreach and dissemination, which was always very important to them. And in this format, the foremost frequent questions were answered and we could give them a more notion of copyright, open license, and how to make collections available. Much, much more is needed. Two months, Brazil wants to launch a brochure about N4Glam's, a course of a few modules aimed at Brazilian institutions and university students, law, history, communication, students, a newsletter, and more regular posts, and especially a better connection to Wikimedia and the Glomweky ecosystem. But unfortunately, we don't have funding right now, which just, we just don't have it right now. But we do want to work on advocating more and more for this change just to be made. That's it for my part. Thank you. Thank you, Giovanna. That was a really comprehensive overview of the situation in Brazil. I really liked the study that you did during COVID. I think you managed to turn what was a great threat to the sector and to an opportunity to show the benefits of opening up their collection and to encourage them to use CC licenses. And I think it's a lesson that we could all draw from because it's really inspiring. We'll now move to our next speaker, Deborah de Angelis. Deborah is an attorney at law based in Rome in Italy. She's currently representative and legal lead of the Italian chapter in the Creative Common School Network since its constitution in 2018. Deborah is a legal expert in international copyright law, art and entertainment law and new technologies. She also worked as a legal advisor on copyright law to the previous Italian minister of cultural heritage. And Deborah, you will talk to us about cultural heritage law in Italy. So over to you, we look forward to your presentation. Hi, everyone. Thanks for inviting me to be here with you today. And thanks, Brigitte, for your presentation. We know that policy is one of the possible limits to an open culture besides money and people. We also are aware that copyright law may represent an obstacle to the open sharing of cultural heritage when the cultural goods are still protected. We face difficulties in understanding copyright laws principle, the duration of the protection and therefore the status of the work if it is still protected or in the public domain worldwide, difficulties in the application of the originality standard, idea, expression, dichotomy to determine if a work is creative or not. And difficulties also in the choice of the applicable law in case of cross-border uses. Also, the lack in the legislation of the freedom of panorama exceptions in Italy is another example of how copyright may limit taking photograph or video footage and creating other images of building sculptures and other artwork permanently located in public space. Italy did not implement the freedom of panorama exception as suggested by article five letter H of the Infosock Directive 29 of 2001. So beside the difficulties faced by the copyright law, in Italy, the public cultural heritage in the public domain phases a more restrictive limit for the open sharing of digital images for commercial purposes. The cultural heritage code decreed legislative number 32, 2004. Accordingly to the Italian cultural heritage code, open culture is allowed only for personal use or study for research, free expression, creative expression or promotion of knowledge of cultural heritage carried out on a non-commercial basis. But in case of reproduction for commercial purposes of the public cultural heritage in the public domain, article 107 of the cultural heritage code provides that the ministry, the regions or the other territorial public authorities may issue a request for a payment. This limitation does not allow a general by default application of open access principles. And this is a difficult to open up the open glam and the open culture in the realm of the Italian labs. Due to the obligation to ask a previous permission for commercial uses of the digital reproduction of public cultural heritage in the public domain. And the related discretion of the authority to ask for a payment. This limitation stated by the government stated by the cultural heritage represents a second layer of protection applicable to all cultural heritage when copyright protection as a spark. Note that this limitation imposed by the cultural heritage code is more restrictive than copyright law. Because it is perpetual, doesn't have any deadline and depends only on the will of the cultural heritage institute. So this limitation is also against the principle stated by article 14 of the DSM directive that stated that the faithful reproduction of a visual art in public domain stays in the public domain. As Creative Commons, Italy chapter, we are working on capturing the feeling of losing control by Italian keys, drafting a segmentation of different commercial uses allowed in the field of research, free expression, creative expression or promotion of knowledge of cultural heritage exceptions where the commercial purposes can also be present. Taking also into account the many different types of commercial use and their different impacts on the activities of cultural institution and as a whole. In this sense, we would like the Ministry of Culture to clarify that the so-called non-revalues commercial uses are not subject to authorization and payment of the fee. It is necessary to distinguish the reuse resulting from open access project from other form of rival commercial uses such as, for instance, the direct sale of images reproducing the cultural heritage. For example, images of cultural heritage in public domain release under Creative Commons tools compatible with the open access. For example, the CC by attribution share a license do not create any kind of exclusivity and the content remains available to the community for use and reuse with very few restrictions. Another example is concerning faithful reproduction of public domain cultural heritage labeled with the public domain market, PDM or released under CC0, two tools suitable for sharing in the public domain according to open access principles. So to be clear, uses enabled through such licenses or tools do not conflict with the economic exploitation of images by the institution themselves. Do not negatively impact the market for commercial exploitation of cultural heritage and on the contrary, positively impact Italian society by encouraging entrepreneur creator to reinvent their own heritage. Also, we are working on finding a way on how to accomplish the last request to receive attribution of provenance on public domain material. And this is the work that we are doing with the Creative Commons GLAM platform working group number five. Unfortunately, it is a common practice to use the material held in archive, museum and galleries especially for commercial purposes without giving the right credit to those related to this content. And this is one of the issue that limits the Italian minister of culture to open also culture for commercial use. To conclude my speech, the way to our goal still long to be accomplished. That's why we are engaged in a series of dialogues with our minister of culture to try to overcome the fear of open culture, aiming for a better future. Also, this I organize the other projects especially with our friends in the Wikimedia Italy and I'm sure Yolanda will speak about one of these. And all of these is also for aiming a better future. And I thank you for your attention. Thank you very much. Thank you, Deborah. Thank you for this also comprehensive overview of what the situation is like on the cultural heritage side in Italy. And thank you for the transition. Without further ado, I will hand over to Yolanda. Yolanda Pensa, who is I'm sure also a very familiar face to you in the Wikimedia community. She's a Wikimedian art critic and researcher. As a volunteer, she's been contributing to Wikimedia since 2006. She organized in 2016 Wikimedia Ezinolario. She's the chair of the Wikimedia Steering Committee and chair of Wikimedia Italy. She's been active in the implementation of Wikilove's monuments and in increasing the documentation of cultural heritage on Wikipedia and the Wikimedia projects since 2006. She's been involved in triggering the use of open licenses in institutions, publishing research materials on Wikipedia and rebalancing online geographic information with Wikiafrica. Over to you, Yolanda. You have the last word as Viviana, unfortunately, cannot join us. Hello. Thank you very much. So what I wanted to show you is considering the situation of Italy that Deborah provided a quite extensive overview. So what can we do as a volunteer, as a Wikipedian and Wikimedian? My interest is how to upload the content on our project and benefit from this content. How can we collaborate with cultural institutions? So the problem that we face from our perspective, so the practical aspect of how to engage institution and how to open content is actually the complexity of all this process. So we need a lot of authorization. We need to work with a lot of people and institution to make sure that we can collaborate, so we can open a collection. So looking of course at licensing on photos or on reproduction, the issue of properties, the issues of artists and architects, considering that we don't have freedom of panorama, the restriction of our legislation that add these fees to the reuse, and of course, the rights related to the possibility of taking photo of people. So in this complexity, we decided that we want to move forward. So we want to engage institution and maybe an approach can be to try to engage all institutions at once. So what we decided to do is to launch a project called Empowering Italian Glamms. It is a fantastic collaboration between Wikimedia Italy, ICOMA Italy, so the Association of Museums, Creative Commons and the University of Torino. So we also have a research partner. We have the support of Wikimedia Foundation and we are targeting to engage 5,000 museums. 5,000 is actually the biggest number we will probably be able to reach 3,000 and maybe getting an answer from 500, so something like this. But the idea is how can we invite all institution to collaborate with Wikipedia? Wikipedia is a nice catching word people know obviously the visibility of this project collaborating with Wikipedia for us means to engage in opening content and creating an open access policy. And so we design an approach to engage institution. Basically we have a three step process. So we are starting now the first step. We are now producing our pilot project and we are engaging around 10 institution in this first phase. And the idea is to invite all institution to release a series of photos of their institution, the exterior, the interior, some example of their collection under the open tool CZ0. Do the same with the next institution and starting drafting an open access policy. Then with a selection of those institution we will move forward towards opening a selection of their collection. And we are already launching a collaboration with the five institution to open all their work so all their heritage with a data management plan based on open by default. Among those institution is already engaged the museum of Egypt, the Egyptian museum in Torino. This approach obviously the argument to engage institution is the typical argument of course that we all know. So the advantages of opening their collection, the quality improving the procedures, also linking their way of working to open access, open government, open data, open science. Of course museums are also research institutions and they're very often public institution. We also have the Faro Convention which is a very good argument to trigger the participation. Another argument is of course visibility collaborating with the Wikipedia with the Wikimedia project with the open street map means obviously to increase the possibility of institution to gain visibility but of course opening content is obviously an important step for this access. Participation are the possibility of engaging the public, considering new ways the public, active citizenship, innovation, the possibility of producing new services and products and of course research which I think it's also a very important argument for cultural institution because they have to produce research but they often cannot produce research by themselves. So making their collection available for research is an important step to invite others and also invite the citizen science in contributing to their mission. So I'm obviously a little bold and definitely an activist. So we have a very clear vision of which are the tools and licenses we want and the one that we do not want. So considering the interoperability with the Wikimedia project of course we have some limitations and those are basically the limitation that we present the institution. We also want to force institution to think about CC0. So to think about the value of not adding restriction but also to ask people to cite their work to cite sources but recognizing the value of not adding any restrictions. So this is why we encourage also and we make it very clear that to collaborate with us it is necessary to not prohibiting derivative work allowing commercial reuse and not imposing the attribution on data. Basically we are suggesting three licenses and tools. So the CC0 for all data, metadata and digital reproduction. We encourage this or we pose and suggest the CC buy for everything that is associated to authorship. So whenever there is a signature if it's an internal document, an informative document website that only tells you the little story of the institution without a value of the author why not putting that in a CC0. And we encourage the CC buy essay for everything that engage volunteers. We come from the Wikimedia from the Wikimedia movement. It's a little bit like the Richard Stallman heritage. So we trust that the fact of keeping things open in particular when there are collaborations and when there is volunteer work, it's an added value. This suggestion is obviously associated to different material that the institution have. We do not look at only the collections. We look at the resources that each institution produce. It can be open educational resources or the didactic material of the institution, the captions of their museum, the data they produce, the publications. So everything is, we suggest a license and a way of sharing this content on their entire collections. So at the moment, this first phase that just started is associated to form an online form. In this online form institution are asked to sign on an authorization. There is also an open access policy. This is the way to reduce the work flow. So the document that state their availability of producing and providing open content also states why they're doing it. So it's an open access policy. The second step is to share a series of images. We are suggesting 20 images or images of the outside, the inside, some example of the collection. So we are moving this concept of open images from the simple reproduction of the collection or sharing collections towards something that is a bit more ambiguous, more linked to communication. And we think that this can be a easier way to engage institution because they already share images with journalists, with social media, with people that ask them for images. So having those images well documented on the Wikimedia project with the good captions with data, we think these are a common interest and also obviously we invite them to provide how they want to be cited. So not an attribution but a courtesy of citing the source. We ask for a text, those in this case in CC0, story of the collection or the institution. We ask them to check their data on Wikidata and to fill in a survey. So those are the steps through which we are engaging them. And we are launching this, we just finished the thanks to the work of two very active Wikipedians and the expert of Wikidata. We just finished to review all the data of the Museum of Wikidata to update them with data from our national statistics to make sure that we have also the link to emails and the collaboration with Icom Italy is also a resource in this way. And we are starting the communication with a little group but to make sure that the communication is efficient to then launch all the invitation to the 5,000 institution we have contact with. So this is just to give you a sense of the form and then this is the work that we are now focusing on. Thanks. Thank you, Linda. Again, I think your presentation shows that copyright reform is needed when you see all the steps, all the loops that cultural institutions have to jump through if the law was making all this possible legally without much hassle, it would make sharing cultural heritage so much easier. I see that we are almost at time. We have about three minutes left. I would like to save a minute or two to conclude but also I would like to ask you if you had to name your biggest challenge in one word, what could it be? First with Giovanna and then Deborah and Yolanda. The biggest challenge you faced in your efforts in one word? Resources, I think resources in terms of funding and resources in terms of people to allocate for what they need. That's quite a comment, Deborah. Understanding means has confidence and trust. Also quite widespread. And you, Yolanda? I think time. It has been so long the time we've been investing in trying to move Italian heritage on the Wikimedia project. And I think to have a shorter deadline, I would like those projects to end rather than continue just because we want to move to some other topics that can be fascinating as well as this one. But I think after a while, it's long to invest so much energy for such a long time and to see that the machine doesn't really move quicker. Yeah, if I can have just one cent, it is right, Yolanda. But maybe we have the time on our favor now since there are so many years and we know that social and political issue are long process. And maybe after 10 years, we are quite in the moment that we should achieve some results. Yes, so stay tuned. Something is bound to happen very soon. Yes, yes, I believe. Well, listen, thank you so much for making it to this session. We had some technical difficulties. I'm so grateful to the organizers that we could make it work. Thank you to the participants, for your patience and for joining us in this session. Thank you to our speakers for making it today. Sorry that Viviana couldn't come, but Viviana, you were here in spirit. I will share in the notes some links that I wanted to share with you, but now we're at time. So I would just want to say enjoy the closing toast that's about to happen and hopefully see you all very soon. All right, goodbye. Thank you, bye-bye, thank you. Bye-bye.


THE TOMCAT At midnight in the alley, a tomcat comes to wail, and he chants the hate of a million years as he swings his snaky tail. Malevolent bony, brindled.  He twists and crouches and capers and bears his curved, sharp claws, and he sings to the stars of the jungle nights air cities were, or laws. Beast from world primeval, he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail, and beat the time for his demon song with the swing of his demon's tail. At midnight in the alley, a tomcat comes to wail, and he chants the hate of a million years as he swings his snaky tail. Malevolent bony, brindled.  He twists and crouches and capers and bears his curved, sharp claws, and he sings to the stars of the jungle nights air cities were, or laws. Beast from world primeval, he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail, and beat the time for his demon song with the swing of his demon's tail. At midnight in the alley, a tomcat comes to wail, and he chants the hate of a million years as he swings his snaky tail. Malevolent bony, brindled.  He twists and crouches and capers, and bears his curved, sharp claws, and he sings to the stars of the jungle nights air cities were, or laws. Beast from a world primeval, he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail, and beat the time for his demon song with the swing of his demon's tail. End of poem, this recording is in the public domain. The Tomcat by Don Marquise, read for LibriVox.org by Chad Horner from Ballycleric County, Hunter, Northern Ireland, situated in the northeast of the island of Ireland. The Tomcat at midnight in the alley, a tomcat comes to wail, and he chants the hate of a million years as he swings his snaky tail, malevolent, bony, brindled, tiger and devil and bard.  He twists sun crutches and capers, and bears his curved sharp claws, and he sings to the stars of the jungle nights. Air said he's wear, or laws, beast from world, primeval, he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man.  End of poem, this recording is in the public domain. The Tomcat by Don Marquess, read for LibriVox.org by Cornel Nemes in Reno, Nevada. The Tomcat at midnight in the alley, a Tomcat comes to wail, and he chants the hate of a million years as he swings his snakey tail.  He twists and crutches and capers and bears his curved sharp claws, and he sings to the stars of the jungle nights or cities where, or alas, beast from world primeval. He and his leaping clan, when the blotched red moon leers over the roofs, give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail, and beat the time for his demon song with the swing of his demon's tail, end of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for LibriVox.org by Newgate Novelist. At midnight in the alley a Tomcat comes to wail, and he chants the hate of a million years as he swings his snaky tail.  He twists and crutches and capers and bears his curved sharp claws, and he sings to the stars of the jungle nights or cities where, or alas, beast from world primeval. From world primeval he and his leaping clan, when the blotched red moon leers over the roofs, give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for LibriVox.org by Frank Duncan. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail, malevolent, bony, brindled, tiger and devil and bard.  He twists and crouches and capers and bears his curved, sharp claws. And he sings to the stars of the jungle nights, air, cities were, or laws. Beast from world primeval he and his leaping clan, when the blotched red moon leers over the roofs, give voice to the scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis read for LibriVox.org by phone. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail, malevolent, bony, brindled, tiger and devil and bard.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air, cities were, or laws. Beast from world primeval he and his leaping clan, when the blotched red moon leers over the roost give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem, this recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox.org by Gwendolyn Goreham. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail, malevolent, bony, brindled, tiger and devil and bard.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air, cities were, or laws. Beast from world primeval he and his leaping clan, when the blotched red moon leers over the roost give voice to their scorn of man.  End of poem, this recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox.org by Graham Scott Cheltenham, England, GrahamScottAudio.com. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail. Malevolent, bony, brindled, tiger and devil and bard.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air, cities were or laws. Beast from world primeval he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man. He will lie on a rug to-morrow and lick his silky fur and veil the brute in his yellow eyes and play his tame and purr, but at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marcus, read for LibriVox.org by Harshata. The Tomcat at midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail. Malevolent bony, brindled, tiger and devil and barred.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air, cities, or war, or laws. Beast from world, primeval, he and his leaping plan. When the plotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for Librox.org by Ian King. The Tomcat at midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail. Malevolent bony, brindled, tiger and devil and barred.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air, cities, war, or laws. First from world primeval he and his leaping clan, when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with a swing off his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for Librox.org by Kevin S. The Tomcat. At midnight in the alley the Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail. Molevolent bony, brindled, tiger and devil and barred.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights ere cities were or laws. Beast from world primeval, he and his weeping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  At midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for Librox.org by Larry Wilson. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights ere cities were or laws. Beast from the primeval, he and his weeping clan when the blotched moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for LibriVox.org by Maricel Quay. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved, sharp claws. And he sings to the stars of the jungle nights ere cities were or laws. Beast from world primeval, he and his weeping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for LibriVox.org by M.E. Allen. July 6, 2019. The Tomcat. At midnight in the alley, a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights air cities were or laws. Beast from the world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley, he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read for LibraVox.org by Michelle Fry, Baton Rouge, Louisiana. The Tomcat. At midnight in the alley, a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, ere cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley, he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. And of poem, this recording is in the public domain. The Tomcat by Don Marquis. Read for LibriVox.org by narrator J. The Tomcat. At midnight in the alley, a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, ere cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis. Red for LibriVox.org by Peter Yersley. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights. Air cities were, all laws. Beast from the world primeval, he and his leaping clan when the blotched red moon leers over the roofs give a voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox by Rebecca Zimmerman. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights air cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox by Skip. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights air cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs gives voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with a swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox.org by Leknarf. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquis, read for LibriVox.org by Thomas Peter. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read fully breebox.org by Tavaresh. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air cities were or laws. Beast from world primeval, he and his leaping clan when the blotched red moon layers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time of his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain. The Tomcat by Don Marquess, read fully breebox.org by Kudano. The Tomcat. At midnight in the alley a Tomcat comes to wail and he chants the hate of a million years as he swings his snaky tail.  He twists and crouches and capers and bears his curved sharp claws and he sings to the stars of the jungle nights, air cities were or laws. Beast from the world primeval, he and his sleeping clan, when the bloodthread moon leers over the roofs give voice to their scorn of man.  But at midnight in the alley he will crouch again and wail and beat the time for his demon's song with the swing of his demon's tail. End of poem. This recording is in the public domain.