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Forty percent of Americans, according to the Pew Research for the People and the Press, get most of their international and national news from the Internet. This is up from 24 percent in a similar poll taken in September of 2007. This is the first time that the Internet has been more popular than newspapers, which dropped to 35 percent in this most recent poll. Television news, however, is still the most popular source, and is cited as the place where 70 percent of Americans get their national and international news.

There is a growing debate about the best successor model to commercial newspapers, with many contending proposals. I will mention three, each of which assigns a large role to an electronic public sphere: (1) private foundations or donors either provide endowment for newspapers or for nonprofits that employ political journalists (Propublica is the leading example, with editors and twenty-eight journalists who provide content to print and online media); (2) a public system that would extend the public broadcasting model to print media; and (3) a national endowment for journalism, with support tied to audience size (proposed by Bruce Ackerman and Ian Ayres). This is not the time or place to explore these alternatives. But in this fourth arena, cyber-utopianism-a celebration of the dispersed, decentralized, egalitarian, Jeffersonian, participatory, deliberative electronic public sphere-is not only misplaced but dangerous.

His show also marks a new high point for China's "shanzhai" culture. Shanzhai, which literally means "mountain fortress" and implies banditry and lack of state control, refers to China's vast array of name-brand knockoffs. Shanzhai versions of Apple Inc.'s iPhone, for example, include the HiPhone, the SciPhone and the deliberately misspelled citrus-themed iOrgane. Recently, the definition of shanzhai has expanded. On China's Internet, blogs, bulletin boards and news sites carry photos of automobiles jerry-rigged to run on railroad tracks ("shanzhai trains"), fluffy dogs trimmed and dyed to look like the national mascot ("shanzhai pandas") and models of the Beijing Olympic Games' National Stadium made out of sticks ("shanzhai Bird's Nest"). A property developer in Nanjing, hoping to lure business and buzz, set up storefront facades with logos such as "Haagon-Bozs," "Pizza Huh," "Bucksstar Coffee," "KFG" and "McDnoald's." Images of what became known as "Shanzhai Street" spread rapidly online. Once a term used to suggest something cheap or inferior, shanzhai now suggests to many a certain Chinese cleverness and ingenuity. Shanzhai culture "is from the grass roots and for the grass roots," says Han Haoyue, a media critic in Beijing, who sees it as a means of self-expression. "It gives people another choice and the possibility of resisting dominant cultural values." Chinese authorities appear to regard shanzhai warily, especially when it comes to intellectual property issues. "The shanzhai culture as a celebration of the DIY [do it yourself] spirit or as a parody to mainstream culture can add fun to our daily lives," said one recent editorial in an official state newspaper. "However, we should remain vigilant against it as a justification for rip-off products."

The Long Tail was a response to an essay by Clay Shirky, a prominent technology writer who also teaches at New York University. Shirky's argument dampened much of the nascent utopianism about blogs, pointing out that the readership of early blogs followed what economists call a Pareto curve, or "power curve": a small number of sites (the "head") attracted a huge number of readers, but most (the "tail") had few or none. This jarred with the utopian notion of the internet as a new kind of democracy. Why bother to participate if our fates were decided for us by a few block votes? So Anderson turned the notion upside down. The blockbuster was over, he proclaimed, and, like a man possessed, he began to see long tails everywhere. It was the Guardian that lauded this logic by comparing Anderson to Copernicus. The implicit message was that the little people would win. Many people were so keen to believe that Web 2.0 would make the world fairer that they rejected any evidence to the contrary. It was only last year, with an exhaustive study of online music sales by the economist Will Page and an experienced digital retailer, Andrew Bud, that a more useful picture of digital markets begin to emerge. Page and Bud found that most of the songs available for purchase had never been downloaded, and that the concentration of hits was more pronounced than ever before. On the file-sharing networks, the same pattern emerged. So, carrying a huge retail inventory, though cheaper than before, was of little or no value. Now, with Free, Anderson has turned to the criticism that the internet destroyed the value of movies, newspapers and music. Firms could, and now should, cross-subsidise this unprofitable activity, he argues. But cross-subsidies aren't new: they have been the subject of decades of observation by economists. Nor are they a panacea. Alan Patrick, co-founder of the Broadsight media and technology consultancy, points out that despite falling marginal costs, th

63% of urban students spend over an hour online daily; 93% are aware of social networking; Orkut and Facebook are most popular online destinations; 46% use online sources to access news; TV, Newspaper users at 25%; 62% have a personal computer at home; 1 in 4 students own laptops in metros; 2 of 3 own music players; IT and engineering remain overwhelming popular career choices; Media & Entertainment, Travel and Tourism are emerging careers; USA, UK top list of international destinations for higher studies.

My friend had hundreds of these examples. We could have sat in his living room playing at musical genealogy for hours. Did the examples upset him? Of course not, because he knew enough about music to know that these patterns of influence-cribbing, tweaking, transforming-were at the very heart of the creative process. True, copying could go too far. There were times when one artist was simply replicating the work of another, and to let that pass inhibited true creativity. But it was equally dangerous to be overly vigilant in policing creative expression, because if Led Zeppelin hadn't been free to mine the blues for inspiration we wouldn't have got "Whole Lotta Love," and if Kurt Cobain couldn't listen to "More Than a Feeling" and pick out and transform the part he really liked we wouldn't have "Smells Like Teen Spirit"-and, in the evolution of rock, "Smells Like Teen Spirit" was a real step forward from "More Than a Feeling." A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings. Yes, she had copied my work. But no one was asking why she had copied it, or what she had copied, or whether her copying served some larger purpose.

From Thimpu: We have our own Pirate Bay: the Indian city of Jaigoan, where Bhutanese films and music are rampantly pirated by Indian vendors. Local film and music producers would like to see similar action taking place against these pirates, but the problem is they are not operating on Bhutanese territory. Therefore, being outside the copyright law enforcement abilities of our government, our authorities have not taken any legal action, nor are there any plans to do so.

All of the Guardian's internet-related coverage.