Category Archives: Announcements

Libraries and Publishing Now– Viva la Library!

Readers consume publisher’s products many hours every day– and consume on publisher’s terms. Publisher’s framing on our screens, publisher’s business models, publisher’s flow and pacing. Yes, there are many publishers now, but we are, mostly, locked into their presentation forms. We check into their black box theaters and consume as intended.

Libraries have always bought publisher’s products but have traditionally offered alternative access modes to these materials, and can again. As an example let’s take newspapers. Published with scoops and urgency, yesterday is “old news,” the paper it was printed on is then only useful the next day as “fish wrap”– the paper piles up and we felt guilty about the trash. That is the framing of the publisher: old is useless, new is valuable. This has carried into social media– flip up to read on. Scroll through your “feed” (gosh, the word “feed” is illustrative, what happens after “feed” is “fed”?  Well, it comes out the other end in a way we do not cherish 🙂 ).

But a library gives old news a new life, not a commercial life, but a life that encourages reflection, perspective, critique, analysis. In a word– “History”. The library keeps the former “news” and offers it in new ways in a new framing, with new tools– not just flip flip flip. It can be quoted, placed side by side with other publisher’s news and enable researchers to inject commentary.

This capture, representation, searching, rethinking is not a crime– it is thought, it is memory and our history– it builds to become our culture. It has been supported, nurtured, taught.

But the library is in danger in our digital world. In print, one could keep what one had read. In digital that is harder technically, and publishers are specifically making it harder. Technical enforcement measures and laws are making remembering difficult, and worse, a crime.

Libraries live to offer new ways to see published works that were often produced for a different purpose. But this is difficult in a digital world.

Digital newspapers sometimes disappear from their web presence. App-based newspapers can not be pointed to with a citation or URL. Archives, sometimes available, are segmented into each publisher’s platforms.

Similarly, digital books live in proprietary digital book readers that disappear the books. If “cut and paste” functions at all, often just inside that “platform.” Annotations are stored with the vendor, with their terms and conditions.

A personal library now means a purchase list on a website.

Libraries and publishers have lived together throughout the paper era, not always peacefully, but libraries were possible because of paper technologies, laws, and funding. Multiple copies were kept in different libraries ensuring preservation and creating different access modes for different communities.

Once publications became electronic, preservation and access became harder. Radio and television did not fit into the library mold. Early tele-text, Lexis-Nexis, Westlaw, and AOL really did not work as library collections in traditional libraries. Academic journal publishing shifted to digital and libraries moved to serve as customer service departments for leased database access.

Some of us helped build the Internet so digital works could be archived and “libraried”. And then made archives of Web pages and created services around them.

But it turns out that few of us did this, and the biggest, Google, did it privately and for profit.  The Internet Archive was created to help and has archived billions of Web Pages, millions of hours of TV and radio, millions of books, records, movies and software.

Most traditional libraries have done little to preserve digital materials. The Internet Archive is quite unique in focusing on this mission and I would say under supported. Encouraging, however, is that 100,000 individuals a year now donate to support the Internet Archive’s public services. Hope is there.

We need libraries of digital materials, tools to use these libraries, and ways to protect them, fund them and integrate them into schools and our lives more generally. This way we can remember, think, and build on the past.

With so much in digital form, and storage and communication so easy, it should be the librarian’s day!  It can be the library user’s day…

Let’s build that world… of preservation and access, of reflection and critique, with confidence that what happened actually happened so that our histories can rely on immutable evidence.

Libraries do not command the world, but libraries are necessary in the functioning of a thoughtful world.

Thank you for supporting the Internet Archive.

Viva la Library!

Lawrence Lessig: Being a Citizen is a Public Office, too

In his latest book, Harvard law professor, Lawrence Lessig, issues a call to arms to fix our broken body politic–starting with “us.”

Why, you might wonder, is a famous Harvard Law professor and the founder of Creative Commons writing a book to wake us up to the fundamental problem facing our republic?

The simple answer:  Aaron Swartz.

Swartz, the free culture activist, and Lawrence Lessig were friends and collaborators. As Lessig recounted here in February, one day, Swartz came to visit him, challenging Lessig to combat the basic corruption of our political process. “But Aaron, it’s not my field, corruption. My field is internet, culture and copyright,” Lessig protested. Swartz countered, “As an academic? What about as a citizen?”

Photos by Patrick T. Power

That was in 2006. Thirteen years later on on a drizzly December night in San Francisco, Lawrence Lessig came to the Internet Archive where Swartz once worked, to frame the core flaw in our republic in a new way. It forms the central argument of Lessig’s latest book, They Don’t Represent Us. The “they” is of course our Congress—who aren’t representing our interests. “And Us. We the People. We don’t represent us,” he said to an audience of 300 listeners. 

Lessig began with a lesson in historical time. In Silicon Valley time, 20 years is an epoch—the Googlian Era one might call it. But in government, Lessig contrasted, 20 years can add up to nothing. Twenty years ago, he noted, climate change was acknowledged to be man-made and real; the Clinton administration proposed affordable health care; the mass shooters at Columbine killed 13 people. And two decades later, our government has passed not a single law that comprehensively addresses climate change, universal health care or gun control.  

Why? Because our elected representatives aren’t representing us. With the precision of a surgeon, Lessig took the stage to perform an autopsy on our body politic. Our diseases are well known: gerrymandering that empowers the political extremes, campaign funding that empowers the wealthy, the media that feeds us whatever sells best.

18 years ago, Lessig helped found the Creative Commons, a fundamental tool in making some creative works available for reuse—a foundation upon which of Brewster Kahle’s Internet Archive is built.

And yet, Larry Lessig says he is hopeful. “You know my brand.  My brand is pessimism. But I am optimistic.” In the coming election year, he reminds us that “being a citizen is a public office.” Even though the election will most likely be a “dumpster fire,” he told me, “We must steer the conversation beyond 2020, to more fundamental issues.” 

Lessig’s critique stands above party or personality. He urges us to challenge every candidate, blue or red, by saying:  “Tell me how you are going to fix this problem first, this corrupt system, first,” he said “If we are going to fix anything else, we have to take up that fight.”

To get involved, visit https://equalcitizens.us/

Read the New York Times review of “They Don’t Represent Us” here.

I’m Done Selling Sweaters. Instead I’m Selling a Vision I Believe In.

Jenica Jessen, Email Campaign Specialist at the the Internet Archive
Jenica Jessen, Email Campaign Specialist at the the Internet Archive

Eight months ago, I was miserable.

On paper, it seemed like everything should be going right. I was working long hours at a promising startup in a rapidly growing industry. My job was to use cutting-edge digital marketing technology to optimize email content; I worked to find the most compelling language possible, to tap into the phrasing and rhetoric that would inspire people and drive them to action. I was learning the craft of perfect subject lines and clickable links, honing my skill set, polishing my resume.

And I hated it.

My emails went to tens of millions of people, but I wasn’t really communicating with any of them. My carefully-tested copy drove thousands upon thousands of purchases, but I wanted to care about something more than some corporation’s bottom line. I was working with some of the most advanced communications tools in the world—and I was using them to sell sweaters.

That wasn’t me.

Let’s go back a decade or so. The high school I attended wasn’t especially distinguished. Our football team was mediocre; our debate team didn’t win championships. The one thing that Riverton High was good at—the thing that made us unique—was Silver Rush.

Riverton High School students caroling in 2010 (courtesy of Jenica’s yearbook).

Silver Rush was our annual holiday fundraiser. (The name was a play on “gold rush;” our mascot was the silverwolf.) Every year, we would pick a charity that helped underserved members of our community: newly-arrived refugees, homeless teens, domestic violence victims. The whole month of December was dedicated to raising money for them. And at that, we excelled.

The great thing about Silver Rush was that it brought the whole school together, and everyone found ways to help out. The choir had a benefit concert. The food science class sold baked goods. The track team did a “fun” run in 20-degree weather. I shoveled snow in exchange for donations, and sang holiday songs outside the local grocery store, and gathered spare change. There were so many events and volunteer opportunities that most nights, I didn’t get home until 8 or 9 PM (and that was before homework). For me and my classmates, the whole month of December dissolved into a cocoa-fueled haze of sleep deprivation, caroling, and the camaraderie that comes from advancing a good cause.

A lot of other schools in the area tried to emulate Silver Rush. Our biggest rival, Bingham High, had a perennial goal of raising more money than we did. But the attempts to create a rivalry missed the point entirely, because the thing that made Silver Rush great was that we weren’t competing with anybody.

Our slogan was “It’s not about the dollars, it’s about the change.” Everyone took it to heart—and the first proof was that nobody knew how much we’d raised until after the fundraiser was over. We weren’t trying to show off; we weren’t trying to prove anything; we were trying to make the world a better place. My senior year we set a new record, raising over $129,000 for children who needed wheelchairs.

A Riverton High School student seeing the final amount Silver Rush raised in 2012.

But it wasn’t the numbers that made Silver Rush the highlight of my high school years. It was the feeling of making a difference.

So by the time 2019 rolled around, as I was working for that digital marketing firm, I couldn’t help but feel that I’d lost my way somehow. I was creating campaigns that earned millions of dollars at a time, but each big win felt a little empty. I couldn’t shake the sense that there was more that I could—should—be doing to give back to society. And I was so sick of writing subject lines about sweaters.

So seven months ago, I applied for a job at the Internet Archive.

What I found at the Archive was something radically different from the world of marketing startups. It was a team with a vision—not of venture capital funding and IPOs, but of a great library for all. It was work with a purpose—not synergy or hypergrowth, but preservation, education, accurate information. And it was an organization that survived not on e-commerce but on people’s goodwill—the dedication of countless volunteers, archivists, librarians, and programmers, as well as thousands of donors big and small.

December at the Internet Archive is a busy time. We launch our end-of-year fundraising drive right around Thanksgiving, and chaos ensues. Everyone is scrambling to make sure that our donation systems work and our banners are up to date, that the letters are sent and the events are organized, that the checks are counted and the newsletter goes out on time. The days are a haze of coding, camaraderie, and—yes—sleep deprivation. This month, I’ve been working long hours; I’ve been trying to craft perfect subject lines; I’ve been looking for ways to inspire people and drive them to action. And I couldn’t be happier.

Just a few of the Internet Archive team members who’ve pitched in to help with fundraising this year.

If you’ve seen an Internet Archive email in your inbox lately—a newsletter or an event announcement or a donation request—I’m the one who put it there. I’m done selling sweaters. I’m selling a vision instead.

It’s a vision of a world without disinformation, a world where verifiable facts are just a click away. It’s a vision of a great library for all, where the best that humanity has ever produced is freely available. It’s a vision of universal access to all knowledge.

So far this year, thousands of people have joined in supporting that vision, chipping in a few dollars to keep the servers running and the lights on. And it’s a privilege to read your comments, and hear your stories, and see the direct impact that your support has on the mission of the Archive.

My favorite moment, so far, came near at the beginning of our fundraising drive, when I happened to check the donations tally. The number is constantly changing, but for one brief moment, I saw it hit exactly $129,000. The same amount we raised for Silver Rush during my senior year of high school.

And for that moment, it felt like the entire world had lined up just right—like I am exactly where I am supposed to be.


If you’d like to contribute to the Internet Archive, please visit archive.org/donate. You can also show your support by getting the word out on social media or telling your friends and family about our work. We’re grateful for everyone in our community—we couldn’t do it without you.

The Public Domain Line is Moving Again – One Year Later

Guest post by Professor Elizabeth Townsend Gard

When I was about 20, I fell in love with the love of Vera and Roland, British youth that loved to chat and write about books, Oxford, and love. Roland would go to war. Vera would go to Oxford. They would meet a few times, kiss a few times, and get secretly engaged. He had leave at Christmas 1915. She waited by the phone. His sister called instead. Roland had been killed a few days earlier. Vera was never the same. She became a nurse, and she would write about Roland, her brother, and their two friends, along with her own experiences for the rest of her life. For a long time, she was the only woman recognized as writing about the Great War. I sought to find other women’s stories and compare them to the stories of men. And I did. But I also ran into copyright issues that drove me to law school, to study duration of copyright, and to wait. The wait took over 20 years, but the opening of the U.S. public domain will now be in its second year. Books from 1923 came into the public domain last year, and books from 1924 come into the public domain as of 2020.

Scholars, and especially biographers, have choices: get permission from the families of copyrighted works, rely on fair use, or use public domain works. When I started my dissertation, most of the works I was using as a World War scholar, looking at the war generation writing throughout the 20th century about their experiences (although I didn’t know it), were in the public domain. But before I filed my dissertation, the world had changed. In 1996, foreign works that had previously been in the public domain were suddenly restored by the Uruguay Round Agreements Act, including most of Vera Brittain’s works. In 1998, the Copyright Term Extension Act was passed, freezing the public domain for 20 years. I would be hooded in the Spring of 1998.

When I started my work, many of the books from the 1920s had come into the public domain because they didn’t have proper © notice, or they weren’t renewed in their 27th year. But as of 1996, that was no longer true with the foreign works that were still under copyright in their home country. This included Vera who had all of her works restored, even the ones no one really cared or knew about. Most who were writing about the war had survived through 1918, and many of the great artists and authors lived until the 1970s. All of their works were restored automatically. For a European historian, the world was quite bleak. All of our source materials for the most part were restored and therefore not easily included in scholarly articles and dissertations.

Now, as of 2019, the world is moving again. Works from 1923 were released into the public domain last year. That included Vera Brittain’s The Dark Tide (1923), published in England. And now, her second novel, Not without Honour (1924) comes into the public domain in 2020. The war generation books, generally published 1925-1932 will soon be flooding our public domain. And this matters tremendously.

While Internet Archive has many books that are available through their lending system—books that we have access to and read, and while Section 108(h) allows libraries to copy and disseminate non-commercially available books in the last twenty years of their term, this does not allow scholars the freedom to use the books without fear of threats, or use of more than a judge might think acceptable under fair use. This is particularly problematic for biographers, who tend to rely on some sources in ways that families may threaten with a lawsuit (think the Schloss case with the Joyce estate) or publishers that may feel uncomfortable relying on fair use.

In the last twenty years, fair use has developed into a robust tool. Maybe that was partly because the published public domain was frozen? And we’ve taken strides in Best Practices and other means to make fair use vibrant and usable. Much of the work that I was doing would clearly be covered under fair use today. The world is very different from when I was writing about Vera Brittain and her ghosts in the 1990s. I would probably not have gone to law school. But it is still important that works come into the public domain, and that’s the story we are here to tell.

And so, on the second anniversary of the opening of the public domain again, I am re-reading The Dark Tide and Not Without Honour, and looking forward to the books that should shortly come into the public domain in the future. I’m also very excited to sift through the Internet Archive collection for hidden gems – books written in 1923, 1924, and even anticipating the new additions in 2021 from 1925. Oh, the possibilities!

Here’s some of the works I’m particularly excited about, that are part of the war generation, Vera’s generation that I studied so long ago:

  • Agatha Christie’s The Man in the Brown Suit (1924) and Poriot Investigates (1924) (she learned about poisons while working as a nurse in the war, and her husband, Archie Christie flew planes);
  • Winifred Holtby (Vera’s best friend), The Crowded Street (1924),
  • A.A. Milne, When We Were Very Young (1924) and we get the first appearance of Pooh in the poem “Teddy Bear” (1924) (Milne was also in the Great War), and
  • The first novel of Ford Maddox Ford’s Parade’s End series, titled Some Do Not, to name a few.

And it’s not just novels and poetry, its art. Käthe Kollwitz’s War series, 1923 also came into the public domain last year.

A Chasm: US versus the rest of the world

Because of our nutty U.S. system – for works first published before 1978, the term is 95 years from publication, many foreign works will be in the public domain for many years in the United States before they are out of copyright in their home country. Take, David Jones’ “The Garden Enclosed” (1924).

Currently the photograph of David Jones’ painting found on the Tate website has the following copyright information: © the estate of David Jones/Bridgeman Images. You have to license the use. But as of January 1, 2020, the work is in the public domain in the U.S., and so you do not have to get permission to use the painting or an image of the painting. It will remain under copyright in Great Britain through 2044.

But the joy of the public domain in the U.S. is more than the great works; it is also the ephemera – the photographs in newspapers, postcards, films and so much more that have been locked up because they were restored as foreign works. All of these works are now coming into the public domain, and it is glorious. As of January 1, 2020, any work published anywhere in the world before 1925 is in the public domain in the United States.

One of the best features of the Internet Archive is that you can add a filter to any search of the publication year. So, as you search, check “1924”. It doesn’t matter whether the works were published here or in the US, whether they were renewed or had proper notice. They are now in the public domain in the U.S. for all to enjoy unfettered and without restriction.

So, I encourage you to go play on the Internet Archive site and around the world in search of new public domain treasures. Just remember, these works are in the public domain in the U.S. They may be (and likely are) still under copyright in other places around the world.

Elizabeth Townsend Gard holds a Ph.D in European History from UCLA, and is a Professor of Law at Tulane University, where she focuses on the intersection of law and culture, and in particular the role of law in creativity in copyright and trademark. Her work includes the invention of the Durationator, and the host of the popular research podcast, Just Wanna Quilt, exploring the art, craft and copyright of an industry. She is currently a Lepage Entrepreneur Faculty Fellow at the A.B. Freeman School of Business, and the Greenbaum Fellow at the Newcomb Institute, both at Tulane University.  For more information on the Durationator and determining copyright can be found at www.durationator.com.

Top 10 Reasons to Support the Internet Archive

DONATE NOW TO SUPPORT THIS NON-PROFIT LIBRARY FOR ALL

Today, the Internet Archive launches is End of Year Fundraising Campaign. We’re lucky to have a 2-to-1 Matching Grant for the next few weeks, so your impact will be tripled if you give today. Of the 1.1 million people who use the Internet Archive each day, only a tiny percentage donate. Why give? Here are ten great reasons to support the Internet’s non-profit library for all:

#1. The Wayback Machine has fixed 11 million broken links in Wikipedia, making the web more reliable.

#2. We’re home to the live recordings of the Grateful Dead. (And 7800 other bands!)

#3. The Internet Archive is working with the people of Bali to keep their culture and language alive by scanning and transcribing the world’s largest online collection of Balinese Palm Leaf manuscripts.

#4. In our Music Collection, you can now read the liner notes for John Coltrane’s album with Johnny Hartman and many LPs and CDs.

#5. Readers! You’re borrowing half a million books each month with complete reader privacy. That’s among the 3.8 million online books we have to choose from.

#6. Who knows what evil lurks in the hearts of men? Only the Shadow knows…along with listeners of our Old Time Radio collection.

#7. Super Munchers and 2500 other MS-DOS games you can play in your browser.

#8. What was the sound of America from 1898 to 1960? Just listen to our 150,000 78rpm recordings. Including 4172 polkas to dance to!

#9. The superpowers of Free-range archivist, Jason Scott.

#10. Information you can trust has never been more important. Our mission is to preserve the best knowledge of humankind and share it with everyone.

If you listen to music and radio, read books, play vintage video games, or reference past web sites at the Internet Archive, we ask that you chip in and help keep us going strong in 2020! Don’t forget, we have a 2-to-1 matching grant, so if you donate $5 it becomes $15 for the Internet Archive today.

DONATE NOW

Fighting Misinformation Online

On Tuesday, the Internet Archive joined Public Knowledge, the Wikimedia Foundation and the Samuelson Law, Technology and Public Policy Clinic from Berkeley Law to brief the Congressional Internet Caucus on efforts to combat misinformation online. Misinformation is a complex issue but one of the root causes is a lack of easy, reliable ways for Internet users to distinguish good information from bad, or authoritative sources from propaganda. The panel highlighted our recent work to weave books into Wikipedia articles, giving users the ability to dig deeper and fact check assertions in just one click.

We would like to thank the Congressional Internet Caucus Academy and Representative Anna Eshoo for sponsoring this conversation.

Weaving Books into the Web—Starting with Wikipedia

[announcement video, Wired]

The Internet Archive has transformed 130,000 references to books in Wikipedia into live links to 50,000 digitized Internet Archive books in several Wikipedia language editions including English, Greek, and Arabic. And we are just getting started. By working with Wikipedia communities and scanning more books, both users and robots will link many more book references directly into Internet Archive books. In these cases, diving deeper into a subject will be a single click.

Moriel Schottlender, Senior Software Engineer, Wikimedia Foundation, speech announcing this program

“I want this,” said Brewster Kahle’s neighbor Carmen Steele, age 15, “at school I am allowed to start with Wikipedia, but I need to quote the original books. This allows me to do this even in the middle of the night.”

For example, the Wikipedia article on Martin Luther King, Jr cites the book To Redeem the Soul of America, by Adam Fairclough. That citation now links directly to page 299 inside the digital version of the book provided by the Internet Archive. There are 66 cited and linked books on that article alone. 

In the Martin Luther King, Jr. article of Wikipedia, page references can now take you directly to the book.

Readers can see a couple of pages to preview the book and, if they want to read further, they can borrow the digital copy using Controlled Digital Lending in a way that’s analogous to how they borrow physical books from their local library.

“What has been written in books over many centuries is critical to informing a generation of digital learners,” said Brewster Kahle, Digital Librarian of the Internet Archive. “We hope to connect readers with books by weaving books into the fabric of the web itself, starting with Wikipedia.”

You can help accelerate these efforts by sponsoring books or funding the effort. It costs the Internet Archive about $20 to digitize and preserve a physical book in order to bring it to Internet readers. The goal is to bring another 4 million important books online over the next several years.  Please donate or contact us to help with this project.

From a presentation on October 23, 2019 by Moriel Schottlender, Tech lead at the Wikimedia Foundation.

“Together we can achieve Universal Access to All Knowledge,” said Mark Graham, Director of the Internet Archive’s Wayback Machine. “One linked book, paper, web page, news article, music file, video and image at a time.”


How the Internet Archive is Digitizing LPs to Preserve Generations of Audio

Last updated January 29th, 2020.

Albums available in the Boston Public Library Vinyl LP Collection on Archive.org.

Imagine if your favorite song or nostalgic recording from childhood was lost forever. This could be the fate of hundreds of thousands of audio files stored on vinyl, except that the Internet Archive is now expanding its digitization project to include LPs. 

Earlier this year, the Internet Archive began working with the Boston Public Library (BPL) to digitize more than 100,000 audio recordings from their sound collection. The recordings exist in a variety of historical formats, including wax cylinders, 78 rpms, and LPs. They span musical genres including classical, pop, rock, and jazz, and contain obscure recordings like this album of music for baton twirlers, and this record of radio’s all-time greatest bloopers

Unfortunately, many of these audio files were never translated into digital formats and are therefore locked in their physical recording. In order to prevent them from disappearing forever when the vinyl is broken, warped, or lost, the Internet Archive is digitizing these at-risk recordings so that they will remain accessible for future listeners.


“The LP was our primary musical medium for over a generation. From Elvis, to the Beatles, to the Clash, the LP was witness to the birth of both Rock & Roll and Punk Rock. It was integral to our culture from the 1950s to the 1980s and is important for us to preserve for future generations.”

– CR Saikley, Director of Special Projects, Internet Archive

Since all of the information on an LP is printed, the digitization process must begin by cataloging data. High-resolution scans are taken of the cover art, the disc itself and any inserts or accompanying materials. The record label, year recorded, track list and other metadata are supplemented and cross-checked against various external databases. 


High resolution imaging of album cover art. The boxed area is shown at high resolution at right.


“We’re really trying to capture everything about this artifact, this piece of media. As an archivist, that’s what we want to represent, the fullness of this physical object.”

– Derek Fukumori, Internet Archive Engineer

Once cataloged, the LP’s are then digitized. The Internet Archive partners with Innodata Knowledge Services, an organization focused on machine learning and digital data transformation, to complete the digitization process at their facilities in Cebu, Philippines. An Innodata worker digitizes 12 LPs at a time, setting turntables to play and record by hand, then turning each record over to the next side. Since each LP is digitized in real time, it takes a full 20 minutes to record an average LP side. By operating 12 turntables simultaneously, the team expects to be able to digitize ten LPs per hour.


Audio stations complete with turntables & recording equipment set up in Cebu, Philippines.

Once recorded, there is a large FLAC file for each side of the LP, which needs to be segmented so listeners can easily begin at the desired song. There are two different algorithms used for segmenting; the first one looks at images of the vinyl disc to locate gaps in its grooves, which usually line up with gaps between songs. A second algorithm listens to the audio file to find the silent spaces between songs. When these two algorithms align, our engineers have a good measure of confidence that the machine has found the proper tracks.

These algorithms currently predict segmenting with about 85% to 95% accuracy, but some audio files are more difficult. For example, recordings of live music fill in the spaces between songs with applause, while classical music utilizes silence as part of a song. In order to account for these anomalies, digitized LP files are always checked manually before being added to the online database.

Identifying the empty spaces between songs for segmenting.

Currently, there are more than 5,800 LPs from the Boston Public Library LP collection available on Archive.org. The Internet Archive continues to digitize the remainder of the BPL collection in addition to more than 285,000 LPs that have been donated by others. The organization aims to engage a greater community of LP and 78 rpm enthusiasts by welcoming contributions and improvements to the recorded metadata. Many of the audio files online can be listened to in full, but some of the albums are only available in 30 second snippets due to rights issues.


“The complexity of properly digitizing LPs has been an evolving challenge, but thanks to the help of friends of the Archive, our in-house expertise, and the dedication of Innodata, I’m confident we’ve nailed it.”

– Merlijn Wajer, Internet Archive Developer

For decades, vinyl records were the dominant storage medium for every type of music and are ingrained in the memories and culture of several generations. Despite the challenges, the Internet Archive is determined to preserve these at-risk records so that they can be heard online by new audiences of scholars, researchers, and music lovers around the world.


ABOUT THE AUTHOR: Faye Lessler is a California-born, Brooklyn-based freelance writer and founder of lifestyle blog, Sustaining Life. She is an expert in mission-driven communications and enjoys writing while sipping black tea in a beam of sunshine.

The Wayback Machine’s Save Page Now is New and Improved

Every day hundreds of millions of web pages are archived to the Internet Archive’s Wayback Machine. Tens of millions of them submitted by users like you using our Save Page Now service. You can now do that in a way that is easier, faster and better than ever before.

Save Page Now (SPN) just got a major upgrade as a result of a total code rewrite, adding a slew of new and awesome features, with more on the way.  

Let’s explore what’s new with Save Page Now    

You can now save all the “outlinks” of a web page with a single click. By selecting the “save outlinks” checkbox you can save the requested page (and all the embedded resources that make up that page) and also all linked pages (and all the embedded resources that make up those pages). Often, a request to archive a single web page, with outlinks, will cause us to archive hundreds of URLs.  Every one of which is shown via the SPN interface as it is archived.

My Web Archive keeps a record of the pages you personally saved in the Wayback Machine using Save Page Now.

The new and improved SPN is based on the modern, server-side Brozzler software, which is capable of running web page JavaScript when saving a URL. With this new approach, we can replay the original more faithfully than was possible before.  And, because this software is actively supported by several developers, bugs are quickly fixed, and new features added at a rapid pace. 

When users are logged in with their free Archive.org account, SPN-generated archives can be saved to that user’s “My web archive” public gallery of archived pages.  

In addition to capturing more high-quality archives of web page elements (HTML, JavaScript, Image files, etc.), SPN can now also produce a screenshot. If screenshots of archived pages are available, we will display an icon on corresponding playback pages and if selected the screenshot will be shown. 

Have you ever wanted to archive all the web pages linked from an email message?  Well, you are in luck because now you can forward that email to “savepagenow@archive.org” and after a few minutes you will get an email back filled with Wayback Machine playback URLs. 

Some of you might like the new “First capture” badge you will see if any of the URLs you submit to be archived (including outlinked URLs and URLs included in emails) have not been archived yet. And, yes, for those of you who are feeling competitive, we are planning to launch a “leader board” soon. Let the games begin!

Maybe you want the URLs embedded in a web-based PDF file, RSS feed, or JSON file archived. The new SPN will parse those files and archive all the URLs they contain.  To use this feature, simply submit PDF/RSS or JSON URLs to SPN, and don’t forget to select the “capture outlinks” checkbox.

This new version of SPN is also being used as the back-end support for a number of Wayback Machine services, including the iOS and Android apps as well as the Chrome, Firefox and Safari browser extensions. And, in case you wondered, those apps and extensions will also be getting major updates very soon.

And, yes, of course SPN has a brand new API that you can use to automate a range of Web archiving projects. Please write to us at info@archive.org if you would like to learn more about the API.

We have often gotten requests to archive URLs from a Google Sheet. We now support that feature for authorised users. Please write to us for access to this advanced capability at info@archive.org.

We LOVE hearing about ways we can make the Wayback Machine better. In fact most of these new SPN features started with your user suggestions.  

Please let us know what you think. Good, bad, or otherwise. Who knows, the next cool SPN feature might be invented by you!

And remember, “If you see something, save something!”

Unlocking the Potential for Every High School Library: 2019 Internet Archive Hero Award

Announced today, Phillips Academy has received the Hero Award from the Internet Archive for its leadership in adopting controlled digital lending for school libraries. The Hero Award is presented annually to an organization that exhibits leadership in making its holdings available to digital learners all over the world, and when Phillips Academy was renovating its Oliver Wendell Holmes Library, librarian Michael Barker wanted to update more than the physical space. This was also an opportunity to bring the private preparatory high school up to speed digitally – and in the process, share its vast book collection with others.

Barker, Director of Academy Research, Information and Library Services, has embraced Controlled Digital Lending (CDL), where a library digitizes a book it owns and lends out one secured digital version to one user at a time. In this case, the Andover, Massachusetts school owns 80,000 books.

Michael Barker

“With the closure of so many high school libraries, this allows us to share the collection we’ve built up over 100 years with all other high schools,” Barker said. “I can’t think of any better way the library could contribute its private resources for a public purpose.”

Phillips, which has roughly 1,100 students in grades 9-12, has been active in the Digital Public Library of America. It has already digitized about 4,000 of its titles published prior to 1923.


With all the books already boxed up for the renovation, the school’s decision to expand its CDL project was clear: “There would never be a better time than now,” Barker said. This summer it shipped most of the remaining volumes to be digitized by Internet Archive at its scanning facility in the Philippines.

Sharing the cost of scanning and shipping with Internet Archive was critical to the digitization process happening, said Barker. The books are expected back early in 2020 and will be placed back on library shelves over spring break.

Rather than most books being on display, the renovated Phillips library includes more open space for collaboration. It was last updated in 1987 and was not wired for a world that included the Internet. Renovations began in early 2018 and the newly updated facility opened to students this fall.

Originally designed like a “book fortress,” Barker said the center of the library now has room for students to study together while some books are on shelves around the periphery. Most books are now in the attic and basement where they can be called up to lending.

“One local benefit of CDL is that students don’t necessarily need to call the book from the attic. With a digital version there is no delay in getting the book,” Barker said.

As Barker awaits the return of the book collection from the Philippines, he is tracking the shipment (which went on two separate ships and was insured). In the meantime, Phillips is preparing to share the news of its vast collection becoming open to students everywhere. Barker is excited to offer the school’s resources openly and said it’s particularly timely as school library budgets are being cut, making it hard for libraries to fulfill their mission.

“The truth of the matter is that some schools don’t have libraries anymore,” Barker said. “If other schools like us got involved in CDL in the same way and shared their copies, many public schools would not have to worry about their students having access to collections in the same way they might be doing now. I encourage others to explore it and jump in. It seems like it can only get stronger the more libraries that join.”

NOTE: Come meet Mike Barker and learn more about Phillips Academy when he speaks at Internet Archive’s World Night Market, Wednesday 10/23 from 5-10 PM.  Tickets available here.