DIGITAL MUSIC NEWS

Juniper: Streaming Will Drive Digital Music Sales Through 2019…But Sloooooowly 

Ad increase      Juniper Research has released a new report that indicates the digital music industry will experience slow revenue growth over the next five years, expanding from $12.3 billion in 2014 to $13.9 billion in 2019. As reported by Fierce Mobile IT, the research suggests a strong performance in the robust streaming music sector largely will be offset by a decrease in revenues from legacy services, including ringtones, ring-back tones, and music sales.

According to the new report titled “Digital Music: Streaming, Download, and Legacy Services 2014-2019,” the market will be characterized by consumer migration to cloud-based services. Such pure play music providers as Spotify and Pandora increasingly will find themselves competing with personalized services from the leading over-the-top (OTT) players, including Apple and Google. Additionally, piracy will remain a significant factor responsible for “major revenue leakage,” particularly in emerging markets (think China), where only a small percentage of content is legally acquired.

The report strongly suggests music consumption is set to become a highly sociable activity, with features such as music discovery and social media integration that connects music fans. However, finding ways to expand the pool of music subscribers while increasing the ease of discovery remains a key challenge for streaming companies. In a statement, Juniper said smartphones and tablets will be the primary platforms of growth, although digital music revenues on the PC/laptop will remain robust over the forecast period. Additionally, emerging markets are expected to strengthen in terms of digital music consumption, as disposable income levels continue to rise and streaming services expand into these regions.

McDonald’s To Customers: Do You Want Some Digital Music With That?

 

     Two all-beef patties, special sauce, lettuce, cheese pickles, onions, on a sesame seed bun…with a side of digital music. McDonald’s apparently has launched an “online music experience” designed to expand its digital presence, modernize the brand, and drive customers through a new online food-ordering app. Specifically, the fast-food chain has hired Ticketmaster’s Julia Vander Ploeg to create a “variety of digital music and entertainment experiences that McDonald’s will provide to customers, to reward the most enthusiastic customers and drive frequency.”

According to several sources, Vander Ploeg joins the company as a chief member of its Global Digital Team, which is focused on customer engagement, eCommerce, service delivery, and digital content. While no specifics are available, the McDonald’s website has posted a listing for a product director for music and entertainment, whose role would include crafting the strategy and product roadmap “for a variety of digital music and entertainment experiences that McDonald’s will provide to customers.” This person also will “establish multi-channel music and emerging entertainment programs to reward our most enthusiastic customers and drive frequency.”

“As digital consumer engagement models and retail business opportunities evolve, McDonald’s will continue to create an eCommerce platform that will enable us to reach even more customers and support McDonald’s global digital business and technology growth,” the company’s website says. “Our eCommerce platform will revolutionize how McDonald’s interfaces with our customers by removing physical boundaries to allow our customers to connect to,, and order McDonald’s any time or place, globally.”

 

Vinyl Album Sales Grow To Still-MinusculeNumber Because Of “Enhanced Quality”

 

     Every few months some analyst looking at the recorded music industry notices that vinyl album sales keep ticking upwards, which triggers yet another look at analog music sales within the greater digital universe. The most recent of these reviews is offered by TheStreet.com’s Jason Notte, who this week noted that “vinyl record sales have jumped a whopping 40.4% since the first six months of last year.” Noting that vinyl accounts for only a small percentage of total album sales (which in the first quarter of this year were down nearly 15% from the same period last year), he explained that sales of the old LP format rose from 2.9 million records in the first six months of 2013 to 4 million in the first half of this year.

“That’s a fairly small number when you consider that, even without Nielsen Soundscan’s ‘Track Equivalent Album’ and ‘Streaming Equivalent’ album measures that turn individual tracks into album sales, there were 121 million albums sold in the U.S. in the first half of 2014,” Notte writes. “Even the ‘dead’ CD still managed 63 million sales during that time.”

Still, it’s interesting to note – and Notte does – that vinyl sales are up 250% over the past 20 years while overall music sales slid 50%. As music fans have continued to embrace streaming music, “vinyl has become streaming’s aesthetic counterweight,” he says. “It’s a $20 to $30 luxury purchase made not only for its enhanced quality, but for its historic value. It’s a purchase reserved for standout releases and made by only the most dedicated listeners willing to invest in the music and the equipment to play it.”

 

The Guardian: Hi-Res Digital Music Is Better, But Can Lead To Disappointment

 

Music Business      “Why are we still listening to over-compressed music through low-quality headphones when advances in bandwidth, storage capacity, and speakers means we could be listening to high-quality uncompressed audio all the time?” This is the very valid question The Guardian recently asked its U.K. readers, noting that in an era of 24-bit audio, virtually all music sold and streamed today is available only in a much lower quality 16-bit CD or even the more highly compressed MP3 format. All conventional industry wisdom, theories, and testing aside, the question remains: can listeners actually tell the difference between high- and low-resolution?

This is the question three audiophiles at The Guardian asked themselves. After listening to a number of tracks played in 128kbps and 320kbps MP3; CD; and 24-bit studio master, the answer was…yes, although not necessarily in a transformative way. “The difference between MP3 and CD was most striking, [but] I struggled to differentiate much from CD to studio master,” said Tim Jonze, The Guardian‘s music editor. “Ultimately the difference is there but it’s subtle and it depends on how you listen to music.” Jason Phipps, The Guardian‘s head of audio, noted “there’s a distinct quality difference between the kind of compressed, middling MP3 commonly downloaded from the major platforms and the 24-bit high-res studio master.”

And Guardian correspondent Samuel Gibbs added, “Overall the studio masters sounded fuller…but that difference wasn’t always a good thing. It was disappointing to hear a recording of Pavarotti’s ‘Nessun Dorma’ sound worse in studio master, as it exposed the fact that the orchestra and the tenor’s tracks were recorded separately in different environments. Still, what was very apparent is just how bad a poor-quality MP3 sounded, how good a 320kbps MP3 and CD sounded, and how cutting out the middle man in the audio production chain with a studio master could have unexpected results.”

 

Gracenote Hires New CEO To Expand RoleOf Metadata In The “Digital Ecosystem”

 

     Most online music fans have never heard of Gracenote, but the provider of audio and video metadata and recognition services – owned by Tribune Media Co. – has hired former M-Go chief John Batter, to serve as its new CEO. This is a somewhat big deal because Batter’s new role is to expand the company’s services “internationally and aggressively” and “expand the role metadata plays in the digital ecosystem and experience.”

Consumers encounter Gracenote services via such services as Google Play, Xbox Music, and MTV, usually without even knowing it. As explained by Billboard, the company’s MusicID service uses metadata to let listeners identify songs whether downloaded or ripped from CDs, and its “scan and match” technology helps cloud services (e.g. Amazon Cloud Player) sync offline and online music collections. Such technologies facilitate discovery and ease of use, two vital aspects of today’s digital music services.

“Tribune Media has decided to focus its digital investment strategy on growing its metadata business globally, which today includes Gracenote and What’s-On,” said Tribune CEO Peter Liguori in a statement. “It is becoming very clear that metadata will help drive the evolution of next-generation TV and music experiences and we believe Gracenote is in an excellent position to drive the industry forward.”

 

A publication of Bunzel Media Resources © 2014

 

The official cover-up of social and political issues in the police murder of Michael Brown

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27 August 2014

Thousands of workers and youth participated in funeral services for Michael Brown on Monday, an expression of widespread outrage over the police murder of the unarmed 18-year-old. However, the funeral service itself, attended by three representatives of the Obama administration and presided over by Democratic Party operative Al Sharpton, was a thoroughly establishment, right-wing affair.

The aim of the ceremony, paid for and run by Sharpton’s organization, was to obscure the class issues raised by the killing of Brown, legitimize the de facto imposition of martial law in Ferguson, Missouri, and channel social opposition back behind the political establishment.

The ruling class responded to the spontaneous eruption of protests over the killing of Brown with a two-pronged strategy. First, the repressive apparatus of the state was mobilized, including militarized SWAT teams toting automatic weapons, driving armored vehicles, and firing tear gas, rubber bullets and bean bags at peaceful protesters. More than 200 people were arrested in the police crackdown.

Ferguson became a test case for imposing police-state conditions on an American city in response to social unrest. Journalists were threatened, arrested and assaulted. The National Guard was called in. A curfew was imposed and the constitutional right to assemble was effectively suspended under the “state of emergency” declared by Governor Jay Nixon, a Democrat.

Sheer repression did not suffice to silence the protests, however. Hence the second prong of the ruling class strategy. Figures such as Sharpton along with local preachers and Democratic Party politicians were mobilized to promote racial politics and direct the protests along safe channels. The Obama administration sent Attorney General Eric Holder, an African American, to Ferguson, and Governor Nixon appointed Highway Patrol Captain Ron Johnson, also an African American, to head up the police response.

This dual strategy found expression in the funeral eulogy delivered by Sharpton—both in what he said, and what he did not say. The one-time FBI informant spoke not as a partisan of the workers and youth of Ferguson, but rather as an emissary of the capitalist state, i.e., of the very forces that killed Brown and sought to crush the subsequent protests.

Most significant in Sharpton’s remarks was the absence of any reference to the social and economic issues underlying the killing of Brown (and hundreds of other police killings across the country) and the mass repression that followed. There was no mention of the unemployment and poverty that characterize Ferguson and cities throughout the country, nor was there any reference to the immense social inequality that drives the ruling class to employ increasingly violent means to suppress social anger and unrest.

Instead, Sharpton devoted much of his remarks to vile slurs against African-American youth in general and the protesters in Ferguson in particular. He complained that too many people are “sitting around having ghetto pity parties.” Celebrating the fact that a section of African Americans like himself have “got some positions of power,” he denounced those who “decide it ain’t black no more to be successful.” He continued, “Now you wanna be a n****r and call your woman a ho.”

These foul remarks, dripping with contempt, were combined with an open defense of the state. “We are not anti-police, we respect police,” proclaimed Sharpton. The murder of youth like Brown is the product only of a few “bad apples,” he declared, which can be corrected with measures like hiring more African-American police officers.

While avoiding any criticism of the massive military-police response to the protests over Brown’s killing, Sharpton repeated all the tropes used by the state to justify its repression. He bemoaned the fact that Brown’s parents “had to break their mourning to ask folks to stop looting and rioting,” adding, “Michael Brown must be remembered for more than disturbances.”

The use of the word “disturbances,” part of the lexicon of the police and military, is significant, carrying with it the implication that the protests were illegitimate. The police repression, Sharpton implied, was a necessary response to violence by the protesters.

He made no mention of the connection between domestic repression and the waging of aggressive wars abroad, ignoring the fact, noted by many Ferguson workers and youth who spoke to the World Socialist Web Site, that even as the National Guard was being deployed to Ferguson, Obama was once again ramping up the US military’s involvement in Iraq.

Sharpton’s support for the police crackdown reflects what he is: an agent of the state and representative of a section of the corporate establishment and upper-middle class that has amassed great wealth even as the great majority of the population, including African-American workers and youth, has seen its living standards plummet. This privileged and corrupt social layer has long promoted identity politics to conceal the basic class divide in society and sow divisions within the working class.

In particular, Sharpton spoke as a representative of the Obama administration. He has developed the closest ties with administration officials, coordinating his actions and remarks with the White House. This is an administration that has intensified the assault on the working class and overseen an enormous growth of social inequality, while increasing the militarization of the police.

The financial aristocracy reacts to any expression of social opposition with repression. In the 1960s, the ruling class responded to urban uprisings with violence, but that was followed by pledges to address inequality and poverty and the implementation of limited social reforms. Today, the ruling class has nothing to offer but more repression.

The events in Ferguson are an expression of the explosive character of social relations in the United States. The financial aristocracy is petrified over the revolutionary implications of the open emergence of class conflict. Hence the resort to violence on the one hand and reliance, on the other, on Sharpton and other so-called “civil rights” leaders to complement state terror with diversions and lies.

Andre Damon

Letter To The Millennials

A Boomer Professor talks to his students

Written by

  • Director, USC Annenberg Innovation Lab. Producer, “Mean Streets”, “The Last Waltz”, “Until the End Of the World”, “To Die For”

So we are about to embark on a sixteen-week exploration of innovation, entertainment, and the arts. This course is going to be about all three, but I’m going to start with the “art” part — because without the art, no amount of technological innovation or entertainment marketing savvy is going to get you to go to the movie theater. However, I think there’s also a deeper, more controversial claim to be made along these same lines: Without the art, none of the innovation matters — and indeed, it may be impossible — because the art is what gives us vision, and what grounds us to the human element in all of this. Although there will be lectures, during which I’ll do my best to share what I’ve learned about the way innovation, entertainment, and the arts fit together, the most crucial part of the class is the dialogue between us, and specifically the insights coming from you as you teach me about your culture and your ideals. The bottom line is that the world has come a long way, but from my perspective, we’re also living in uniquely worrisome times; my generation had dreams of how to make a better life that have remained woefully unfulfilled (leaving many of us cynical and disillusioned), but at the same time your generation has been saddled with the wreckage of our attempts and are now facing what may seem to be insurmountable odds. I’m writing this letter in the hopes that it will help set the stage for a truly cross-generational dialogue over the next sixteen weeks, in which I help you understand the contexts and choices that have brought us where we are today, and in which you help me, and one another, figure out the best way to move forward from here.

When I was your age, I had my heart broken and my idealism challenged multiple times by the assassinations of my political heroes: namely, John and Bobby Kennedy and Martin Luther King. Many in my generation turned away from politics and found our solace in works of art and entertainment. So one of the things I want to teach you about is a time from 1965–1980 when the artists really ruled both the music and the film industries. Some said “the lunatics had taken over the asylum” (and, amusingly enough, David Geffen named his record company Asylum), but if you look at the quality of work that was produced, it was extraordinary; in fact, most of it is still watched and listened to today. Moreover, in that period the most artistic work also sold the best: The Beatles’ Sgt. Pepper was without doubt the best record of the year but also the best selling, and The Godfather was similarly both best movie of the year and the biggest box office hit. That’s not happening right now, and I want to try to understand why that is. I want to explore, with you, what the implications of this shift might be, and whether this represents a problem. It may be that those fifteen years your parents and I were lucky enough to experience was one of those renaissance moments that only come along once every century, so perhaps it’s asking too much to expect that I’ll see it occur again in my lifetime. Nevertheless, I do hope it happens at least once in yours.

I spoke of the heartbreak of political murder that has permanently marked me and my peers, but we have also been profoundly disappointed by politics’ failure to improve the lives of the average citizen. In 1969, the median salary for a male worker was $35,567 (in 2012 dollars). Today, it is $33,904. So for 44 years, while wages for the top 10% have continued to climb, most Americans have been caught in a “Great Stagnation,” bringing into question the whole purpose of the American capitalist economy (and, along the way, shattering our faith in the “American Dream”). The Reagan-era notion that what benefited the 1% — “the establishment” — would benefit everyone has by now been thoroughly discredited, yet it seems that we are still struggling to pick up the pieces after this failed experiment.

Seen through this lens, the savage partisanship of the current moment makes an odd kind of sense. What were the establishment priorities that moved inexorably forward in both Republican and Democratic administrations? The first was a robust and aggressive foreign policy. As Stephen Kinzer wrote about those in power during the 1950s, “Exceptionalism — the view that the United States has a right to impose its will because it knows more, sees farther, and lives on a higher moral plane than other nations — was to them not a platitude, but the organizing principle of daily life and global politics.”

From Eisenhower to Obama, this principle has been the guiding light of our foreign policy, bringing with it annual defense expenditures that dwarf those of all the world’s major powers combined. The second principle of the establishment was that “what is good for Wall Street is good for America.” Despite Democrats’ efforts to paint the GOP as the party of Wall Street, one would only have to look at the track record of Clinton’s treasury secretaries Rubin and Summers (specifically, their zealous efforts to kill the Glass-Steagal Act and deregulate the big banks and the commodities markets) to see that both major parties are guilty of sucking up to money; apparently, the establishment rules no matter who is in power. Was it any surprise, then, that Obama appointed the architects of bank deregulation, Summers and Geithner, to clean up the mess their policies had caused? Was it any surprise that they failed? Was it any surprise that establishment ideas about the surveillance state were not challenged by Obama? The good news is that, as a nation, we have grown tired of being the world’s unpaid cop, and we are tired of dancing to Wall Street’s tune. Slowly, we are learning that these policies may benefit the 1%, but they don’t benefit the people as a whole. My guess is the 2016 election may be fought on this ground, and we may finally begin to see real change, but the fact remains that we — both your generation and mine — are right now deeply mired in the fallout of unfulfilled promises and the failures of the political system.

So this is the source of boomer disillusionment. But even if we are cynical about political change, we can try to imagine together a future where great artistic work continues to flourish; this, then, is the Innovation and Entertainment part of the course. It’s not that I want you to give up on politics — in fact the events of the last few weeks in Ferguson only reinforce my belief that when people disdain politics, their anger gets channeled into violence. But what I do want you to think about is that art and culture are more plastic — they can be molded and changed easier than politics. There is a sense in which art, politics, and economics are all inextricably and symbiotically tied together, but history has proven to us that art serves as a powerful corrective against the dangers of the establishment. There is a system of checks and balances in which, even though the arts may rely on the social structures afforded by strong economic and political systems, artists can also inspire a culture to move forward, to reject the evils of greed and prejudice, and to reconnect to its human roots. If we are seeking a political and economic change, then, an authentic embrace of the arts may be key. Part of your role as communication scholars is to look more closely at the communication surrounding us and think critically about the effects its having, whose agenda is being promoted, and whether that’s the agenda that will serve us best. One of the tasks we’ll wrestle with in this class will be how we can get the digital fire hose of social media to really support artists, not just brands.

In 2011, the screenwriter Charlie Kaufman (Being John Malkovich, Adaptation) gave a lecture at the British Film Institute. He said something both simple and profound:

People all over the world spend countless hours of their lives every week being fed entertainment in the form of movies, TV shows, newspapers, YouTube videos and the Internet. And it’s ludicrous to believe that this stuff doesn’t alter our brains.

It’s also equally ludicrous to believe that — at the very least — this mass distraction and manipulation is not convenient for the people who are in charge. People are starving. They may not know it because they’re being fed mass produced garbage. The packaging is colorful and loud, but it’s produced in the same factories that make Pop Tarts and iPads, by people sitting around thinking, “What can we do to get people to buy more of these?

And they’re very good at their jobs. But that’s what it is you’re getting, because that’s what they’re making. They’re selling you something. And the world is built on this now. Politics and government are built on this, corporations are built on this. Interpersonal relationships are built on this. And we’re starving, all of us, and we’re killing each other, and we’re hating each other, and we’re calling each other liars and evil because it’s all become marketing and we want to win because we’re lonely and empty and scared and we’re led to believe winning will change all that. But there is no winning.

I think Charlie is right. People are starving, so we give them bread and circuses.

​ But I think Charlie is wrong when he says “there is no winning”. In fact I think we are really in a “winner-take-all” society. Look at the digital pop charts. 80% of the music streams are for 1% of the content. That means that Jay-Z and Beyoncé are billionaires, but the average musician can barely make a living. Bob Dylan’s first album only sold 4,000 copies. In this day and age, he would have been dropped by his label before he created his greatest work.

A writer I greatly admired, Gabriel García Márquez, died recently. For me, Márquez embodied the role of the artist in society, marked by the refusal to believe that we are incapable of creating a more just world. Utopias are out of favor now. Yet Marquez never gave up believing in the transformational power of words to conjure magic and seize the imagination. The other crucial aspect of Márquez’s work is that he teaches us the importance of regionalism. In a commercial culture of sameness where you can stroll through a mall in Shanghai and forget that you’re not in Los Angeles, Marquez’s work was distinctly Latin American. His work was as unique as the songs of Gilberto Gil, or the cinema of Alejandro González Iñárritu. In a cultural like ours that has so long advocated a “melting pot” philosophy that papers over our differences, it is valuable to recognize that there is a difference between allowing our differences to serve as barriers and appreciating the things that make each culture unique, situated in time and space and connected to its people. What’s more, young artists also need to have the sense of history that Marquez celebrated when he said, “I cannot imagine how anyone could even think of writing a novel without having at least a vague of idea of the 10,000 years of literature that have gone before.” Cultural amnesia only leads to cultural death.

With these values in mind, my hope is to lead you in a discussion of politics and culture in the context of 250 years of America’s somewhat utopian battle to build “a city on a hill.” I think many in my generation had this utopian impulse (which is, it should be observed, different than idealism), but it is slipping away like a short-term memory. I did not aspire to be that professor who quotes Dr. King, but I feel I must. He said the night before he was assassinated, “I may not get there with you, but I believe in the promised land.” My generation knew that the road towards a better society would be long, but we hoped our children’s children might live in that land, even if we weren’t able to get there with you. It may take even longer than we imagined, but I know your generation believes in justice and equality, and that fills me with hope that the dream of some sort of promised land is not wholly lost. The next step, then, is to figure out how to work together, to learn from the past while living in the present moment in order to secure a better future, and I believe this class offers us an incredible opportunity to do precisely that.

So what are the skills that we can develop together in order to open a real cross-generational dialogue? First, I would hope we would learn to improvise. I want you to challenge me, just as I encourage and challenge you. Improvisation means sometimes throwing away your notes and just responding from your gut to the ideas being presented. It takes both courage and intelligence, but I’m pretty sure you have deep stores of both qualities, which will help you show leadership both in class and throughout the rest of your life. Leadership is more than just bravery and intellect, however; it also requires vulnerability and compassion, skills that I hope we can similarly cultivate together. I want you to know that I don’t have all the answers — and, more importantly, I know that I don’t have all the answers. I am somewhat confused by our current culture and I am looking to you for insight. You need to have that same vulnerability with your peers, and you also need to treat them with compassion as you struggle together to understand this new world of disruption. I know these four elements — courage, intelligence, vulnerability, and compassion — may seem like they are working at cross-purposes, but we will need all four qualities if we are to take on the two tasks before us. One of our tasks is to try to restore a sense of excellence in our culture — the belief that great art and entertainment can also be popular. The second task is for baby boomer parents and their millennial children to form a natural political alliance going forward. As I’ve said, I don’t think the notion that we will get to “the promised land” is totally dead, and with your energy and the tools of the new media ecosystem to help us organize, we can keep working towards a newly hopeful society, culture, and economy, in spite of the mess we have left you with.

This is, at least, the plan. Of course, as the great critic James Agee once said, “Performance, in which the whole fate and terror rests, is another matter.”

 

 

View profile at Medium.com

Companies sell mobile phone spying tools to governments worldwide

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By Thomas Gaist
26 August 2014

Cell phone location tracking technologies long used by the US National Security Agency and British GCHQ are increasingly available for purchase by other governments throughout the world, the Washington Post reported Monday.

Cell phone location data tracking systems, which include a range of associated intelligence gathering capabilities, are constantly being developed and marketed by private security contractors. The technology enables governments and private entities to track the movements of cell phone users across national boundaries, in many cases pinpointing users’ precise locations within a few meters.

One surveillance firm, called Defentek, boasts on its web page that its Infiltrator Global Real-Time Tracking System can “locate and track any phone number in the world.” The Infiltrator System is “a strategic solution that infiltrates and is undetected and unknown by the network, carrier, or the target,” the site says.

Analysis of cell phone location tracking software by the watchdog group Privacy International highlighted the role of Verint, a sophisticated Israeli-American private security and intelligence contractor that employs former government agents, including special forces soldiers.

Verint reports on its web page that the company’s systems are used by “more than 10,000 organizations in over 180 countries,” the Washington Post reported.

The spread of such cutting-edge surveillance systems by private security and intelligence firms is taking place with the help of the major telecommunications corporations. Verint states that it has installed location data capture software on cellular networks in numerous countries with the knowledge and cooperation of major telecommunications providers.

A confidential Verint advertising brochure posted online by Privacy International detailed the wide array of surveillance capabilities offered by Verint to clients. According to its advertising material, Verint’s “Solution’s Portfolio” includes “Cellular Interception and Control, Mobile Satellite Interception, Global Cellular Location, and IP Interception and Tampering.” The brochure notes that the company sells “Monitoring Centres that can operate at nationwide levels and has been known to have had installations in Slovakia, Ivory Coast, India and Vietnam.”

For the right price, Verint will also carry out and/or facilitate a number of other intelligence-related operations on behalf of its clients, including:

* Identifying potential targets and building an intelligence picture over cellular networks

* Passively and covertly collecting cellular traffic in an area and analyzing it in real time to identify potential targets

* Identifying suspicious communication patterns using a range of analysis tools, including Location, Speech Recognition, Link Analysis, Text Matching

* Intercepting voice calls and text messages of potential targets

* Identifying, intercepting, decoding, manipulating and analyzing WiFi-enabled devices such as tablets, smartphones, and laptops

Verint also claims that it can break into encrypted communications and remotely activate microphones on cell phones, and the company offers training sessions simulating a range of tactical scenarios with its in-house veteran military and intelligence personnel.

Reports from the summer of 2013 showed that Verint provided systems used by the Mexican government during the administration of President Felipe Calderon to capture and analyze all types of communications in that country beginning in 2007, as part of operations initiated in coordination with the US State Department.

In its report, the Washington Post noted that surveillance agencies and private companies are increasingly deploying “IMSI catchers,” also referred to as StingRays, which enable users to send fake text messages, inject malware into targeted phones, and intercept the content of various forms of cellphone-based communications.

In addition to using StingRays, surveillance agencies can tap directly into cell phone towers to identify movement patterns of nearby telephone users. Location data from cell phone towers, moreover, is regularly transferred in bulk to federal, state, and local security agencies across the US through a procedure known as “tower dumps.”

Revelations from December of 2013 have already shown that the NSA’s CO-TRAVELLER program gathers around 5 billion pieces of cell phone location data worldwide on a daily basis, and has been capable of tracking the location of cellphones, even when switched off, since 2004. Location data gathered by the NSA allows the agency to map the overall movement pattern of targeted individuals, their daily routes and habitual meeting places.

The US uses related technology to orchestrate its drone wars in Afghanistan, Pakistan, Yemen and elsewhere. As part of a program codenamed GILGAMESH, the NSA’s “Geo Cell” program, which sports the motto “We Track ‘Em, You Whack ‘Em,” guides drone strikes against alleged terrorists by tracking the location of SIM cards inside their cellphones.

All of these surveillance and tracking programs are part of the efforts of the US and other imperialist states to compile comprehensive databases on their respective populations in response to growing popular opposition to the growth of social inequality and attacks on democratic rights.