Today is Record Store Day, which according to Wikipedia is happening in the U.S., the UK, Ireland, Mexico, Europe, Japan and Australia.

An anonymous reader shared this report from The Los Angeles Times: 420 isn't just for stoners. This year, Record Store Day — the worldwide celebration for independent record shops that typically happens every third Saturday of April — falls on the storied day... [A]udiophiles and vinyl collectors will converge at participating stores to search for one-of-a-kind wax and CD releases by artists new and old, along with other one-of-a-kind items....

This year's event brings in roughly 400 anticipated titles including a live recording of Talking Heads from a 1977 performance (featuring seven previously unheard songs), a 12-inch vinyl release of Daft Punk's "Something About Us (Love Theme From Interstella 5555)", an unreleased live solo recording of "The Godmother of Rock n' Roll" by Sister Rosetta Tharpe (from 1966) and a 10-year anniversary edition of Freddie Gibbs & Madlib's "Piñata." Also, this year's Record Store Day ambassador, Paramore, will release a remix version of its 2023 album, "This Is Why" and Cheech and Chong will reissue the soundtrack for their 1978 film, "Up in Smoke," on smoky green vinyl just in time for 4/20...

[E]ven if you're not interested in copping a special release, it's still worth checking out what your favorite record store has to offer on April 20. You'll find events like in-store DJ sets, pop-up shopping experiences and in-store performances.
The event features Record Store Day exclusives (not otherwise available), as well as specially-pressed commemorative editions (which will see a later release on plain black vinyl). American Songwriter lists some of the highlights:

• A special limited edition "miniature turntable" and four 3-inch singles of the Beatles' songs played 60 years ago on the Ed Sullivan show.

• A four-LP set of a 1989 Grateful Dead concert

• A limited edition "expanded" edition of Elton John's album Caribou with a disc of bonus tracks.

• A 12-inch EP previewing the upcoming box set edition of John Lennon's Mind Games album, including a song Lennon wrote for a 1973 Ringo Starr album which also featured George Harrison.

• A white-vinyl pressing of seven Rolling Stones tracks recorded last October — including the live debut of four songs later released on their new album Hackney Diamonds. (One track is a duet with Lady Gaga)

You can see the full list here.

An anonymous reader quotes a report from TechCrunch: Dropout's Dungeons & Dragons actual play show, Dimension 20, is getting pretty close to selling out a 19,000-seat venue just hours after ticket sales opened to the general public. To the uninitiated, it may seem absurd to go to a massive sports arena and watch people play D&D. As one Redditor commented, "This boggles my mind. When I was playing D&D in the early eighties, I would have never believed that there was a future where people would watch live D&D at Madison Square Garden. It's incomprehensible to me." It is indeed bizarre, albeit fun. But in this monumental moment for the actual play genre, the triumph is eclipsed by the biggest frustration that links sports, music and now D&D fans: Ticketmaster. As Federal Trade Commission chair Lina Khan said amid the Taylor Swift-Ticketmaster scandal, the company's failures "ended up converting more Gen Zers into anti-monopolists overnight than anything [she] could have done."

In the case of Taylor Swift's Eras tour, fans were upset because demand was so high that Ticketmaster's system couldn't handle the traffic. For Dimension 20, the culprit is Ticketmaster's dynamic pricing. As more people try to buy tickets, the price of the tickets increase. About an hour after the Madison Square Garden tickets went on sale, the few dozen upper bowl tickets left were $800. Three hours after, these tickets are around $330, which is still very inflated. "Went onto the presale, tickets were $500+ for the worst ones, we assumed they were scalpers and that the actual sale today would have normal priced tickets $2000 for the lower bowl!? I know it's not dropout setting the price but wow is that a LOT of cash," a Redditor posted. And as a commenter astutely pointed out, thanks to dynamic pricing, Ticketmaster itself is actually the scalper. Of course, Dimension 20 fans are frustrated, especially since the show's content is overtly anti-capitalist. Despite the pricing debacle, the demand for the show is a great sign for both actual play shows and the creator economy at large.

Abstract of a paper on Nature: Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity.

We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners' interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs' lyrics.

A monthslong "Star Wars"-themed festival called Season of the Force is now happening at Disneyland — including John Williams compositions in the Star Wars: Galaxy's Edge land during the park's fireworks. SFGate reports: Before the show starts, a voice rings through the land. "Black Spire Outpost has a long and colorful history of heroes and legends, Jedi and Sith, royalty and resistance," it says. "Those who would rule and those who refuse to bow. Here we celebrate that fiery spirit tonight." Then as the first fireworks fly into the sky, the majestic "Star Wars" music begins...

During the day, the land is overrun with tiny robots. Season of the Force also includes daily appearances from the new BDX Droids, cute little "explorer companions," per Disneyland, designed to assist with "exploration and research." These new audio-animatronics interact with guests, clicking and whirring with a surprising amount of personality.

Sabine Wren from "Ahsoka" is also making appearances in Galaxy's Edge during Season of the Force, and there are specialty food offerings in the land like the Celto Slush (a green, pandan-flavored horchata cold brew coffee drink) and the return of Dewback Chili Noodles (spicy fettuccine with ginger-spiced ground pork, broccolini stems and shredded red cabbage).
For the event, Disneyland's long-running Star Tours ride now includes appearances from the Mandalorian (and Grogu), Ahsoka, and Cassian Andor, according to the article. "Also back this year is Hyperspace Mountain, the seasonal overlay of Space Mountain that puts riders into an intergalactic fight between the Resistance and the First Order."

America's FCC votes on net neutrality April 25th. And the director of Stanford Law School's "Center for Internet and Society" (also a law professor) says mostly there's "much to celebrate" in the draft rules released earlier this month. Mobile carriers like T-Mobile, AT&T and Verizon that have been degrading video quality for mobile users will have to stop. The FCC kept in place state neutrality protections like California's net neutrality law, allowing for layers of enforcement. The FCC also made it harder for ISPs to evade net neutrality at the point where data enters their networks.
However, the draft rules also have "a huge problem." The proposed rules make it possible for mobile ISPs to start picking applications and putting them in a fast lane — where they'll perform better generally and much better if the network gets congested.

T-Mobile, AT&T and Verizon are all testing ways to create these 5G fast lanes for apps such as video conferencing, games, and video where the ISP chooses and controls what gets boosted. They use a technical feature in 5G called network slicing, where part of their radio spectrum gets used as a special lane for the chosen app or apps, separated from the usual internet traffic. The FCC's draft order opens the door to these fast lanes, so long as the app provider isn't charged for them.
They warn of things like cellphone plans "Optimized for YouTube and TikTok... Or we could see add-ons like Enhanced Video Conferencing for $10 a month, or one-time 24-hour passes to have Prioritized Online Gaming." This isn't imagination. The ISPs write about this in their blogs and press releases. They talk about these efforts and dreams openly at conferences, and their equipment vendors plainly lay out how ISPs can chop up internet service into all manner of fast lanes.

These kinds of ISP-controlled fast lanes violate core net neutrality principles and would limit user choice, distort competition, hamper startups, and help cement platform dominance. Even small differences in load times affect how long people stay on a site, how much they pay, and whether they'll come back. Those differences also affect how high up sites show in search results. Thus, letting ISPs choose which apps get to be in a fast lane lets them, not users, pick winners and losers online... [T]he biggest apps will end up in all the fast lanes, while most others would be left out. The ones left out would likely include messaging apps like Signal, local news sites, decentralized Fediverse apps like Mastodon and PeerTube, niche video sites like Dropout, indie music sites like Bandcamp, and the millions of other sites and apps in the long tail.
One subheading emphasizes that "This is not controversial," noting that "Even proposed Republican net neutrality bills prohibited ISPs from speeding up and slowing down apps and kinds of apps..." Yet "While draft order acknowledges that some speeding up of apps could violate the no-throttling rule, it added some unclear, nebulous language suggesting that the FCC would review any fast lanes case-by-case, without explaining how it would do that... Companies that do file complaints will waste years litigating the meaning of "unreasonably discriminatory," all the while going up against giant telecoms that stockpile lawyers and lobbyists."

"Net neutrality means that we, the people who use the internet, get to decide what we do online, without interference from ISPs. ISPs do not get to interfere with our choices by blocking, speeding up or slowing down apps or kinds of apps..."

They urge the FCC to edit their draft order before April 24 to clarify "that the no-throttling rule also prohibits ISPs from creating fast lanes for select apps or kinds of apps."

Rachel Treisman reports via NPR: Authorities in the Russian republic of Chechnya are banning music they consider either too fast or too slow, effectively criminalizing many genres. The Chechen Ministry of Culture announced the ban on its website last week, by the order of Culture Minister Musa Dadayev and with the agreement of Chechen leader Ramzan Kadyrov. "Musical, vocal and choreographic" works will be limited to a tempo of 80 to 116 beats per minute (BPM) to "conform to the Chechen mentality and sense of rhythm," said Dadayev, according to the Russian state-run news agency TASS.

"Borrowing musical culture from other peoples is inadmissible," Dadayev said, per a translation by The Guardian. "We must bring to the people and to the future of our children the cultural heritage of the Chechen people. This includes the entire spectrum of moral and ethical standards of life for Chechens." Russian media report that artists have until June 1 to rewrite any music that doesn't conform to the new rule, though it's not clear how it will be enforced. [...]

The government's crackdown on certain musical tempos would silence most modern music genres. Electronic styles of music like house, techno and dubstep all tend to have BPMs of over 116, says the audio tech company Izotope, while the average tempo of 2020's best-selling pop songs was 122 BPM, according to the BBC. The independent Russian news outlet Meduza said the tempo of the Russian national anthem would be considered too slow under the new limit, reports RadioFreeEurope/RadioLiberty. But it would seem to permit hip-hop music, which generally has a BPM of 85 to 95. "Chechnya is a roughly 6,700-square-mile autonomous republic situated in the North Caucasus of southern Russia and home to some 1.5 million people, the vast majority of whom are Muslim," notes NPR. "The U.S. Commission on International Religious Freedom has said Kadyrov's regime 'maintains hegemony through the imposition of a purported 'traditional' version of Islam, which falsely claims to defend local belief and culture, and combat violent extremism.'"

"'In reality, Kadyrov has [co-opted] Chechen religion and culture to support his brutal regime, which violates the secular constitution of the Russian Federation and international standards of freedom of religion or belief,' it added."

A bill introduced in the US Congress on Tuesday intends to force AI companies to reveal the copyrighted material they use to make their generative AI models. From a report: The legislation adds to a growing number of attempts from lawmakers, news outlets and artists to establish how AI firms use creative works like songs, visual art, books and movies to train their software-and whether those companies are illegally building their tools off copyrighted content.

The California Democratic congressman Adam Schiff introduced the bill, the Generative AI Copyright Disclosure Act, which would require that AI companies submit any copyrighted works in their training datasets to the Register of Copyrights before releasing new generative AI systems, which create text, images, music or video in response to users' prompts. The bill would need companies to file such documents at least 30 days before publicly debuting their AI tools, or face a financial penalty. Such datasets encompass billions of lines of text and images or millions of hours of music and movies.

"AI has the disruptive potential of changing our economy, our political system, and our day-to-day lives. We must balance the immense potential of AI with the crucial need for ethical guidelines and protections," Schiff said in a statement. Whether major AI companies worth billions have made illegal use of copyrighted works is increasingly the source of litigation and government investigation. Schiff's bill would not ban AI from training on copyrighted material, but would put a sizable onus on companies to list the massive swath of works that they use to build tools like ChatGPT -- data that is usually kept private.

An anonymous reader writes: In the early 70s, young filmmakers John Carpenter and Dan O'Bannon created a spaceship tale for a graduation project -- little knowing it would influence Alien and many other works. Made for $60,000 by film school students, horror maestro John Carpenter's directorial debut Dark Star is now regarded as a sci-fi cult classic. Having just turned 50 years old, it's a world away from much of the sci-fi that came before it and would come after, neither space odyssey nor space opera, rather a bleak, downbeat and often absurd portrait of a group of people cooped together in a malfunctioning interstellar tin can. Arguably its most famous scene consists of an existential debate between an astronaut and a sentient bomb. Dark Star was a collaboration between Carpenter, who directed and scored the film, and Dan O'Bannon, who in addition to co-writing the script, acted as editor, production designer, and visual effects supervisor, as well as playing the volatile, paranoid Sergeant Pinback. They met as budding filmmakers at the University of Southern California. "While [Carpenter and O'Bannon] couldn't be more dissimilar in personality, they were both very energetic and focused," says Daniel Griffiths, director of Let There Be Light: The Odyssey of Dark Star (2010), the definitive documentary about the making of the film.

The sci-fi films of this period tended to be bleak and dystopian, explains John Kenneth Muir, author of The Films of John Carpenter -- films like Silent Running (1972), in which all plant life on Earth is extinct, or George Lucas's 1971 debut THX-1138, in which human emotion is suppressed. "Dark Star arrived in this world of dark, hopeless imaginings, but took the darkness one step further into absurd nihilism." Carpenter and O'Bannon set out to make the "ultimate riff on Stanley Kubrick's 2001: A Space Odyssey," says Griffiths. While Kubrick's 1968 film, explains Muir, was one "in which viewers sought meaning in the stars about the nature of humanity, there is no meaning to life in Dark Star". Rather, says Muir, it parodies 2001 "with its own sense of man's irrelevance in the scheme of things". Where Kubrick scored his film with classical music, Dark Star opens with a country song, Benson, Arizona. (A road in the real-life Benson is named in honor of the film). The film was even released with the tagline "the spaced-out odyssey." Dark Star captured the mood of the time in which it was made, says Muir, the atmosphere of Nixon's America. "The 1960s was all about utopian dreaming and bringing change to America in the counterculture. The 1970s represent what writer Johnny Byrne called 'The wake-up from the hippie dream', a reckoning with the fact that the more things change, the more they stay the same." [...]

When Dark Star premiered at the FILMEX expo in 1974, the audience response was largely positive. "They recognized the film's absurdist humor and celebrated its student film roots," says Griffiths. It had a limited theatrical release in 1975, but it was not a commercial success. "The film met with negative reviews from critics, and general disinterest from audiences," says Muir. "Both Carpenter and O'Bannon realized that all the struggles they endured to make the film did not matter to audiences, they only cared about the finished product. I think they were discouraged," says Griffiths. The growth of the VHS market, however, helped it find its audience and propelled it towards cult status. Its influence can still be felt, perhaps most directly in Ridley Scott's Alien, for which O'Bannon, who died in 2009, wrote the screenplay. The two films share DNA. Alien is also set on a grotty working vessel with a bickering crew, only this time the alien wasn't played for laughs.

Matthew Connatser reports via The Register: An ASIC designed to display the infamous Rickroll meme is here, alongside 164 other assorted functions. The project is a product of Matthew Venn's Zero to ASIC Course, which offers prospective chip engineers the chance to "learn to design your own ASIC and get it fabricated." Since 2020, Zero to ASIC has accepted several designs that are incorporated into a single chip called a multi-project wafer (MPW), a cost-saving measure as making one chip for one design would be prohibitively expensive. Zero to ASIC has two series of chips: MPW and Tiny Tapeout. The MPW series usually includes just a handful of designs, such as the four on MPW8 submitted in January 2023. By contrast, the original Tiny Tapeout chip included 152 designs, and Tiny Tapeout 2 (which arrived last October) had 165, though could bumped up to 250. Of the 165 designs, one in particular may strike a chord: Design 145, or the Secret File, made by engineer and YouTuber Bitluni. His Secret File design for the Tiny Tapeout ASIC is designed to play a small part of Rick Astley's music video for Never Gonna Give You Up, also known as the Rickroll meme.

Bitluni was a late inclusion on the Tiny Tapeout 2 project, having been invited just three days before the submission deadline. He initially just made a persistence-of-vision controller, which was revised twice for a total of three designs. "At the end, I still had a few hours left, and I thought maybe I should also upload a meme project," Bitluni says in his video documenting his ASIC journey. His meme of choice was of course the Rickroll. One might even call it an Easter egg. However, given that there were 250 total plots for each design, there wasn't a ton of room for both the graphics processor and the file it was supposed to render, a short GIF of the music video. Ultimately, this had to be shrunk from 217 kilobytes to less than half a kilobyte, making its output look similar to games on the Atari 2600 from 1977. Accessing the Rickroll rendering processor and other designs isn't simple. Bitluni created a custom circuit board to mount the Tiny Tapeout 2 chip, creating a device that could then be plugged into a motherboard capable of selecting specific designs on the ASIC. Unfortunately for Bitluni, his first PCB had a design error on it that he had to correct, but the revised version worked and was able to display the Rickroll GIF in hardware via a VGA port.

More than 200 musical artists -- including Billie Eilish, Katy Perry and Smokey Robinson -- have penned an open letter to AI developers, tech firms and digital platforms to "cease the use of artificial intelligence (AI) to infringe upon and devalue the rights of human artists." From a report: Unlike other advocacy efforts from creators around AI, this letter specifically addresses tech firms about the concerns of musical artists, such as replicating artist's voices, using their work to train AI models without compensation and diluting royalty pools that are paid out to artists. Jen Jacobsen, executive director at The Artist Rights Alliance (ARA), the trade group representing the artists signing the letter, told Axios, "We're not thinking about legislation here."

"We're kind of calling on our technology and digital partners to work with us to make this a responsible marketplace, and to keep the quality of the music sound, and not to replace human artists." The letter, penned by dozens of well-known musicians within ARA, specifically calls on tech firms and AI developers to stop the "predatory use of AI to steal professional artists' voices and likenesses, violate creators' rights, and destroy the music ecosystem." Signatories include Elvis Costello, Norah Jones, Nicki Minaj, Camila Cabello, Kacey Musgraves, Jon Batiste, Ja Rule, Jason Isbell, Pearl Jam, Sam Smith and dozens more spanning every musical genre.

An anonymous reader quotes a report from Android Police, written by Dhruv Bhutani: As someone who is an early adopter of all things smart and has invested a significant amount of money in building a fancy smart home, it saddens me to say that I feel cheated by the thousands of dollars I've spent on smart devices. And it's not a one-off. Amazon's recent move to block off local ADB connections on Fire TV devices is the latest example in a long line of grievances. A brand busy wrestling away control from the consumer after they've bought the product, the software update gimps a feature that has been present on the hardware ever since it launched back in 2014. ADB-based commands let users take deep control of the hardware, and in the case of the Fire TV hardware, it can drastically improve the user experience. [...] A few years ago, I decided to invest in the NVIDIA Shield. The premium streamer was marketed as a utopia for streaming online and offline sources with the ability to plug in hard drives, connect to NAS drives, and more. At launch, it did precisely that while presenting a beautiful, clean interface that was a joy to interact with. However, subsequent updates have converted what was otherwise a clean and elegant solution to an ad-infested overlay that I zoom past to jump into my streaming app of choice. This problem isn't restricted to just the Shield. Even my Google TV running Chromecast has a home screen that's more of an advertising space for Google than an easy way to get to my content.

But why stop at streaming boxes? Google's Nest Hubs are equal victims of feature deterioration. I've spent hundreds of dollars on Nest Hubs and outfitted them in most of my rooms and washrooms. However, Google's consistent degradation of the user experience means I use these speakers for little more than casting music from the Spotify app. The voice recognition barely works on the best of days, and when it does, the answers tend to be wildly inconsistent. It wasn't always the case. In fact, at launch, Google's Nest speakers were some of the best smart home interfaces you could buy. You'd imagine that the experience would only improve from there. That's decidedly not the case. I had high hopes that the Fuchsia update would fix the broken command detection, but that's also not the case. And good luck to you if you decided to invest in Google Assistant-compatible displays. Google's announcement that it would no longer issue software or security updates to third-party displays like the excellent Lenovo Smart Display, right after killing the built-in web browser, is pretty wild. It boggles my mind that a company can get away with such behavior.

Now imagine the plight of Nest Secure owners. A home security system isn't something one expects to switch out for many many years. And yet, Google decided to kill the Nest Secure home monitoring solution merely three years after launching the product range. While I made an initial investment in the Nest ecosystem, I've since switched over to a completely local solution that is entirely under my control, stores data locally, and won't be going out of action because of bad decision-making by another company. "It's clear to me that smart home devices, as they stand, are proving to be very poor investments for consumers," Bhutani writes in closing. "Suffice it to say that I've paused any future investments in smart devices, and I'll be taking a long and hard look at a company's treatment of its current portfolio before splurging out more cash. I'd recommend you do the same."

"Today's most effective corporate lobbying no longer involves wooing members of Congress..." writes the Wall Street Journal. Instead the lobbying sector "now works in secret to influence lawmakers with the help of an unlikely ally: you." [Lobbyists] teamed up with PR gurus, social-media experts, political pollsters, data analysts and grassroots organizers to foment seemingly organic public outcries designed to pressure lawmakers and compel them to take actions that would benefit the lobbyists' corporate clients...

By the middle of 2011, an army of lobbyists working for the pillars of the corporate lobbying establishment — the major movie studios, the music industry, pharmaceutical manufacturers and the U.S. Chamber of Commerce — were executing a nearly $100 million campaign to win approval for the internet bill [the PROTECT IP Act, or "PIPA"]. They pressured scores of lawmakers to co-sponsor the legislation. At one point, 99 of the 100 members of the U.S. Senate appeared ready to support it — an astounding number, given that most bills have just a handful of co-sponsors before they are called up for a vote. When lobbyists for Google and its allies went to Capitol Hill, they made little headway. Against such well-financed and influential opponents, the futility of the traditional lobbying approach became clear. If tech companies were going to turn back the anti-piracy bills, they would need to find another way.

It was around this time that one of Google's Washington strategists suggested an alternative strategy. "Let's rally our users," Adam Kovacevich, then 34 and a senior member of Google's Washington office, told colleagues. Kovacevich turned Google's opposition to the anti-piracy legislation into a coast-to-coast political influence effort with all the bells and whistles of a presidential campaign. The goal: to whip up enough opposition to the legislation among ordinary Americans that Congress would be forced to abandon the effort... The campaign slogan they settled on — "Don't Kill the Internet" — exaggerated the likely impact of the bill, but it succeeded in stirring apprehension among web users.

The coup de grace came on Jan. 18, 2012, when Google and its allies pulled off the mother of all outside influence campaigns. When users logged on to the web that day, they discovered, to their great frustration, that many of the sites they'd come to rely on — Wikipedia, Reddit, Craigslist — were either blacked out or displayed text outlining the detrimental impacts of the proposed legislation. For its part, Google inserted a black censorship bar over its multicolored logo and posted a tool that enabled users to contact their elected representatives. "Tell Congress: Please don't censor the web!" a message on Google's home page read. With some 115,000 websites taking part, the protest achieved a staggering reach. Tens of millions of people visited Wikipedia's blacked-out website, 4.5 million users signed a Google petition opposing the legislation, and more than 2.4 million people took to Twitter to express their views on the bills. "We must stop [these bills] to keep the web open & free," the reality TV star Kim Kardashian wrote in a tweet to her 10 million followers...

Within two days, the legislation was dead...

Over the following decade, outside influence tactics would become the cornerstone of Washington's lobbying industry — and they remain so today.
"The 2012 effort is considered the most successful consumer mobilization in the history of internet policy," writes the Washington Post — agreeing that it's since spawned more app-based, crowdsourced lobbying campaigns. Sites like Airbnb "have also repeatedly asked their users to oppose city government restrictions on the apps." Uber, Lyft, DoorDash and other gig work companies also blitzed the apps' users with scenarios of higher prices or suspended service unless people voted for a 2020 California ballot measure on contract workers. Voters approved it."

The Wall Street Journal also details how lobbyists successfully killed higher taxes for tobacco products, the oil-and-gas industry, and even on private-equity investors — and note similar tactics were used against a bill targeting TikTok. "Some say the campaign backfired. Lawmakers complained that the effort showed how the Chinese government could co-opt internet users to do their bidding in the U.S., and the House of Representatives voted to ban the app if its owners did not agree to sell it.

"TikTok's lobbyists said they were pleased with the effort. They persuaded 65 members of the House to vote in favor of the company and are confident that the Senate will block the effort."

The Journal's article was adapted from an upcoming book titled "The Wolves of K Street: The Secret History of How Big Money Took Over Big Government." But the Washington Post argues the phenomenon raises two questions. "How much do you want technology companies to turn you into their lobbyists? And what's in it for you?"

U.S. users have just a few more days to make the transition from Google Podcasts as the company moves forward with the process of discontinuing the service globally. From a report: Google is currently sending in-app notifications to users in the U.S. that starting April 2nd they will no longer be able to use Google Podcasts and is recommending to export subscriptions to YouTube Music. The Google Podcasts streaming service launched six years ago. It's app has more than 500 million downloads on Google Play and apart from offering a large selection of podcasts it also allows subscribing to favorite channels, downloading and playing on various devices. The service integrates with Google's ecosystem, providing users with personalized recommendations based on interests, listening history, and preferences.

An anonymous reader shares a report: According to the Ancient Greek philosopher Pythagoras, 'consonance' -- a pleasant-sounding combination of notes -- is produced by special relationships between simple numbers such as 3 and 4. More recently, scholars have tried to find psychological explanations, but these 'integer ratios' are still credited with making a chord sound beautiful, and deviation from them is thought to make music 'dissonant,' unpleasant sounding.

But researchers from the University of Cambridge, Princeton and the Max Planck Institute for Empirical Aesthetics, have now discovered two key ways in which Pythagoras was wrong. Their study, published in Nature Communications, shows that in normal listening contexts, we do not actually prefer chords to be perfectly in these mathematical ratios. "We prefer slight amounts of deviation. We like a little imperfection because this gives life to the sounds, and that is attractive to us," said co-author, Dr Peter Harrison, from Cambridge's Faculty of Music and Director of its Centre for Music and Science.

The researchers also found that the role played by these mathematical relationships disappears when you consider certain musical instruments that are less familiar to Western musicians, audiences and scholars. These instruments tend to be bells, gongs, types of xylophones and other kinds of pitched percussion instruments. In particular, they studied the 'bonang,' an instrument from the Javanese gamelan built from a collection of small gongs.

People bought 43 million vinyl records last year, according to the Recording Industry Association of America (RIAA). From a report: That's 6 million more than the number of CDs sold in 2023, marking the second time since 1987 that's happened and reflecting the steady 17-year-running growth of vinyl sales. Vinyl, which tends to be pricier than the newer format, also far outstripped CDs in actual money made, raking in $1.4 billion compared to $537 million from CDs. The RIAA's report shows that CD revenue was up, too, but in terms of physical products sold, people actually bought about 700,000 fewer CDs in 2023 than the year before. (If you're curious, nearly half a million cassettes sold last year, too, according to Billboard.)

An anonymous reader quotes a report from NPR: Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation. "Tennessee (sic) is the music capital of the world, & we're leading the nation with historic protections for TN artists & songwriters against emerging AI technology," Gov. Bill Lee announced on social media. The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state's old right of publicity law. While the old law protected an artist's name, photograph or likeness, the new legislation includes AI-specific protections. Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist's voice without permission.

"My favorite kind of science fiction involves stories rooted in real science..." writes NPR's reviewer. "[T]here is something special about seeing characters wrestle with concepts closer to our current understanding of how the universe works."

The Verge calls it an "impressive" and "leaner" story than the book, arguing "it's a good one — and very occasionally a great one" that introduces the author's key ideas, though channelling "the book's spirit but not its brilliance."

And Slate calls it a "downright transformative" adaptation, "jettisoning most of the novel's characters and plucking scenes from all three books," while accusing it of "making the trilogy's expansive and philosophical story into something much more pedestrian and digestible."

But Reuters notes there's huge interest in China over this adaptation (by the co-creator of Mem>Game of Thrones) for the first Asian novel to win the Hugo Award for best science fiction novel. "The new series was trending on Chinese social media platform Weibo on Friday," reports Reuters, "with 21 million views so far." (The show came in first on Weibo's "top hot" trend rankings, they add, "despite Netflix being officially inaccessible in China. Chinese viewers would have had to watch the Netflix series from behind a VPN or on a pirate site.")

So what was their verdict? CNN reports Netflix's adaptation "has split opinions in China and sparked online nationalist anger over scenes depicting a violent and tumultuous period in the country's modern history." Among the country's more patriotic internet users, discussions on the adaptation turned political, with some accusing the big-budget American production of making China look bad. The show opens with a harrowing scene depicting Mao Zedong's Cultural Revolution, which consumed China in bloodshed and chaos for a decade from 1966... "Netflix you don't understand 'The Three Body Problem' or Ye Wenjie at all!" read a comment on social media platform Weibo. "You only understand political correctness!"

Others came to the show's defense, saying the scene closely follows depictions in the book — and is a truthful reenactment of history. "History is far more absurd than a TV series, but you guys pretend not to see it," read one comment on Douban, a popular site for reviewing movies, books and music.

Author Liu said in an interview with the New York Times in 2019 that he had originally wanted to open the book with scenes from Mao's Cultural Revolution, but his Chinese publisher worried they would never make it past government censors and buried them in the middle of the narrative. The English version of the book, translated by Ken Liu, put the scenes at the novel's beginning, with the author's blessing... Various other aspects of the show, from its casting and visual effects to the radical changes to the story's original setting and characters, also attracted the ire of Chinese social media users. Many compared it to a Chinese television adaptation released last year — a much lengthier and closer retelling of the book that ran to 30 episodes and was highly rated on Chinese review platforms.

The Netflix adaptation featured an international cast and placed much of the action in present-day London — thus making the story a lot less Chinese.

Swedish music streaming company Spotify is rolling out full-length music videos in a limited beta launch for premium subscribers, venturing into an arena that YouTube has dominated for nearly two decades. From a report: Music videos will be available to premium users in the UK, Germany, Italy, Netherlands, Poland, Sweden, Brazil, Colombia, Philippines, Indonesia, and Kenya, in beta starting on Wednesday, the company said, as it attempts to grow its user base. While it aims to reach 1 billion users by 2030, Spotify's new plan faces competition from Apple Music and Alphabet's YouTube, which allows users to watch music videos for free.

An anonymous reader quotes a report from Wired: Arkady Volozh, the billionaire cofounder of Russia's biggest internet company, was removed from the EU sanctions list today, clearing the way for his return to the world of international tech. On Tuesday a spokesperson for the European Council confirmed to WIRED that the Yandex cofounder was among three people whose sanctions were lifted this week. Volozh, 60, was initially included on the EU sanctions list in June 2023, following Russia's full-scale invasion of Ukraine in February 2022. "Volozh is a leading businessperson involved in economic sectors providing a substantial source of revenue to the Government of the Russian Federation," the blocsaidlast year to justify its decision. "As founder and CEO of Yandex, he is supporting, materially or financially, the Government of the Russian Federation." In response, Volozh stepped down from his position as Yandex CEO, calling the sanctions "misguided." [...]

The removal of sanctions affecting one of Russian tech's most prominent figures will be especially significant if Volozh goes on to build Yandex 2.0 inside Europe. The billionaire maintains strong ties to exiled Russian tech talent, with thousands of Yandex staff leaving the country after the start of the war. "These people are now out, and in a position to start something new, continuing to drive technological innovation," Volozh said in the same 2023 statement. "They will be a tremendous asset to the countries in which they land." Yandex is widely known as "Russia's Google" because it monopolizes the Russian search market and offers many other services, including Yandex Music for streaming, Yandex Navigator for maps, and Yandex Go for hailing a ride. "Over the past 18 months, [Dutch-based Yandex NV] has been involved in complex negotiations with the Kremlin, in an attempt to sell its Russian operations while carving out four Europe-based units, which include businesses focused on self-driving cars, cloud computing, data labeling, and education tech," reports Wired.

Last month, Yandex NV reached a "binding agreement" to sell its operations in the country for $5.2 billion -- a price that reflects a 50% discount that Moscow imposes on companies from "unfriendly" countries like the Netherlands as a condition of exiting business in Russia.

An anonymous reader quotes a report from Reuters: The New York Times has denied claims by OpenAI that it "hacked" the company's artificial intelligence systems to create misleading evidence of copyright infringement, calling the accusation as "irrelevant as it is false." The Times in a court filing on Monday said OpenAI was "grandstanding" in its request to dismiss parts of the newspaper's lawsuit alleging its articles were misused for artificial intelligence training. The Times sued OpenAI and its largest financial backer Microsoft in December, accusing them of using millions of its articles without permission to train chatbots to provide information to users.

The newspaper is among several prominent copyright owners including authors, visual artists and music publishers that have sued tech companies over the alleged misuse of their work in AI training. The Times' complaint cited several instances in which programs like OpenAI's popular chatbot ChatGPT gave users near-verbatim excerpts of its articles when prompted. OpenAI responded last month that the Times had paid an unnamed "hired gun" to manipulate its products into reproducing the newspaper's content. It asked the court to dismiss parts of the case, including claims that its AI-generated content infringes the Times' copyrights. "In the ordinary course, one cannot use ChatGPT to serve up Times articles at will," OpenAI said. The company also said it would eventually prove that its AI training made fair use of copyrighted content.

The Times replied on Monday that it had simply used the "first few words or sentences" of its articles to prompt ChatGPT to recreate them. "OpenAI's true grievance is not about how The Times conducted its investigation, but instead what that investigation exposed: that Defendants built their products by copying The Times's content on an unprecedented scale -- a fact that OpenAI does not, and cannot, dispute," the Times said.