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XRelativity Space Gains New West Coast Launch Site and 5th Contract For its 3D Printed Rocket
Tami Abdollah was dot.LA's senior technology reporter. She was previously a national security and cybersecurity reporter for The Associated Press in Washington, D.C. She's been a reporter for the AP in Los Angeles, the Los Angeles Times and for L.A.'s NPR affiliate KPCC. Abdollah spent nearly a year in Iraq as a U.S. government contractor. A native Angeleno, she's traveled the world on $5 a day, taught trad climbing safety classes and is an avid mountaineer. Follow her on Twitter.

A company that has its sights set on 3D printing rockets on Mars has gained another literal foothold toward making its launches reality.
Los Angeles-based Relativity Space announced Wednesday an agreement with the U.S. Air Force's 30th Space Wing to develop rocket launch facilities at Vandenberg Air Force Base's Building 330 and an adjacent area, bringing its launch capabilities to both coasts. The military base, which is also used by SpaceX for launches, is located roughly 2 ½ hours north of Los Angeles.
Relativity co-founder and CEO Tim Ellis said in an interview with dot.LA that the agreement, which took years of "intense vetting," is evidence of "signs of confidence from the U.S. Air Force and U.S. government" regarding the company's 3D printed rocket technology.
Relativity also said Wednesday it had secured a new launch contract with Iridium Communications Inc. that takes advantage of the new West Coast launch site at Vandenberg to deliver its satellites into orbit using Relativity's 3D printed launch vehicle Terran 1.
The contract with Iridium is for up to six launches to deploy spare satellites from storage into low-Earth orbit if needed. The constellation of 66 satellites provides low-frequency satellite connectivity for people and things on Earth. These launches aren't planned to take place before at least 2023.
Matt Desch CEO of Iridium said in a statement that though the satellite constellation is operating well, "it's prudent to have a cost-effective launch option for future spare delivery."
Relativity already has a launch site agreement at Cape Canaveral Launch Complex-16 that was granted last year, and an exclusive-use agreement for rocket engine test sites at NASA's Stennis Space Center in Mississippi. The company has done more than 300 individual engine tests, Ellis said.
But Vandenberg specifically helps open up the ability to launch rockets on a southern trajectory over the open ocean into polar orbits and sun-synchronous orbits. Sun-sync orbits are helpful for satellites engaged in Earth imaging, analyzing weather patterns and surveillance because they keep the angle of sunlight on Earth's surface consistent to track changes over time.
The B330 site is also strategic because it is the southernmost spot on Vandenberg, which means that Relativity's rockets would not fly over any active launch sites and the company anticipates having the fewest scheduling conflicts from there.
"We are impressed by Relativity's innovative approach to reinventing aerospace manufacturing via 3D metal printing and robotics," said Col. Anthony J. Mastalir, the 30th Space Wing commander, in a statement. "We look forward to working with Relativity as its West Coast launch partner for many years to come."
The 30th Space Wing of the Air Force also manages the Department of Defense's space and missile testing.
Relativity boasts the largest 3D metal printer in the world that uses a specially developed custom alloy that's stronger than traditional aluminum to build its Terran 1 rocket. A traditional rocket takes years to make and is comprised of about 100,000 individual parts, only a single digit percentage of it may be 3D printed. By comparison, Relativity's rocket is made up of less than 1,000 parts with about 95% of the rocket 3D printed and can be built from raw materials to launch-ready in less than 60 days, Ellis said.
Relativity's New Partnership with Iridium Communications
Though they haven't yet launched a 3D printed rocket, the new contract with Iridium is the company's fifth publicly named launch customer — along with Momentus, Spaceflight, mu Space and Telesat — since April 2019. Relativity declined to discuss other contracted public-private partnerships that it has signed.
The COVID-19 pandemic has not seemed to slow Relativity's launch plans; it's still on track for its first orbital launch by the end of 2021 out of Florida, Ellis said. One factor in keeping those launch plans through the pandemic: the company's Stargate factory and Terran 1 rocket are all designed, built and operated in the United States.
In February, the company announced it would be moving its staff to a new, 120,000 square feet headquarters in Long Beach that will be the site of the first-ever autonomous rocket factory.
During the pandemic, the company has added roughly 25 new members to its team, bringing the total employee count to 165 people. Its staff members have been working from home since early March with a single person per building at the factory who has been able to run 3D printers remotely.
Among the new hires in June are new CFO Mo Shahzad, who left his role as CFO at The Honest Company, and Zachary Dunn, who was a SpaceX executive responsible for production and launch and is now Relativity's VP of factory development for the new 3D printing factory.
Relativity closed its $140 million series C funding round led by Bond and Tribe Capital in October. The company is also backed by investors Playground Global, Y Combinator, Social Capital, and Mark Cuban.
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Tami Abdollah was dot.LA's senior technology reporter. She was previously a national security and cybersecurity reporter for The Associated Press in Washington, D.C. She's been a reporter for the AP in Los Angeles, the Los Angeles Times and for L.A.'s NPR affiliate KPCC. Abdollah spent nearly a year in Iraq as a U.S. government contractor. A native Angeleno, she's traveled the world on $5 a day, taught trad climbing safety classes and is an avid mountaineer. Follow her on Twitter.
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The Rise of Ad-Supported Streaming Is Challenging How the Business Is Traditionally Done
Keerthi Vedantam is a bioscience reporter at dot.LA. She cut her teeth covering everything from cloud computing to 5G in San Francisco and Seattle. Before she covered tech, Keerthi reported on tribal lands and congressional policy in Washington, D.C. Connect with her on Twitter, Clubhouse (@keerthivedantam) or Signal at 408-470-0776.
Are the upfronts turning into TV execs’ personal “Black Mirror'' episode?
The annual feeding frenzy—in which C-suite television executives auction off highly-viewed (and costly) advertising time slots— is changing as new streaming behemoths shake up the market. The event often gives viewers and industry watchers insight on what shows are poised to become cultural phenomena, but that too seems to be disrupted at this year’s proceedings.
It’s been two years since major networks and television players convened in New York for a week, and it’s clear that technology is going to change a lot about how the process works.
Streaming, a popular way to view content, doesn’t follow traditional ad slots the way broadcast does. Nonetheless, last year ad-enabled streaming services–including Peacock and Hulu–slurped up a large slice of ad dollars. But this year may prove a turning point, as services like HBOMax and Disney Plus begin tinkering with ad-laced streaming, and Netflix promises to quickly roll out an ad-supported subscription tier. Large networks like ABC and NBC will have to start competing with streaming for the favor of companies and their ad money.
Another thing changing the market: the ads themselves. With more data at their fingertips, streaming services can offer far more personalized and targeted services than their network counterparts. Netflix and Disney collect mountains of data that can gauge what ads are most relevant to their viewers. That’s a huge plus for advertisers, even if streaming services like Disney restrict what kind of ads it will show.
Legacy TV companies have already taken note. NBCUniversal took great pains at Monday’s pitch meeting to offer their Peacock streaming service as an example of a dual streaming-and-broadcast model and lambasted streaming services that once showed disdain for advertisers and ad breaks.
“At those companies, advertising could seem like an afterthought… or even worse, a new idea for a revenue stream, but not here,” NBCUniversal’s ad sales chief Linda Yaccarino said, according to The Hollywood Reporter. “At NBCUniversal, advertising has always been an asset for our business… designed to enhance your business.”
Adding to the instability, Nielsen ratings, which has been the universal standard for measuring viewership, is being challenged. The company’s ratings were once the gold standard used, in part, to determine the time slots and networks that had the most viewers (and which became the most coveted by advertisers).
Last year, Variety reported major networks complained that the company was likely undercounting viewership due to pandemic-related restrictions, like being unable to go into peoples’ homes and making sure the data-collecting technology was properly working. In its wake, software-enabled startups have popped up to better gather data remotely.
Washington-based iSpot.tv received a $325 million investment from Goldman Sachs after acquiring similar companies including El Segundo-based Ace Metrix and Temecula-based DRMetrix. Pasadena-based tvScientific raised $20 million in April to glean adtech data from smart tvs. Edward Norton’s adtech firm EDO raised $80 million in April and booked a deal with Discovery ahead of the upfronts.
Nielsen also lost its accreditation with the Media Ratings Council, and without a standard ratings guide for the industry, navigating the upfronts will be a far more uncertain and nebulous process for both networks and advertisers.
With tens of billions of dollars on the line, advertisers are demanding more than just well-produced shows networks and streaming services alike—sophisticated ad placements is the name of the game.
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Keerthi Vedantam is a bioscience reporter at dot.LA. She cut her teeth covering everything from cloud computing to 5G in San Francisco and Seattle. Before she covered tech, Keerthi reported on tribal lands and congressional policy in Washington, D.C. Connect with her on Twitter, Clubhouse (@keerthivedantam) or Signal at 408-470-0776.
Explore Los Angeles Like a Tourist with Atlas Obscura's New Guide
Samson Amore is a reporter for dot.LA. He previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Samson is also a proud member of the Transgender Journalists Association. Send tips or pitches to samsonamore@dot.la and find him on Twitter at @Samsonamore. Pronouns: he/him
The Los Angeles Tourism Department partnered with curiosities and travel website Atlas Obscura for a first of its kind digital interactive map of L.A. County’s top attractions, just in time for the summer influx of tourists.
Visitors to L.A. – or locals looking for a fun reason to leave their apartments – can scroll the interactive map on a browser or download the app.
Image courtesy of the L.A. Tourism Dept.
The “Discover Los Angeles” map can be broken down by neighborhood or by a series of “guides,” which all feature as part of the larger promotional campaign roll-out known as the Explorer’s Guide to L.A
Atlas Obscura and the Tourism Department also published a hardcover edition of the Explorer’s Guide, along with several other speciality breakout guides, including the Meeting Planners Guide, artistic Visitor’s Map and, for those with more expensive tastes, the L.A. Luxury Guide to the city’s pricier pursuits. The paper versions of the guides have QR codes for travelers to scan and take information with them on the go.
This year’s collaboration with Atlas Obscura gives the Tourism Department’s previous guide a much-needed update – it was previously a whopping 136-page PDF document created in 2020.
The Explorer’s Guide includes a mix of places you’d expect to see on the map, like Griffith Park and the museum at the La Brea Tar Pits. It also has some unlikely spots sourced from Atlas Obscura’s network of local explorers who recommended their favorite places to visit: the Palos Verdes Peninsula, Venice Canals or the Watts Towers, a stunning, monumental public art exhibit of mosaic steel towers that was built by one Italian immigrant over a 34-year period.
30 neighborhoods are discussed in the guide, from classic tourist destinations like Hollywood and beach cities like Santa Monica and Venice to lesser-known but still exciting enclaves like Leimert Park, Frogtown and Little Ethiopia. There’s also several maps for specific interests – taqueria lovers will find new spots to nosh with the taco map, and there’s also a map of the Downtown Arts District, spots to stargaze and sports venues.
“For myself and the writers and editors on this project, many of them L.A. natives, getting to write and curate the official visitors guide to the city of L.A. was an absolute dream,” Atlas Obscura co-founder Dylan Thuras said in a statement. “We hope that these guides will inspire all the curious travelers arriving in L.A., to try new things, as well as providing new adventures for longtime L.A. residents. There is really no limit to what L.A. has to offer.”
Samson Amore is a reporter for dot.LA. He previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Samson is also a proud member of the Transgender Journalists Association. Send tips or pitches to samsonamore@dot.la and find him on Twitter at @Samsonamore. Pronouns: he/him
Tech Groups Push Back Against Texas’ Controversial New Social Media Law
Kristin Snyder is an editorial intern for dot.la. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
Two groups representing social media giants are trying to block a Texas law protecting users’ political social media content.
NetChoice—whose members include the Culver City-based video-sharing app TikTok—and the Computer & Communications Industry Association (CCIA) filed an emergency application with the Supreme Court, the Washington Post reported Friday. HB 20, which went into effect Wednesday, allows residents who believe they were unfairly censored to sue social media companies with over 50 million U.S. users. Tech companies would also have to integrate a system for users to oppose potential content removal.
The law, which was initially signed by Governor Greg Abbott in September, was previously barred by a federal district judge but was lifted by the U.S. Court of Appeals for the 5th Circuit in New Orleans. NetChoice and CCIA claim the law violates the First Amendment and seek to vacate it by filing the application with Justice Samuel A. Alito Jr.
“[The law] strips private online businesses of their speech rights, forbids them from making constitutionally protected editorial decisions, and forces them to publish and promote objectionable content,” NetChoice counsel Chris Marchese said in a statement.
The two lobbying groups also represent Facebook, Google and Twitter. The latter is undergoing its own censorship conundrum, as Elon Musk has made it a central talking point in his planned takeover.
Tech companies and policymakers have long clashed on social media censorship—a similar law was blocked in Florida last year, though Governor Ron DeSantis still hopes it will help in his fight against Disney. In the wake of the 2021 insurrection in the capital, Democratic lawmakers urged social media companies to change their platforms to prevent fringe political beliefs from gaining traction.
Conservative social media accounts like Libs of TikTok have still managed to gain large followings, and a number of right-wing platforms have grown from the belief that such sentiments lead to censorship.
Having citizens enforce new laws seems to be Texas’ latest political strategy. A 2021 state law allows anyone to sue clinics and doctors who help people get an abortion, allowing the state to restrict behavior while dodging responsibility.
Kristin Snyder is an editorial intern for dot.la. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.