In Tokyo there is a bookstore with only one book in the catalog. It has been open for ten years and works

In an alley in the Ginza district of Tokyo, a small white-painted room houses what could be considered the most radical bookstore in the world. Morioka Shotenopened in May 2015 by Yoshiyuki Morioka, reverses the commercial logic of the book: while the Japanese publishing industry produces approximately 80,000 new titles each yearthis establishment only sells one, which is renewed every week. It is not performance. Morioka Shoten It is a business that works, selling multiple copies of a single work for six consecutive days. The interior is unusually bare for a bookstore (concrete walls, a piece of furniture used as a counter, a cable telephone) and serves as a canvas for displays inspired by the current book. It is a bit the absolute opposite of Amazon: from infinite offer to minimalism in choice. How it works. Each title remains on display for exactly six days, from Tuesday to Sunday, accompanied by artistic installations, objects or photographs related to its content. The space functions simultaneously as a gallery and a point of sale. The location of the project reinforces this symbolic dimension: the Suzuki Buildingbuilt in 1929 and protected as historic architecture, housed between the 1930s and the end of World War II the offices of Nippon Kobo, the publisher that produced the magazine ‘Nippon’, which many consider foundational for the modern Japanese publishing industry. The context. The opening of Morioka Shoten in 2015 comes at a critical time for the industry. Two decades earlier, in 1995, Amazon had begun operations, and the domino effect was inevitable: American independent bookstores went from more than 7,000 stores in 1994 to just 1,651 in 2009, a reduction of 76%. The physical bookstore model seemed obsolete given the speed of the Internet and recommendation algorithms. Morioka Shoten proposed just the opposite: concentration, deliberate scarcity and time to focus on a single work. The philosophy of issatsu, isshitsu. The Japanese expression issatsu, isshitsu It means “a room, a book.” For eight years, Yoshiyuki Morioka worked as an employee in second-hand bookstores in the Kanda neighborhood, a traditional bibliophile district in Tokyo. He later opened his own independent bookstore in Kayabacho, where he organized author presentations that multiplied sales. The question that it was done was: why maintain hundreds of works if the optimal experience was produced with just one? The Takram design studio developed the store’s visual identity based on a sketch by Morioka himself: a rhombus that condenses the double metaphor of the project, simultaneously representing an open book and a single room. The resurgence of indie. The proposal is part of a broader recovery of independent book trade. In 2015, a curious phenomenon occurred in the United States: American indie bookstores. They began to multiplyup to 49%. The study cited factors such as the feeling of community, the work of booksellers as curators and the capacity of bookstores as meeting points. The pandemic accelerated the trend: since 2020 The sector grew by 70%, in 2024, 323 new stores were inaugurated and in 2025, more than a hundred additional stores were opened in the first months of the year alone. Quality over quantity. The commercial results of the experiment confirm the viability of the model. Morioka Shoten has sold more than 2,000 works since its inauguration. The weekly catalog has ranged from comics by Tove Jansson to botanical photographs by Karl Blossfeldt, novels by Mimei Ogawa and short stories by Hans Christian Andersen, spanning fiction, non-fiction, manga and illustrated books. In an era that offers immediate access to millions of titles, abundance generates paralysis when it comes to decisions. From that point of view, Morioka’s radical limitation does not restrict, but liberates. In Xataka | The 24 most beautiful bookstores in the world

Spotify has suffered the largest music theft in history. One that confirms that most of their catalog is never heard

Anna’s Archive was already known by literature lovers, who turned to this repository to be able to access books of all kinds without having to pay for them. Now they want to achieve the same thing with music, and they have taken a colossal and disturbing step: stealing practically the entire Spotify catalog. What is Anna’s Archive. Anna’s Archive project appeared on the scene in late 2022, shortly after legal pressure managed to knock down the Z-Library platformone of the largest websites for downloading free books. The platform works as a metasearch engine that allows you to find books and then download them. Anna’s Archive does not host these files—which, according to the project, exempts it from legal responsibility—and links to different anonymous download providers, which is where users can obtain them. Until now the platform focused on books, but that has changed. The biggest music theft in history. In a post published on his blog official this weekend, those responsible for Anna’s Archive indicated that they have made “a backup copy” of Spotify that includes both metadata and music files. Not only that: it is indicated that they are distributing all this information through torrent files, and the total download takes up 300 TB of data “grouped by popularity.” 86 million songs. They call it the first music “preservation archive” in history and it has 86 million music files. Although that figure is only 37% of the songs in Spotify’s entire catalog, according to Anna’s Archive they account for 99.6% of listening on Spotify. And here there are two important things: on the one hand, music as such. And on the other hand, the metadata that surrounds that music, and that offers very interesting information about Spotify’s music catalog. The top 10,000 popularity. Thus, at Anna’s Archive they wanted to organize that archive based on “popularity”, a metric that they use in Spotify to order the songs that are listened to the most and how recent those plays are. Those responsible for Anna’s Archive have compiled a gigantic list with the 10,000 most popular songs according to this metric. Lady Gaga, Bad Bunny and Billie Eilish occupy the top three positions, for example. This graph reveals how song popularity demonstrates the long tail phenomenon. Only 62 songs exceed 90 points. Three out of four songs are not heard. By grouping songs by popularity, the metadata reveals and confirms the traditional long tail phenomenon. More than 70% of the songs in the Spotify catalog are barely listened to (less than 1,000 plays), and there are so many that are popular or that they had to cut the gigantic file (it would have been 700 TB) to end that representation of 99.6% of songs that have minimal popularity on Spotify. That does not mean that they are better or worse, be careful: it just means that they have been heard more or less on the platform. We all hear (more or less) the same thing. Most listens come to songs with popularity between 50 and 80, and here comes an expected figure: of the 86 million songs, only 210,000 exceed 50 popularity (0.1%). Or what is the same: almost everyone basically listens to a very small set of songs compared to the size of the catalog. How much is each song listened to? Those responsible for Anna’s Archive claim that it is possible to estimate the total number of views per song thanks to popularity. They gave the example of the first three: ‘Die with a smile’ (Lady Gaga and Bruno Mars), 3,075 million views ‘Birds of a feather’ (Billie Eilish): 3,137 million views ‘DtMF’ (Bad Bunny): 1,124 million views Between the three of them they accumulate as many listens as the songs that are between number 20 and number 100 million have. Once again, the long tail in action. Analysis everywhere. These metadata are very useful, and Anna’s Archive has produced a unique report in which they reveal conclusions based on the data collected. Thus, you can confirm how the most common length of songs is around 3:30 minutes, how there are numerous duplicates per song (licenses, versions, etc.), which ones are the most popular genres between artists or how most of the songs on Spotify are singles, and not part of an album. These metadata are a true treasure for market researchers. Downloading (for now) only in large torrents. At Anna’s Archive they have not published almost any of the torrents so far, but they have already indicated how they will offer those 300 TB. First, the metadata in a 200 GB file, which is already being shared by about 200 people. Then the music in various batches organized by popularity. Finally, some additional metadata and content like album art designs. Time will tell if those 86 million songs end up being available on some type of platform that links them to download individually. At Anna’s Archive that does not seem to be the intention, at least for now, and at the moment the metasearch engine focuses strictly on books. What Spotify says. As they point out in TorrentFreakthose responsible for Spotify have launched an investigation, and as a result have “identified and deactivated the accounts of malicious users who were participating in illegal scraping activities.” They have also implemented new measures to prevent these types of attacks and “are monitoring suspicious behavior.” Image | Sumeet B In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

streaming loses identity in exchange for catalog

One of the Main own content factories From the Spanish audiovisual panorama and one of the largest streaming platforms thanks to its exclusive distribution of franchises such as Marvel, ‘Star Wars’, Pixar or Disney itself have reached an agreement with which both will see their audiences and catalogs extended. However, after this firm between Atresmedia and Disney+ there is an indisputable trend of international audiovisual: less and less exclusive names that provide unique content, more and more brands that match each other in search of the maximum common denominator of the audience. 300 hours per year. That is what Atresmedia will provide to Disney+ with this treatment. He current television leader In terms of audience, he gives a selection of its catalog to Disney+ from September, which will have an independent space within the platform that will be renewed regularly. It will not be, of course, the Atresmedia’s full catalogwhich belongs to your payment option (and also can be seen from prime video) and that reaches thousands of hours of content and practically all the own production programs that are broadcast on Antena 3. The novelty with Disney+ is that this selection of its catalog will be included in the Disney+ Rates. What will we see. Even with everything, the catalog that will be available in Disney+ will be wide: from original Atresplayer series as ‘Mar outside’ (premiere on September 14) talent shows well known by the general public, such as ‘La Voz’ or ‘Your face sounds to me’. There will also be series that have passed in Antena 3 such as ‘La Crucijada’ or ‘Dreams of freedom’, and classic series of the Atresmedia catalog, such as ‘vis a vis’, ‘physical or chemical’ or ‘here there is no one who lives’, which have long circulated through different platforms of streaming. Touch contact. It is not the first time that contact shots between large Spanish audiovisual groups and platforms of streaming. Recently, Netflix has begun to broadcast Movistar Plus+ series as the comedy ‘Dead SL’, the youth ‘Merlí’ and ‘The least thought day’. On the other hand, Mediaset series such as ‘Influencers’, ‘Scandal’, ‘The one that is coming’, ‘The people’, ‘The Prince’ or ‘Interdías’ have been seen on platforms such as Netflix or Prime Video. And we should not understand it only as an understandable attempt by the producers that their material reaches beyond the channels in open and enjoy second and third lives (sometimes more successful than the original paths, there is the spectacular and unusual case of ‘The Money Heist‘, by Atresmedia), but also of an attempt to “normalization” by the platforms of streaming. Everyone wants to be mostly. For years, streaming platforms have abandoned their intention to offer an alternative product to major televisions, In search of a broader audience. There are examples as clear as the purchase of brands as ‘Operation Triunfo’ by Prime Videobut the fact that ‘the one that is coming’ is One of the main successes of the Amazon Canal It makes it clear that the public is often transversal: there are no two watertight compartments, where or it looks Netflix or looks Telecinco. Many times there are two audiences, but with the same interests. The law asks. To this trend is added that eThere is European legislation that requires platforms on demand since 2018 that a part of its content when they operate in Europe is of European origin. It is the European Directive of Audiovisual Communication Services, and at least 30% of the platform catalog must be reserved for European works. This requirement must be incorporated into the national legislation of the Member States, and part of this content must be available in one of the official languages ​​of the country where the platform operates. In this way, Disney+ is fulfilling its share of this directive, adding to, as they have told today, “recent agreements in the United Kingdom with ITVX and in Germany with ZDF.” Be normal. Payment platforms have long ceased to be a paid land for experimentation. For leaving, even They ceased to be a television space without advertising. There are redoubts like HBO or Filmin, which often (although not always: there is nothing more massive than ‘Game of Thrones’) play more exquisite audiences. But what we have seen is a trend that forces us to create content without rest: if the rhythm of consumption is multiplied and the budgets of the Disney series are too high to release at the speed of Netflix … Doesn’t it have all the meaning they call at the door of Atresmedia in search of more and more material to emit? Header | Disney+ In Xataka | When analyzing the most viewed films of Netflix during this year, the notes and opinions throw a devastating verdict

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