Category Archives: Books Archive

New Digital Collection Preserves Key Books on Drug Use and Policy

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For many years, the Drug Policy Alliance (DPA) maintained a large library of books on drug use and policy at its New York City headquarters. As researchers shifted to working online, DPA’s Jules Netherland said she noticed fewer people coming into the office to use the collection.

“It became clear if we really wanted people to benefit from our resources that digitization was the way to go,” said Netherland, managing director of the Alliance’s Department of Research and Academic Engagement. It was also an opportunity to add to the growing collection of the Substance Abuse Librarians and Information Specialists (SALIS).

DPA donated its book collection to the Internet Archive to be digitized and made available for lending and for the print disabled. A team was sent to New York to pick up the books, which were packaged onto three pallets and shipped to a facility for scanning and storage.

Now, the digital version of the DPA library, with 2,260 items, is available to the public at https://archive.org/details/dpa. It is part of the larger SALIS collection of 8,647 items on alcohol and substance abuse digitized by SALIS.

Browse the new Drug Policy Alliance (DPA) collection: https://archive.org/details/dpa

The new donation covers books on a range of subjects going back to the 1900s, said Liz Rosenberg, donations manager for the Internet Archive. There are volumes on historical and cultural analysis of drug use, policy and politics around drugs, pharmacological studies, and books specific to a particular drug. Titles now digitized include: Deadly medicine: Indians and alcohol in early America; Between prohibition and legalization : the Dutch experiment in drug policy; Pain, analgesia, and addiction: the pharmacologic treatment of pain; and Meth wars : police, media, power.

The public has responded with curiosity. In January, 10,000 items were accessed in the digitized collection. Rosenberg speculates the audience is likely researchers, historians, healthcare providers, and policymakers.

Resource guide developed for the collection.

In the rapidly evolving field of drug policy, which spans many disciplines, Netherland said it’s important to provide evidence-based information to the public. The hope is to enhance advocacy efforts with easier access to the organization’s collection. DPA developed a resource guide to encourage its use on the Internet Archive.

In donating its collection, DPA helped build the Internet Archive’s SALIS collection. Since 2008, SALIS has helped preserve thousands of items from physical libraries with research from drug and alcohol fields that have closed, said Andrea Mitchell, SALIS executive director. 

About 30 years ago, there were approximately 95 libraries, clearinghouses, and resource centers around the world devoted to collecting, cataloguing, and disseminating information concerning alcohol, tobacco, and other drugs, Mitchell said. However, today the majority of those  libraries  or databases have closed. The U.S. government has also shut down collections, including the National Institute on Drug Abuse, whose library went back to 1935. “We’re losing important resources and knowledge,” Mitchell said.

This leaves a void in access that has been filled, in part, by digitized collections online. Mitchell said The SALIS Collection includes materials that go back to 1774 and books from medicine, sociology, psychology, economics, law and policy, criminal justice, and other fields. In addition to books, there are government documents, grey literature, and newsletters.  

The DPA collection was one of the larger libraries in the U.S., Mitchell said, and its donation to the Internet Archive is significant and welcome.

The Internet Archive is interested in receiving more curated collections like DPA’s on specific subject matters, Rosenberg added. “These really valuable books for research and resources are often not preserved when funding is lost at the library that houses them,” she saidTo find out more about the physical item donation process, go to the Help page for details.

Vanishing Culture: When Preservation Meets Social Media

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The following discussion between writer Caralee Adams and book historian Allie Alvis is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age. Read more essays online or download the full report now.

Like many in the early days of Instagram, Allie Alvis shared what they had for dinner or funny things they encountered on their personal account. It was in Edinburgh, Scotland, when pursuing their master’s degree in book history that they were inspired to post about the university’s incredible book collection, library and items from the used and antiquarian bookshop where they worked.

“To my surprise, people really, really enjoyed it,” said Alvis, of videos and photos they curated of delicately paging through rare books. “I started getting questions from friends and family. And then it just sort of picked up steam with institutions and bookish colleagues following me. I have no idea how I ended up at 255,000 followers now.”

The self-described “pink-haired book historian” mainly posts on Instagram (@Book_Historia), but also is active on TikTok, X, Bluesky, Tumblr, Threads and Facebook. Alvis aims to share something new at least once a week, in addition to working as curator of special collections at the Winterthur Museum, Garden and Library in Winterthur, Delaware.

Alvis said they never set out to become a super popular influencer, but they enjoy sharing their passion for rare books and educating the public.

“It’s been a crazy ride that my followers have grown to such an extent,” they said. “It really has been a grand experiment.”

Among the most popular items they’ve recently shared: a French sample book of foil ornaments from the late 19th century. “It’s just delicious—sparkly, metal. It’s just to die for,” they said.

Alvis’s posts are filled with descriptive narration and an authentic reverence for the historic books they present. They maintain that there’s more to a rare book than what’s on its pages. There’s history behind the author who wrote it, the place where it was made, and the materials used to make it.

Allie Alvis

Check out Allie Alvis on Instagram: https://www.instagram.com/book_historia

“Because that history remains, you want to preserve it,” Alvis said. “You want to keep it in the best possible condition so other people can learn from it.”

Having materials online means that people from all parts of the world can view them without having to travel, which is good for the environment. It’s also useful in knowledge sharing and teaching to have access from beyond your local library, said Alvis, who has a bachelor’s degree in linguistics from the University of Kansas, a master’s of science in book history at the University of Edinburgh and master’s of science in information management from the University of Glasgow.

“I approach digital initiatives from an access standpoint,” Alvis said. “I love that digitization and the Internet Archive gives more people access to materials—and that helps to preserve it.”

Whether putting together scholarly articles or a social media post, Alvis turns to many sources in their research—including the Internet Archive. They especially appreciate the ephemeral material that it has preserved, digitized and made freely available, along with the vast collection of books.

“I have my library reference books at home and in the office, but sometimes that one book you need that one page from is just out of reach,” Alvis said. “The short-time lending option on the Internet Archive has saved me so many times.”

Vanishing Culture
Download the complete Vanishing Culture report.

In their work curating decorative arts and art history, some objects are easier to capture through scanning than others. For example, it can be challenging for digital preservation to reflect the dimensionality of button samples, metal ornaments, or perfume labels. But it is useful with wallpaper samples or other flat objects. There are also limits because of the sheer volume of material and limited resources.

Alvis said librarians, academics, booksellers, and book collectors are embracing digitization and social media as tools to both further knowledge and highlight collections. Many also now understand that access is an important part of preservation.

“It would be amazing if everything could be scanned—but there is just so much of it,” Alvis said.

Still, as a librarian, Alvis said, much has been saved—and for that, they’re thankful: “It is only because previous generations have preserved this material—to the extent that they have—that I have work.”

Vanishing Culture: Preserving the Library System

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The following guest post from digital librarian and founder of the Internet Archive, Brewster Kahle, is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age. Read more essays online or download the full report now.

I would never have thought I would see the day when the library system itself is under attack.

At home I had a couple of shelves of treasured kids’ books while my parents had walls coated with books. The books and periodicals of my writer and publisher grandfather were on a special bookshelf in the room next to the kitchen—maybe not consulted often, but proudly protected and displayed. But the delight of first going to the White Plains Public Library is indelibly imprinted in my mind—the bookshelves seemed to go on forever. There was book after book after Alice in Wonderland in the card catalog, books about mathematical recreations I could not imagine finding anywhere else, and record albums I could borrow. And I still remember the librarian saying, “You can read any of these books you want, and if we don’t have the one you want, we can get it for you [through the magic of interlibrary loan].” And this was all for free, which was the only thing that worked for a child. And available to everyone who could get their bones through that door of that magic place.

As a child, I did not know how special libraries were—I thought it was just how society worked—I thought there always were and always would be public libraries. I did not realize how fragile this system was until I became a digital librarian in order to make this promise come true for the next generation, a generation of digital learners. I did not think that in my lifetime this offer, this seeming human right, would be threatened by the people that made the fantasy-land of the White Plains Public Library possible: the corporate publishers.

Based on a simple but catastrophic business decision, the big publishers are making it impossible for libraries to do their core functions of preservation and enduring access in the digital era. Netflix, for instance, recently changed its terms of service to explicitly prohibit archiving, therefore allowing them to remove or change any movie for all subscribers at once.1 The decision of the big publishers that is so threatening to the mission of libraries is to stop selling their products. Their books, music, and videos—as the world moves digital—are only available for temporary access by library patrons from databases the publishers control.

At the dawn of the Internet age, we dreamed of a different future, a future where authors got paid for their work, where writings would find their natural audience, where small publishers would flourish supporting a wider range of authors, where new publications and services would democratize production and access to information. The Internet could have been used to create this future, and many of us have worked hard to make it come true, but the lack of antitrust enforcement led to rapid consolidation of publishers, Internet technologies allowed successful online publishers to become dominant worldwide, and an advertising model that made for very few commercial winners. This toxic brew of the collapse of independent publishers and limited commercial platform controlling distribution has made the decentralized Internet seem like a lost opportunity.

Libraries in the United States are under attack through book bannings,2 defundings,3 increasing criminalization of librarianship,4 licensing restrictions,5 governors vetoing protection for libraries,6 and a judiciary that is steadily siding with publishers.7 This is a long way from a century ago when the United States led in libraries with the Carnegie libraries—supported by legislatures and judiciary—helping create an educated citizenry ready to enter the world stage.

Vanishing Culture
Download the complete Vanishing Culture report.

But there is hope for libraries and a public seeking alternatives to the flood of disinformation and promoted materials coming from online and offline information producers. Libraries are still funded and staffed with smart, caring professionals. Readers are becoming more media-aware and discerning. Best of all, people are still free to create and publish quality works with the remaining distribution and compensation structures. It is still possible to have a game with many winners, but maybe this window is closing.

To preserve the library system’s ability to help create an informed citizenry, we need libraries to buy, preserve, and offer free public access to the broad public. Our libraries have traditionally supported local authors and local publishers, and preserved a broad range of text, audio, and moving image materials. Libraries, when not stopped, have moved with the times, through microfilm and CD-ROMs, and now to the Internet in order to provide preservation and access. Our collective budgets in the United States support over 5% of all trade publishing revenues8—enough to cause a leveraged buyout firm, KKR, to find buying major publisher Simon and Schuster a good investment.9 Our libraries are a captive market for a shrinking number of academic and trade publishers.

The best case is that large publishers see the value in selling their digital products through multiple marketplaces, including to libraries. The next best is that independent publishers sell to libraries, and libraries eagerly buy, preserve, and lend from their owned collections. Authors, musicians, filmmakers and creators of all kinds could choose publishers and websites that sell to libraries.10

Our evolving digital age can be our next Carnegie moment or it can be a Library of Alexandria moment. It is up to us.

References

  1.  Netflix. 2025. Terms & Conditions. https://www.netflix.shop/pages/terms-conditions “You agree not to archive, download (other than through caching necessary for personal use, to complete a product purchase or submit a customer service request), reproduce, distribute, modify, display, perform, publish, license, create derivative works from, offer for sale, or use content and information contained on or obtained from or through the Shop without express written permission from Netflix and its licensors.” ↩︎
  2.  American Library Association. 2025. Book Ban Data. https://www.ala.org/bbooks/book-ban-data ↩︎
  3.  Vilcarino, Jennifer. 2025. “Trump Admin. Cuts Library Funding. What It Means for Students.” Education Week, March 19, 2025. https://www.edweek.org/policy-politics/trump-admin-cuts-library-funding-what-it-means-for-students/2025/03 ↩︎
  4.  Jensen, Kelly. 2025. “Librarian Criminalization Bills Are Growing, But They’re Not New: Book Censorship News, March 14, 2025.” Book Riot, March 14, 2025. https://bookriot.com/librarian-criminalization-bills-are-growing/. ↩︎
  5.  Kingson, Jennifer A. 2024. “Inside Libraries’ Battle for Better E-Book Access.” Axios, May 6, 2024. https://www.axios.com/2024/05/06/library-librarians-e-books-license-policies ↩︎
  6.  American Libraries. 2021. “N.Y. Gov. Hochul Vetoes Library Ebook Bill.” American Libraries Magazine, December 29, 2021. https://americanlibrariesmagazine.org/latest-links/n-y-gov-hochul-vetoes-library-ebook-bill/ ↩︎
  7.  Albanese, Andrew. 2022. “In Final Order, Court Declares Maryland’s Library E-book Law Unconstitutional.” Publishers Weekly, June 14, 2022. https://www.publishersweekly.com/pw/by-topic/industry-news/libraries/article/89598-in-final-order-court-declares-maryland-s-library-e-book-law-unconstitutional.html ↩︎
  8.  Coates, Tim. 2023. “Should Public Libraries Double Down on Print Book Collections?” Publishers Weekly, March 10, 2023. https://www.publishersweekly.com/pw/by-topic/industry-news/libraries/article/91693-should-public-libraries-double-down-on-print-book-collections.html ↩︎
  9.  KKR. 2023. “KKR to Acquire Simon & Schuster from Paramount Global for $1.62 Billion.” KKR Media, August 7, 2023. https://media.kkr.com/news-details?news_id=82241299-bf00-4648-a41d-5cb409d4e83d ↩︎
  10.  Bustillos, Maria. 2021. “Sell This Book!” The Nation, August 3, 2021. https://www.thenation.com/article/culture/libraries-digital-publishing-ebooks/ ↩︎

About the author

Brewster Kahle is the digital librarian and founder of the Internet Archive.

Current Affairs Magazine Demonstrates Paywalls Are Not Necessary for Publications to Thrive

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Nathan J. Robinson, editor-in-chief of Current Affairs.

An independent magazine published in New Orleans is proving that it’s possible to succeed without accepting advertising or putting up barriers requiring readers to pay for content.

In 2015, Nathan J. Robinson and Oren Nimni raised more than $16,000 in a Kickstarter campaign to launch Current Affairs, a print magazine featuring political analysis and satire. Its lean staff of six produces six issues a year, as well as a podcast and digital newsletter. To operate, the magazine relies on donations, grants and individual subscriptions—although its content is available to the public online for free.

Robinson said he’s motivated by the all-too-common and damaging problem that “the truth is paywalled but the lies are free,” which he’s famously written about in the magazine. Outrageous stories and misinformation are easy to access, while factual news stories often require subscriptions to read.

“The moment you put in a paywall, you’re cutting down the potential audience—and you’re cutting it down to the people who are really committed, rather than those who need to read the piece the most. I want to reach the people who need to read it closely,” Robinson said. “It’s really important for democracy, because people need to be able to make informed decisions.”

Running a progressive magazine not backed by corporate interests gives the editorial staff latitude to tackle issues with a different lens, said Robinson, 35, who has a law degree and PhD in sociology. With so many distractions in the daily news, Current Affairs tries to keep people focused on what matters; for instance, critiquing how climate change policies should be addressed, and analyzing U.S. policy with Haiti over time. In 2023, Robinson wrote an article on the history of the New Masses magazine, exploring its mission as a left-leaning publication from 1926-1948.

“Being independent gives us so much creative freedom,” Robinson said. “We’re very experimental.”

Current Affairs has 3,000 subscribers (who pay about $70 a year), and staff work to build deep connections to secure their loyalty. Robinson hosts regular online Zoom sessions to get feedback from subscribers and extends an open invitation to stop by the magazine’s office in the Central Business District of New Orleans for a cup of tea. 

Current Affairs covers

Robinson’s goal: cultivate a community that wants to support the publication, rather than thinking of subscribing as transactions. When there is a new project or initiative, the magazine reaches out to subscribers for additional donations and often finds they are responsive.

“We’re trying to demonstrate the viability of independent media,” Robinson said. “We hope we inspire others to believe it’s possible and not accept the conventional wisdom that you need to put content behind paywalls, because you don’t.”

Content is produced by three editors (the other staff members cover graphics and operations) and freelance writers. Robinson said salaries and payments for submissions are modest to keep costs down, with an annual budget of just $600,000. The publication relies on traffic from social media to attract new readers. The team is dedicated to do what it can to persuade others about policy and culture, he said, and provides easy access to the public to join in the discourse. 

Robinson said the work of Current Affairs and the Internet Archive intersects, as both strive to remove barriers to knowledge. 

“The Internet Archive functions as a library should, putting out a lot of raw information,” Robinson said. “Our job is to sift through the information. Collection is important, but analysis is also important.”

In his work, Robinson said he frequently turns to the Internet Archive. After finishing graduate school at Harvard University, he lost access to the campus library. “The Wayback Machine is unbelievably important to anyone who wants to seriously research anything, because stuff goes away,” he said. 

Robinson co-authored a book with Noam Chomsky, The Myth of American Idealism, which was released by Penguin Random House last year. Since many of the books cited in endnotes were out of print, Robinson said the Internet Archive was invaluable in verifying sources.

Recently, the magazine became registered with the Internal Revenue Services as a 501(c)(3) nonprofit organization. With that new designation, it began to seek additional support and just received its first grant from the Craigslist Foundation. The hope is to expand its funding to be able to hire reporters to do more original reporting, Robinson said.

New start-ups, especially in the media space, struggle to find a sustainable business model, but Current Affairs continues to grow: “It feels amazing to bring something into the world that isn’t like everything else,” he said. “We’ve been around for eight years now, and we’re going to stay around many more.”

Wyden to FTC: Stop digital “bait-and-switch” sales

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Senator Ron Wyden (D-Oregon) is urging the Federal Trade Commission to crack down on digital platforms that mislead consumers into believing they own purchased content when, in reality, they are only granted temporary access. In his statement, Wyden highlights how companies selling digital TV shows, e-books, music, and video games often retain the right to revoke access, leaving consumers without the content they paid for. He calls on the FTC to enforce transparency and prevent these deceptive sales practices. Read the full letter.

This push for fairness and transparency in digital media sales is important for libraries as well as consumers. Over the last decade, publishers have fundamentally changed the relationship between libraries and their collections, phasing out digital sales and even “perpetual access” license models in favor of subscription-only access models. While the companies behind these changes claim they will improve library services through enhanced discovery and integration of research content, librarians and scholars argue that renting rather than owning materials ultimately harms the libraries and their patrons. 

“[T]he transition to subscription-only access represents more than a change in purchasing models – it fundamentally undermines the ability of academic libraries to build collections that serve their specific institutional needs. It is likely to impede our ability to maintain comprehensive research — let alone teaching — collections.”

Siobhan Haimé, Birkbeck, University of London

The shift to a streaming-only model doesn’t just harm libraries and consumers—it’s also devastating for artists, authors, and independent publishers. Without the ability to sell their work outright, creators are forced into licensing arrangements that give platforms control over distribution, pricing, and even availability. Independent publishers are pushing back, albeit unsuccessfully, as seen in their failed lawsuit against Amazon, alleging that the company’s dominance in digital books forces unfair terms on publishers and authors alike. Musicians, too, are speaking out—Max Collins, lead singer of famed alt-rock band Eve 6, explains how his band with popular songs averages a million streams each month on Spotify, paying out $3,000, on average, per month. As Collins writes in his op-ed, “It’s a pretty sick deal…for the corporations.”

Senator Wyden’s letter isn’t a sudden development—it’s the culmination of years of warnings about the risks of a “streaming-only” model and its impact on libraries and the communities they support. The shift away from ownership to perpetual leasing threatens long-term access to knowledge and culture. To explore what’s at stake, check out these additional resources:

The End of Ownership: Personal Property in the Digital Economy

By Aaron Perzanowski and Jason Schultz
From the publisher, MIT Press: If you buy a book at the bookstore, you own it. You can take it home, scribble in the margins, put it on the shelf, lend it to a friend, sell it at a garage sale. But is the same thing true for the ebooks or other digital goods you buy? Retailers and copyright holders argue that you don’t own those purchases, you merely license them. That means your ebook vendor can delete the book from your device without warning or explanation—as Amazon deleted Orwell’s 1984 from the Kindles of surprised readers several years ago. These readers thought they owned their copies of 1984. Until, it turned out, they didn’t. In The End of Ownership, Aaron Perzanowski and Jason Schultz explore how notions of ownership have shifted in the digital marketplace, and make an argument for the benefits of personal property.

Data Cartels: The Companies that Control and Monopolize Our Information

By Sarah Lamdan
From the publisher, Stanford University Press: In our digital world, data is power. Information hoarding businesses reign supreme, using intimidation, aggression, and force to maintain influence and control. Sarah Lamdan brings us into the unregulated underworld of these “data cartels”, demonstrating how the entities mining, commodifying, and selling our data and informational resources perpetuate social inequalities and threaten the democratic sharing of knowledge.

Four Digital Rights For Protecting Memory Institutions Online

By Lila Bailey, Michael Lind Menna
The rights and responsibilities that memory institutions have always enjoyed offline must also be protected online. To accomplish this goal, libraries, archives and museums must have the legal rights and practical ability to:

  • Collect materials in digital form, whether through digitization of physical collections, or through purchase on the open market or by other legal means;
  • Preserve digital materials, and where necessary repair, back up, or reformat them, to ensure their long-term existence and availability;
  • Provide controlled access to digital materials for advanced research techniques and to patrons where they are—online;
  • Cooperate with other memory institutions, by sharing or transferring digital collections, so as to aid preservation and access.

The Publisher Playbook: A Brief History of the Publishing Industry’s Obstruction of the Library Mission.

By Kyle K. Courtney and Juliya Ziskina
Abstract: Libraries have continuously evolved their ability to provide access to collections in innovative ways. Many of these advancements in access, however, were not achieved without overcoming serious resistance and obstruction from the rightsholder and publishing industry. The struggle to maintain the library’s access-based mission and serve the public interest began as early as the late 1800s and continues through today. We call these tactics the “publishers’ playbook.” Libraries and their readers have routinely engaged in lengthy battles to defend the ability for libraries to fulfill their mission and serve the public good. The following is a brief review of the times and methods that publishers and rightsholder interests have attempted to hinder the library mission. This pattern of conduct, as reflected in ongoing controlled digital lending litigation, is not unexpected and belies a historical playbook on the part of publishers and rightsholders to maximize their own profits and control over the public’s informational needs. Thankfully, as outlined in this paper, Congress and the courts have historically upheld libraries’ attempts to expand access to information for the public’s benefit.

Vanishing Culture: A Report on Our Fragile Cultural Record

By Luca Messarra, Chris Freeland and Juliya Ziskina
In today’s digital landscape, corporate interests, shifting distribution models, and malicious cyber attacks are threatening public access to our shared cultural history. Vanishing Culture: A Report on Our Fragile Cultural Record aims to raise awareness of these growing issues. The report details recent instances of cultural loss, highlights the underlying causes, and emphasizes the critical role that public-serving libraries and archives must play in preserving these materials for future generations. By empowering libraries and archives legally, culturally, and financially, we can safeguard the public’s ability to maintain access to our cultural history and our digital future.

Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We’ll Win Them Back

By Cory Doctorow & Rebecca Giblin
This book examines how monopolistic corporations have structured markets—especially in digital media—to extract wealth while limiting access and competition. It also explores ways creators and the public can push back against these restrictive systems.

A Red-Carpet Affair: Celebrating Public Domain Day 2025 in 1929 Hollywood Style

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Lights, camera, preservation! On a star-studded evening at the Internet Archive, we rolled out the red carpet to honor the creative works from 1929 and the sound recordings from 1924 that entered the public domain in 2025. And what better way to celebrate than with a glamorous, Oscar-inspired soirée?

Guests arrived in true 1920s fashion, riding in a vintage convertible before stepping onto the red carpet, where they were met by the spirited Raining Chainsaws street theater troupe, who transformed into a fleet of eager, old-time paparazzi—flashing cameras, barking questions, and adding a touch of whimsy and Hollywood magic to the night.

📸 Check out photos from the red carpet!

Inside the Internet Archive, attendees sipped on French 75s and Old-Fashioneds, classic cocktails that transported us back to the final, glittering moments of the Roaring Twenties. The theme of the night? 1929—the year of the very first Academy Awards—and we honored this cinematic milestone with an evening of film, history, and remixing of the past.

🎞 Lecture by George Evelyn on Disney’s The Skeleton Dance
Animation historian George Evelyn enlightened the audience with a viewing of The Skeleton Dance, the first of Disney’s Silly Symphonies. With its pioneering use of synchronized sound and animation, the 1929 short was a perfect reminder of how creativity from the past continues to shape the present.

🎬 Public Domain Film Remix Contest Screening
What happens when today’s creators remix yesterday’s masterpieces? Our Public Domain Film Remix Contest showcased the most inventive reinterpretations of public domain classics, where old Hollywood met modern storytelling in unexpected and thrilling ways. View all the winners, honorable mentions and submissions from this year’s contest.

👀 Watch the livestream of the night’s festivities

As the evening came to a close, guests toasted to the future of open culture, celebrating the power of preservation, creativity, and the public domain. Thank you to everyone who joined us for this dazzling night of history, cinema, and community!

Virtual Public Domain Day Celebrates 1929 Creative Works & 1924 Sound Recordings

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On January 22, hundreds of people from all over the world gathered together for Singin’ in the Public Domain, a virtual celebration of the works that moved into the public domain in 2025. The event was co-hosted by Internet Archive and Library Futures.

Watch:

Speakers include (in order of appearance):

  • Natalia Paruz (The Saw Lady), musician
  • Lila Bailey, Internet Archive
  • Jennie Rose Halperin, Internet Archive
  • Sean Dudley, Internet Archive
  • Jennifer Jenkins, Center for the Study of the Public Domain
  • Vivian Li, Innovator in Residence, Library of Congress
  • Tim Findlen (Roochie Toochie and the Ragtime Shepherd Kings), musician
  • Kathleen DeLaurenti, Peabody Institute of the Johns Hopkins University’s Arthur Friedheim Music Library
  • Colin Hancock (The Joymakers), musician
  • Ayun Halliday, Necromancers of the Public Domain
  • Simon Close, WYNC & Public Song Project
  • Dorothy Berry, Smithsonian National Museum of African American History and Culture
  • Theo Unkrich, Internet Archive

Public Domain Spotlight: Popeye

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Over the last few years we have seen many new characters enter the public domain including Winnie-the-Pooh in 2022, Mickey Mouse in 2024, and now, Popeye in 2025! The character emerged from a comic strip called Thimble Theater, which was started in 1919 and originally centered around the characters Ham Gravy and Olive Oyl. Popeye made his first appearance in the series as a minor player in early 1929, and as his popularity grew, he later became the central focus of the comic.

Let’s take a look at who Popeye was as a character in 1929:

January 17, 1929

In his very first appearance, Popeye shows off his thorny side by retorting Castor Oyl’s question with a sly remark about being a cowboy. The strip also shows him in a traditional all white sailor get-up that does not reflect his later appearance.

February 14, 1929

Popeye wears a black shirt for the first time, which is more in line with his iconic appearance.

February 18, 1929

Popeye throws his first ever punch. This time against Ham Gravy, one of the main characters of the strip at this point. The title, “That Sailor’s No Gentleman”, is indicative of Popeye’s rough and tough demeanor that would come to define the character.

June 11, 1929

After being shot repeatedly nearly a month earlier, in May 1929, Popeye reemerges full of bullet holes to knock down a foe. His displays of super strength do not originate from spinach, but possibly from rubbing the head of the Whiffle Hen (as seen on May 16, 1929).

June 15, 1929

Olive Oyl displays her first inclinations of romantic interest toward Popeye stating she would like to give him a kiss. The two do not become romantically involved in 1929, but the seeds were planted early.

June 27, 1929

This strip sees Popeye leave until August. However, his departure is not even the main appeal of the strip as it instead focuses on Olive Oyl’s purchase of new clothing. This focus and Popeye’s long absence, he is gone for all of July, thus implies that he was not meant to be a long lasting character, but only around temporarily.

August 5, 1929

Following over a month-long absence, Popeye returns to help Castor Oyl determine if Olive’s new boyfriend is only there for her money. His return indicates his overwhelming popularity with the public that was soon to transpire into his status as unchallenged main character of the strip. The title of this strip too foreshadows this shift being titled: Popeye’s The Man.

August 27, 1929

Olive Oyl displays her first show of affection to Popeye with a kiss. Though this was a mistake as she believed Popeye to be someone else. Despite this, it is yet another early indicator of their soon to be romance.

October 12, 1929

Popeye and Castor Oyl set off to locate Castor’s newly purchased brass mine. Their duo pairing indicates Popeye’s increased status and stature within the strip as Castor was the undeniable main character of the strip up to this point. Popeye’s appearance here again followed a brief absence from the strip dating back to September 30, 1929.

October 22, 1929

Popeye and Castor discover that where the brass mine ought to be is instead a farmer. Popeye implores Castor to allow the farmer to stay on the land, thus showing off his tender heart. Notably this strip takes place just two days before Black Thursday, the start of the Wall Street crash of 1929.

November 4, 1929

This strip shows off a bit more of Popeye’s peculiar dialect and his penchant for curving authority. In the strip he asserts that he is only going to jail because Castor has implored him to.

The title of the panel, “That Jailer’s No Postage Stamp”, also appears to be a humorous play on odd dialects installing postage stamp in lieu of “sap”. In 1920s slang, sap referred to a foolish or gullible person. The title’s swapping of the two terms is reflective of Popeye’s own tendency to swap out words with similar meaning as a postage stamp and sap are both sticky.

November 7, 1929

Another display of Popeye’s superhuman strength as he rips the bars off the jail cell.

Throughout 1929, Popeye not only showcased his superhuman strength and distinctive wardrobe but also his unique dialect and a characteristic phrase, “blow me down.” These foundational elements of his character, present from his very inception, have now entered the public domain. As we continue to engage with and reinterpret Popeye in modern contexts, there are some complexities. 

Jennifer Jenkins, director of Duke Law’s Center for the Study of the Public Domain, explains the following in regards to character copyrights in a post from 2025:

“First, under US copyright law, anyone is free to use characters as they appeared in public domain works. If those characters recur in later works that are still under copyright, the rights only extend to the newly added material in those works, not the underlying material from the public domain works—that content remains freely available.

Second, with newer versions of characters, copyright only extends to their features that qualify for protection. It is not enough for the new material to be different. The features must be “original, creative expression,” meaning that they were independently created (as opposed to copied from somewhere else) and possess at least a modicum of creativity. Mere “ideas” such as generic character traits are not copyrightable. Nor are “merely trivial” or “minuscule” variations added to the original characters. In addition, using commonplace elements that have become standard or indispensable (copyright law calls these “scènes à faire”) is not infringement.”

Jenkins, Jennifer, and James Boyle. “Public Domain Day 2025.” Duke University School of Law, December 2024. https://web.law.duke.edu/cspd/publicdomainday/2025/.


As beloved characters enter the public domain, modern creators can give them a new gloss, recontextualizing them for a new audience. One memorable example is a 2023 horror movie starring a much darker vision of Winnie the Pooh: “Blood and Honey.” We look forward to seeing what modern reinterpretations of Popeye arise, now that his fundamental character traits belong to everyone as part of the public domain.

Vanishing Culture: Digital Library of Amateur Radio and Communications

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The following guest post from curator and amateur radio enthusiast Kay Savetz is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age. Read more essays online or download the full report now.

A selection of cassette tapes from the “Ham Radio & More” radio show digitized by DLARC.

Amateur Radio has been a hobby for well over 100 years. For as long as there has been an understanding of electricity and radio waves, people have been experimenting with these technologies and advancing the state of the art. As a result, the world has moved from wired telegraphy to tube radios to telephones—fast forward a century—to GPS and high-speed digital communication devices that fit in your pocket.

Advances made by amateur radio experimenters have propelled the work of NASA, satellites, television, the internet, and every communications company in existence today. People fiddling with radios have pushed forward technological advances the world around, time and time again.

And yet, the people making these efforts, doing these feats, aren’t always the best at documenting and preserving their work for the future. That’s where Internet Archive comes in.

I’m the curator of the Digital Library of Amateur Radio and Communications. DLARC is a project of the Internet Archive, and my job is to find and preserve this rich history of radio and communications. DLARC collects resources related to amateur radio, satellite communications, television, shortwave radio, pirate radio, experimental communications, and related communications.

In the two years since the project launched, DLARC has preserved thousands of magazines and journals, manuals, product catalogs, radio programs, and conference proceedings. These materials were scattered worldwide, often inaccessible and in obsolete formats. We’ve digitized material that was on paper, cassette tape, reel-to-reel tape, CD-ROMs, DVDs. We’ve digitized video from 16mm film, VHS, U-Matic, Betacam and even more obscure video formats.

We’ve built a collection of more than 140,000 items and made them available to the world. Researchers, academics, and hobbyists use the library to learn from the rich history of this 100-year-old hobby.

Learn more about DLARC

One reason this preservation is necessary is that the people creating history don’t always realize at the time that they’re creating history. In 1977, the creators of Amateur Radio Newsline—a weekly audio news bulletin—probably didn’t realize that their project would still be going on in 2024, 47 years later. And for all of their amazing work, if they had realized they were documenting history, they might have made more effort to save those recordings: the first 20 years of their work are missing. (DLARC has found some recordings from 1996, then most of them since 2012.)

Sometimes creators do recognize the importance of their effort. For more than six years, Len Winkler hosted Ham Radio & More, a radio show about amateur radio. Winker recorded every episode on cassette tape and managed to digitize many of the shows himself. However, the process of digitizing hundreds of episodes is tedious and he wasn’t able to complete it. With his approval, DLARC stepped in to finish the job. They’re all online now, more than 300 episodes including interviews with many notable names in the radio community.

There have been other huge successes: the entire 43-year run of 73 Magazine is digitized and online thanks to the publisher, Wayne Green, who donated the collection to Internet Archive before his death. Most issues of The W5YI Report, a ham radio newsletter that was published for 25 years, are online as well.

Download the complete Vanishing Culture report.

Attempting to preserve material years, or sometimes decades, after the fact makes systematic preservation nearly impossible. For every success story of content saved and archived, there is a heartbreaking story of loss. When amateur radio enthusiasts die, their media collections are often disposed of by survivors who don’t have any connection to amateur radio. File cabinets and bookcases full of (sometimes irreplaceable) materials are emptied into recycle bins.

Another challenge to preservation and access is membership organizations that keep their material behind paywalls. They sometimes prevent any of their information from being lent in an online library, which it is their right to do. However while they actively thwart efforts at preservation, it remains unclear whether those groups are adequately preserving their own history.

Some material is preserved intentionally, but a good amount was saved purely by accident. The material we recover and digitize has come from attics and basements, from libraries discarding obsolete material, from long-forgotten FTP sites, from scratched CD-ROMs, and from the estates of people who have passed.

So we float where the radio waves take us, trying to preserve the past as much as possible, while encouraging today’s content creators to consider how to make their material accessible to future generations.

About the author

Kay Savetz is curator of Digital Library of Amateur Radio & Communications. DLARC is funded by a grant from Amateur Radio Digital Communications to create a free digital library for the radio community, researchers, educators, and students. If you have questions about the project or material to contribute, contact kay@archive.org.

Welcome to the Public Domain in 2025

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Image credit: Montage of materials moving into the public domain in 2025. Duke Law Center for the Study of the Public Domain.

Celebrate the public domain with the Internet Archive in the following ways:

  • Register for our Public Domain Day celebrations on January 22 – both virtual and in-person.
  • Submit a short film to our Public Domain Film Remix contest.
  • Explore the works that have entered the public domain in 2025, below.

On January 1, 2025, we celebrate published works from 1929 and published sound recordings from 1924 entering the public domain! The passage of these works into the public domain celebrates our shared cultural heritage. The ability to breathe new life into long forgotten works, remix the most popular and enduring works of the time, and to better circulate the oddities we find in thrift stores, attics, and on random pockets of the internet are now freely available for us all.

While not at the same blockbuster level as 2024 with Steamboat Willie’s passage into the public domain, works from 1929 still inhabit strong cultural significance today. The works of 1929 continue to capture the Lost Generation’s voice, the rise of sound film, and the emerging modern moment of the 1920s. 

Musical Compositions

Show tunes and Jazz dominated the year with many standards that we remember today first being published. While best known for the 1952 film of the same name, Singin’ in the Rain was first published in 1929 and serves as the inspiration for our remix contest this year. George Gershwin also officially published (and copyrighted) his suite An American in Paris following a premiere in late 1928.

Below is sheet music for some popular compositions of the time.

Literature

Reflections on World War I continued with A Farewell to Arms by Ernest Hemingway, the first English translation of All Quiet on the Western Front, and Richard Aldington’s Death of a Hero. William Faulkner published his modernist novel The Sound and the Fury. A. A. Milne followed up 1928’s The House at Pooh Corner by adapting The Wind in the Willows into the play Toad of Toad Hall. Detective fiction thrived in 1929, with The Maltese Falcon serialized in Black Mask, Agatha Christie captivating readers with The Seven Dials Mystery, and the first Ellery Queen novel, The Roman Hat Mystery, making its debut. Explore our 1929 periodicals to find more hidden detective gems.

While not a towering work of literature, the first set of comic strips featuring Popeye also are joining the public domain. Popeye first made an appearance in Thimble Theatre on January 17, 1929. Initially just a side character for an adventure arc featuring gambling and sailing, Popeye rose quickly to fame. By February 4, 1931 the Thimble Theatre would feature a subtitle, Starring Popeye, before being renamed just Popeye later on.

Below is a further selection of works from the year:

Dive into Archive’s literary collection to unearth more classics from 1929.

Films

Last year Mickey Mouse made a splash with Steamboat Willie cruising into the public domain. This year TWELVE more Mickey shorts join to flesh out the notable events of Mickey’s young career. He speaks his first words in The Karnival Kid, he wears gloves for the first time in The Opry House, and Ub Iwerks leaves the studio at year’s end with Wild Waves. Disney animation also kickstarted their Silly Symphonies series with the haunting tales The Skeleton Dance and Hell’s Bells.

In 1929, if your film wanted to have any attention it needed sound. Musical films were everywhere with The Broadway Melody winning the second ever Best Picture award at the Oscars, The Hollywood Revue introducing the world to “Singin’ in the Rain”, and the Marx Brothers making their big screen debut with The Cocoanuts.

Below is a list of more significant films from the year:

Our film remix contest is ongoing until January 17, 2025, so please upload your submissions! Read more here.

Additional resources

In honor of Public Domain Day, this post is published with a CC0 Waiver dedicating it to the public domain.