Writer, Adviser, Poet, Bot: How ChatGPT Could Transform Politics

The AI bot ChatGPT has passed exams, written poetry, and deployed in newsrooms, and now politicians are seeking it out — but experts are warning against rapid uptake of a tool also famous for fabricating “facts.”

The chatbot, released last November by U.S. firm OpenAI, has quickly moved center stage in politics — particularly as a way of scoring points.

Japanese Prime Minister Fumio Kishida recently took a direct hit from the bot when he answered some innocuous questions about health care reform from an opposition MP.

Unbeknownst to the PM, his adversary had generated the questions with ChatGPT. He also generated answers that he claimed were “more sincere” than Kishida’s.

The PM hit back that his own answers had been “more specific.”

French trade union boss Sophie Binet was on-trend when she drily assessed a recent speech by President Emmanuel Macron as one that “could have been done by ChatGPT.”

But the bot has also been used to write speeches and even help draft laws. 

“It’s useful to think of ChatGPT and generative AI in general as a cliche generator,” David Karpf of George Washington University in the U.S. said during a recent online panel. 

“Most of what we do in politics is also cliche generation.”

‘Limited added value’

Nowhere has the enthusiasm for grandstanding with ChatGPT been keener than in the United States.

Last month, Congresswoman Nancy Mace gave a five-minute speech at a Senate committee enumerating potential uses and harms of AI — before delivering the punchline that “every single word” had been generated by ChatGPT.

Local U.S. politician Barry Finegold had already gone further though, pronouncing in January that his team had used ChatGPT to draft a bill for the Massachusetts Senate.

The bot reportedly introduced original ideas to the bill, which is intended to rein in the power of chatbots and AI.

Anne Meuwese from Leiden University in the Netherlands wrote in a column for Dutch law journal RegelMaat last week that she had carried out a similar experiment with ChatGPT and also found that the bot introduced original ideas.

But while ChatGPT was to some extent capable of generating legal texts, she wrote that lawmakers should not fall over each other to use the tool.

“Not only is much still unclear about important issues such as environmental impact, bias and the ethics at OpenAI … the added value also seems limited for now,” she wrote.

Agitprop bots

The added value might be more obvious lower down the political food chain, though, where staffers on the campaign trail face a treadmill of repetitive tasks.

Karpf suggested AI could be useful for generating emails asking for donations — necessary messages that were not intended to be masterpieces.

This raises an issue of whether the bots can be trained to represent a political point of view.

ChatGPT has already provoked a storm of controversy over its apparent liberal bias — the bot initially refused to write a poem praising Donald Trump but happily churned out couplets for his successor as U.S. President Joe Biden.

Billionaire magnate Elon Musk has spied an opportunity. Despite warning that AI systems could destroy civilization, he recently promised to develop TruthGPT, an AI text tool stripped of the perceived liberal bias.

Perhaps he needn’t have bothered. New Zealand researcher David Rozado already ran an experiment retooling ChatGPT as RightWingGPT — a bot on board with family values, liberal economics and other right-wing rallying cries.

“Critically, the computational cost of trialling, training and testing the system was less than $300,” he wrote on his Substack blog in February.

Not to be outdone, the left has its own “Marxist AI.”

The bot was created by the founder of Belgian satirical website Nordpresse, who goes by the pseudonym Vincent Flibustier.

He told AFP his bot just sends queries to ChatGPT with the command to answer as if it were an “angry trade unionist.”

The malleability of chatbots is central to their appeal but it goes hand-in-hand with the tendency to generate untruths, making AI text generators potentially hazardous allies for the political class.

“You don’t want to become famous as the political consultant or the political campaign that blew it because you decided that you could have a generative AI do [something] for you,” said Karpf. 

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‘Dancing With the Stars’ Judge Len Goodman Dies at 78

Len Goodman, the urbane, long-serving judge on “Dancing with the Stars” and “Strictly Come Dancing,” has died, his agent said Monday. He was 78. 

Agent Jackie Gill said Goodman “passed away peacefully,” without giving a cause. 

A former dancer and British champion, Goodman was a judge on “Strictly Come Dancing” for 12 years from its launch on the BBC in 2004. The ballroom dancing competition, which pairs celebrities with professional dance partners, has become one of the network’s most popular shows. 

Goodman was head judge on the U.S. version of the show, “Dancing With the Stars,” for 15 years until his retirement in November.  

BBC director-general Tim Davie said Goodman was “a wonderful, warm entertainer who was adored by millions. He appealed to all ages and felt like a member of everyone’s family. Len was at the very heart of ‘Strictly’s success. He will be hugely missed by the public and his many friends and family.” 

Goodman was also a recipient of the Carl Alan Award in recognition of outstanding contributions to dance and owned the Goodman Academy dance school in southern England.  

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‘The Super Mario Bros. Movie’ Is No. 1 for Third Week

“The Super Mario Bros. Movie” continued to rack up coins at the box office, leading ticket sales for the third straight weekend, as the animation hit neared $1 billion after just 18 days in theaters.

The weekend’s top new release, the horror reboot “Evil Dead Rise” debuted solidly, launching with $23.5 million, according to studio estimates Sunday. But that was no match for Universal Pictures’ “The Super Mario Bros. Movie,” which grossed $58.2 million in its third weekend.

“The Super Mario Bros. Movie” is setting a torrid pace for an animated movie. This week, it became the highest-grossing animated released of the pandemic era, with domestic ticket sales up to $434.3 million through Sunday and its global tally at $871.1 million. When “The Super Mario Bros. Movie” soon passes $1 billion worldwide, it will be just the fourth film of the pandemic era to reach that benchmark, following “Spider-Man: No Way Home,” “Top Gun Maverick” and “Avatar: The Way of Water.”

“Evil Dead Rise,” From Warner Bros. and New Line, is the fifth installment (and first in a decade) in the thriller franchise that Sam Raimi began with this 1981 ultra-low-budget classic, “Evil Dead.” Though Raimi’s subsequent and much-adored films starring Bruce Campbell grew increasingly slapstick, marrying comedy and horror, the 2013 reboot and “Evil Dead Rise” (with Raimi as an executive producer) rely on chillier frights.

“Evil Dead Rise,” which had a reported budget of $17 million, also had originally been planned as an HBO Max release. When Warner Bros. decided direct-to-streaming films weren’t financially appealing, it pushed some films – including “Magic Mike’s Last Dance” and “House Party” – to theaters, and simply canned a few others including “Batgirl” and “Scoob! Holiday Haunt.”

Amazon Studios’ “Air,” likewise initially was intended to go straight to streaming, has also continued to perform well theatrically. The Ben Affleck-directed film, about Nike’s courting of Michael Jordan, dipped a modest 29% in its third weekend with $5.5 million to bring its cumulative total to $41.3 million.

But while horror remains one of the most dependable genres at the box office, and families — after a long dry spell of all-audience releases — have flocked to “Super Mario,” some adult-oriented releases have continued to have a harder time attracting audiences.

Guy Ritchie’s “The Covenant,” starring Jake Gyllenhaal as an injured army sergeant in Afghanistan, opened with $6.3 million in 2,611 theaters. But with mostly good reviews (81% fresh on Rotten Tomatoes) and an “A” CinemaScore from ticket buyers, the MGM release may hold well in coming weeks.

Ari Aster’s “Beau Is Afraid,” the most expensive movie ever made by specialty studio A24, expanded until near-wide release, going from four theaters to 926. Aster’s three-hour opus, received with more mixed reviews than his previous two films (“Hereditary,” “Midsommar”), took in $2.7 million.

Searchlight’s “Chevalier,” starring Kelvin Harrison as the 18th century French composer and violinist Joseph Bologne, Chevalier de Saint-Georges, also failed to make a dent. It took in $1.5 million in 1,275 theaters.

But with overall business in movie theaters largely thriving thanks to spring hits like “The Super Mario Bros. Movie” and “John Wick: Chapter 4” ($168.9 million domestically in five weeks of release), the theatrical industry will have much to celebrate when it convenes Monday in Las Vegas for the annual CinemaCon. Studios, beginning with Sony Pictures on Monday, will hype their summer blockbusters as Hollywood looks to return to pre-pandemic box-office levels.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

  1. “Super Mario Bros,” $58.2 million.

  2. “Evil Dead Rise,” $23.5 million.

  3. “The Covenant,” $6.3 million.

  4. “John Wick: Chapter 4,” $5.8 million.

  5. “Air,” $5.5 million.

  6. “Dungeons & Dragons: Honor Among Thieves,” $5.4 million.

  7. “The Pope’s Exorcist,” $3.3 million.

  8. “Renfield,” $3.1 million.

  9. “Beau Is Afraid,” $2.7 million.

  10. “Suzume,” $1.6 million.

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US Invests in Alternative Solar Tech, More Solar for Renters

The Biden administration announced more than $80 million in funding Thursday in a push to produce more solar panels in the U.S., make solar energy available to more people, and pursue superior alternatives to the ubiquitous sparkly panels made with silicon.

The initiative, spearheaded by the U.S. Department of Energy (DOE) and known as Community solar, encompasses a variety of arrangements where renters and people who don’t control their rooftops can still get their electricity from solar power. Two weeks ago, Vice President Kamala Harris announced what the administration said was the largest community solar effort ever in the United States.

Now it is set to spend $52 million on 19 solar projects across a dozen states, including $10 million from the infrastructure law, as well as $30 million on technologies that will help integrate solar electricity into the grid.

The DOE also selected 25 teams to participate in a $10 million competition designed to fast-track the efforts of solar developers working on community solar projects.

The Inflation Reduction Act already offers incentives to build large solar generation projects, such as renewable energy tax credits. But Ali Zaidi, White House national climate adviser, said the new money focuses on meeting the nation’s climate goals in a way that benefits more communities.

“It’s lifting up our workers and our communities. And that’s, I think, what really excites us about this work,” Zaidi said. “It’s a chance not just to tackle the climate crisis, but to bring economic opportunity to every zip code of America.”

The investments will help people save on their electricity bills and make the electricity grid more reliable, secure, and resilient in the face of a changing climate, said Becca Jones-Albertus, director of the energy department’s Solar Energy Technologies Office.

Jones-Albertus said she’s particularly excited about the support for community solar projects, since half of Americans don’t live in a situation where they can buy their own solar and put in on the roof.

Michael Jung, executive director of the ICF Climate Center agreed. “Community solar can help address equity concerns, as most current rooftop solar panels benefit owners of single-family homes,” he said.

In typical community solar projects, households can invest in or subscribe to part of a larger solar array offsite. “What we’re doing here is trying to unlock the community solar market,” Jones-Albertus said.

The U.S. has 5.3 gigawatts of installed community solar capacity currently, according to the latest estimates. The goal is that by 2025, five million households will have access to it — about three times as many as today — saving $1 billion on their electricity bills, according to Jones-Albertus.

The new funding also highlights investment in a next generation of solar technologies, intended to wring more electricity out of the same amount of solar panels. Currently only about 20% of the sun’s energy is converted to electricity in crystalline silicon solar cells, which is what most solar panels are made of. There has long been hope for higher efficiency, and today’s announcement puts some money towards developing two alternatives: perovskite and cadmium telluride (CdTe) solar cells. Zaidi said this will allow the U.S. to be “the innovation engine that tackles the climate crisis.”

Joshua Rhodes, a scientist at the University of Texas at Austin said the investment in perovskites is good news. They can be produced more cheaply than silicon and are far more tolerant of defects, he said. They can also be built into textured and curved surfaces, which opens up more applications for their use than traditional rigid panels. Most silicon is produced in China and Russia, Rhodes pointed out.

Cadmium telluride solar can be made quickly and at a low cost, but further research is needed to improve how efficient the material is at converting sunlight to electrons.

Cadmium is also toxic and people shouldn’t be exposed to it. Jones-Albertus said that in cadmium telluride solar technology, the compound is encapsulated in glass and additional protective layers.

The new funds will also help recycle solar panels and reuse rare earth elements and materials. “One of the most important ways we can make sure CdTe remains in a safe compound form is ensuring that all solar panels made in the U.S. can be reused or recycled at the end of their life cycle,” Jones-Albertus explained.

Recycling solar panels also reduces the need for mining, which damages landscapes and uses a lot of energy, in part to operate the heavy machinery. Eight of the projects in Thursday’s announcement focus on improving solar panel recycling, for a total of about $10 million.

Clean energy is a fit for every state in the country, the administration said. One solar project in Shungnak, Alaska, was able to eliminate the need to keep making electricity by burning diesel fuel, a method sometimes used in remote communities that is not healthy for people and contributes to climate change.

“Alaska is not a place that folks often think of when they think about solar, but this energy can be an economic and affordable resource in all parts of the country,” said Jones-Albertus.

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Dame Edna Creator Barry Humphries Dies in Sydney at 89

Tony Award-winning comedian Barry Humphries, internationally renowned for his garish stage persona Dame Edna Everage, a condescending and imperfectly-veiled snob whose evolving character has delighted audiences over seven decades, has died. He was 89.

His death in a Sydney, Australia, hospital, where he spent several days with complications following hip surgery, was confirmed by his family.

“He was completely himself until the very end, never losing his brilliant mind, his unique wit and generosity of spirit,” a family statement said. “With over 70 years on the stage, he was an entertainer to his core, touring up until the last year of his life and planning more shows that will sadly never be.” 

Humphries had lived in London for decades and returned to native Australia in December for Christmas.

He told The Sydney Morning Herald newspaper last month that his physiotherapy had been “agony” following his fall and hip replacement.

“It was the most ridiculous thing, like all domestic incidents are,” Humphries said of his fall. “I was reaching for a book, my foot got caught on a rug or something, and down I went.”

Humphries has remained an active entertainer, touring Britain last year with his one-man show “The Man Behind the Mask.”

Dame Edna’s roots

The character of Dame Edna began as a dowdy Mrs. Norm Everage, who first took to the stage in Humphries’ hometown of Melbourne in the mid-1950s. She reflected a postwar suburban inertia and cultural blandness that Humphries found stifling.

Edna is one of Humphries’ several enduring characters. The next most famous is Sir Les Patterson, an ever-drunk, disheveled and lecherous Australian cultural attache.

Patterson reflected a perception of Australia as a Western cultural wasteland that drove Humphries along with many leading Australian intellectuals to London.

Humphries, a law school dropout, found major success as an actor, writer and entertainer in Britain in the 1970s, but the United States was an ambition that he found stubbornly elusive.

A high point in the United States was a Tony Award in 2000 for his Broadway show “Dame Edna: The Royal Tour.”

Australian Prime Minister Anthony Albanese paid tribute to the celebrated comedian.

“For 89 years, Barry Humphries entertained us through a galaxy of personas, from Dame Edna to Sandy Stone,” Albanese tweeted, referring to the melancholic and rambling Stone, one of Humphries’ most enduring characters. “But the brightest star in that galaxy was always Barry. A great wit, satirist, writer and an absolute one-of-kind, he was both gifted and a gift.”

British comedian Ricky Gervais tweeted: “Farewell, Barry Humphries, you comedy genius.”

Piers Morgan, British television personality, tweeted: “One of the funniest people I’ve ever met.”

“A wondrously intelligent, entertaining, daring, provocative, mischievous comedy Genius,” Morgan added.

Actor, writer, painter

The multi-talented Humphries was also a respected character actor with many stage and screen credits, an author of novels and an autobiography, and an accomplished landscape painter.

John Barry Humphries was born in Melbourne on Feb. 17, 1934. His parents were comfortable, loving and strait-laced, and must have wondered about their eldest son, whom they called Sunny Sam. His mother used to tell him to stop drawing attention to himself.

Before he had finished at the prestigious Melbourne Grammar School, Humphries was more interested in art and secondhand bookshops than football. At 16, his favorite author was Kafka and later said he “felt a little foreign.”

He spent two years at Melbourne University, where he embraced Dadaism — the subversive, anarchic and absurdist European art movement.

His contributions included “Pus In Boots,” waterproof rubber boots filled with custard, and on the performance art side, getting on a tram with an apparently blind accomplice whom Humphries would kick in the shins while yelling “Get out of my way, you disgusting blind person.”

In 1959, he settled in London and was soon working in Peter Cook’s comedy venue The Establishment. He played Sowerberry in the original London production of “Oliver!” in 1960 and repeated the role on Broadway. He appeared with Spike Milligan and William Rushton in “Treasure Island.”

Humphries, with New Zealand artist Nicholas Garland, created the Barry McKenzie comic strip for the satirical magazine Private Eye in 1964.

When the strips came out as a book, the Australian government banned it because it “relied on indecency for its humor.” Humphries professed delight at the publicity and implored authorities not to lift the ban.

By then Humphries’ drinking was out of control. In Melbourne in late 1970, he was charged with being drunk and disorderly. He finally admitted himself to a hospital specializing in alcoholism for the treatment that would turn him into a lifelong abstainer.

In 1972 came the first Barry McKenzie film — financially supported by the Australian government, despite the earlier ban. It was savaged by the critics, largely because they trembled at what the world’s first film to feature beer induced vomiting would do to Australia’s image overseas.

But it was a popular success and a sequel two years later included then Prime Minister Gough Whitlam knighting Edna, who was McKenzie’s aunt.

Married four times, Humphries is survived by his wife Lizzie Spender, four children and 10 grandchildren.

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Calling Beer Champagne Leaves French Producers Frothing

The guardians of Champagne will let no one take the name of the bubbly beverage in vain, not even a U.S. beer behemoth.

For years, Miller High Life has used the “Champagne of Beers” slogan. This week, that appropriation became impossible to swallow.

At the request of the trade body defending the interests of houses and growers of the northeastern French sparkling wine, Belgian customs crushed more than 2,000 cans of Miller High Life advertised as such.

The Comité Champagne asked for the destruction of a shipment of 2,352 cans on the grounds that the century-old motto used by the American brewery infringes the protected designation of origin “Champagne.”

The consignment was intercepted in the Belgian port of Antwerp in early February, a spokesperson at the Belgian Customs Administration said on Friday, and was destined for Germany. Belgian customs declined to say who had ordered the beers.

The buyer in Germany “was informed and did not contest the decision,” the trade organization said in a statement.

Frederick Miller, a German immigrant to the US, founded the Miller Brewing Company in the 1850s. Miller High Life, its oldest brand, was launched as its flagship in 1903.

According to the Milwaukee-based brand’s website, the company started to use the “Champagne of Bottle Beers” nickname three years later. It was shortened to “The Champagne of Beers” in 1969. The beer has also been available in champagne-style 750-milliliter bottles during festive seasons.

No matter how popular the slogan is in the United States, it is incompatible with European Union rules which make clear that goods infringing a protected designation of origin can be treated as counterfeit.

The 27-nation bloc has a system of protected geographical designations created to guarantee the true origin and quality of artisanal food, wine and spirits, and protect them from imitation. That market is worth nearly 75 billion euros ($87 billion) annually — half of it in wines, according to a 2020 study by the EU’s executive arm.

Charles Goemaere, the managing director of the Comité Champagne, said the destruction of the beers “confirms the importance that the European Union attaches to designations of origin and rewards the determination of the Champagne producers to protect their designation.”

Molson Coors Beverage Co., which which owns the Miller High Life brand, said in a statement to The Associated Press that it “respects local restrictions” around the word Champagne.

“But we remain proud of Miller High Life, its nickname and its Milwaukee, Wisconsin provenance,” the company said. “We invite our friends in Europe to the U.S. any time to toast the High Life together.”

Molson Coors Beverage Co. added that it does not currently export Miller High Life to the EU and “we frankly don’t quite know how or why it got there, or why it was headed for Germany.”

Belgian customs said the destruction of the cans was paid for by the Comité Champagne. According to their joint statement, it was carried out “with the utmost respect for environmental concerns by ensuring that the entire batch, both contents and container, was recycled in an environmentally responsible manner.”

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Did the AI-Generated Drake Song Breach Copyright?

A viral AI-generated song imitating Drake and The Weeknd was pulled from streaming services this week, but did it breach copyright as claimed by record label Universal?

Created by someone called @ghostwriter, Heart On My Sleeve racked up millions of listens before Universal Music Group asked for its removal from Spotify, Apple Music and other platforms.

However, Andres Guadamuz, who teaches intellectual property law at Britain’s University of Sussex, is not convinced that the song breached copyright.

As similar cases look set to multiply — with an uncanny AI replication of Liam Gallagher from Oasis causing buzz — he spoke to AFP about some of the issues being raised.

Did the song breach copyright?

The underlying music on Heart On My Sleeve was new, only the sound of the voice was familiar, “and you can’t copyright the sound of someone’s voice,” Guadamuz said.

Perhaps the furor around AI impersonators may lead to copyright being expanded to include voice, rather than just melody, lyrics and other created elements, “but that would be problematic,” Guadamuz added.

“What you’re protecting with copyright is the expression of an idea, and voice isn’t really that,” he said. 

He said Universal probably claimed copyright infringement because it is the simplest route to removing content, with established procedures in place with streaming platforms.

Were other rights breached?

An AI-generated impersonator may be breaching other laws.

If an artist has a distinctive voice or image, this is potentially protected under “publicity rights” in the United States or similar image rights in other countries.

Bette Midler won a case against Ford in 1988 for using an impersonator of her in an ad. Tom Waits won a similar case in 1993 against the Frito-Lays potato chips company.

The problem, said Guadamuz, is that enforcement of these rights is “very hit and miss” and taken much more seriously in some countries than others.

And streaming platforms currently lack straightforward mechanisms for removing content seen as breaching image rights.

What comes next?

The big upcoming legal fight is over how AI programs are trained.

It may be argued that inputting existing Drake and Weeknd songs to train an AI program may be a breach of copyright, but Guadamuz said this issue was far from settled.

“You need to copy the music in order to train the AI and so that unauthorized copying could potentially be copyright infringement,” he said.

“But defendants will say it’s fair use. They are using it to train a machine, teaching it to listen to music, and then removing the copies,” he said. “Ultimately, we will have to wait and see for the case law to be decided.”

But it is almost certainly too late to stem the flood.

“Bands are going to have to decide whether they want to pursue this in court, and copyright cases are expensive,” said Guadamuz.

“Some artists may lean into the technology and start using it themselves, especially if they start losing their voice.” 

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US-China Competition in Tech Expands to AI Regulations

Competition between the U.S. and China in artificial intelligence has expanded into a race to design and implement comprehensive AI regulations.

The efforts to come up with rules to ensure AI’s trustworthiness, safety and transparency come at a time when governments around the world are exploring the impact of the technology on national security and education.

ChatGPT, a chatbot that mimics human conversation, has received massive attention since its debut in November. Its ability to give sophisticated answers to complex questions with a language fluency comparable to that of humans has caught the world by surprise. Yet its many flaws, including its ostensibly coherent responses laden with misleading information and apparent bias, have prompted tech leaders in the U.S. to sound the alarm.

“What happens when something vastly smarter than the smartest person comes along in silicon form? It’s very difficult to predict what will happen in that circumstance,” said Tesla Chief Executive Officer Elon Musk in an interview with Fox News. He warned that artificial intelligence could lead to “civilization destruction” without regulations in place.

Google CEO Sundar Pichai echoed that sentiment. “Over time there has to be regulation. There have to be consequences for creating deep fake videos which cause harm to society,” Pichai said in an interview with CBS’s “60 Minutes” program.

Jessica Brandt, policy director for the Artificial Intelligence and Emerging Technology Initiative at the Brookings Institution, told VOA Mandarin, “Business leaders understand that regulators will be watching this space closely, and they have an interest in shaping the approaches regulators will take.”

US grapples with regulations

AI regulation is still nascent in the U.S. Last year, the White House released voluntary guidance through a Blueprint for an AI Bill of Rights to help ensure users’ rights are protected as technology companies design and develop AI systems.

At a meeting of the President’s Council of Advisors on Science and Technology this month, President Joe Biden expressed concern about the potential dangers associated with AI and underscored that companies had a responsibility to ensure their products were safe before making them public.

On April 11, the National Telecommunications and Information Administration, a Commerce Department agency that advises the White House on telecommunications and information policy, began to seek comment and public input with the aim of crafting a report on AI accountability.

The U.S. government is trying to find the right balance to regulate the industry without stifling innovation “in part because the U.S. having innovative leadership globally is a selling point for the United States’ hard and soft power,” said Johanna Costigan, a junior fellow at the Asia Society Policy Institute’s Center for China Analysis.

Brandt, with Brookings, said, “The challenge for liberal democracies is to ensure that AI is developed and deployed responsibly, while also supporting a vibrant innovation ecosystem that can attract talent and investment.”

Meanwhile, other Western countries have also started to work on regulating the emerging technology.

The U.K. government published its AI regulatory framework in March. Also last month, Italy temporarily blocked ChatGPT in the wake of a data breach, and the German commissioner for data protection said his country could follow suit.

The European Union stated it’s pushing for an AI strategy aimed at making Europe a world-class hub for AI that ensures AI is human-centric and trustworthy, and it hopes to lead the world in AI standards.

Cyber regulations in China

In contrast to the U.S., the Chinese government has already implemented regulations aimed at tech sectors related to AI. In the past few years, Beijing has introduced several major data protection laws to limit the power of tech companies and to protect consumers.

The Cybersecurity Law enacted in 2017 requires that data must be stored within China and operators must submit to government-conducted security checks. The Data Security Law enacted in 2021 sets a comprehensive legal framework for processing personal information when doing business in China. The Personal Information Protection Law established in the same year gives Chinese consumers the right to access, correct and delete their personal data gathered by businesses. Costigan, with the Asia Society, said these laws have laid the groundwork for future tech regulations.

In March 2022, China began to implement a regulation that governs the way technology companies can use recommendation algorithms. The Cyberspace Administration of China (CAC) now supervises the process of using big data to analyze user preferences and companies’ ability to push information to users.

On April 11, the CAC unveiled a draft for managing generative artificial intelligence services similar to ChatGPT, in an effort to mitigate the dangers of the new technology.

Costigan said the goal of the proposed generative AI regulation could be seen in Article 4 of the draft, which states that content generated by future AI products must reflect the country’s “core socialist values” and not encourage subversion of state power.

“Maintaining social stability is a key consideration,” she said. “The new draft regulation does some good and is unambiguously in line with [President] Xi Jinping’s desire to ensure that individuals, companies or organizations cannot use emerging AI applications to challenge his rule.”

Michael Caster, the Asia digital program manager at Article 19, a London-based rights organization, told VOA, “The language, especially at Article 4, is clearly about maintaining the state’s power of censorship and surveillance.

“All global policymakers should be clearly aware that while China may be attempting to set standards on emerging technology, their approach to legislation and regulation has always been to preserve the power of the party.”

The future of cyber regulations

As strategies for cyber and AI regulations evolve, how they develop may largely depend on each country’s way of governance and reasons for creating standards. Analysts say there will also be intrinsic hurdles linked to coming up with consensus.

“Ethical principles can be hard to implement consistently, since context matters and there are countless potential scenarios at play,” Brandt told VOA. “They can be hard to enforce, too. Who would take on that role? How? And of course, before you can implement or enforce a set of principles, you need broad agreement on what they are.”

Observers said the international community would face challenges as it creates standards aimed at making AI technology ethical and safe.

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US Targeting China, Artificial Intelligence Threats 

U.S. homeland security officials are launching what they describe as two urgent initiatives to combat growing threats from China and expanding dangers from ever more capable, and potentially malicious, artificial intelligence.

Homeland Security Secretary Alejandro Mayorkas announced Friday that his department was starting a “90-day sprint” to confront more frequent and intense efforts by China to hurt the United States, while separately establishing an artificial intelligence task force.

“Beijing has the capability and the intent to undermine our interests at home and abroad and is leveraging every instrument of its national power to do so,” Mayorkas warned, addressing the threat from China during a speech at the Council on Foreign Relations in Washington.

The 90-day sprint will “assess how the threats posed by the PRC [People’s Republic of China] will evolve and how we can be best positioned to guard against future manifestations of this threat,” he said.

“One critical area we will assess, for example, involves the defense of our critical infrastructure against PRC or PRC-sponsored attacks designed to disrupt or degrade provision of national critical functions, sow discord and panic, and prevent mobilization of U.S. military capabilities,” Mayorkas added.

Other areas of focus for the sprint will include addressing ways to stop Chinese government exploitation of U.S. immigration and travel systems to spy on the U.S. government and private entities and to silence critics, and looking at ways to disrupt the global fentanyl supply chain.

 

AI dangers

Mayorkas also said the magnitude of the threat from artificial intelligence, appearing in a growing number of tools from major tech companies, was no less critical.

“We must address the many ways in which artificial intelligence will drastically alter the threat landscape and augment the arsenal of tools we possess to succeed in the face of these threats,” he said.

Mayorkas promised that the Department of Homeland Security “will lead in the responsible use of AI to secure the homeland and in defending against the malicious use of this transformational technology.”

 

The new task force is set to seek ways to use AI to protect U.S. supply chains and critical infrastructure, counter the flow of fentanyl, and help find and rescue victims of online child sexual exploitation.

The unveiling of the two initiatives came days after lawmakers grilled Mayorkas about what some described as a lackluster and derelict effort under his leadership to secure the U.S. border with Mexico.

“You have not secured our borders, Mr. Secretary, and I believe you’ve done so intentionally,” the chair of the House Homeland Security Committee, Republican Mark Green, told Mayorkas on Wednesday.

Another lawmaker, Republican Marjorie Taylor Greene, went as far as to accuse Mayorkas of lying, though her words were quickly removed from the record.

Mayorkas on Friday said it might be possible to use AI to help with border security, though how exactly it could be deployed for the task was not yet clear.

“We’re at a nascent stage of really deploying AI,” he said. “I think we’re now at the dawn of a new age.”

But Mayorkas cautioned that technologies like AI would do little to slow the number of migrants willing to embark on dangerous journeys to reach U.S. soil.

“Desperation is the greatest catalyst for the migration we are seeing,” he said.

FBI warning

The announcement of Homeland Security’s 90-day sprint to confront growing threats from Beijing followed a warning earlier this week from the FBI about the willingness of China to target dissidents and critics in the U.S.

and the arrests of two New York City residents for their involvement in a secret Chinese police station.

China has denied any wrongdoing.

“The Chinese government strictly abides by international law, and fully respects the law enforcement sovereignty of other countries,” Liu Pengyu, the spokesman for the Chinese Embassy in Washington, told VOA in an email earlier this week, accusing the U.S. of seeking “to smear China’s image.”

Top U.S. officials have said they are opening two investigations daily into Chinese economic espionage in the U.S.

“The Chinese government has stolen more of American’s personal and corporate data than that of every nation, big or small combined,” FBI Director Christopher Wray told an audience late last year.

More recently, Wray warned of Chinese’ advances in AI, saying he was “deeply concerned.”

Mayorkas voiced a similar sentiment, pointing to China’s use of investments and technology to establish footholds around the world.

“We are deeply concerned about PRC-owned and -operated infrastructure, elements of infrastructure, and what that control can mean, given that the operator and owner has adverse interests,” Mayorkas said Friday.

“Whether it’s investment in our ports, whether it is investment in partner nations, telecommunications channels and the like, it’s a myriad of threats,” he said.

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South African Artist’s Play Puts African Role in WWI Center Stage

A man paces a 50-meter stage doing breathing exercises. Crew members chatter while putting together final touches to the set, as a pianist rehearses.

Acclaimed South African artist William Kentridge’s play “The Head & The Load” is almost ready for its much-awaited African debut.

“Being able to show it at home feels very important,” Kentridge told AFP of the show, which centers on African porters who, at the call of their colonial masters, hauled arms, cannons and supplies for European forces during World War I.

The production made its international debut in London in 2018 but has never been shown on African soil.

That is set to change on Friday as, after delays caused by coronavirus pandemic, the piece is set to premier at the Joburg Theatre in Johannesburg.

“This piece is about a hidden history, a history that was deliberately hidden,” Kentridge, 67, said as the cast took their places for a final dress rehearsal on Thursday night.

About one million African soldiers, porters and laborers are believed to have taken part in the 1914-18 conflict, according to the United Nations cultural agency, UNESCO.

More than 150,000 of them died.

“I think a starting place of the project was an ignorance, and an annoyance at my own self at my own ignorance,” the artist said. “I thought I knew the First World War.”

‘Troubles of the neck’

“The Head & The Load” takes its name from a Ghanaian proverb — “The head and the load are the troubles of the neck”.  At the rehearsal, the words are projected in enormous white text onto the stage.

But it takes a brief explanation, and a moment of reflection, to better understand their meaning.

“There’s… a physical load that the people are carrying, there’s a historical load of how we got here, and there’s a psychic load of how does one keep this history in one’s head,” Kentridge said.

Renowned for his animated films of shape-shifting charcoal drawings, the thickly eye-browed artist described the show as “a very wide drawing… moving in three dimensions”, combined with silhouettes, “added text and a great deal of music.”

Choreographer Gregory Maqoma said he looked forward to performing for a home audience.

The production aimed at “fulfilling” a void for “those who never made it back home,” he said.

Among them was a distant relative of the show’s co-composer, 35-year-old, Thuthuka Sibisi, who said one of his ancestors died on board the SS Mendi, a British steamship that sank in the Channel in February 1917.

The vessel was taking more than 600 mostly black South African soldiers to the front in France.

“The role and responsibility here is to… reconsider what we think is history” Sibisi said.

“The Head & The Load” runs at the Joburg Theatre from April 21 to May 6.

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Minneapolis Mayor Signs Law Allowing Islamic Call Five Times a Day

Muslims in Minneapolis can now hear their call to prayer broadcast five times a day from mosques around the city, thanks to a new law. From Minneapolis, Mohamud Mascadde has the story, narrated by Salem Solomon.

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Twitter Drops Government-Funded Media Labels

Twitter has removed labels describing global media organizations as government-funded or state-affiliated, a move that comes after the Elon Musk-owned platform started stripping blue verification checkmarks from accounts that don’t pay a monthly fee.

Among those no longer labeled was National Public Radio in the U.S., which announced last week that it would stop using Twitter after its main account was designated state-affiliated media, a term also used to identify media outlets controlled or heavily influenced by authoritarian governments, such as Russia and China.

Twitter later changed the label to “government-funded media,” but NPR — which relies on the government for a tiny fraction of its funding — said it was still misleading.

Canadian Broadcasting Corp. and Swedish public radio made similar decisions to quit tweeting. CBC’s government-funded label vanished Friday, along with the state-affiliated tags on media accounts including Sputnik and RT in Russia and Xinhua in China.

Many of Twitter’s high-profile users on Thursday lost the blue checks that helped verify their identity and distinguish them from impostors.

Twitter had about 300,000 verified users under the original blue-check system — many of them journalists, athletes and public figures. The checks used to mean the account was verified by Twitter to be who it says it is.

High-profile users who lost their blue checks Thursday included Beyoncé, Pope Francis, Oprah Winfrey and former President Donald Trump.

The costs of keeping the marks range from $8 a month for individual web users to a starting price of $1,000 monthly to verify an organization, plus $50 monthly for each affiliate or employee account. Twitter does not verify the individual accounts, as was the case with the previous blue check doled out during the platform’s pre-Musk administration.

Celebrity users, from basketball star LeBron James to author Stephen King and Star Trek’s William Shatner, have balked at joining — although on Thursday, all three had blue checks indicating that the account paid for verification.

King, for one, said he hadn’t paid.

“My Twitter account says I’ve subscribed to Twitter Blue. I haven’t. My Twitter account says I’ve given a phone number. I haven’t,” King tweeted Thursday. “Just so you know.”

In a reply to King’s tweet, Musk said “You’re welcome namaste” and in another tweet he said he’s “paying for a few personally.” He later tweeted he was just paying for King, Shatner and James.

Singer Dionne Warwick tweeted earlier in the week that the site’s verification system “is an absolute mess.”

“The way Twitter is going anyone could be me now,” Warwick said. She had earlier vowed not to pay for Twitter Blue, saying the monthly fee “could (and will) be going toward my extra hot lattes.”

On Thursday, Warwick lost her blue check (which is actually a white check mark in a blue background).

For users who still had a blue check Thursday, a popup message indicated that the account “is verified because they are subscribed to Twitter Blue and verified their phone number.” Verifying a phone number simply means that the person has a phone number and they verified that they have access to it — it does not confirm the person’s identity.

It wasn’t just celebrities and journalists who lost their blue checks Thursday. Many government agencies, nonprofits and public-service accounts around the world found themselves no longer verified, raising concerns that Twitter could lose its status as a platform for getting accurate, up-to-date information from authentic sources, including in emergencies.

While Twitter offers gold checks for “verified organizations” and gray checks for government organizations and their affiliates, it’s not clear how the platform doles these out.

The official Twitter account of the New York City government, which earlier had a blue check, tweeted on Thursday that “This is an authentic Twitter account representing the New York City Government This is the only account for @NYCGov run by New York City government” in an attempt to clear up confusion.

A newly created spoof account with 36 followers (also without a blue check), disagreed: “No, you’re not. THIS account is the only authentic Twitter account representing and run by the New York City Government.”

Soon, another spoof account — purporting to be Pope Francis — weighed in too: “By the authority vested in me, Pope Francis, I declare @NYC_GOVERNMENT the official New York City Government. Peace be with you.”

Fewer than 5% of legacy verified accounts appear to have paid to join Twitter Blue as of Thursday, according to an analysis by Travis Brown, a Berlin-based developer of software for tracking social media.

Musk’s move has riled up some high-profile users and pleased some right-wing figures and Musk fans who thought the marks were unfair. But it is not an obvious money-maker for the social media platform that has long relied on advertising for most of its revenue.

Digital intelligence platform Similarweb analyzed how many people signed up for Twitter Blue on their desktop computers and only detected 116,000 confirmed sign-ups last month, which at $8 or $11 per month does not represent a major revenue stream. The analysis did not count accounts bought via mobile apps.

After buying San Francisco-based Twitter for $44 billion in October, Musk has been trying to boost the struggling platform’s revenue by pushing more people to pay for a premium subscription. But his move also reflects his assertion that the blue verification marks have become an undeserved or “corrupt” status symbol for elite personalities, news reporters and others granted verification for free by Twitter’s previous leadership.

Twitter began tagging profiles with a blue check mark starting about 14 years ago. Along with shielding celebrities from impersonators, one of the main reasons was to provide an extra tool to curb misinformation coming from accounts impersonating people. Most “legacy blue checks,” including the accounts of politicians, activists and people who suddenly find themselves in the news, as well as little-known journalists at small publications around the globe, are not household names.

One of Musk’s first product moves after taking over Twitter was to launch a service granting blue checks to anyone willing to pay $8 a month. But it was quickly inundated by impostor accounts, including those impersonating Nintendo, pharmaceutical company Eli Lilly and Musk’s businesses Tesla and SpaceX, so Twitter had to temporarily suspend the service days after its launch.

The relaunched service costs $8 a month for web users and $11 a month for users of its iPhone or Android apps. Subscribers are supposed to see fewer ads, be able to post longer videos and have their tweets featured more prominently.

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TikTok CEO Tries to Ease Critics’ Security Concerns

The CEO of TikTok tried to calm critics’ fears about the security of his company’s app during an appearance Thursday.

Shou Chew was asked at a TED2023 Possibility conference if he could guarantee Beijing would not use the TikTok app, owned by the Chinese tech company ByteDance, to interfere in future U.S. elections.

“I can say that we are building all the tools to prevent any of these actions from happening,” Chew said. “And I’m very confident that with an unprecedented amount of transparency that we’re giving on the platform, we can, how we can reduce this risk to as low as zero as possible.”

Chew made the comments in Vancouver at the TED organization’s annual convention, where artificial intelligence and safeguards were discussed.

U.S. lawmakers and officials are ratcheting up threats to ban TikTok, saying the Chinese-owned video-sharing app used by millions of Americans poses a threat to privacy and U.S. national security.

U.S. lawmakers have grilled Chew over concerns the Chinese government could exploit the platform’s user data for espionage and influence operations in the United States.

U.S. House Speaker Kevin McCarthy tweeted in March, “It’s very concerning that the CEO of TikTok can’t be honest and admit what we already know to be true — China has access to TikTok user data.”

U.S. Representative Michael McCaul, chairman of the U.S. House of Representatives Foreign Affairs Committee, was even more blunt in February, telling the committee, “Make no mistake, TikTok is a national security threat. … It’s a spy balloon in your phone.”

He was referencing a Chinese surveillance balloon that drifted across the United States in early February before being shot down off the southeastern U.S. coast.

Several governments, including Canada and the U.S., have banned the TikTok app from government-issued smartphones, citing concerns the Chinese government could exploit the platform’s user data for espionage and influence operations in the United States.

Chew says TikTok has never stored data from Americans on servers in China.

“All new U.S. data is already stored in the Oracle Cloud infrastructure. So it’s in this protected U.S. environment that we talked about in the United States,” he said. “We still have some legacy data to delete in our own servers in Virginia and in Singapore. Our data has never been stored in China.”

“It’s going to take us a while to delete them, but I expect it to be done this year,” he said.

Chew also emphasized TikTok’s efforts to moderate content. When asked how many people are reviewing content posted to the platform, Chew said the numbers and cost are huge.

“The group is based in Ireland and it’s a lot of people. It’s tens of thousands of people,” Chew said. “It’s one of the most important cost items. And I think it’s completely worth it.”

Speaking to a TED conference dominated by discussions of artificial intelligence, Chew said a lot of moderation on TikTok is done by machines.

“The machines are good, they’re quite good, but they’re not as good as you know, they’re not perfect at this point. So you have to complement it with a lot of human beings today,” he said.

VOA’s Masood Farivar contributed to this report. 

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Good, Bad of Artificial Intelligence Discussed at TED Conference  

While artificial intelligence, or AI, is not new, the speed at which the technology is developing and its implications for societies are, for many, a cause for wonder and alarm.

ChatGPT recently garnered headlines for doing things like writing term papers for university students.

Tom Graham and his company, Metaphysic.ai, have received attention for creating fake videos of actor Tom Cruise and re-creating Elvis Presley singing on an American talent show. Metaphysic was started to utilize artificial intelligence and create high-quality avatars of stars like Cruise or people from one’s own family or social circle.

Graham, who appeared at this year’s TED Conference in Vancouver, which began Monday and runs through Friday, said talking with an artificially created younger self or departed loved one can have tremendous benefits for therapy.

He added that the technology would allow actors to appear in movies without having to show up on set, or in ads with AI-generated sports stars.

“So, the idea of them being able to create ads without having to turn up is – it’s a match made in heaven,” Graham said. “The advertisers get more content. The sports people never have to turn up because they don’t want to turn up. And everyone just gets paid the same.”

Sal Khan, founder of Khan Academy, a nonprofit organization that provides free teaching materials, sees AI as beneficial to education and a kind of one-on-one instruction: student and AI.

His organization is using artificial intelligence to supplement traditional instruction and make it more interactive.

“But now, they can talk to literary characters,” he said. “They can talk to fictional cats. They can talk to historic characters, potentially even talk to inanimate objects, like, we were talking about the Mississippi River. Or talk to the Empire State Building. Or talk to … you know, talk to Mount Everest. This is all possible.”

For Chris Anderson, who is in charge of TED – a nonpartisan, nonprofit organization whose mission is to spread ideas, usually in the form of short speeches – conversations about artificial intelligence are the most important ones we can have at the moment. He said the organization’s role this year is to bring different parts of this rapidly emerging technology together.

“And the conversation can’t just be had by technologists,” he said. “And it can’t just be heard by politicians. And it can’t just be held by creatives. Everyone’s future is being affected. And so, we need to bring people together.”

For all of AI’s promise, there are growing calls for safeguards against misuse of the technology.

Computer scientist Yejin Choi at the University of Washington said policies and regulations are lagging because AI is moving so fast.

“And then there’s this question of whose guardrails are you going to install into AI,” she said. “So there’s a lot of these open questions right now. And ideally, we should be able to customize the guardrails for different cultures or different use cases.”

Another TED speaker this year, Eliezer Yudkowsky, has been studying AI for 20 years and is currently a senior research fellow at the Machine Intelligence Research Institute in California. He has a more pessimistic view of artificial intelligence and any type of safeguards.

“This eventually gets to the point where there is stuff smarter than us,” he said. “I think we are presently not on track to be able to handle that remotely gracefully. I think we all end up dead.”

Ready or not, societies are confronting the need to adapt to AI’s emergence.

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Twitter Begins Removing Blue Checks From Users Who Don’t Pay

This time it’s for real. 

Many of Twitter’s high-profile users are losing the blue check marks that helped verify their identities and distinguish them from impostors on the Elon Musk-owned social media platform. 

After several false starts, Twitter began making good on its promise Thursday to remove the blue checks from accounts that don’t each pay a monthly fee to keep them. Twitter had about 300,000 verified users under the original blue-check system—many of them journalists, athletes and public figures. The checks began disappearing from these users’ profiles late morning Pacific time. 

High-profile users who lost their blue checks Thursday included Beyonce, Pope Francis and former President Donald Trump.

The costs of keeping the marks range from $8 a month for individual web users to a starting price of $1,000 monthly to verify an organization, plus $50 monthly for each affiliate or employee account. Twitter does not verify the individual accounts to ensure the users are who they say they are, as was the case with the previous blue check doled out during the platform’s pre-Musk administration. 

Celebrity users, from basketball star LeBron James to “Star Trek’s” William Shatner, have balked at joining — although on Thursday, James’ blue check indicated that the account paid for verification. “Seinfeld” actor Jason Alexander pledged to leave the platform if Musk took his blue check away. 

‘Anyone could be me’

“The way Twitter is going anyone could be me now. The verification system is an absolute mess,” Dionne Warwick tweeted Tuesday. She had earlier vowed not to pay for Twitter Blue, saying the monthly fee “could [and will] be going toward my extra hot lattes.” 

On Thursday, Warwick lost her blue check. 

After buying Twitter for $44 billion in October, Musk has been trying to boost the struggling platform’s revenue by pushing more people to pay for premium subscriptions. But his move also reflects his assertion that the blue verification marks have become undeserved or “corrupt” status symbols for elite personalities, news reporters and others granted verification for free by Twitter’s previous leadership. 

Twitter began tagging profiles with blue check marks about 14 years ago. One main reason for doing so was to provide an extra tool to curb misinformation coming from accounts impersonating people. Most “legacy blue checks,” including the accounts of politicians, activists and people who suddenly find themselves in the news, as well as little-known journalists at small publications around the globe, are not household names. 

One of Musk’s first product moves after taking over Twitter was to launch a service granting a blue check to anyone willing to pay $8 a month. But it was quickly inundated by impostor accounts, including those impersonating Nintendo, pharmaceutical company Eli Lilly and Musk’s businesses Tesla and SpaceX, so Twitter had to suspend the service days after its launch. 

The relaunched service costs $8 a month for web users and $11 a month for users of Twitter’s iPhone or Android apps. Subscribers are supposed to see fewer ads, be able to post longer videos and have their tweets featured more prominently. 

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K-Pop Star Moon Bin Found Dead at Home

Moon Bin, a singer from South Korean boy band Astro, was found dead at his home in Seoul, his management agency said Thursday.

The 25-year-old was reportedly found by his manager who went to the singer’s home Wednesday evening because he wasn’t responding to contacts. Police are investigating his death but have so far found no signs of foul play, according to South Korea’s Yonhap news agency. Officials at Seoul’s Gangnam district police station did not respond to calls for comment.

Moon Bin’s management agency, Fantagio, confirmed his death in a statement, saying that he “suddenly left us and became a star in the sky” and that fellow artists and company staff were mourning him with “very deep sadness and shock.”

Fantagio said Moon Bin’s funeral will be held “as quietly as possible,” with the attendance mostly limited to family, close friends and colleagues, based on the wishes of his relatives.

‘Always bright’

Moon Bin began his music career in 2016 as a member of the six-member boy band Astro, which debuted shortly after the singers appeared in a TV reality show. The group quickly found success in South Korea and Japan and was listed on Billboard’s top 10 list of new K-pop groups that year, with the magazine praising them for their “bright, synthpop sound that won over K-pop lovers from around the world.”

According to Billboard, Astro had seven albums on the magazine’s World Albums Chart with Moon Bin as a member, peaking at Number 5 in 2017 with “Dream Part.02.”

Fans flooded Moon Bin’s social media accounts with comments expressing grief and shock over his death, which came months after he renewed his contract with Fantagio along with four other Astro members.

“It’s hard to believe,” radio host Jang Seong-kyu wrote on Instagram. “We only met several times over broadcasts, but whenever we met, Moon Bin was always bright and expressed immense love for his family. I can’t imagine the pain he was going through.”

Moon Bin had also performed as a member of the duo Moonbin & Sanha with Astro bandmate Yoon San-ha. Indonesian event promoter Lumina Entertainment on Wednesday announced the cancellation of the duo’s performance in Jakarta due to “unforeseen circumstances beyond our control.”

Helix Publicity, a U.S.-based public relations agency that has represented Moonbin & Sanha, issued a statement on Twitter that it was “absolutely heartbroken.”

“Sending our thoughts, prayers, and deepest condolences to Moon Bin’s family, friends, loved ones, and to AROHA who always cheered for him and supported him,” it said, referring to the name that Astro’s fans call themselves.

Moon Bin entered the entertainment industry as a child actor and landed a role in the 2009 TV series “Boys Over Flowers,” which was hugely popular in Asia. His sister, Moon Sua, is also a K-pop artist, a member of the girl band Billlie.

Stars’ deaths prompt questions

Several South Korean singers and actors have died by suicide in recent years, which has touched off soul-searching about harsh competition in the fast-growing entertainment industry, an abusive online culture and failure by management to address the mental health problems of their stars.

Last week, 26-year-old actress Jung Chae-yull was found dead at her home. Her agency did not say what caused her sudden death.

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SpaceX Giant Rocket Explodes Minutes After Launch from Texas

SpaceX’s giant new rocket blasted off on its first test flight Thursday but exploded minutes after rising from the launch pad and crashed into the Gulf of Mexico.

Elon Musk’s company was aiming to send the nearly 400-foot (120-meter) Starship rocket on a round-the-world trip from the southern tip of Texas, near the Mexican border. It carried no people or satellites.

The plan called for the booster to peel away from the spacecraft minutes after liftoff, but that didn’t happen. The rocket began to tumble and then exploded four minutes into the flight, plummeting into the gulf. After separating, the spacecraft was supposed to continue east and attempt to circle the world, before crashing into the Pacific near Hawaii.

Throngs of spectators watched from South Padre Island, several miles away from the Boca Chica Beach launch site, which was off limits. As it lifted off, the crowd screamed: “Go, baby, go!”

The company plans to use Starship to send people and cargo to the moon and, eventually, Mars. NASA has reserved a Starship for its next moonwalking team, and rich tourists are already booking lunar flybys.

It was the second launch attempt. Monday’s try was scrapped by a frozen booster valve.

At 394 feet and nearly 17 million pounds of thrust, Starship easily surpasses NASA’s moon rockets — past, present and future. The stainless steel rocket is designed to be fully reusable with fast turnaround, dramatically lowering costs, similar to what SpaceX’s smaller Falcon rockets have done soaring from Cape Canaveral, Florida. Nothing was to be saved from the test flight.

The futuristic spacecraft flew several miles into the air during testing a few years ago, landing successfully only once. But this was to be the inaugural launch of the first-stage booster with 33 methane-fueled engines.

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Panama’s Geisha Coffee Fetches $100 a Cup

People worldwide have long been paying more for a premium cup of coffee. But what about a cost of over $100 for a cup? From Panama City, Panama, Oscar Sulbarán has the story, narrated by Cristina Caicedo Smit.

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Native American Artist’s Work Stolen, Copied Around the World

Like most Facebook users, I am targeted by advertisements relating to my interests, particularly Native American.

So, when an ad popped up recently advertising a “Navajo Tufa Cast Corn Stalk Design Bracelet” cast from 55 grams of sterling silver, it got my attention, especially because its price was an implausible $6.48.

“Because of Black Friday, we produced … a lot of items, but we can’t sell them all … now we need to pay suppliers a lot of money,” is how the Cuterise website explained the low price.

The Scam Detector website rated Cuterise “Risky. Dubious. Perilous.” But curiosity got the best of me, so I accepted the risk and ordered the bracelet. While waiting for it to ship — if anything shipped at all — I decided to learn everything I could about it.

Tufa casting involves pouring molten silver into a mold carved out of soft volcanic stone found in New Mexico and Arizona. The Navajo have been using it to make jewelry since the mid-1800s.

Tufa is fragile and can crumble after a single casting. For this reason, artists often make a “master” using molten lead instead of silver that can be used to mold and cast multiple copies.

Genealogy of a bracelet

An image search on Google Lens turned up several matching bracelets, ranging in price from $300 to $900, but none were hallmarked by the maker.

I found the identical bracelet on the eBay auction site, which named the maker: Navajo Nation artist Eugene Mitchell. I tracked down his son Reggie Mitchell and sent him the photo of the bracelet I’d ordered. He confirmed that his father made that design in the 1970s.

“Our family has been making jewelry for a long time,” he said. “I’m the fifth generation, and my oldest son Bronson is the sixth.”

And for six generations, he added, his family has helped make Gallup, New Mexico, arts and crafts dealers rich.

“Back in the ‘70s, the FBI investigated Gallup because more 100-dollar bills were circulating there than in all of Las Vegas,” he said. “Gallup produced over 200 millionaires in that seven- to 10-year time period, and the source was Native American jewelry.”

I couldn’t find any data to confirm this, so I reached out to the Gallup McKinley County Chamber of Commerce.

“While the story has circulated in and around our community for years, it is more urban legend than truth,” Chamber of Commerce CEO Bill Lee responded via email. “What I will tell you is that even in today’s world of credit/debit cards, Gallup merchants still deal with very high volumes of cash.”

Reggie Mitchell remembers going with his father to Gallup, where he says a dealer “would always try to lowball the value” of his work.

“If it was two pieces of jewelry, they would give him money to make two more pieces and buy two meals,” he said. “And if they paid him, say, $100 for one piece, they’d turn around and sell it for six, seven, $800.”

It was on one of those trips to Gallup that Eugene Mitchell was robbed.

“My dad used to keep his lead masters in old coffee cans,” Mitchell said. “One day, he came out of a shop and discovered someone had broken his car window and taken the cans.”

Mitchell isn’t sure whether the master for the cornstalk bracelet was among the items stolen that day. He says his father found out later that New Mexico galleries were making rubber molds of the designs and selling copies “on the cheap.”

“And my dad would see them and say, ‘That’s my work, that’s my piece!’”

After that, the elder Mitchell cut out the middleman, and today, the family sells directly to their customers.

Bait and switch

I was surprised when Cuterise emailed me delivery tracking information. My order originated in Dongguan, China, a city dubbed “the world’s factory” and was now in transit to the U.S.

Clearly, I was going to receive something for my $6.48. But what? A plastic bracelet?

Ten days later, my order arrived. The package was flat and squishy. I tore it open and almost laughed. They’d sent me a pair of cheap stretch leggings printed to look like blue jeans – buttons, rivets and all.

My amusement faded as I thought about everything Reggie Mitchell told me. The family may not be using middlemen anymore, but Eugene Mitchell is still being exploited — this time by fraudsters halfway around the globe using photographs of a bracelet he made — and lost — 50 years ago.

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LogOn: Artificial Intelligence Creates Voices for Films, Ads

A growing number of startups are using artificial intelligence to replicate human voices. A company is creating synthetic voices for organizations to use for advertising, marketing and training. Phil Dierking reports.

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