Torching the Modern-Day Library of Alexandria
“Somewhere at Google there is a database containing 25 million books and nobody is allowed to read them.”
meshaphoto / Getty / Konstantin Orlov / Shutterstock / Katie Martin / The Atlantic
- James Somers
- Apr 20, 2017
The first thing we read is that GLOBAL GOOGLE has digitized 25 million books and will not allow anyone to know what those books are. This is NOT the big issue for our 99% of citizens. The big issue is that any book NOT that 25 million is totally unimportant and will disappear. That means everything our 99% of citizens black, white, and brown citizens wrote these several hundred years----NOT IMPORTANT TO GLOBAL 1% AND WILL DISAPPEAR. We can imagine ancient ALEXANDRIA or those ROMAN MONASTERIES found in THE NAME OF THE ROSE----as those books global banking 1% through GLOBAL GOOGLE are digitizing. That is the basic theories and applications of all our human knowledge.
'Richard Ovenden, the head of Oxford’s Bodleian Libraries, has said. “It was possible to think in the Renaissance that you might be able to amass the whole of published knowledge in a single room or a single institution.”'
What does disappear is centuries of I AM MAN writing about things important to 99% of WE THE PEOPLE. No REAL LEFT SOCIAL PROGRESSIVE writing from 20th century will be saved---we are already seeing that writing and data DISAPPEARING.
If we only watched national media or those FAKE ALT RIGHT ALT LEFT labor and justice organizations with 5% players as leaders---we would hear that all this was PRIVACY ISSUES-----indeed it is----but the REAL issues are the disappearing lack of ACCESS TO BOOKS.
For some reason---this issue doesn't bring out our 350 million US citizens in protest----this was BUSH ERA-----yet it is the one most important issue tied to FREEDOM, LIBERTY, JUSTICE, PURSUIT OF HAPPINESS. Know what? There were no protests because none of the global banking 1% UNITED NATIONS NGOs led those protests.
Libraries Warn of Censorship, Privacy, Cost in Google's Digital Library
The nation's libraries are urging the judge overseeing a settlement that would clear the path for Google to control access to millions of digitized books to carefully evaluate the ambitious project, warning that the deal could grant the search giant extraordinary power to censor, price gouge and invade the privacy of readers.
The nation's library associations sternly warned federal court judge Denny Chin in a letter filed with the court Monday that the Google Book Settlement might give the search giant a monopoly on the world's digital works.
They also argued that the Book Registry, a new non-profit that will handle digital rights for all copyright holders, might take a cue from academic journal publishers and charge libraries ultra-high prices for institutional subscriptions to the Google database.
At issue is Google's attempt to create the worlds' largest digital library by scanning millions of books housed in the nation's research libraries. Depending on the copyright status of the book, Google shows snippets to full-texts of the books online and in search results. That prompted the Author's Guild to sue Google in 2005, leading to a settlement in 2007 that covers all book copyright holders. That deal gives Google various legal rights to scan, index, display and sell all books in print online.
The American Library Association, the Association of College and Research Libraries and the Association of Research Libraries are not opposing the proposed settlement, though the Justice Department is already looking into as a possible anti-trust matter.
However, their letter (.pdf) to a Manhattan federal district court adds to the growing chorus of voices opposing and raising questions about the deal.
For instance, the libraries warn that the settlement directs the Registry to set prices by looking to current models.
A university library spends an average total of $4.3 million a year for online journal subscriptions. If journal subscriptions are “comparable” to the institutional subscription, and a library pays $4.3 million for access to 31,000 journals, one can only imagine the price the Registry might insist upon for a subscription to millions of books.
Google will also face pressure, internationally and domestically, to censor the database, and the agreement gives it the right to keep up to 15 percent of the books it scans out of the available database for no reason.
After all, the Library Project will allow minors to access up to 20% of the text of millions of books from the computers in their bedrooms and to read the full text of these books from the public access terminals in their libraries. Although public libraries have often contended with demands to eliminate or restrict access to specific books, any collection management decision by a particular librarian affected only that community. Here, by contrast, if Google bends to political pressure to remove a book, it will suppress access to the book throughout the entire country.
The librarians also note that the agreement includes 17 pages on security procedures to prevent unauthorized access to the copyrighted books, but does not mention reader privacy.
Rights holders who wish to register their objections or opt-out of the deal have until September 4 to do so, and the final hearing on the settlement comes on October 7.
We already know it will be high prices------it will be selective DATABASE ACCESS-----that initially kick our 99% of US WE THE PEOPLE from accessing broad media, literature, and academic writing------that's who WE THE CITIZENS' OVERSIGHT MARYLAND are------and we have these several years found it harder and harder and harder to access what was wide-open printed BOOK AND JOURNAL access. Below we see one instance already in affect-----our LIBRARIES are being made unable to afford common academic journals pushed from printed to digital---now digital copies are becoming too expensive. One doesn't have to be a rocket scientist to understand if our private and public universities cannot afford these digital copies of valuable academic research and writings---then our PUBLIC LIBRARIES will certainly not either.
'They also argued that the Book Registry, a new non-profit that will handle digital rights for all copyright holders, might take a cue from academic journal publishers and charge libraries ultra-high prices for institutional subscriptions to the Google database'.
As we show over and again, the kinds of academic writings coming from global banking 1% player university research are FAKE DATA presented to 99% WE THE PEOPLE while that data now going to only the global 1% provides REAL INFORMATION. This is the opposite of what 20th century left social progressive academics working for public interest was ------KILLED BY CLINTON/BUSH/OBAMA.
'Approval of the settlement would, among other things, have given Google the right to commercialize virtually every out-of-print book in the corpus (unless rights holders came forward to say no)'.
The commercialization of out-of-print books is not the problem----the problem is the ability of global GOOGLE to decide to make these books disappear---and what we say is already happening---
TO EDIT THESE BOOKS MAKING THEM APPEAR TO SAY SOMETHING THAT AUTHOR DID NOT INTEND.
We spoke of this with DARWIN'S EVOLUTION writings.
THE WRITERS GUILD OF AMERICA like ALL labor organizations have those 5% global banking players and those 99% WE THE PEOPLE writers so not all WRITERS GUILD members are 5% PLAYERS.
The Pros and Cons of Joining the Writers Guild of America
By Jillian Richardson July 7th, 2014Updated 4/25/18
The Writers Guild of America (WGA) definitely carries clout for anyone involved in film, television, and digital media. As the New Member letter from WGA West puts it, “You had about a five times better chance of hearing your name read at the Major League baseball draft this year than of getting this letter. Make sure your parents know that.”
However, fully understanding the WGA can be difficult. Entertainment law is extremely complicated. Luckily, there are writers like John August and Craig Mazin who nicely summarize the complexities. (Check out their Scriptnotes podcast, which is an invaluable resource for anyone in the industry.)
After searching the WGA website, reading transcripts of podcasts, and talking to guild members, I have whittled all the important details down to a few pros and cons:
Writers can reap some serious rewards once they’ve made it through the WGA’s application process. As Craig Mazin noted in Scriptnotes, “There are certain things in place that you would not get on your own. Those are very specifically: minimum salary for your work, credit protection for your work, residuals for your work, healthcare for your employment, and pension for your employment. Those are the big ones.”
Navigating the entertainment industry can make you feel like you’re in a foreign country where you don’t know the language. A WGA membership ensures that you have up-to-date info on everything from net neutrality and creative rights to getting paid on time.
One of the biggest benefits for WGA writers is the ability to receive residuals. For example, Dylan Gary, who was a staff writer for the HBO show Tell Me You Love Me, would receive (small) checks in the mail because an episode of his had been aired in Argentina. Without WGA membership, he would not have the power to earn further payment for the distribution of his work. More info about the ins and outs of residuals can be found here and here.
Insurance without membership
WGA East Foundation Board member Jenny Lumet told me screenwriters can still benefit even when they’re not members. For example, anyone can go into the guild offices with a spec script and register it. You don’t need to have any form of representation. As Lumet said, the WGA’s ultimate goal is to help people “navigate the totally bizarre waters of getting hired as a writer.” That means, guild member or not, they still have your best interest in mind.
Within the past year, WGA East also created a Diversity Council to help workers in the entertainment industry voice their concerns. This is especially important after the 2014 Hollywood Writers Report was released, revealing the alarming lack of women and minorities in writers’ rooms. According to Lumet, the council helps writers understand how the hiring process works.
“No guild has the muscle to demand hiring changes, but what we can do is provide information,” she said.
Membership can threaten your job
Writers must already work for a company that is a signatory of the union in order to be considered for WGA membership. In addition, while joining the WGA can be beneficial down the road, it can jeopardize employment in the short term.
Before writers accept positions at a new company, they can make it a condition that the institution joins the WGA. For those who want to join the WGA once they are already employed, they can use the fact that fellow employees are already in the guild as leverage to gain their own membership.
Eligibility rules are difficult to understand
Finding out if you’re even a candidate for WGA membership can be complicated. For example, the West Coast WGA requires writers to have 24 “units” under their belts in order to be eligible. Different amounts of work constitute a different number of units. Four units is a story for a non-prime time serial that runs between 30 and 60 minutes. Twenty-four units is a screenplay for a feature-length motion picture. Who knew that unit conversion lesson in middle school physics would come in handy for screenwriting?
Assuming you didn’t catapult to fame with one screenplay, you’re going to have to do some math. On the other hand, you can always wait for a letter in the mail. Gary, for instance, was invited to join the WGA after earning his HBO staff job.
A full description of the unit system can be found here.
If you work in new media—writing for the Internet or mobile devices—you’re likely to confront even more confusion. To try and demystify the WGA membership guidelines for yourself, check here.
You have to pay dues
The necessary evil: WGA union members have to pay annual dues. They range from person to person, but are always 1.5 percent of applicable earnings, plus $25. Gary paid approximately $1,200 for his yearly membership.
You don’t have a choice (for good reason)
If you’re lucky enough to land a project with a company that is a WGA signatory, you might be surprised by the fact that you have to join the guild if you want to close the deal. However, this caveat isn’t there to protect the company—it’s designed to protect the writer.
As August wrote on his blog, “If it weren’t mandatory, studios would pressure writers not to join.” After all, if you sell a script and aren’t a unionized worker, the studio doesn’t have to pay for your healthcare, pension, or residuals.
Selling a script is hard enough. While the WGA is there to protect writers and their creativity, to outsiders it can seem like the Illuminati for insecure screenwriters who want to drive Porsches and mooch off the craft service table.
“It’s hard for people to navigate the totally bizarre waters of getting hired as a writer,” Lumet said.
But at least as a member, you can spend less time worrying about legalities and more time worrying about actually writing.
This is what national media, THE WRITERS GUILD, and all NGOs pretending to be fighting for our US 99% rights to access of books------when we allow MOVING FORWARD US CITIES DEEMED FOREIGN ECONOMIC ZONES and the installing of TRANS PACIFIC TRADE PACT-----as CLINTON/BUSH/OBAMA now TRUMP are doing-----our US Department of Justice and US Supreme Court rulings mean nothing----it is this global TTP written by global corporations and OLD WORLD GLOBAL 1% KINGS AND QUEENS that will determine COPYRIGHT LAWS-----for all 99% of US WE THE PEOPLE in the future.
This article is written by a global banking 1% DIGITAL WRITERS' RIGHTS group------there will be NO RIGHTS ON INTERNET ----DIGITAL RIGHTS ARE ONLY FOR THE GLOBAL 1%.
This article PRETENDS there was ever any intentions of internet digital libraries and writings to be DEMOCRATIZING-----OPENING ACCESS TO ALL GLOBAL 99% OF CITIZENS----when we always knew it never was intended to be open to 99% of US WE THE PEOPLE or our global 99% of citizens black, white, and brown citizens.
RACE TO TOP / COMMONER CORE was always policy with goals of creating separate educational access going back to DARK AGES of only the global 1% RACING TO TOP------while our 99% of citizens only able to access COMMONER CORE myth-making and propaganda written by those same global 1%.
'The Electronic Frontier Foundation is the leading nonprofit organization defending civil liberties in the digital world'.
Since ONE WORLD ONE TECHNOLOGY GRID is only for the global 1%-----these global 2% players thinking they will access and have rights are THE GREAT PRETENDERS. You cannot support ONE WORLD ONE GOVERNANCE ONE TECHNOLOGY AND ENERGY GRID and be fighting for anyone's rights especially our 99% of citizens---but not for those global 2% or 5% players either.
TPP's Copyright Trap
ELECTRONIC FRONTIER FOUNDATION
One of the defining battles in the Trans-Pacific Partnership (TPP) negotiations is whether its signatory countries will standardize copyright terms lengths to a minimum term of the life of the author plus 70 years. This would effectively set the maximum duration of copyright holders' monopoly rights to over 140 years. This is the demand from rightsholder groups such as the RIAA and MPAA who advise the U.S. Trade Representative (USTR). A precedent for such a provision has been set in previous Free Trade Agreements with countries like Australia and Singapore.
But the world's leading economists agree that such an extraordinary long copyright term makes no sense. It provides no further incentive for creation and provides little additional income to creators or their families—except for a very small, successful minority.
The ratcheting upward of copyright terms comes at a time when Internet and other digital technologies have spurred a revitalization of the world's public domain: the treasury of works that has passed out of copyright. Thanks to digital distribution, public domain material is now globally available for almost zero cost for study, enjoyment and re-use. Repeated copyright term extensions means decades of copyrighted material that might otherwise have passed into this universal library are now trapped in deteriorating analog formats.
The extension of copyright term is opposed by law professors, tech companies, non-profits, authors' associations and users. The additional 20 years of copyright protection amounts to a misappropriation from the public domain. It inhibits the creation of new works that build upon the past and exacerbates the orphan works problem. Even the U.S. Copyright Office has indicated that the copyright term may be too long, and proposed options for mitigating its deleterious effects.
In many countries, including six that are parties to the TPP negotiations, copyright terms remain set at life plus 50 years—because that term was established in law as a global standard by two copyright treaties, the Berne Convention and TRIPS. Until now these countries—Brunei, Canada, New Zealand, Malaysia, Japan and Vietnam—have resisted extending their copyright terms further, because it would result in an uncompensated outflow of money to large foreign corporations, and because it would endanger their peoples' ability to benefit from their own rich cultural heritage.
The current Berne standard of life plus 50 years is now under threat. The USTR is taking advantage of the secret TPP process to renegotiate it, hoping to firmly establish life plus 70 years as a new de facto global standard.
More Information From EFF and Our Partners
- Our Last Stand Against Undemocratic International Agreements That Ratchet up Term Lengths and Devastate the Public Domain (EFF, July 22, 2015)
- Anatomy of a Copyright Coup: Jamaica's Public Domain Plundered (EFF, July 24, 2015)
- Is Canada Set to Cave on Copyright Term Extension in the TPP? (EFF, July 29, 2015)
- Will TPP set a Copyright Trap? (Australian Digital Alliance, July 29, 2015)
- Malaysia Doesn't Need Another 20 Years of Copyright (EFF, August 5, 2015)
- Japan and the U.S. Move Closer to a TPP Deal That Would Hurt Japanese Creators (EFF, August 12, 2015)
- TPP's Copyright Term Extension Isn't Made for Artists—It's Made By and For Big Content Companies (EFF, August 17, 2015)
- Why Shouldn't Copyright Be Infinite? (EFF, September 1, 2015)
- Nothing is Agreed Yet—We Can Still Stop the TPP's Copyright Trap (EFF, September 8, 2015)
WE KNOW our Federal agencies are captured to global banking 1%---including this one
'Help us build a vibrant, collaborative global commons' says 'the American Library Association in Washington, D.C'
You cannot support ONE WORLD ONE GOVERNANCE ONE TECHNOLOGY AND ENERGY GRID and be fighting for anyone's rights especially our 99% of citizens---but not for those global 2% or 5% players either. A US DOJ ruling means nothing under TRANS PACIFIC TRADE PACT----it is all propaganda.
Below we see another global banking 1% group pretending to be fighting for copyrighting rights for writers. Think of several centuries of global banking 1% players as writers--------what we call OLD WORLD KINGS AND QUEENS FREEMASON STARS ----these are the writers getting published allowed to earn millions of dollars. They are the ones writing to create SOCIETAL FADS---or sell global banking 1% polices as good for 99% of WE THE PEOPLE when these policies are bad.
So, these NGO groups we are being told are winning some rights in copyright for writers-----are those global banking 1% STARS. We read where global banking 1% has promised its STARS they will keep earning big money ----BUT WE KNOW THAT IS NOT TRUE----didn't happen that way in DARK AGES.
This NGO group and this article is written for those 5% players----and global banking 1% FREEMASON STARS----acting as though they will be protected on ONE WORLD ONE TECHNOLOGY GRID DIGITAL WRITING------when in fact those players are going under the bus.
GLOBAL BANKING 1% WILL NOT NEED PLAYERS IN MOVING FORWARD ONE WORLD FOR ONLY THE GLOBAL 1% -----NO MORE PROPAGANDA-MAKERS NEEDED.
Not only our 99% US WE THE PEOPLE are being duped----but so too are those 5% and global 2% players----and this is what CREATIVE COMMONS working for global banking 1% is doing here.
TPP continues without the worst copyright provisions
November 13, 2017
Civil society organisations including Creative Commons helped deliver a win against the restrictive IP terms of the TPP, which were developed secret and would have locked down content and restricted user rights.
For the last five years the Creative Commons community has been organising against the restrictive copyright provisions put forth in the Trans-Pacific Partnership (TPP). We’ve written letters demanding increased transparency, contributed to public events such as the Rock Against the TPP concerts, and drafted an analysis of the copyright-related aspects of the TPP. In that document we said, “there is no logical reason to increase the term of copyright: an extension would create a tiny private benefit at a great cost to the public.”
According to a statement released Saturday, the ministers of the remaining countries negotiating the TPP have “agreed on the core elements” of the deal. Of particular interest are about 20 “suspended provisions” outlined in an annex to the ministerial statement. Most of the provisions in the chapter on intellectual property have been “suspended,” meaning they likely will be excluded from future negotiations. This includes the proposed 20 year increase in copyright term and the introduction of criminal penalties for circumventing technological protection measures.
Ryan Merkley, CEO of Creative Commons, said, “The suspension of the IP section of TPP is a huge win for the public, delivered in large part because of activists around the world who opposed the secret agreement. They exposed the terms and ensured there was public debate.”
The U.S. has been out of the picture since January 2017, when President Trump withdrew the United States from the agreement three days into his administration. Since that time, the name of the trade pact has been changed from TPP to the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP). The gigantic agreement still contains sweeping provisions regarding environmental regulation, pharmaceutical procurement, labor standards, food safety, and many other things. For nearly the last decade, it has been developed and negotiated completely in secret.
The news about the CPTPP comes during an active time of trade agreement talks, particularly in light of the re-negotiation of the North American Free Trade Agreement (NAFTA), now being “modernized” by Canada, Mexico, and the United States. Concerning those talks, we argued, “the NAFTA provisions having to do with copyright would do more harm than good if there’s not a significant shift in the balance in favor of the rights for users and the public to reflect the reality of today’s digital users.” A fundamental flaw with CPTPP, NAFTA, and nearly all other trade agreement negotiations is that they are entirely opaque to the population governed by them. In a letter to NAFTA negotiators, we demanded reforms to make the proceedings more transparent, inclusive and accountable. It is unacceptable that binding rules on intellectual property, access to medicines, and a variety of other trade-related sectors will be reworked within a process that is inaccessible and often hostile to input from members of the public.
All trade negotiations should be made through procedures that are transparent to the public and which include all stakeholders. Increased transparency and meaningful public participation will lead to better outcomes.
The negotiations of the CPTPP seem far from over, and it’s important to note that the provisions mentioned in the annex are only suspended, not removed entirely. Civil society organisations and consumer watchdog groups should continue to monitor the negotiations. But for now, the freezing of the worst parts of the IP chapter is a breath of fresh air in the otherwise dark, dank cave of trade policymaking.
To understand what is MOVING FORWARD with our GLOBAL GOOGLE DIGITIZED LIBRARY one only has to look at policies these few decades surrounding our HOLLYWOOD MOVIES AND TV SHOWS out of copyright and allowed to be bought by global media corporations. These global media corporations were allowed to purchase what is all of our US HISTORY IN CULTURAL ARTS from last century and they can do what they want------let all that history DIE ----or EDIT that history so it says what global banking 1% wants it to say. This is how our REAL LEFT SOCIAL PROGRESSIVE WRITINGS, MUSIC, ARTS, AND POPULIST ICONS ARE BEING CORRUPTED ------editing is making those sources of REAL INFORMATION turned to selling propaganda. Not that TV or Hollywood shows were REAL information----but along with those shows were a century of our local 99% voices.
CABLE stations were created just so global banking 1% could profit from those end-of-patented TV and MOVIES-----now our 99% have been made sick of NICK AT NIGHT. What happened as well is this------much of these TV and movie programming was edited out to make room for ADVERTISING. We are not even seeing what was seen originally. We are seeing ADDITIONS inserted into these programming that did not exist originally and those original writers have no say in how these writings are used.
We will see our US BOOKS and JOURNAL writing be taken commercially by global banking 1% looking just as TV and MOVIES.
Cable TV stations speeding up ‘Seinfeld,’ ‘Friends,’ ‘Wizard of Oz’ reruns to cram in more ads: report
TBS sped up its recent run of the classic film 'The Wizard of Oz.'
BY Jason Silverstein
NEW YORK DAILY NEWS
Friday, February 20, 2015, 12:45 AM
"There's no place like home" — repeat that line really fast.
At least two cable TV stations are speeding up sitcom reruns and classic movies to cram more advertisement into air time, and viewers have been fast to notice the peculiar pattern, The Wall Street Journal reported.
TV Land keeps old episodes of “Friends” on a constant fast-forward, and TBS sped up “Seinfeld” reruns and its showings last fall of the classic film “The Wizard of Oz.”
One pop culture scholar picked up on the Munchkin voices in the film sounding higher than usual.
Fast talkers: 'Seinfeld' episodes are getting sped up on TBS, while 'Friends' reruns get the fast-forward treatment on TV Land.(Getty Images/Getty Images)
“Their voices were raised a notch,” Stephen Cox, who wrote a book about the 1939 film, told the Journal. “It was astounding to me.”
Cable stations have a long tradition of trimming scenes and show intros, but using compression technology to make popular titles whiz by is a new trick triggered by shrinking viewership and ad revenue. It’s helped lead to the average cable commercial time per hour increasing from 14.5 minutes in 2013 to 15.8 minutes in 2014, according to Nielsen.
But the time-trimming tactic might violate content control contracts with production companies, and also has marketers worried that the overabundance of ads will drive more viewers to commercial-free Netflix and Amazon, the Journal reported.
“Friends” co-creator Marta Kauffman told the Journal she thinks the method “feels wrong” and compared it to the colorization of black-and-white films.
“It wasn’t meant to be that way, so don’t make it that way,” Kauffman said.
One fan video from 2013 shows a real time comparison between a regular “Seinfeld” episode and its sped-up TBS version. The video says the TBS episode runs two minutes shorter than the original.
Here is what we are seeing in that DOJ GLOBAL GOOGLE DIGITAL LIBRARY ruling------those WRITERS GUILD in class action lawsuits are those 5% freemason STARS-----they are the only one's receiving RESIDUALS worth suing. As with our TV and movies----the STARS earned millions from NICK AT NIGHT being played over and over and over-----but those 99% of actors and writers did not.
This is what is MOVING FORWARD with GLOBAL GOOGLE legal rulings. Those global banking 1% freemason LITERARY STARS are fighting to get those RESIDUALS while those 99% of writers will get nothing.
THE GORILLA-IN-THE-ROOM FOR ALL OUR 99% OF WRITERS AND READERS IS-------GLOBAL BANKING 1% WILL HAVE ARTIFICIAL INTELLIGENCE AS WRITERS---THERE WILL BE NO 99% WRITERS---NO 5% WRITERS----NO GLOBAL 2% WRITERS.
We are sure this RESIDUAL payment will continue for a few decades to come to keep those 15th generation two times removed on mother's side freemason players captured-----but that is NOT THE GOAL OF ONE WORLD ONE DIGITAL LIBRARY FOR ONLY THE GLOBAL 1%.
Remember, our cultural arts guilds have always been tied to global 1% OLD WORLD KINGS AND QUEENS-----our most talented are SHOW ME THE MONEY---the most marketed artists are DOING ANYTHING GLOBAL BANKING 1% SAYS. These foundations and writers groups are not working for what is best for 99% WE THE PEOPLE and our past, present, and future of BOOKS.
'“Friends” actually negotiated for a higher share than that maximum for residuals, so they’re sitting pretty, especially since "Friends" has made somewhere north of $3 billion in syndication'.
FRIENDS STARS are not worried the future of acting will be replaced by artificial digital 'actors' nor are the 5% writers worried that the future of writing will end and be done only by artificial intelligence---they got that PAYDAY.
How do actors make money off residuals?
By Tommy Andres
October 24, 2014 | 2:06 PM
f you watch season three, episode seven of “The Walking Dead” you may see me eating a guy. I was paid $100 to dress up like a zombie and help take down and disembowel a hermit. But aside from chiggers and a blurry screen grab for my Facebook page, that $100 is all I’ll ever get from my performance. That’s because extras get no residuals.
When you become a bigger part of the show, however, that changes. The next step up from an extra is a day player. If you get a line of dialogue in a show or have a scripted physical interaction with a character (called “special business”), you qualify for residuals. Everyone from day players to stunt performers to the main cast of a show, otherwise known as “featured players,” gets residuals. How much they get is based on what they are paid in the first place.
If you listen to the story above (there's an audio player below the video), you’ll hear how James Michael Tyler who played Gunther the barista on “Friends” got paid for his very first line. This Gunther:
But here, I thought it would be interesting to calculate how much one of the main cast members gets paid:
The “Friends” cast was making $1 million an episode for the last couple of seasons. But Craig Beatty, the Vice President of Entertainment Partners, says there’s a ceiling. During “Friends” that was around $2,500 an episode. So let’s use that as our jumping off point to calculate an example:
Let’s take “The One Where Eddie Moves In," otherwise known as the ultimate "Smelly Cat" episode:
If, back in 1996, it repeated once during the summer and once the following year on NBC, then Lisa Kudrow would have theoretically gotten:
$2,500 x 2 = $5,000
When a show is syndicated to basic cable and local television stations (called "free television" in the biz), a sliding scale kicks in. Kudrow would have received 40 percent for the first re-run (40 percent of $2,500 = $1,000), 30 percent for the second re-run ($750) and then 25 percent for the next three re-runs. After that, it goes down incrementally until the 13th time it airs. From then on, an actor gets 5 percent for each episode every time it airs, forever. So if “The One Where Eddie Moves In” re-aired five times in syndication, the math would work like this:
40% of $2,500 = $1,000
30% of $2,500 = $750
25% of $2,500 = $625 x 3 = $1,875
Kudrow would also be compensated for foreign rights, but those work a little differently. Back in the '90s, she would’ve gotten one flat payment of 35 percent, no matter how many channels it showed on outside North America. So:
35% of $2,500 = $875
And if we add all that up:
$5,000 + $875 + $1,000 + $750 + $1,875 = $9,500
I won’t get into DVD and digital media sales because those get pretty complicated, but let’s just say we hit $10,000 total per episode, for easy math’s sake . With 236 episodes, that would mean Kudrow would’ve gotten at least:
$2,360,000 in total residuals for “Friends.”
Now, we all know “Friends” has aired a bajillion times, so it’s safe to say that estimate is ludicrously, ridiculously and extremely low. Plus, the cast of “Friends” actually negotiated for a higher share than that maximum for residuals, so they’re sitting pretty, especially since "Friends" has made somewhere north of $3 billion in syndication.
Regardless, residuals are a steady stream of income in a line of work where nothing else is all that steady.
REALITY SHOW STARS replaced the professional actors guild deliberately breaking yet another LABOR UNION. REALITY SHOWS like PULP FICTION and NOVELS are seen as 99% creative arts and they will not be preserved nor will they get RESIDUALS. REALITY SHOWS and PULP FICTION/NOVELS exploded during CLINTON/BUSH/OBAMA and they are the very arts and cultures ----those books GLOBAL GOOGLE DIGITAL LIBRARY will not be saving into future. This is how our 99% WE THE PEOPLE lose our cultural history over and over again. One thing about verbal history and memorizing books and repeating through generations---that was one medium global banking 1% cannot eliminate. Our ancient Greek and Roman classics were handed down verbally over thousands of years----
last century's US ARTS AND CULTURE WILL BE ALLOWED TO DIE---MOVING FORWARD GLOBAL GOOGLE DIGITAL LIBRARY.
'Pulp Fiction - Wikiquote
Pulp Fiction is a 1994 neo-noir film about the lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits that intertwine in four tales of violence and redemption. I been saying that shit for years. And if you heard it, that meant your ass. I never gave much thought to what it ...'
This is why our Baltimore tradition of placing flowers on POE'S GRAVE has come to an end------all that is not making it to GLOBAL GOGGLE'S DIGITAL LIBRARY. All of that was AGE OF ENLIGHTENMENT---I AM MAN ------not important!
TV & FILM
09/05/2012 11:47 am ET Updated Sep 05, 2012
‘Honey Boo Boo’ Cast Salary: How Much Money Do The Stars Make?
By Cavan Sieczkowski
When seven-year-old Alana Thompson first uttered, “A dollar makes me holler, Honey Boo Boo,” she probably had no idea that it would not only become her catchphrase, but it would also score her and her family a reality series ... and some money. Sources estimate their TLC reality series, “Here Comes Honey Boo Boo,” has earned Alana and her family a salary in the tens of thousands.
The Hollywood Reporter claims that the “Honey Boo Boo” family earns between $2,000 and $4,000 per episode, possibly hitting $40,000 for the 10-episode season, according to sources. THR adds that a small “location fee” might also be paid.
UPDATE: June Shannon, the matriarch of the “Honey Boo Boo” family, spoke with TMZ and “laughed out loud” at THR‘s report. Though she wouldn’t be specific, TMZ claims it was clear the family makes far more than $2,000 to $4,000 per episode.
No doubt, there is a possibility that this salary might get a bump if “Here Comes Honey Boo Boo” is picked up for a second season.
“Here Comes Honey Boo Boo” has had huge ratings thus far and even scored more viewers among adults 18-49 than the Republican National Convention. The Aug. 29 episode drew nearly 3 million viewers.
TLC has been rumored to pay big salaries to the casts of their biggest shows. Although networks typically do not disclose the deals made with individual families, details about TLC’s reality stars’ salaries have surfaced.
Jon and Kate Gosselin of TLC’s “Jon & Kate Plus 8,” which first aired in 2007, earned $22,500 per episode, Jon told Larry King during an interview with CNN in 2009.
The Duggars of “18 Kids and Counting” are believed to have raked in even more. Reality families usually make a salary 10 percent of a show’s per-episode budget, reality producer Terence Michael told E! News back in 2009. He estimated TLC budgeted about $250,000 to $400,000 per episode, which would mean the Duggars earned between $25,000 and $40,000 for four or five days’ work.
Now TLC has a new family to cater to.
“Here Comes Honey Boo Boo” is a spinoff series from TLC’s “Toddler & Tiaras,” on which young beauty queen Alana first appeared and hollered for that dollar. The show follows the seven-year-old and her crazy “redneck” family living in Georgia — “Mama” June, chalk-mining dad “Sugar Bear” and sisters 12-year-old Lauryn “Pumpkin,” 15-year-old Jessica “Chubbs” and 17-year-old Anna “Chickadee.”
The family has captured the attention of America’s viewers. However, the family has not gotten used to “Honey Boo Boo” fame.
“It’s kind of like, crazy seeing yourself on TV,” June said during an interview with People magazine. “[But] we’re just common everyday people.”
The tearing down of CONFEDERATE MONUMENTS has nothing to do with PRETENDING TO BE AGAINST SLAVERY. It is the tearing down of all AMERICAN HISTORY in MOVING FORWARD US FOREIGN ECONOMIC ZONES as tribute colonies under global banking 1% KINGS AND QUEENS' rule. So too is this debate ------SAVE THE POE MUSEUM. Now, POE MUSEUM received a TEMPORARY reprieve ---but there is no intent to save POE----POE is that AGE OF ENLIGHTENMENT----I AM MAN -----99% WE THE PEOPLE-----global GOOGLE DIGITAL LIBRARY of 25 million digital scans has no room for any I AM MAN -----THE NOVEL----THE POETRY-----
The BOOKS/SCROLLS that made it through thousands of years were SELECTIVELY KEPT/SAVED. Whereas modern civilization lost much of ancient books to natural disaster----we lost as much from KING AND QUEEN SELECTION. That is what MOVING FORWARD GLOBAL GOOGLE DIGITAL LIBRARY will do---it will make to disappear all BOOKS/ACADEMIC WRITING not created by global banking 1% and its players.
Whether we read there were 700.000 scrolls or not----we don't know that number----so, too we will not know what 25 MILLION BOOKS---if that number is real -----or what they are----AND IT DOES NOT MATTER.
WHAT MATTERS IS KEEPING THE LIBRARIES AND THEIR BOOKS OPEN AND AVAILABLE FOR ACCESS FOR ALL 99% US WE THE PEOPLE.
12 May, 2014 - 12:42 dhwty
The destruction of the Great Library of Alexandria
Alexandria, one of the greatest cities of the ancient world, was founded by Alexander the Great after his conquest of Egypt in 332 BC. After the death of Alexander in Babylon in 323 BC, Egypt fell to the lot of one of his lieutenants, Ptolemy. It was under Ptolemy that the newly-founded Alexandria came to replace the ancient city of Memphis as the capital of Egypt. This marked the beginning of the rise of Alexandria. Yet, no dynasty can survive for long without the support of their subjects, and the Ptolemies were keenly aware of this. Thus, the early Ptolemaic kings sought to legitimize their rule through a variety of ways, including assuming the role of pharaoh, founding the Graeco-Roman cult of Serapis, and becoming the patrons of scholarship and learning (a good way to show off one’s wealth, by the way). It was this patronage that resulted in the creation of the great Library of Alexandria by Ptolemy. Over the centuries, the Library of Alexandria was one of the largest and most significant libraries in the ancient world. The great thinkers of the age, scientists, mathematicians, poets from all civilizations came to study and exchange ideas. As many as 700,000 scrolls filled the shelves. However, in one of the greatest tragedies of the academic world, the Library became lost to history and scholars are still not able to agree on how it was destroyed.
Could the Poe movie save Edgar Allan Poe's Baltimore house?
August 8, 2011 | 8:43 am
Edgar Allan Poe's Baltimore house is running on fumes. The historic house is a museum open to the public that lost the $85,000 in support it gets from the city of Baltimore for the second year running, and may be forced to close.
Poe lived in the house at 203 Amity St. with his aunt, her mother and his cousin Virginia from 1833, when he was 23, until 1835. That year, Poe moved to Richmond, Va., and reduced circumstances forced the family to leave the house; now, financial issues have put Poe's museum in jeopardy. A Baltimore city official told the New York Times that budget cuts left everyone "under the gun," although the city's $55,500 support of the Babe Ruth Birthplace Museum continues. Babe Ruth's museum gets many more visitors than Poe's. Some say that's because Poe's house is in a poor neighborhood -- that's a housing project behind it in the photo above -- but maybe it's partly because of timing.
A Poe resurgence seems to be in the works, and maybe it could do something for Baltimore's Poe house. John Cusack stars as Poe in "The Raven" due out in 2012. The film is set during the last days of Poe's life, and is a fictionalized account that adds a serial killer into the mix of his mysterious (possibly alcohol-induced) end. Although Poe died somewhat mysteriously in Baltimore in 1849, the film was shot in Serbia and Hungary. Could "The Raven" swoop in and provide the angel funding needed by the Baltimore Poe museum?
"The Raven" isn't the only film that should bring renewed attention to Poe. The long-dead author is a key figure in "Twixt," Francis Ford Coppola's first 3-D film: instead of 3-D glasses, audience members at a preview at Comic-Con donned Edgar Allan Poe masks with treated lenses. And maybe we'll see a TV crime serial featuring Poe as a 19th-century detective -- ABC picked up the pilot of "Poe" earlier this year.
When Poe's family was forced to leave the Baltimore house, he did what anyone would do -- he married his cousin. OK, that's not what anyone would do, but it is what Poe did. He was 27; she was 13.
Poe and his new wife lived together in Richmond, which has its own Poe Museum that "boasts the world's finest collection of Edgar Allan Poe's manuscripts, letters, first editions, memorabilia and personal belongings." Yet while it's era-appropriate, Poe never resided in the building that houses the museum; he lived and worked nearby.
He did live in the Baltimore house, and is presumed to have written several poems and stories there. Often considered the father of the short story, Poe had written a collection of pieces that he could only publish individually, including "MS. Found in a Bottle" and "Berenice -- A Tale." Poe is an early practitioner of detective fiction and of the macabre. It would just be creepy if his Baltimore house were nevermore.
What we KNOW won't make it into GLOBAL GOOGLE DIGITAL LIBRARY are NOVELS ----an invention of 1800s and 1900s often making central to plot characters who are I AM MAN---our 99% WE THE PEOPLE. Stories of their lives, romantic, sensational-----not worth keeping ON FILE AT THE DIGITAL LIBRARY.
Below we see the global banking freemason LITERARY STAR writing what crosses several public policy issues---but one thing this novel makes clear by its protagonists-----NOVELS ARE ONLY READ BY WOMEN....EVEN HENRY JAMES GOES.
What stay are PHILOSOPHICAL, SCIENCE, RELIGIOUS THOUGHT written at those OLD WORLD KINGS AND QUEENS global 1% MEDIEVAL IVY LEAGUE universities----not our corrupted and dismantled US IVY LEAGUES.
Look to the writings of those OLD WORLD IVY LEAGUES to see what joins those ancients and Roman writings felt worthy of GLOBAL GOOGLE DIGITAL LIBRARY for only the global 1%.
Avenue of Mysteries
John Irving (Goodreads Author)
3.22 · Rating details · 8,944 Ratings · 1,597 Reviews
John Irving returns to the themes that established him as one of our most admired and beloved authors in this absorbing novel of fate and memory.
As we grow older—most of all, in what we remember and what we dream—we live in the past. Sometimes, we live more vividly in the past than in the present.
As an older man, Juan Diego will take a trip to the Philippines, but what travels with him are his dreams and memories; he is most alive in his childhood and early adolescence in Mexico. “An aura of fate had marked him,” John Irving writes, of Juan Diego. “The chain of events, the links in our lives—what leads us where we’re going, the courses we follow to our ends, what we don’t see coming, and what we do—all this can be mysterious, or simply unseen, or even obvious.”
Avenue of Mysteries is the story of what happens to Juan Diego in the Philippines, where what happened to him in the past—in Mexico—collides with his future. (less)
When a genre is labelled FOR WOMEN-----never seen as serious writing ---because KINGS are not women.
09/16/2014 04:39 pm ET Updated Dec 06, 2017
Why Do Women Read More Novels Than Men?
By Warren Adler
There is ample statistical evidence showing that adult women read more novels than men, attend more book clubs than men, use libraries more than men, buy more books than men, take more creative writing courses than men, and probably write more works of fiction than men. If, as a demographic, they suddenly stopped reading, the novel would nearly disappear.
A recent perusal of the New York Times fiction best-seller list, scoring sales of print and e-books combined, showed that of the fifteen titles listed, eleven were written by women. Indeed, women are the bulwarks of the novel trade. Those statistics could lead one to also believe that the reason for such disparity is that stories told in novels, the characters, plots, insights, inner thoughts, experiences and wisdom offered are skewed to reflect a female point of view.
Even if you take romance fiction out of the mix, formula romance and its many spinoffs, a surefire product targeted exclusively to women, women readers continue to outpace men. Having even moved into reading categories once considered strictly male turf, women readers and writers today are heavily represented across many genres from science fiction and zombie novels to mystery, suspense, horror, thrillers, military, including a myriad of other sub-genres.
Heroines abound, many created by men, including myself. My mystery series set in Washington, D.C., features Fiona Fitzgerald, a female detective, and like Barbara Rose, in The War of the Roses, women emerge in strong roles in my writing. Gender, in my writing process, has little to do with marketing considerations. My creative subconscious and intuition demand it, and I am certain that female writers create male characters for similar reasons, however mysterious. So, most female authors do not write exclusively about women despite the fact that they have an overwhelming female readership.
Whatever publishing discrimination might have existed for women in the past, they obviously do not exist in the present. I’m inclined to believe that women, despite once being held back by education, custom and bias, and restricted to roles primarily as caregivers and nurturers, have surreptitiously dominated the market for novels. The creative urge operates outside the parameters of gender and, despite the restrictions, women have been writing and publishing novels from the moment the form emerged.
In the murky definition where the literary crosses swords with the popular, note the names of these authors: Dickens, Balzac, Bronte, Tolstoy, Lessing, Hemingway, Sands, Eliot, Austen, Proust, Shelly, Faulkner, Joyce, McCullers, Fitzgerald, Cather, Stowe, Wharton, etc. — some female and some male. Their stories have been told from the point of view of both genders; stories that are about the human species and not confined merely to an isolated gender.
The gender of a novelist is irrelevant to their creativity. The criterion is talent, a mysterious and extraordinary gift that does not discriminate. A talented female author can find her way into the mind and heart of her male characters just as a male writer can do the same with his female characters. If there is some mythical dividing line between the insight, wisdom, and literary skill between men and women, it is not apparent to me. As for the reasons women dominate the reading market or perhaps the writing profession, I don’t have the answers — I can understand economic and opportunity parity, but not intellectual and artistic parity.
As a reader, I make my selections solely on the basis of which author moves me to enter his or her world, and follow the lives of their characters into the mysteries of their destiny. I hope the readers of my work feel the same way.
Why do you think women read more novels than men? Or will the question continue to baffle, like the mystery of love and attraction?
We showed a YOU TUBE video clip from TWO AND HALF MEN-----where ALAN is crazed by the idea he cannot read all the CLASSICS----and he is pulling out all those NOVELS by authors below as examples------indeed, they will not make that global GOOGLE DIGITAL LIBRARY for only the global 1% ---because they do not care about lives of 99% of people---they have their KINGLY MYTH-MAKING to do.
'In the murky definition where the literary crosses swords with the popular, note the names of these authors: Dickens, Balzac, Bronte, Tolstoy, Lessing, Hemingway, Sands, Eliot, Austen, Proust, Shelly, Faulkner, Joyce, McCullers, Fitzgerald, Cather, Stowe, Wharton, etc. — some female and some male. Their stories have been told from the point of view of both genders; stories that are about the human species and not confined merely to an isolated gender'.
DON QUIXOTE tops the list because this was the time period breaking away from KINGS AND QUEENS and MAGNA CARTA -----doing away with all that CHIVALRY.
Below we see that list of what are those global banking 1% FREEMASON LITERARY STARS from late 1700s to today. These are what will NOT make it into GLOBAL GOOGLE DIGITAL LIBRARY-----today's FREEMASON LITERARY STARS writing to create societal FADS and sell global banking policies ---are the WRITERS GUILD DOJ LAWSUIT clients trying to get RESIDUALS for their BOOKS-----knowing where MOVING FORWARD digital global GOOGLE for only the global 1% will leave 99% of WE THE PEOPLE ----WITH NO BOOK ACCESS.
The 100 best novels
The 100 greatest novels of all time: The list
From Don Quixote to American Pastoral, take a look at the 100 greatest novels of all time
Sun 12 Oct 2003 10.27 EDT First published on Sun 12 Oct 2003
The greatest novel of all time? ... windmills in La Mancha feature in Miguel de Cervantes' novel Don Quixote.
Photograph: Victor Fraile / Reuters
1. Don Quixote Miguel De Cervantes
The story of the gentle knight and his servant Sancho Panza has entranced readers for centuries.
• Harold Bloom on Don Quixote – the first modern novel
2. Pilgrim's Progress John Bunyan
The one with the Slough of Despond and Vanity Fair.
• Robert McCrum's 100 best novels: The Pilgrim's Progress
3. Robinson Crusoe Daniel Defoe
The first English novel.
• Robert McCrum's 100 best novels: Robinson Crusoe
4. Gulliver's Travels Jonathan Swift
A wonderful satire that still works for all ages, despite the savagery of Swift's vision.
• Robert McCrum's 100 best novels: Gulliver's Travels
5. Tom Jones Henry Fielding
The adventures of a high-spirited orphan boy: an unbeatable plot and a lot of sex ending in a blissful marriage.
• Robert McCrum's 100 best novels: Tom Jones
6. Clarissa Samuel Richardson
One of the longest novels in the English language, but unputdownable.
• Robert McCrum's 100 best novels: Clarissa
7. Tristram Shandy Laurence Sterne
One of the first bestsellers, dismissed by Dr Johnson as too fashionable for its own good.
• Robert McCrum's 100 best novels: The Life and Opinions of Tristram Shandy, Gentleman
8. Dangerous Liaisons Pierre Choderlos De Laclos
An epistolary novel and a handbook for seducers: foppish, French, and ferocious.
• Jason Cowley on the many incarnations of Dangerous Liaisons
9. Emma Jane Austen
Near impossible choice between this and Pride and Prejudice. But Emma never fails to fascinate and annoy.
• Robert McCrum's 100 best novels: Emma
10. Frankenstein Mary Shelley
Inspired by spending too much time with Shelley and Byron.
• Robert McCrum's 100 best novels: Frankenstein
11. Nightmare Abbey Thomas Love Peacock
A classic miniature: a brilliant satire on the Romantic novel.
• Robert McCrum's 100 best novels: Nightmare Abbey
12. The Black Sheep Honoré De Balzac
Two rivals fight for the love of a femme fatale. Wrongly overlooked.
• Balzac drank 50 cups of coffee a day: Daily Rituals of Creative Minds
• Jason Bourke on France's tradition of art imitating life
• Nick Lezard on a translated collection of short stories and Balzac's influence on other literary greats
13. The Charterhouse of Parma Stendhal
Penetrating and compelling chronicle of life in an Italian court in post-Napoleonic France.
• The Charterhouse of Parma - review
14. The Count of Monte Cristo Alexandre Dumas
A revenge thriller also set in France after Bonaparte: a masterpiece of adventure writing.
• Dumas's five best novels
15. Sybil Benjamin Disraeli
Apart from Churchill, no other British political figure shows literary genius.
• Robert McCrum's 100 best novels: Sybil
16. David Copperfield Charles Dickens
This highly autobiographical novel is the one its author liked best.
• Robert McCrum's 100 best novels: David Copperfield
17. Wuthering Heights Emily Brontë
Catherine Earnshaw and Heathcliff have passed into the language. Impossible to ignore.
• Robert McCrum's 100 best novels: Wuthering Heights
18. Jane Eyre Charlotte Brontë
Obsessive emotional grip and haunting narrative.
• Robert McCrum's 100 best novels: Jane Eyre
19. Vanity Fair William Makepeace Thackeray
The improving tale of Becky Sharp.
• Robert McCrum's 100 best novels: Vanity Fair
20. The Scarlet Letter Nathaniel Hawthorne
A classic investigation of the American mind.
• Robert McCrum's 100 best novels: The Scarlet Letter
21. Moby-Dick Herman Melville
'Call me Ishmael' is one of the most famous opening sentences of any novel.
• Robert McCrum's 100 best novels: Moby-Dick
22. Madame Bovary Gustave Flaubert
You could summarise this as a story of adultery in provincial France, and miss the point entirely.
• Julian Barnes rewrites the ending to Madame Bovary
• The Everest of translation, by Adam Thorpe
23. The Woman in White Wilkie Collins
Gripping mystery novel of concealed identity, abduction, fraud and mental cruelty.
• The Woman in White's 150 years of sensation
24. Alice's Adventures In Wonderland Lewis Carroll
A story written for the nine-year-old daughter of an Oxford don that still baffles most kids.
•Robert McCrum's 100 best novels: Alice's Adventures in Wonderland
25. Little Women Louisa M. Alcott
Victorian bestseller about a New England family of girls.
•Robert McCrum's 100 best novels: Little Women
26. The Way We Live Now Anthony Trollope
A majestic assault on the corruption of late Victorian England.
• Robert McCrum's 100 best novels: The Way We Live Now
27. Anna Karenina Leo Tolstoy
The supreme novel of the married woman's passion for a younger man.
• Rereading Anna Karenina, by James Meek
28. Daniel Deronda George Eliot
A passion and an exotic grandeur that is strange and unsettling.
• A new novel from George Eliot - the Guardian's first review of Daniel Deronda, from 1876
29. The Brothers Karamazov Fyodor Dostoevsky
Mystical tragedy by the author of Crime and Punishment.
• Stuart Jeffries on the incorrect title
In Pictures: Readers suggest the 10 best long reads
Author snapshot: Fyodor Dostoevky
30. The Portrait of a Lady Henry James
The story of Isabel Archer shows James at his witty and polished best.
• Profound and flawed: Claire Messud on rereading The Portrait of a Lady
• Hermione Lee on the biography of a novel that changed literature
31. Huckleberry Finn Mark Twain
Twain was a humorist, but this picture of Mississippi life is profoundly moral and still incredibly influential.
• Robert McCrum's 100 best novels - Huckleberry Finn
32. The Strange Case of Dr Jekyll and Mr Hyde Robert Louis Stevenson
A brilliantly suggestive, resonant study of human duality by a natural storyteller.
• Ian Rankin on The Strange Story of Dr Jekyll and Mr Hyde
33. Three Men in a Boat Jerome K. Jerome
One of the funniest English books ever written.
• Robert McCrum's 100 best novels - Three Men in a Boat
34. The Picture of Dorian Gray Oscar Wilde
A coded and epigrammatic melodrama inspired by his own tortured homosexuality.
• Fiona MacCarthy on the inspiration behind The Picture of Dorian Gray
• Robert McCrum's 100 best novels: The Picture of Dorian Gray
35. The Diary of a Nobody George Grossmith
This classic of Victorian suburbia will always be renowned for the character of Mr Pooter.
Buy The Diary of a Nobody at the Guardian Bookshop
36. Jude the Obscure Thomas Hardy
Its savage bleakness makes it one of the first twentieth-century novels.
• Robert McCrum's 100 best novels: Jude the Obscure
37. The Riddle of the Sands Erskine Childers
A prewar invasion-scare spy thriller by a writer later shot for his part in the Irish republican rising.
• Classics Corner - The Riddle of the Sands
38. The Call of the Wild Jack London
The story of a dog who joins a pack of wolves after his master's death.
• Robert McCrum's 100 best novels: The Call of the Wild
39. Nostromo Joseph Conrad
Conrad's masterpiece: a tale of money, love and revolutionary politics.
• Chinua Achebe and Caryl Phillips discuss the case against Conrad
40. The Wind in the Willows Kenneth Grahame
This children's classic was inspired by bedtime stories for Grahame's son.
• Robert McCrum's 100 best novels: The Wind in the Willows
41. In Search of Lost Time Marcel Proust
An unforgettable portrait of Paris in the belle époque. Probably the longest novel on this list.
• Melvyn Bragg rereads In Search of Lost Time
42. The Rainbow D. H. Lawrence
Novels seized by the police, like this one, have a special afterlife.
• Rachel Cusk rereads The Rainbow
• Adam Thorpe on The Rainbow
43. The Good Soldier Ford Madox Ford
This account of the adulterous lives of two Edwardian couples is a classic of unreliable narration.
• Jane Smiley on The Good Soldier, stylistic perfection
• Robert McCrum's 100 best novels: The Good Soldier
44. The Thirty-Nine Steps John Buchan
A classic adventure story for boys, jammed with action, violence and suspense.
• Robert McCrum's 100 best novels: The Thirty-Nine Steps
45. Ulysses James Joyce
Also pursued by the British police, this is a novel more discussed than read.
• Robert McCrum's 100 best novels: Ulysses
46. Mrs Dalloway Virginia Woolf
Secures Woolf's position as one of the great twentieth-century English novelists.
• Robert McCrum's 100 best novels: Mrs Dalloway
47. A Passage to India EM Forster
Forster's great love song to India.
• Robert McCrum's 100 best novels: A Passage to India
• Damon Galgut on the unrequited love at the heart of A Passage to India
48. The Great Gatsby F. Scott Fitzgerald
The quintessential Jazz Age novel.
• Robert McCrum's 100 best novels: The Great Gatsby
• What makes Gatsby great? by Sarah Churchwell
49. The Trial Franz Kafka
The enigmatic story of Joseph K.
• John Banville on the story behind Kafka's great novel of judgment and retribution
50. Men Without Women Ernest Hemingway
He is remembered for his novels, but it was the short stories that first attracted notice.
• Chis Power salutes some of the greatest short stories ever written
51. Journey to the End of the Night Louis-Ferdinand Celine
The experiences of an unattractive slum doctor during the Great War: a masterpiece of linguistic innovation.
• Tibor Fischer on Celine's journey to the cutting edge of literature
• Celine: great author and absolute bastard
52. As I Lay Dying William Faulkner
A strange black comedy by an American master.
• Robert McCrum's 100 best novels: As I Lay Dying
• Alison Flood on the anniversary edition of The Sound and the Fury in coloured ink
53. Brave New World Aldous Huxley
Dystopian fantasy about the world of the seventh century AF (after Ford).
• Robert McCrum's 100 best novels: Brave New World
• Read the original Guardian review from 1932
54. Scoop Evelyn Waugh
The supreme Fleet Street novel.
• Ann Pasternak Slater on the journalistic experiences that shaped Waugh's novel
• Robert McCrum's 100 best novels: Scoop
55. USA John Dos Passos
An extraordinary trilogy that uses a variety of narrative devices to express the story of America.
• Charlotte Jones on New York in books
• Robert McCrum's 100 best novels: Nineteen Nineteen (the second book in the trilogy)
56. The Big Sleep Raymond Chandler
Introducing Philip Marlowe: cool, sharp, handsome - and bitterly alone.
• John Dugdale on Chandler's crime-writing revolution
• Robert McCrum's 100 best novels: The Big Sleep
57. The Pursuit Of Love Nancy Mitford
An exquisite comedy of manners with countless fans.
• Olivia Laing on Mitford's genius wicked humour
58. The Plague Albert Camus
A mysterious plague sweeps through the Algerian town of Oran.
• Marina Warner's review of The Plague
• Tony Judt on the man behind the novel
• Ed Vulliamy on The Plague, 55 Years later
59. Nineteen Eighty-Four George Orwell
This tale of one man's struggle against totalitarianism has been appropriated the world over.
• Robert McCrum's 100 best novels: Nineteen Eighty-Four
• Sam Jordison discusses Will Self's criticism of Nineteen Eighty-Four
• From the Archives: the original review from 1949
60. Malone Dies Samuel Beckett
Part of a trilogy of astonishing monologues in the black comic voice of the author of Waiting for Godot.
• Robert McCrum's 100 best novels: Murphy (the first part of the trilogy)
• Keith Ridgway rereads his favourite Beckett
• Peter Conrad and Philip Hensher review the Collected Letters, vols 1 and 2
61. Catcher in the Rye J.D. Salinger
A week in the life of Holden Caulfield. A cult novel that still mesmerises.
• Ten things you should know about The Catcher in the Rye
• Stephen Bates on the possible sequel to The Catcher in the Rye
• David Barnett offers his take on the controversy
• Anne Roiphen rereads Salinger's novel
62. Wise Blood Flannery O'Connor
A disturbing novel of religious extremism set in the Deep South.
• The Reading Group takes on O'Connor's debut
• Peter Wild takes a look at O'Connor's cartoons
• Is Flannery O'Connor a Catholic writer?
63. Charlotte's Web EB White
How Wilbur the pig was saved by the literary genius of a friendly spider.
• John Updike on EB White
• Stephen Amidon remains enchanted with Charlotte's Web 50 years after its publication
• Alison Flood on the spider that inspired Charlotte's Web
64. The Lord Of The Rings J. R. R. Tolkien
• Claire Armitstead remembers reading The Lord of the Rings in Lagos
• Visuals: The Lord of the Rings family tree and demographics chart
• Sarah Crown's guide to The Lord of the Rings
65. Lucky Jim Kingsley Amis
An astonishing debut: the painfully funny English novel of the Fifties.
• Olivia Laing on not reading Amis on the bus
• John Mullan analyses Lucky Jim for the Guardian Book Club
• John Crace "digests" Lucky Jim for the Guardian Podcast
66. Lord of the Flies William Golding
Schoolboys become savages: a bleak vision of human nature.
• Writers' desktops: William Golding's former home in pictures
• Steven Morris on the composition history of Lord of the Flies
67. The Quiet American Graham Greene
Prophetic novel set in 1950s Vietnam.
• Zadie Smith on the genius of Graham Greene
• Terry Eagleton reviews the collected letters of Graham Greene
68 On the Road Jack Kerouac
The Beat Generation bible.
• Read more about Kerouac and his coterie in the Beats week special
• David Mills' response to Beats Week
69. Lolita Vladimir Nabokov
Humbert Humbert's obsession with Lolita is a tour de force of style and narrative.
• From the archives: Lolita and its critics
• David Lodge on Nabokov's sexual style
• Baddies in Books: Humbert Humbert
70. The Tin Drum Günter Grass
Hugely influential, Rabelaisian novel of Hitler's Germany.
• The Tin Drum summarised the 20th century in three words
• Jonathan Steele on Grass's influence on Germay's conscience
• A life in writing: Günter Grass by Maya Jaggi
71. Things Fall Apart Chinua Achebe
Nigeria at the beginning of colonialism. A classic of African literature.
• Read the first page of Achebe's great novel here
• Nadine Gordimer remembers Achebe
• Chinua Achebe in pictures
72. The Prime of Miss Jean Brodie Muriel Spark
A writer who made her debut in The Observer - and her prose is like cut glass.
• James Wood on Muriel Spark
• Muriel Spark didn't just write novels. Adam Mars-Jones reviews Spark's short stories
• Martin Stannard writes about the influence of Spark's life on her fiction
73. To Kill A Mockingbird Harper Lee
Scout, a six-year-old girl, narrates an enthralling story of racial prejudice in the Deep South.
• To Kill A Mockingbird has been in and out of classrooms for decades. Read John Sutherland on Lee's and other American classics
74. Catch-22 Joseph Heller
'He would be crazy to fly more missions and sane if he didn't, but if he was sane he had to fly them. If he flew them he was crazy and didn't have to; if he didn't want to he was sane and had to.'
• Stephen Bates on surprises in Heller's Letters
• Chris Cox reads Catch-22 fifty years after its publication
75. Herzog Saul Bellow
Adultery and nervous breakdown in Chicago.
• Alex Clark reviews Bellow's short stories
• John Crace 'digests' Herzog
• James Wood on Saul Bellow
76. One Hundred Years of Solitude Gabriel García Márquez
A postmodern masterpiece.
• Gabriel Garcia Marquez - 5 Must reads
• Gabriel García Márquez - a life in pictures
• From the archive: the 1970 review of One Hundred Years of Solitude
• One Hundred Years of Solitude tops world literature polls
77. Mrs Palfrey at the Claremont Elizabeth Taylor
A haunting, understated study of old age.
• Charlotte Mendelssohn celebrates the other Liz Taylor's short stories
• Read Natasha Tripney's review of an early novel here
78. Tinker Tailor Soldier Spy John Le Carré
A thrilling elegy for post-imperial Britain.
• William Boyd on the A-Z of Tinker, Tailor
The Reading Group discusses Tinker, Tailor and the spy novel genre
79. Song of Solomon Toni Morrison
The definitive novelist of the African-American experience.
• Take the Toni Morrison quiz
• Morrison on America, by Rachel Cooke
•Read interviews with Morrison here and here
80. The Bottle Factory Outing Beryl Bainbridge
Macabre comedy of provincial life.
• Laura Potter interviews Beryl Bainbridge at 74
• Kate Kellaway on Bainbridge's art beyond writing
• Alex Clark asks, which is Bainbridge's best novel?
• Beryl Bainbridge earns a Booker at last
81. The Executioner's Song Norman Mailer
This quasi-documentary account of the life and death of Gary Gilmore is possibly his masterpiece.
• Dead Calm: Gordon Burn rereads The Executioner's Song
• Alpha Mailer: McCrum meets Mailer
Jay Parini weighs up Mailer's journalistic and novelistic qualitites
82. If on a Winter's Night a Traveller Italo Calvino
A strange, compelling story about the pleasures of reading.
• John Sutherland (and quite a few Guardian readers) just can't get to the end of the novel
• David Mitchell thinks back on Calvino's novel about writing
• Chris Power writes about Calvino's short fiction
• Ian Thomson reviews the new collection of Calvino's letters
83. A Bend in the River VS Naipaul
The finest living writer of English prose. This is his masterpiece: edgily reminiscent of Heart of Darkness.
• Robert McCrum's World of Books column on Naipaul
• Naipaul as the summer read of 2008
• The Shadow of Empire: DJ Taylor's look at recent post-colonial novels
84. Waiting for the Barbarians JM Coetzee
Bleak but haunting allegory of apartheid by the Nobel prizewinner.
• James Meek writes about Coetzee's alter-egos
• Rory Carroll on the South African novelist who's unread at home
• The Voice of Africa: Robert McCrum on Coetzee
85. Housekeeping Marilynne Robinson
Haunting, poetic story, drowned in water and light, about three generations of women.
• Notes to Self: Robinson and others look back on their work
• Read Emma Brockes's interviews here
• Marilynne Robinson talks to Robert McCrum
• John Mullan on Housekeeping
86. Lanark Alasdair Gray
Seething vision of Glasgow. A Scottish classic.
• Janice Galloway rereads Lanark
• William Boyd on Lanark at 25
• John Mullan considers Lanark's cover for the Guardian Book Club
• An interview with the 'Clydeside Michaelangelo'
87. The New York Trilogy Paul Auster
Dazzling metaphysical thriller set in the Manhattan of the 1970s.
• Hadley Freedman interviews Paul Auster about New York
• Alison Flood in conversation with Paul Auster
• Charlotte Jones on New York in literature
88. The BFG Roald Dahl
A bestseller by the most popular postwar writer for children of all ages.
• Listen to Roald Dahl read from The BFG
• Read about Chae Strathie's favourite nonsense words in children's books
• Read Alison Flood's piece on the planned film adaptation of The BFG
89. The Periodic Table Primo Levi
A prose poem about the delights of chemistry.
• From the Archive: Michael Joseph's review
• Ian Thomson considers Levi's influence on our moral history
• The Periodic Table made its way into the hands of a Guardian Science journalist...
•...and to the top of the Science book favourites list
90. Money Martin Amis
The novel that bags Amis's place on any list.
Buy Money at the Guardian Bookshop
91. An Artist of the Floating World Kazuo Ishiguro
A collaborator from prewar Japan reluctantly discloses his betrayal of friends and family.
Buy An Artist of the Floating World at the Guardian Bookshop
92. Oscar And Lucinda Peter Carey
A great contemporary love story set in nineteenth-century Australia by double Booker prizewinner.
• Read Angela Carter's review of Oscar and Lucinda here...
• ...and find out what Sam Jordison thinks the second time around here
• In Pictures: See Carey's own annotations on his novel
• Emma Brockes interviews the Booker winner
93. The Book of Laughter and Forgetting Milan Kundera
Inspired by the Soviet invasion of Czechoslovakia in 1968, this is a magical fusion of history, autobiography and ideas.
Buy The Book of Laughter and Forgetting at the Guardian Bookshop
94. Haroun and the Sea of Stories Salman Rushdie
In this entrancing story Rushdie plays with the idea of narrative itself.
Buy Haroun and the Sea of Stories at the Guardian Bookshop
95. LA Confidential James Ellroy
Three LAPD detectives are brought face to face with the secrets of their corrupt and violent careers.
• Hear Ellroy talk about the first novel in his LA quartet on the Guardian Books Podcast
• Read a short interview with Ellroy here
96. Wise Children Angela Carter
A theatrical extravaganza by a brilliant exponent of magic realism.
• Read an extract from Susannah Clapp's memoir of Carter
• Kit Buchan's piece on Wise Children for the Families in Literature series
97. Atonement Ian McEwan
Acclaimed short-story writer achieves a contemporary classic of mesmerising narrative conviction.
• Read the first chapter online
• John Mullan writes on the weather in Atonement for the Guardian Book Club
• John Sutherland's interview with the author can be found here
• Geoff Dyer is won over by Atonement, while Nick Lezard is less sure
98. Northern Lights Philip Pullman
Lyra's quest weaves fantasy, horror and the play of ideas into a truly great contemporary children's book.
• Baddies in Books: Mrs Coulter might just be the mother of all evil
• Northern Lights named the 'Carnegie of Carnegies'
• Read Kate Kellaway's interview with Philip Pullman
99. American Pastoral Philip Roth
For years, Roth was famous for Portnoy's Complaint . Recently, he has enjoyed an extraordinary revival.
• Tim Adams's review of American Pastoral
• From our My Hero series: James Wood on Philip Roth
100. Austerlitz W. G. Sebald
Posthumously published volume in a sequence of dream-like fictions spun from memory, photographs and the German past.
• Read the 2001 review of Austerlitz here
• The Last Word: Maya Jaggi interviews Sebald
• Robert McCrum on Sebald's legacy
Who did we miss?
So, are you congratulating yourself on having read everything on our list or screwing the newspaper up into a ball and aiming it at the nearest bin?
Are you wondering what happened to all those American writers from Bret Easton Ellis to Jeffrey Eugenides, from Jonathan Franzen to Cormac McCarthy?
Have women been short-changed? Should we have included Pat Barker, Elizabeth Bowen, A.S. Byatt, Penelope Fitzgerald, Doris Lessing and Iris Murdoch?
What's happened to novels in translation such as Bulgakov's The Master and Margarita, Hesse's Siddhartha, Mishima's The Sea of Fertility, Süskind's Perfume and Zola's Germinal?
Writers such as JG Ballard, Julian Barnes, Anthony Burgess, Bruce Chatwin, Robertson Davies, John Fowles, Nick Hornby, Russell Hoban, Somerset Maugham and VS Pritchett narrowly missed the final hundred. Were we wrong to lose them?
Well, those global 1% freemason LITERARY STARS ---were doing what they were told----well, look what does that just as well! THE SUPER-DUPER BIG DEAD HEAD as writers for KINGS AND QUEENS.
MOVING FORWARD will have US 99% WE THE PEOPLE having no MONEY-----we will not be able to buy a BOOK----so writers would not be writing for US. Since our global 1% are a SHIP OF FOOLS-----artificial intelligence will do just fine.
Japanese AI Writes a Novel, Nearly Wins Literary Award
- Over a year ago
I had thought my job was safe from automation--a computer couldn't possibly replicate the complex creativity of human language in writing or piece together a coherent story. I may have been wrong. Authors beware, because an AI-written novel just made it past the first round of screening for a national literary prize in Japan.
The novel this program co-authored is titled, The Day A Computer Writes A Novel. It was entered into a writing contest for the Hoshi Shinichi Literary Award. The contest has been open to non-human applicants in years prior, however, this was the first year the award committee received submissions from an AI. Out of the 1,450 submissions, 11 were at least partially written by a program.
Here's an excerpt from the novel to give you an idea as to what human contestants were up against:
“I writhed with joy, which I experienced for the first time, and kept writing with excitement.
“The day a computer wrote a novel. The computer, placing priority on the pursuit of its own joy, stopped working for humans.”
The team that created this literary AI was led by Hitoshi Matsubara, a professor at Future University Hakodate. His team acted as a guide for the AI, deciding things like the plot and gender of the characters. They also helped select prepared sentences, which the AI then used to autonomously “write” the book.
“So far, AI programs have often been used to solve problems that have answers, such as Go and shogi. In the future, I’d like to expand AI’s potential [so it resembles] human creativity,” Matsubara told the Yomiuri Shimbun.
A science fiction novelist at the press conference for the event commented on the piece, saying, “I was surprised at the work because it was a well-structured novel. But there are still some problems [to overcome] to win the prize, such as character descriptions.” While the book didn't win the final prize, its performance shows the potential for advancement.
Many argue that while these systems may have a knack for Go and shogi, AIs preform better when partnered with humans. Chess teams composed of a human expert and artificial intelligence, for example, wipe the floor with teams made of artificial intelligence or humans alone. Maybe the future of literature means having a human at the helm with a computer co-author.
Hmmmm, where has computer-driven music led? Are humans really much a part of it?
Joe Lovano: ‘A lot of the music today is computer driven – a numbers racket’The saxophonist is determined to pass on his wealth of old-school influences
Sat, Apr 21, 2018, 05:00
“A lot of the music today is computer driven - I call it the numbers racket - and there’s no room for personal, soulful expression. It’s a trippy thing man, so we’re trying to play from a soulful place. We dare to improvise and create new music within the music, and that’s kind of a scandal too.”