A blind worker for the National Federation of the Blind said Sonos had a reputation for making products usable for people with disabilities, but that "Overnight they broke that trust," according to the Washington Post.

They're not the only angry customers about the latest update to Sonos's wireless speaker system. The newspaper notes that nonprofit worker Charles Knight is "among the Sonos die-hards who are furious at the new app that crippled their options to stream music, listen to an album all the way through or set a morning alarm clock." After Sonos updated its app last week, Knight could no longer set or change his wake-up music alarm. Timers to turn off music were also missing. "Something as basic as an alarm is part of the feature set that users have had for 15 years," said Knight, who has spent thousands of dollars on six Sonos speakers for his bedroom, home office and kitchen. "It was just really badly thought out from start to finish." Some people who are blind also complained that the app omitted voice-control features they need.

What's happening to Sonos speaker owners is a cautionary tale. As more of your possessions rely on software — including your car, phone, TV, home thermostat or tractor — the manufacturer can ruin them with one shoddy update... Sonos now says it's fixing problems and adding back missing features within days or weeks. Sonos CEO Patrick Spence acknowledged the company made some mistakes and said Sonos plans to earn back people's trust. "There are clearly people who are having an experience that is subpar," Spence said. "I would ask them to give us a chance to deliver the actions to address the concerns they've raised." Spence said that for years, customers' top complaint was the Sonos app was clunky and slow to connect to their speakers. Spence said the new app is zippier and easier for Sonos to update. (Some customers disputed that the new app is faster.)

He said some problems like Knight's missing alarms were flaws that Sonos found only once the app was about to roll out. (Sonos updated the alarm feature this week.) Sonos did remove but planned to add back some lesser-used features. Spence said the company should have told people upfront about the planned timeline to return any missing functions.
In a blog post Sonos thanked customers for "valuable feedback," saying they're "working to address them as quickly as possible" and promising to reintroduce features, fix bugs, and address performance issues. ("Adding and editing alarms" is available now, as well as VoiceOver fixes for the home screen on iOS.)

The Washington Post adds that Sonos "said it initially missed some software flaws and will restore more voice-reader functions next week."

In a press release today, the best music player of the 1990s announced that it'll open up its source code to developers worldwide. "Winamp will open up its code for the player used on Windows, enabling the entire community to participate in its development," said the company. "This is an invitation to global collaboration, where developers worldwide can contribute their expertise, ideas, and passion to help this iconic software evolve."

Alexandre Saboundjian, CEO of Winamp, explains: "This is a decision that will delight millions of users around the world. Our focus will be on new mobile players and other platforms. We will be releasing a new mobile player at the beginning of July. Still, we don't want to forget the tens of millions of users who use the software on Windows and will benefit from thousands of developers' experience and creativity. Winamp will remain the owner of the software and will decide on the innovations made in the official version."

Sony Music Group, one of the world's biggest record labels, warned AI companies and music streaming platforms not to use the company's content without explicit permission. From a report: Sony Music, whose artists include Lil Nas X and Celine Dion, sent letters to more than 700 companies in an effort to protect its intellectual property, which includes album cover art, metadata, musical compositions and lyrics, from being used for training AI models. "Unauthorized use" of Sony Music Group content in the "training, development or commercialization of AI systems" deprives the company and its artists of control and compensation for those works, according to the letter, which was obtained by Bloomberg News.

[...] Sony Music, along with the rest of the industry, is scrambling to balance the creative potential of the fast-moving technology while also protecting artists' rights and its own profits. "We support artists and songwriters taking the lead in embracing new technologies in support of their art," Sony Music Group said in statement Thursday. "However, that innovation must ensure that songwriters' and recording artists' rights, including copyrights, are respected."

After bipartisan constituents introduced the Transparency in Charges for Key Events Ticketing (TICKET) Act in June 2023, the United States House of Representatives passed the legislation this week in the ongoing efforts to reform the ticketing industry. From a report: The bill received a substantial amount of bipartisan support, passing 338-24. This comes after the House of Representatives' Energy and Commerce Committee unanimously approved the bill 45-0 in Dec. 2023. It will, of course, now need to move through the Senate before President Joe Biden signs it into law, and there is currently no floor vote in place for the measure.

If enacted, the TICKET Act will require ticket sellers to implement simple all-in pricing; ban speculative ticketing, where the seller does not have actual possession of the ticket; ban deceptive websites and website marketing; provide full refunds for any canceled event; offer comparable replacement tickets for any postponed event with buyers' approval; and require the FTC to issue a report on the BOTS Act Enforcement, which passed in 2016. Representatives Jan Schakowsky (IL-09) and Gus Bilirakis (FL-12) introduced the legislation last year "to improve transparency in the entertainment industry by requiring all event ticket sellers to display the total ticket price -- including all required fees -- in any advertisement, marketing or promotional materials." It was meant to mirror advertising guidelines for airline tickets and have full transparency throughout the purchasing process.

This week, in celebration of Global Accessibility Awareness Day, Apple is introducing several new accessibility features. Noteworthy additions include eye-tracking support for recent iPhone and iPad models, customizable vocal shortcuts, music haptics, and vehicle motion cues. Engadget reports: The most intriguing feature of the set is the ability to use the front-facing camera on iPhones or iPads (at least those with the A12 chip or later) to navigate the software without additional hardware or accessories. With this enabled, people can look at their screen to move through elements like apps and menus, then linger on an item to select it. That pause to select is something Apple calls Dwell Control, which has already been available elsewhere in the company's ecosystem like in Mac's accessibility settings. The setup and calibration process should only take a few seconds, and on-device AI is at work to understand your gaze. It'll also work with third-party apps from launch, since it's a layer in the OS like Assistive Touch. Since Apple already supported eye-tracking in iOS and iPadOS with eye-detection devices connected, the news today is the ability to do so without extra hardware. [...]

There are plenty more features coming to the company's suite of products, including Live Captions in VisionOS, a new Reader mode in Magnifier, support for multi-line braille and a virtual trackpad for those who use Assistive Touch. It's not yet clear when all of these announced updates will roll out, though Apple has historically made these features available in upcoming versions of iOS. With its developer conference WWDC just a few weeks away, it's likely many of today's tools get officially released with the next iOS. Apple detailed all the new features in a press release.

Among Google's swath of new AI models and tools announced today, the company is also expanding its AI content watermarking and detection technology to work across two new mediums. The Verge: Google's DeepMind CEO, Demis Hassabis, took the stage for the first time at the Google I/O developer conference on Tuesday to talk not only about the team's new AI tools, like the Veo video generator, but also about the new upgraded SynthID watermark imprinting system. It can now mark video that was digitally generated, as well as AI-generated text.

[...] Google had also enabled SynthID to inject inaudible watermarks into AI-generated music that was made using DeepMind's Lyria model. SynthID is just one of several AI safeguards in development to combat misuse by the tech, safeguards that the Biden administration is directing federal agencies to build guidelines around.

GameStop shares surged over 72% on Monday after Keith Gill, also known as "Roaring Kitty," returned to social media following a three-year hiatus. Gill gained notoriety for his role in the 2020 meme stock frenzy, where he encouraged amateur investors to buy GameStop shares, significantly driving up the stock price and challenging hedge funds. From a report: He resurfaced on X, Sunday night, with an image of a sketched man leaning forward in a chair, marking the end of a roughly three-year hiatus. He followed that post with several others featuring various comeback-themed videos featuring movie clips and charged music.

GameStop had experienced declining sales amid an industrywide pivot from game cartridges to video game streaming and digital downloads, but with the help from meme stock investors, last March the company turned its first profit in two years. Before then, the company had posted seven straight quarterly losses. This January, GameStop reported its first annual profit since 2018. Roaring Kitty's post helped bump GameStop's share price to $28.25 on Monday. GameStop's all-time high stock price is $120.75 in January 2021.

OpenAI CEO Sam Altman gave an hour-long interview to the "All-In" podcast (hosted by Chamath Palihapitiya, Jason Calacanis, David Sacks and David Friedberg). And speaking on technology's advance, Altman said "Phones are unbelievably good.... I personally think the iPhone is like the greatest piece of technology humanity has ever made. It's really a wonderful product."


Q: What comes after it?

Altman: I don't know. I mean, that was what I was saying. It's so good, that to get beyond it, I think the bar is quite high.

Q: You've been working with Jony Ive on something, right?

Altman: We've been discussing ideas, but I don't — like, if I knew...


Altman said later he thought voice interaction "feels like a different way to use a computer."

But the conversation turned to Apple in another way. It happened in a larger conversation where Altman said OpenAI has "currently made the decision not to do music, and partly because exactly these questions of where you draw the lines..."

Altman: Even the world in which — if we went and, let's say we paid 10,000 musicians to create a bunch of music, just to make a great training set, where the music model could learn everything about song structure and what makes a good, catchy beat and everything else, and only trained on that — let's say we could still make a great music model, which maybe we could. I was posing that as a thought experiment to musicians, and they were like, "Well, I can't object to that on any principle basis at that point — and yet there's still something I don't like about it." Now, that's not a reason not to do it, um, necessarily, but it is — did you see that ad that Apple put out... of like squishing all of human creativity down into one really iPad...?

There's something about — I'm obviously hugely positive on AI — but there is something that I think is beautiful about human creativity and human artistic expression. And, you know, for an AI that just does better science, like, "Great. Bring that on." But an AI that is going to do this deeply beautiful human creative expression? I think we should figure out — it's going to happen. It's going to be a tool that will lead us to greater creative heights. But I think we should figure out how to do it in a way that preserves the spirit of what we all care about here.
What about creators whose copyrighted materials are used for training data? Altman had a ready answer — but also some predictions for the future. "On fair use, I think we have a very reasonable position under the current law. But I think AI is so different that for things like art, we'll need to think about them in different ways..." Altman:I think the conversation has been historically very caught up on training data, but it will increasingly become more about what happens at inference time, as training data becomes less valuable and what the system does accessing information in context, in real-time... what happens at inference time will become more debated, and what the new economic model is there.
Altman gave the example of an AI which was never trained on any Taylor Swift songs — but could still respond to a prompt requesting a song in her style. Altman: And then the question is, should that model, even if it were never trained on any Taylor Swift song whatsoever, be allowed to do that? And if so, how should Taylor get paid? So I think there's an opt-in, opt-out in that case, first of all — and then there's an economic model.
Altman also wondered if there's lessons in the history and economics of music sampling...

An anonymous reader shares a report: Sonos has responded to the avalanche of feedback -- some good, plenty bad -- about the company's redesigned mobile app that was released on May 7th. In the days since, customers have complained about missing features like sleep timers, broken local music library management, and no longer having the ability to edit playlists or the upcoming song queue. More alarmingly, the Sonos app's accessibility has also taken a hit, something the company says it's aiming to resolve by next month.

In a statement provided to The Verge, Sonos confirms that it's keenly aware of the gripes that customers have expressed about the new app. It's hearing their response and is working to address the functionality that has (for now) gone missing. But the company is also standing behind its decision to roll out the app this week, basically describing it as a rough patch that will, in theory, lead to a much better experience for everyone down the line. "Redesigning the Sonos app is an ambitious undertaking that represents just how seriously we are committed to invention and re-invention," said chief product officer Maxime Bouvat-Merlin. "It takes courage to rebuild a brand's core product from the ground up, and to do so knowing it may require taking a few steps back to ultimately leap into the future."

The Rabbit R1 is one of the first standalone AI companion devices to hit the market, offering the ability to translate languages, identify objects in your environment, and order DoorDash, among other things. It's been in the news last week for its all around poor reviews that cite poor battery life, painfully slow responses, and missing features (sound familiar?). Now, it's been confirmed that the Rabbit R1 is powered by an Android app that can run on existing Android phones. Android Authority reports: What ended up souring a lot of people's opinions on the product was the revelation -- in an Android Authority original report -- that the R1 is basically an Android app in a box. Many consumers who believed that the product would be better suited as a mobile app felt validated after our report, but there was one stickler in it that we needed to address: how we got the R1 launcher up and running on an Android phone. See, in our preliminary report, we mentioned that the Rabbit R1's launcher app is intended to be preinstalled in the firmware and be granted several privileged, system-level permissions. While that statement is still true, we should've clarified that the R1 launcher doesn't actually need those permissions. In fact, none of the system-level permissions that the R1 launcher requests are at all necessary for the app to perform its core functionality.

To prove this, we got the Rabbit R1 launcher up and running again on a stock, unrooted Android device (a Xiaomi 13T Pro), thanks to help from a team of reverse engineers including ChromMob, EmilyLShepherd, marceld505, thel3l, and uwukko. We were able to go through the entire setup process as if our device was an actual Rabbit R1. Afterwards, we were able to talk to ChatGPT, use the Vision function to identify objects, play music from Spotify, and even record voice notes. As demonstrated in our hands-on video at the top of this article, all of the existing core functionality that the Rabbit R1 offers would work as an Android or even iOS app. The only functions that wouldn't work are unrelated to the product's core functionality and are things your phone can already do, such as powering off or rebooting the device, toggling Bluetooth, connecting to a cellular or Wi-Fi network, or setting a screen lock.

During our research, Android Authority was also able to obtain a copy of the Rabbit R1's firmware. Our analysis reveals that Rabbit did not make significant modifications to the BSP (Board Support Package) provided by MediaTek. The R1, in fact, still ships with all the standard apps included in AOSP, as well as the many apps provided by MediaTek. This is despite the fact that none of these apps are needed nor ever shown to the user, obviously. Rabbit only made a few changes to the AOSP build that MediaTek provided them, such as adding the aforementioned R1 launcher app, adding a fork of the open-source "AnySoftKeyboard" app with a custom theme, adding an OTA updater app, and adding a custom boot animation. [...] Yes, it's true that all the R1 launcher does is act as a local client to the cloud services offered by Rabbit, which is what truly handles the core functionality. It's also true that there's nothing wrong or unusual with companies using AOSP for their own hardware. But the fact of the matter is that Rabbit does little to justify its use of custom hardware except by making the R1 have an eye-catching design.

An anonymous reader shared this report from the Guardian: Newly deciphered passages from a papyrus scroll that was buried beneath layers of volcanic ash after the AD79 eruption of Mount Vesuvius may have shed light on the final hours of Plato, a key figure in the history of western philosophy. In a groundbreaking discovery, the ancient scroll was found to contain a previously unknown narrative detailing how the Greek philosopher spent his last evening, describing how he listened to music played on a flute by a Thracian slave girl. Despite battling a fever and being on the brink of death, Plato — who was known as a disciple of Socrates and a mentor to Aristotle, and who died in Athens around 348BC — retained enough lucidity to critique the musician for her lack of rhythm, the account suggests....

In a presentation of the research findings at the National Library of Naples, Prof Graziano Ranocchia, of the University of Pisa, who spearheaded the team responsible for unearthing the carbonised scroll, described the discovery as an "extraordinary outcome that enriches our understanding of ancient history". He said: "Thanks to the most advanced imaging diagnostic techniques, we are finally able to read and decipher new sections of texts that previously seemed inaccessible... For the first time, we have been able to read sequences of hidden letters from the papyri that were enfolded within multiple layers, stuck to each other over the centuries, through an unrolling process using a mechanical technique that disrupted whole fragments of text."

"Aamrok 3.0, ported to Qt5/KDE Frameworks 5, has been released," writes Slashdot reader serafean. "With the heavy lifting being done, the Qt6/KF6 version is expected later in the year." Originally developed for Linux as part of the KDE desktop environment, Amarok is a free, cross-platform music player that supports various audio formats and a user interface that can be tailored to individual preferences. These are the main features/changes, as highlighted in a KDE blog post: FEATURES:
- Added a visual hint that context view applets can be resized in edit mode.
- Display missing metadata errors in Wikipedia applet UI.
- Add a button to stop automatic Wikipedia page updating. (BR 485813)

CHANGES:
- Replace defunct lyricwiki with lyrics.ovh as lyrics provider for now. (BR 455937)
- Show only relevant items in wikipedia applet right click menu (BR 323941), use monobook skin for opened links and silently ignore non-wikipedia links.
- Don't show non-functional play mode controls in dynamic mode (BR 287055) The changelog is available here. You can find the package on download.kde.org.

Several users on Reddit have noticed that Spotify has started hiding song lyrics behind a paywall. "This means you won't be able to sing along unless you know the lyrics already, or are willing to look them up in another app," reports Android Police. From the report: Still, you lose the convenience of real-time sync with the track and automatic scrolling. Like skips per hour, it appears Spotify will implement a limit system and accessing lyrics will count against the user's limit, which should ideally reset after a stipulated time.

Spotify usually requests lyrics from songwriters, publishers, and independent artists. However, in most other cases, the company has a working relationship with MusixMatch to provide lyrics, and perhaps Spotify isn't willing to absorb the costs of this partnership. That would explain why lyrics are now paywalled, but as a free-tier user, such changes are chipping away at the service's appeal.

An anonymous reader shares a column: When Apple CEO Tim Cook and a bunch of his deputies take the virtual stage next week to announce new iPads, they're going to spend a lot of time talking about specs. If the rumors are true, we're going to get new iPad Pros with OLED screens and thinner bodies, new Airs with faster chips and a correctly placed front camera, and a couple of new accessories. Before they even launch, I feel confident telling you these are the best iPads ever. But after all these years, I still don't know how to tell you whether you should want an iPad. Or what you'd want to do with it.

This has been true forever, of course. The iPad is the jack-of-all-trades in Apple's lineup, a terrific device in many ways that still feels increasingly redundant now that so many people have big phones and long-lasting laptops. Apple seems to have spent the last decade-plus enamored with the idea of the iPad as a shapeshifter -- a device that can be exactly what you need at any given time. The company loves that the iPad's use case is hard to pin down, that it means different things to different people. It's a fun, good, ambitious idea: The One Gadget To Rule Them All. The way to make that happen, though, is not to upgrade the chips or move the buttons or redesign the rounded corners. It's to focus less on the iPad itself and more on the things you attach to it.

[...] The iPad is a screen and a processor, and everything else should be an add-on for whenever you need it. Give the gamers a controller and an external GPU. Give the music lovers a speaker dock, and give the smart home fanatics a bunch of buttons that connect to various devices. The photographers need lenses; the spreadsheeters need a keyboard with function keys. The Pencil and the Magic Keyboard are a start, but Apple needs to do much more. The company needs to spend less time worrying about the iPad itself -- a device famous for how long it lasts and that hardly anyone is using to its full potential -- and more time on how to make it more than just a tablet. (Plus, bonus for Apple: it's going to be a lot easier to get people to buy accessories than to convince them to upgrade their iPad when they don't need to.)

After convincing the world to buy open source and give up the Morse Code test for ham radio licenses, Bruce Perens has a new gambit: develop a license that ensures software developers receive compensation from large corporations using their work. The new Post-Open Zero Cost License seeks to address the financial disparities in open source software use and includes provisions against using content to train AI models, aligning its enforcement with non-profit performing rights organizations like ASCAP. Here's an excerpt from an interview The Register conducted with Perens: The license is one component among several -- the paid license needs to be hammered out -- that he hopes will support his proposed Post-Open paradigm to help software developers get paid when their work gets used by large corporations. "There are two paradigms that you can use for this," he explains in an interview. "One is Spotify and the other is ASCAP, BMI, and SESAC. The difference is that Spotify is a for-profit corporation. And they have to distribute profits to their stockholders before they pay the musicians. And as a result, the musicians complain that they're not getting very much at all."

"There are two paradigms that you can use for this," he explains in an interview. "One is Spotify and the other is ASCAP, BMI, and SESAC. The difference is that Spotify is a for-profit corporation. And they have to distribute profits to their stockholders before they pay the musicians. And as a result, the musicians complain that they're not getting very much at all." Perens wants his new license -- intended to complement open source licensing rather than replace it -- to be administered by a 501(c)(6) non-profit. This entity would handle payments to developers. He points to the music performing rights organizations as a template, although among ASCAP, BMI, SECAC, and GMR, only ASCAP remains non-profit. [...]

The basic idea is companies making more than $5 million annually by using Post-Open software in a paid-for product would be required to pay 1 percent of their revenue back to this administrative organization, which would distribute the funds to the maintainers of the participating open source project(s). That would cover all Post-Open software used by the organization. "The license that I have written is long -- about as long as the Affero GPL 3, which is now 17 years old, and had to deal with a lot more problems than the early licenses," Perens explains. "So, at least my license isn't excessively long. It handles all of the abuses of developers that I'm conscious of, including things I was involved in directly like Open Source Security v. Perens, and Jacobsen v. Katzer."

"It also makes compliance easier for companies than it is today, and probably cheaper even if they do have to pay. It creates an entity that can sue infringers on behalf of any developer and gets the funding to do it, but I'm planning the infringement process to forgive companies that admit the problem and cure the infringement, so most won't ever go to court. It requires more infrastructure than open source developers are used to. There's a central organization for Post-Open (or it could be three organizations if we divided all of the purposes: apportioning money to developers, running licensing, and enforcing compliance), and an outside CPA firm, and all of that has to be structured so that developers can trust it." You can read the full interview here.

Apple has rejected Spotify's new version of its iOS app with in-app pricing information for users in the European Union, the audio streaming firm said on Thursday. Reuters: The Swedish company submitted a new version of its app to Apple with basic pricing and website information, which is a minimum requirement under the European Commission's ruling in its music streaming case, it said in a post on X on Wednesday. Spotify said the Cupertino, California based-Apple rejected its update in a response directly sent to the company.

"Apple has once again defied the European Commission's decision, rejecting our update for attempting to communicate with customers about our prices unless we pay Apple a new tax. Their disregard for consumers and developers is matched only by their disdain for the law," a spokesperson for Spotify said in a statement. In March, Brussels fined Apple with 1.84 billion euros ($1.97 billion) for thwarting competition from music streaming rivals via restrictions on its App Store, marking its first ever EU antitrust penalty, following a 2019 complaint from Spotify.

Longtime Slashdot reader sfraggle writes: Biplane shoot-'em up, Sopwith, is celebrating 40 years today since its first release back in 1984. The game is one of the oldest PC games still in active development today, originating as an MS-DOS game for the original IBM PC. The 40th anniversary site has a detailed history of how the game was written as a tech demo for the now-defunct Imaginet networking system. There is also a video interview with its original authors. "The game involves piloting a Sopwith biplane, attempting to bomb enemy buildings while avoiding fire from enemy planes and various other obstacles," reads the Wiki page. "Sopwith uses four-color CGA graphics and music and sound effects use the PC speaker. A sequel with the same name, but often referred to as Sopwith 2, was released in 1985."

You can play Sopwith in your browser here.

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.