BrianFagioli writes: In a move that is sure to make longtime PC users do a double take, the Library of Congress has added two very unexpected sounds to its National Recording Registry. No, it's not another classic rock album or jazz staple. Believe it or not, it's actually the "Reboot Chime" from Windows 95 (that played when the operating system started) and the soundtrack from Minecraft!

Brain rot — the inability to think deeply after too much scrolling on a phone — afflicts "plenty of people," writes the New York Times' lead consumer technology writer. [Alternate URL here.] He's suffering from it too — "These days, it's tough to even finish a book."

But is the answer just avoiding distractions with a stripped-down $600 phone "that barely does anything"? For a week he tested the Light Phone III... The newest version, which began shipping in March and is set for a broader release in July, can place calls, send texts, take photos, show map directions, play music and podcasts and not do much else. There is no web browser. There is also no app store, meaning there's no Uber to hail a ride, no Slack and no social media. There isn't even email... There were moments I enjoyed it. While waiting for a train, resting at the gym or eating alone, I was not tempted to stare at the phone screen, and I felt more mindful of my surroundings. Phone calls sounded nice and clear. The maps app did a fine job navigating me around town.

It reminded me of simpler times when we used phones primarily to converse before putting them away to focus on other tasks. But over the week, the downsides of a dumber phone chipped away at my enjoyment, and overall I felt more stressed and less capable. I suddenly found myself unable to get into a train station, look up the name of a new restaurant or control my garage door. Some of that has less to do with the Light Phone itself, which is a so-so product, and more to do with how society as a whole has become dependent on advanced smartphone features.
For example, his old smartphone supported virtual phone-based passes for mass transit and speedy access to his gym. (And his friends made phone of the Light Phone's photos.) But at least never felt tempted to check his email when out to dinner.

"While I admire the goal of the Light Phone, my experience demonstrates there's nothing we can realistically do or buy to bring us back to simpler times. So many aspects of our lives, including getting around town, working, paying for things and controlling home appliances, revolve around our highly capable smartphones.

"This Light Phone experiment reminded me of glamping: paying a lot to have an artificially crummier experience."

"Gen Z is rediscovering Tumblr — a chaotic, cozy corner of the internet untouched by algorithmic gloss and influencer overload..." writes Fast Company, "embracing the platform as a refuge from an internet saturated with influencers and algorithm fatigue." Thanks to Gen Z, the site has found new life. As of 2025, Gen Z makes up 50% of Tumblr's active monthly users and accounts for 60% of new sign-ups, according to data shared with Business Insider's Amanda Hoover, who recently reported on the platform's resurgence. User numbers spiked in January during the near-ban of TikTok and jumped again last year when Brazil temporarily banned X. In response, Tumblr users launched dedicated communities to archive and share their favorite TikToks...

To keep up with the momentum, Tumblr introduced Reddit-style Communities in December, letting users connect over shared interests like photography and video games. In January, it debuted Tumblr TV — a TikTok-like feature that serves as both a GIF search engine and a short-form video platform. But perhaps Tumblr's greatest strength is that it isn't TikTok or Facebook. Currently the 10th most popular social platform in the U.S., according to analytics firm Similarweb, Tumblr is dwarfed by giants like Instagram and X. For its users, though, that's part of the appeal.
First launched in 2007, Tumblr peaked at over 100 million users in 2014, according to the article. Trends like Occupy Wall Street had been born on Tumblr, notes Business Insider, calling the blogging platform "Gen Z's safe space... as the rest of the social internet has become increasingly commodified, polarized, and dominated by lifestyle influencers." Tumblr was also "one of the most hyped startups in the world before fading into obsolescence — bought by Yahoo for $1.1 billion in 2013... then acquired by Verizon, and later offloaded for fractions of pennies on the dollar in a distressed sale.

"That same Tumblr, a relic of many millennials' formative years, has been having a moment among Gen Z..." "Gen Z has this romanticism of the early-2000s internet," says Amanda Brennan, an internet librarian who worked at Tumblr for seven years, leaving her role as head of content in 2021... Part of the reason young people are hanging out on old social platforms is that there's nowhere new to go. The tech industry is evolving at a slower pace than it was in the 2000s, and there's less room for disruption. Big Tech has a stranglehold on how we socialize. That leaves Gen Z to pick up the scraps left by the early online millennials and attempt to craft them into something relevant. They love Pinterest (founded in 2010) and Snapchat (2011), and they're trying out digital point-and-shoot cameras and flip phones for an early-2000s aesthetic — and learning the valuable lesson that sometimes we look better when blurrier.

More Gen Zers and millennials are signing up for Yahoo. Napster, surprising many people with its continued existence, just sold for $207 million. The trend is fueled by nostalgia for Y2K aesthetics and a longing for a time when people could make mistakes on the internet and move past them. The pandemic also brought more Gen Z users to Tumblr...

And Tumblr still works much like an older internet, where people have more control over what they see and rely less on algorithms. "You curate your own stuff; it takes a little bit of work to put everything in place, but when it's working, you see the content you want to see," Fjodor Everaerts, a 26-year-old in Belgium who has made some 250,000 posts since he joined Tumblr when he was 14... Under Automattic, Tumblr is finally in the home that serves it, [says Ari Levine, the head of brand partnerships at Tumblr]. "We've had ups and downs along the way, but we're in the most interesting position and place that we've been in 18 years," he says... And following media companies (including Business Insider) and social platforms like Reddit, Automattic in 2024 was making a deal with OpenAI and Midjourney to allow the systems to train on Tumblr posts.

"The social internet is fractured," the article argues. ("Millennials are running Reddit. Gen Xers and Baby Boomers have a home on Facebook. Bluesky, one of the new X alternatives, has a tangible elder-millennial/Gen X vibe. Gen Zers have created social apps like BeReal and the Myspace-inspired Noplace, but they've so far generated more hype than influence....")

But in a world where megaplatforms "flatten our online experiences and reward content that fits a mold," the article suggests, "smaller communities can enrich them."

An anonymous reader quotes a report from Ars Technica: What does it take to get OpenAI and Anthropic -- two competitors in the AI assistant market -- to get along? Despite a fundamental difference in direction that led Anthropic's founders to quit OpenAI in 2020 and later create the Claude AI assistant, a shared technical hurdle has now brought them together: How to easily connect their AI models to external data sources. The solution comes from Anthropic, which developed and released an open specification called Model Context Protocol (MCP) in November 2024. MCP establishes a royalty-free protocol that allows AI models to connect with outside data sources and services without requiring unique integrations for each service.

"Think of MCP as a USB-C port for AI applications," wrote Anthropic in MCP's documentation. The analogy is imperfect, but it represents the idea that, similar to how USB-C unified various cables and ports (with admittedly a debatable level of success), MCP aims to standardize how AI models connect to the infoscape around them. So far, MCP has also garnered interest from multiple tech companies in a rare show of cross-platform collaboration. For example, Microsoft has integrated MCP into its Azure OpenAI service, and as we mentioned above, Anthropic competitor OpenAI is on board. Last week, OpenAI acknowledged MCP in its Agents API documentation, with vocal support from the boss upstairs. "People love MCP and we are excited to add support across our products," wrote OpenAI CEO Sam Altman on X last Wednesday.

MCP has also rapidly begun to gain community support in recent months. For example, just browsing this list of over 300 open source servers shared on GitHub reveals growing interest in standardizing AI-to-tool connections. The collection spans diverse domains, including database connectors like PostgreSQL, MySQL, and vector databases; development tools that integrate with Git repositories and code editors; file system access for various storage platforms; knowledge retrieval systems for documents and websites; and specialized tools for finance, health care, and creative applications. Other notable examples include servers that connect AI models to home automation systems, real-time weather data, e-commerce platforms, and music streaming services. Some implementations allow AI assistants to interact with gaming engines, 3D modeling software, and IoT devices.

What happens when you ask Copilot to "write a program that can be run on an iPhone 16 to select 15 random photos from the phone, tint them to random colors, and display the photos on the phone"?

That's what TouchDevelop did for the long-discontinued Windows Phone in a 2013 Microsoft Research 'SmartSynth' natural language code generation demo. ("Write scripts by tapping on the screen.")

Long-time Slashdot reader theodp reports on what happens when, 14 years later, you pose the same question to Copilot: "You'll get lots of code and caveats from Copilot, but nothing that you can execute as is. (Compare that to the functioning 10 lines of code TouchDevelop program). It's a good reminder that just because GenAI can generate code, it doesn't necessarily mean it will generate the least amount of code, the most understandable or appropriate code for the requestor, or code that runs unchanged and produces the desired results.
theodp also reminds us that TouchDevelop "was (like BASIC) abandoned by Microsoft..." Interestingly, a Microsoft Research video from CS Education Week 2011 shows enthusiastic Washington high school students participating in an hour-long TouchDevelop coding lesson and demonstrating the apps they created that tapped into music, photos, the Internet, and yes, even their phone's functionality. This shows how lacking iPhone and Android still are today as far as easy programmability-for-the-masses goes. (When asked, Copilot replied that Apple's Shortcuts app wasn't up to the task).

Samsung teased its "AI Vision Inside" refrigerators at January's CES tradeshow. (Its internal sensors can now detect 37 different fresh ingredients and 50 processed foods, generating lists for your cellphone or a screen on your refrigerator's door.)

But the refrigerators are part of a larger "AI Home" lineup of screen-enabled appliances with advanced AI features, and Engadget got to see them all together this weekend at Samsung's Bespoke AI conference in Seoul, Korea: The centerpiece of the Bespoke line remains Samsung's 4-door French-Door refrigerator, which is now available with two different-sized screens. There's a model with a smaller 9-inch screen that starts at $3,999 or one with a massive 32-inch panel called the Family Hub+ for $4,699. The former is ostensibly designed for people who want something a bit more discreet but still want access to Samsung's smart features, which includes widgets for your calendar, music, weather, various cooking apps and more. Meanwhile, the larger model is for families who aren't afraid of having a small TV in their face every time they open their fridge. You can even play videos from TikTok on it, if that's what you're into....

For cooking, Samsung's matte glass induction cooktops are mostly the same, but its Bespoke 30-inch single ($3,759) and double ($4,649) wall ovens have...you guessed it, more AI. In addition to a 7-inch display, there are also cameras and sensors inside the oven that can recognize up to 80 different recipes to provide optimal cooking times. But if you prefer to go off-script and create something original, Samsung says the oven will give you the option to save the recipe and temperature settings after cooking the same dish five times. And for a more fun application of its tech, the oven's cameras can record videos and create time-lapses of your baked goods for sharing on social media.

When it's time to clean up, Samsung's $1,399 Bespoke Auto Open Door Dishwasher has a few tricks of its own. In this case, the washer uses AI (yet again) and sensors to more accurately detect food residue and optimize cleaning cycles...
There's also an "AI Jet Ultra Cordless Stick" vacuum cleaner, which "uses AI to better detect what surface its on to more effectively hoover up dirt and debris."

Interestingly, in January Samsung's refrigerators also got a mention in iFixit's "Worst of CES" video.

"I am having conversations every day with people whose careers are sort of over," a 53-year-old film and TV director told the New York Times: If you entered media or image-making in the '90s — magazine publishing, newspaper journalism, photography, graphic design, advertising, music, film, TV — there's a good chance that you are now doing something else for work. That's because those industries have shrunk or transformed themselves radically, shutting out those whose skills were once in high demand... When digital technology began seeping into their lives, with its AOL email accounts, Myspace pages and Napster downloads, it didn't seem like a threat. But by the time they entered the primes of their careers, much of their expertise had become all but obsolete.

More than a dozen members of Generation X interviewed for this article said they now find themselves shut out, economically and culturally, from their chosen fields. "My peers, friends and I continue to navigate the unforeseen obsolescence of the career paths we chose in our early 20s," Mr. Wilcha said. "The skills you cultivated, the craft you honed — it's just gone. It's startling." Every generation has its burdens. The particular plight of Gen X is to have grown up in one world only to hit middle age in a strange new land. It's as if they were making candlesticks when electricity came in. The market value of their skills plummeted...

Typically, workers in their 40s and 50s are entering their peak earning years. But for many Gen-X creatives, compensation has remained flat or decreased, factoring in the rising cost of living. The usual rate for freelance journalists is 50 cents to $1 per word — the same as it was 25 years ago... As opportunities and incomes dwindle, Gen X-ers in creative fields are weighing their options. Move to a lower-cost place and remain committed to the work you love? Look for a bland corporate job that might provide health insurance and a steady paycheck until retirement?
The article includes several examples of the trend:

• One magazine's photo studio director says professional photographers have been replaced by "a 20-year-old kid who will do the job for $500."

• The article adds that "When photography went digital, photo lab technicians and manual retouchers were suddenly as inessential as medieval scribes." (And "In advertising, brands ditched print and TV campaigns that required large crews for marketing plans that relied on social media posts."")

• An editor at Spin magazine remembers the day its print edition folded...

And besides competition from influencers, there's also AI, "which seems likely to replace many of the remaining Gen X copywriters, photographers and designers. By 2030, ad agencies in the United States will lose 32,000 jobs, or 7.5 percent of the industry's work force, to the technology, according to the research firm Forrester."

Meanwhile the cost of living has skyrocketed, the article points out — even while Gen X-ers "are less secure financially than baby boomers and lack sufficient retirement savings, according to recent surveys..."

An anonymous reader quotes a report from The Verge: A concert on Monday night at New York's Radio City Music Hall was a special occasion for Frank Miller: his parents' wedding anniversary. He didn't end up seeing the show -- and before he could even get past security, he was informed that he was in fact banned for life from the venue and all other properties owned by Madison Square Garden (MSG). After scanning his ticket and promptly being pulled aside by security, Miller was told by staff that he was barred from the MSG properties for an incident at the Garden in 2021. But Miller says he hasn't been to the venue in nearly two decades.

"They hand me a piece of paper letting me know that I've been added to a ban list," Miller says. "There's a trespass notice if I ever show up on any MSG property ever again," which includes venues like Radio City, the Beacon Theatre, the Sphere, and the Chicago Theatre. He was baffled at first. Then it dawned on him: this was probably about a T-shirt he designed years ago. MSG Entertainment won't say what happened with Miller or how he was picked out of the crowd, but he suspects he was identified via controversial facial recognition systems that the company deploys at its venues.

In 2017, 1990s New York Knicks star Charles Oakley was forcibly removed from his seat near Knicks owner and Madison Square Garden CEO James Dolan. The high-profile incident later spiraled into an ongoing legal battle. For Miller, Oakley was an "integral" part of the '90s Knicks, he says. With his background in graphic design, he made a shirt in the style of the old team logo that read, "Ban Dolan" -- a reference to the infamous scuffle. A few years later, in 2021, a friend of Miller's wore a Ban Dolan shirt to a Knicks game and was kicked out and banned from future events. That incident spawned ESPN segments and news articles and validated what many fans saw as a pettiness on Dolan and MSG's part for going after individual fans who criticized team ownership. "Frank Miller Jr. made threats against an MSG executive on social media and produced and sold merchandise that was offensive in nature," Mikyl Cordova, executive vice president of communications and marketing for the company, said in an emailed statement. "His behavior was disrespectful and disruptive and in violation of our code of conduct."

Miller responded to the ban, saying: "I just found it comical, until I was told that my mom was crying [in the lobby]. I was like, 'Oh man, I ruined their anniversary with my shit talk on the internet. Memes are powerful, and so is the surveillance state. It's something that we all have to be aware of -- the panopticon. We're [being] surveilled at all times, and it's always framed as a safety thing, when rarely is that the case. It's more of a deterrent and a fear tactic to try to keep people in line."

Infinite Reality, a 3D technology company, has acquired Napster for $207 million, the companies announced Tuesday. The deal aims to transform the once-notorious music sharing service into a metaverse platform.

Napster, launched in 1999 by Shawn Fanning and Sean Parker, was the first major peer-to-peer file-sharing application before legal battles forced its closure in 2001. Since 2016, it has operated as a subscription streaming service. Infinite Reality plans to create virtual 3D spaces where music fans can experience concerts together and artists can sell merchandise.

U.S. music streaming services surpassed 100 million subscribers in 2024 [PDF] while industry revenue hit a record $14.9 billion, up 4% from the previous year, according to the Record Industry Association of America (RIAA).

Physical media sales outpaced digital growth, with vinyl records increasing 7% to $1.4 billion, outselling CDs ($541 million) for the third consecutive year. Digital downloads plummeted 14.9%, now representing just 2% of industry revenue.

An anonymous reader quotes a report from Variety: More than 400 Hollywood creative leaders signed an open letter to the Trump White House's Office of Science and Technology Policy, urging the administration to not roll back copyright protections at the behest of AI companies. The filmmakers, writers, actors, musicians and others -- which included Ben Stiller, Mark Ruffalo, Cynthia Erivo, Cate Blanchett, Cord Jefferson, Paul McCartney, Ron Howard and Taika Waititi -- were submitting comments for the Trump administration's U.S. AI Action Plan. The letter specifically was penned in response to recent submissions to the Office of Science and Technology Policy from OpenAI and Google, which asserted that U.S. copyright law allows (or should allow) allow AI companies to train their system on copyrighted works without obtaining permission from (or compensating) rights holders.

"We firmly believe that America's global AI leadership must not come at the expense of our essential creative industries," the letter says in part. The letter claims that "AI companies are asking to undermine this economic and cultural strength by weakening copyright protections for the films, television series, artworks, writing, music and voices used to train AI models at the core of multibillion-dollar corporate valuations." [...] The letter says Google and OpenAI "are arguing for a special government exemption so they can freely exploit America's creative and knowledge industries, despite their substantial revenues and available funds. There is no reason to weaken or eliminate the copyright protections that have helped America flourish." You can read the full statement and list of signatories here.

The letter was issued in response to recent submissions from OpenAI (PDF) and Google (PDF) claiming that U.S. law allows, or should allow, AI companies to train their programs on copyrighted works under the fair use legal doctrine.

An anonymous reader quotes a report from Ars Technica: In an email sent to customers today, Amazon said that Echo users will no longer be able to set their devices to process Alexa requests locally and, therefore, avoid sending voice recordings to Amazon's cloud. Amazon apparently sent the email to users with "Do Not Send Voice Recordings" enabled on their Echo. Starting on March 28, recordings of everything spoken to the Alexa living in Echo speakers and smart displays will automatically be sent to Amazon and processed in the cloud.

Attempting to rationalize the change, Amazon's email said: "As we continue to expand Alexa's capabilities with generative AI features that rely on the processing power of Amazon's secure cloud, we have decided to no longer support this feature." One of the most marketed features of Alexa+ is its more advanced ability to recognize who is speaking to it, a feature known as Alexa Voice ID. To accommodate this feature, Amazon is eliminating a privacy-focused capability for all Echo users, even those who aren't interested in the subscription-based version of Alexa or want to use Alexa+ but not its ability to recognize different voices.

[...] Amazon said in its email today that by default, it will delete recordings of users' Alexa requests after processing. However, anyone with their Echo device set to "Don't save recordings" will see their already-purchased devices' Voice ID feature bricked. Voice ID enables Alexa to do things like share user-specified calendar events, reminders, music, and more. Previously, Amazon has said that "if you choose not to save any voice recordings, Voice ID may not work." As of March 28, broken Voice ID is a guarantee for people who don't let Amazon store their voice recordings. Amazon's email continues: "Alexa voice requests are always encrypted in transit to Amazon's secure cloud, which was designed with layers of security protections to keep customer information safe. Customers can continue to choose from a robust set of controls by visiting the Alexa Privacy dashboard online or navigating to More - Alexa Privacy in the Alexa app."

Further reading: Google's Gemini AI Can Now See Your Search History

Sphere Entertainment Co, the company behind the Las Vegas Sphere, said they are considering opening scaled-down versions of the immersive venue in other cities. AV Magazine reports: While this has been been feasible for its high-profile residencies such as U2, the Eagles, Dead & Company and Anyma, smaller venues could attract a broader range of artists who might not have the budget or demand to fill the flagship Las Vegas location. By scaling down the size while retaining the signature technology, Sphere Entertainment Co can offer a similar spectacle at a more sustainable cost for artists and spectators.

The possibility of mini-Spheres follows news that a full-scale venue will open in the UAE as a result of a partnership between Sphere Entertainment Co and the Department of Culture and Tourism -- Abu Dhabi. Beyond concerts, the Las Vegas Sphere has proven successful with immersive films such as V-U2: An Immersive Concert Film and the Sphere Expeience featuring Darren Aronofsky's Postcard from Earth, which In January passed 1,000 screenings. "As we enter a new fiscal year, we see significant opportunities to drive our Sphere business forward in Las Vegas and beyond," said Dolan. "We believe we are on a path toward realizing our vision for this next-generation medium and generating long-term shareholder value."

Sony has removed more than 75,000 AI-generated deepfake songs mimicking artists including Harry Styles and Beyonce from online platforms, the company revealed in a submission to the UK government, adding this likely represents just a fraction of fake songs circulating online.

The proliferation of these unauthorized AI replicas has caused "direct commercial harm to legitimate recording artists, including UK artists," Sony stated. The company's intervention comes as Britain considers new copyright legislation that would permit AI companies to train models using artist material, a proposal that would require rights holders to opt out rather than requiring permission.

New submitter grandrollerz writes: Despite streaming online since the RealAudio days of the late 1990s, the BBC has announced that most of its radio stations will become unavailable to international users later this year. Starting in Spring 2025, only talk news stations BBC World Service and BBC Radio 4 will remain accessible outside the UK. This change is due to rights issues and the launch of a new BBC audio website and app that will replace BBC Sounds for international users. The BBC Sounds app will be available exclusively to UK audiences, although UK users traveling abroad for short periods will still be able to use it. This move has disappointed many long-time international listeners who will lose access to their favorite BBC radio stations. It follows a similar move to further commercialize its services where in 2024 the BBC and Amazon Music struck a global deal to make BBC podcasts available on Amazon Music outside the UK, but only for subscribers to Amazon's Prime and Amazon Music Unlimited services.

An anonymous reader quotes a report from Ars Technica: On Thursday, music labels sought to add nearly 500 more sound recordings to a lawsuit accusing the Internet Archive (IA) of mass copyright infringement through its Great 78 Project, which seeks to digitize all 3 million three-minute recordings published on 78 revolutions-per-minute (RPM) records from about 1898 to the 1950s. If the labels' proposed second amended complaint is accepted by the court, damages sought in the case -- which some already feared could financially ruin IA and shut it down for good -- could increase to almost $700 million. (Initially, the labels sought about $400 million in damages.) IA did not respond to Ars' request for comment, but the filing noted that IA has not consented to music labels' motion to amend their complaint. [...]

Some sound recording archivists and historians also continue to defend the Great 78 Project as a critical digitization effort at a time when quality of physical 78 RPM records is degrading and the records themselves are becoming obsolete, with very few libraries even maintaining equipment to play back the limited collections that are available in physical archives. They push back on labels' claims that commercially available Spotify streams are comparable to the Great 78 Project's digitized recordings, insisting that sound history can be lost when obscure recordings are controlled by rights holders who don't make them commercially available. [...] David Seubert, who manages sound collections at the University of California, Santa Barbara library, told Ars that he frequently used the project as an archive and not just to listen to the recordings.

For Seubert, the videos that IA records of the 78 RPM albums capture more than audio of a certain era. Researchers like him want to look at the label, check out the copyright information, and note the catalogue numbers, he said. "It has all this information there," Seubert said. "I don't even necessarily need to hear it," he continued, adding, "just seeing the physicality of it, it's like, 'Okay, now I know more about this record.'" [...] Nathan Georgitis, the executive director of the Association for Recorded Sound Collections (ARSC), told Ars that you just don't see 78 RPM records out in the world anymore. Even in record stores selling used vinyl, these recordings will be hidden "in a few boxes under the table behind the tablecloth," Georgitis suggested. And in "many" cases, "the problem for libraries and archives is that those recordings aren't necessarily commercially available for re-release."

That "means that those recordings, those artists, the repertoire, the recorded sound history in itself -- meaning the labels, the producers, the printings -- all of that history kind of gets obscured from view," Georgitis said. Currently, libraries trying to preserve this history must control access to audio collections, Georgitis said. He sees IA's work with the Great 78 Project as a legitimate archive in that, unlike a streaming service, where content may be inconsistently available, IA's "mission is to preserve and provide access to content over time." "That 'over time' part is really the key function, I think, that distinguishes an archive from maybe a streaming service in a way," Georgitis said. "The Internet Archive is not hurting the revenue of the recording industry at all," Seubert suggested. "It has no impact on their revenue." Instead, he suspects that labels' lawsuit is "somehow vindictive," because the labels perhaps "don't like the Internet Archive's way of pushing the envelope on copyright and fair use."

"There are people who, like the founder of the Internet Archive, want to push that envelope, and the media conglomerates want to push back in the other direction," Seubert said.

A malicious PyPi package effectively turned its users' systems "into an illicit network for facilitating bulk music downloads," writes The Hacker News.

Though the package has been removed from PyPI, researchers at security platform Socket.dev say it enabled "coordinated, unauthorized music downloads from Deezer — a popular streaming service founded in France in 2007." Although automslc, which has been downloaded over 100,000 times, purports to offer music automation and metadata retrieval, it covertly bypasses Deezer's access restrictions... The package is designed to log into Deezer, harvest track metadata, request full-length streaming URLs, and download complete audio files in clear violation of Deezer's API terms... [I]t orchestrates a distributed piracy operation by leveraging both user-supplied and hardcoded Deezer credentials to create sessions with Deezer's API. This approach enables full access to track metadata and the decryption tokens required to generate full-length track URLs.

Additionally, the package routinely communicates with a remote server... to update download statuses and submit metadata, thereby centralizing control and allowing the threat actor to monitor and coordinate the distributed downloading operation. In doing so, automslc exposes critical track details — including Deezer IDs, International Standard Recording Codes, track titles, and internal tokens like MD5_ORIGIN (a hash used in generating decryption URLs) — which, when collected en masse, can be used to reassemble full track URLs and facilitate unauthorized downloads...

Even if a user pays for access to the service, the content is licensed, not owned. The automslc package circumvents licensing restrictions by enabling downloads and potential redistribution, which is outside the bounds of fair use...
"The malicious package was initially published in 2019, and its popularity (over 100,000 downloads) indicates wide distribution..."

Amazon has launched a comprehensive AI overhaul of Alexa, representing the voice assistant's most significant update since its 2014 debut. The new "Alexa Plus" enables multi-turn conversations without repeating wake words, replacing the previous command-response interaction model.

The system now handles complex tasks including booking concert tickets, making restaurant reservations via Yelp integration, and creating smart home routines autonomously. Technical capabilities include image analysis, content-aware movie navigation, and semantic music search that processes vague descriptors rather than exact titles. Originally announced in September 2023 for early 2024 release, the update faced prolonged delays as Amazon engineers struggled with technical challenges.

Internal testing revealed the new AI-powered assistant performed inconsistently against OpenAI's ChatGPT and suffered from verbose responses. Amazon's legacy architecture -- designed to retrieve predefined answers rather than generate responses dynamically -- complicated the transition to generative AI models. The launch represents a critical test for Devices & Services chief Panos Panay, who replaced Dave Limp amid reorganization following layoffs that affected the division.

An anonymous reader quotes a report from TechCrunch: The U.K. government is pushing forward with plans to attract more AI companies to the region through changes to copyright law that would allow developers to train AI models on artists' content on the internet -- without permission or payment -- unless creators proactively "opt out." Not everyone is marching to the same beat, though. On Monday, a group of 1,000 musicians released a "silent album," protesting the planned changes. The album -- titled "Is This What We Want?" -- features tracks from Kate Bush, Imogen Heap, and contemporary classical composers Max Richter and Thomas Hewitt Jones, among others. It also features co-writing credits from hundreds more, including big names like Annie Lennox, Damon Albarn, Billy Ocean, The Clash, Mystery Jets, Yusuf / Cat Stevens, Riz Ahmed, Tori Amos, and Hans Zimmer.

But this is not Band Aid part 2. And it's not a collection of music. Instead, the artists have put together recordings of empty studios and performance spaces -- a symbolic representation of what they believe will be the impact of the planned copyright law changes. "You can hear my cats moving around," is how Hewitt Jones described his contribution to the album. "I have two cats in my studio who bother me all day when I'm working." To put an even more blunt point on it, the titles of the 12 tracks that make up the album spell out a message: "The British government must not legalize music theft to benefit AI companies." [...] The solution, say the artists, is to produce work in other markets where there might be better protections for it. Hewitt Jones -- who threw a working keyboard into a harbor in Kent at an in-person protest not long ago (he fished it out, broken, afterwards) -- said he's considering markets like Switzerland for distributing his music in the future.

According to Bloomberg, YouTube plans to introduce a lower-priced, ad-free version of its paid video service. From the report: The package, dubbed "premium lite," will be announced soon in the US, Australia, Germany and Thailand, according to a person familiar with the plans. The service will target viewers who primarily want to watch programs other than music videos. While YouTube may be best known for the free videos uploaded by users, the company also offers a variety of paid services. YouTube Premium is a $13.99-a-month package in the US that lets subscribers watch everything on the service, including music videos, without ads.

"As part of our commitment to provide our users with more choice and flexibility, we've been testing a new YouTube Premium offering with most videos ad-free in several of our markets," a YouTube spokesperson said in a statement. "We're hoping to expand this offering to even more users in the future with our partners' support."