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How Flock Cameras Wrongly Tracked a Journalist for Days, Then Sent Police to Arrest Him

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"Are you armed?!" the police officer screamed. "Get out of the car!" A writer for the car-news site The Drive describes how "a technological chain linking surveillance cameras, AI, and law enforcement... led to me and my wife being surrounded by police, hands on their guns, in a Kohl's parking lot in suburban Minnesota." After dropping off our Amazon returns, we'd just gotten back in the Range Rover and reversed maybe two feet out of the spot when four cop cars came flying out of nowhere and boxed us in... The Plymouth Police Department had been tracking me for days using Flock license plate cameras, waiting for the right moment to strike, because they thought I'd stolen the Range Rover. And the reason I was ID'd as a dangerous car thief was a simple data error made 2,000 miles away in California, creating an edge case within an edge case that Flock's AI camera network was unable to handle... "The plates on this car are stolen," Officer Ganshyn said... This made absolutely no sense. Car companies keep meticulous track of the fleets they loan out to the media. The vehicles all have special manufacturer or dealer plates that are logged every time one enters or exits... The New Jersey plates that were allegedly stolen from the LA dealer were 34 03 DTM, not 34 10 DTM. But when the police report was created and the plate was entered into Flock's system, it was just recorded as 34 DTM. Just the five large characters, no little number in the middle... Flock's AI tech wasn't registering that non-standard little number when it began picking up the Range Rover around town... I connected the final dot. A lot of vehicles in [Range Rover manufacturer] JLR's media fleet have a New Jersey manufacturer plate with the same alphanumeric structure — 34 ## DTM — and Officer Ganshyn observed that meant it was now a nationwide issue. Anywhere a police department has a partnership with Flock, any other JLR-owned car with the same plate structure is going to get flagged as stolen. In fact, four other 34 ## DTM cars were being tracked around Minnesota that week, according to Officer Ganshyn. I was just the first one to get nabbed. The only way to stop it would be for the LAPD to correct their initial report and update Flock's system, which Jaguar Land Rover was now racing to make happen following the phone call. Still, he warned me to drive straight home, park the Range Rover, and leave it there. If I were to cross into the neighboring town, I'd probably get flagged again and go through this entire ordeal again with a different set of officers. His parting words were ominous: "You're lucky we're in Plymouth. If you were in Minneapolis, they definitely would've come at you with guns drawn." Ironically, even the original license plate wasn't stolen either, the article points out. It was reported misplaced during a Los Angeles photo shoot, and "The corporation had to report the plate as lost to law enforcement," according to the police report — and even then, the plate "was reported as NJ 34DTM instead of NJ 3403DTM." The author's conclusion? "Once these systems have you in their crosshairs, there's pretty much only one way it can go... A simple data-entry error, magnified and broadcast nationwide by a growing surveillance network operated through an opaque partnership between a private company and public agencies, led police to identify me as a car thief and set up a sting to take me down. I mean, they even had a drone flying overhead during the 'bust'... "Thank God our kids weren't with us." Thanks to long-time Slashdot reader sinij for sharing the article.

Read more of this story at Slashdot.

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InShaneee
5 hours ago
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Read This: Inside the desperate race to find the next Obsession or Backrooms

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Film executives are kind of like Labrador retrievers—except instead of “Treat!” their ears perk up at phrases like “$400 million return on investment.” Nobody in Hollywood, for instance, has missed the fact that Kane Parsons’ Backrooms and Curry Barker’s Obsession have both built very large stacks of money over the last two months with roots firmly planted in the internet, and the hunt for the next online-phenomenon-turned-reliable-studio-money-maker is now well and truly underway. Now, The Wall Street Journal has issued a report diving deeper into the specific creators and producers looking to serve as the conduit from Hollywood to the YouTube generation, and it’s a fascinating reminder that there’ve been folks watching this particular pot for a couple of years at this point, just waiting for it to boil over.

Among other things, the piece outlines just how recent the tipping point has been: It details multiple instances of artists and their attached teams waiting to push for sales until after Backrooms hit theaters back in May, sensing that studio execs were about to get a powerful hankering for online-derived works. Aaron Koontz, who’s spent years directing and producing low-budget horror, and who’s positioning himself as a key producer in this space, says he was initially planning to shop around Alex Kister’s web series The Mandela Catalogue earlier this year, but then decided to wait until the specific week Parsons’ movie hit theaters before taking the film to market. The result was a bidding war that not only made Kister a millionaire, but pushed United Artists to allow the 22-year-old online movie maker to direct the film version of his horror shorts.

See also the Siren Head adaptation we wrote about earlier this month, based on artist Trevor Henderson’s viral horror creation. Despite its general ubiquity in low-budget video games and YouTube videos, Henderson had made basically no money off the online cryptid since he released it online in 2018. (Although he did garner at least some Hollywood attention, working as the monster designer for 2024’s Tarot.) Approached by that film’s producer, Scott Glassgold, about trying to sell the character in Hollywood, the pair decided to wait until after Parsons and Barker’s films landed at the box office. “Within days, studios were offering six figures for the rights,” and now, Henderson’s reportedly been paid more than $1 million for the character’s film use (while also retaining other rights to it). Filmmakers Zach Cregger and Brian Duffield, meanwhile, are currently working to adapt the creature for the big screen.

At the same time, the WSJ piece raises questions about ownership that it doesn’t fully address. Most notably, it reports that IT, and now Siren Head, producer Roy Lee is also working to adapt film shorts from popular online fiction collective The SCP Foundation, where hundreds of online authors have spent more than a decade embedding science fiction, horror, and even comedy stories within fictitious “security protocols” for dangerous supernatural objects and entities. The idea is that the most popular shorts, collected into an anthology, will then be adapted into features. Thing is, though, that the SCP has always been pretty adamant about its adherence to a Creative Commons license that, among other things, means anything made from works set in its universe is also covered under Creative Commons—which feels like the kind of thing that would give IP-hoarding Hollywood absolute conniptions. We’re not privy to any of these contracts, obviously, but they do raise the kinds of issues that are going to become extremely pertinent as authors and artists who garnered big online followings through collaboration, remixing, and freely working from ideas floating in the public consciousness now get strained, at what’s apparently going to be a pretty high rate and volume, through the Hollywood machine. 



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InShaneee
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Updated: Taylor Swift's wedding venue reportedly keeps a list of guests' sexuality for some reason

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Madison Square Garden, one of America’s most cherished privately run surveillance states, keeps a database of which celebrity Knicks fans and Taylor Swift’s wedding guests are LGBTQIA, as well as their “risk” level, according to a new report from Wired. In a statement to The A.V. Club, MSG called the report “inaccurate and false” and threatened legal action against the outlet.

Wired previously reported on the extent to which MSG surveils its patrons. The latest batch of docs released by the criminal hacking collective ShinyHunters revealed that MSG maintains a running database of “talent” hosted by the venue, rating them by “risk” level, to determine whether to give them free tickets. Even Knicks superfans and defenders of MSG’s obsessively paranoid owner James Dolan aren’t safe. Fat Joe, who called Dolan “Batman,” was labeled a “medium risk.” Unofficial star of the Knicks history-making championship run, Mariska Hartigay, is a “low risk.” Sonic The Hedgehog and Happy Endings star Adam Pally is “not to be hosted.” Five of Taylor Swift’s wedding guests were also evaluated by the Garden’s security. Never fear, Ice Spice, Michael Strahan, and Selena Gomez were all “low risk.” 

The “talent” database is some 40,000 names deep, and a vast majority of them do not receive a risk evaluation. However, and for unknown reasons, the database tracks the race, gender identity, and sexual orientation of at least 93 celebrities, including Ricky Martin and Phoebe Bridgers, Wired reports. Whether Swift and Travis Kelce, who married at the venue on Saturday in a weird power flex to all the New Yorkers dying in the heat, required invitees to agree to such surveillance remains unconfirmed. 

Aside from it being weird as hell that a sports venue keeps track of the sexuality of guests trying to watch the goddamn Knicks, the focus on LGBTQIA patrons is part of a larger pattern of paranoia. Last month, Wired reported that MSG went to great pains to alienate and remove a trans social media influencer who made their following as a diehard Knicks fan. She was tracked minute by minute by MSG security until she was eventually banned from the Garden, a lawsuit revealed. “They just seem overly interested in queer and trans people in their venue,” Evan Greer, director of the digital rights group Fight for the Future, told Wired

Ironically, Dolan also owns the Sphere, which recently announced an upcoming slop-ified Rocky Horror Picture Show. We suppose they can use AI to de-queer the film while also keeping a close eye on the androgynous sexuality of the garter-belt enthusiasts who attend.

This article has been updated with a statement from Madison Square Garden.



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InShaneee
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R.I.P. Bonnie Tyler, "Total Eclipse Of The Heart" singer

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Bonnie Tyler, the powerful voice best-known for her 1983 single “Total Eclipse Of The Heart,” has died. Her family confirmed the news with a statement on her website. “Bonnie’s family and team are heartbroken to announce that Bonnie unexpectedly passed away last night in hospital in Portugal as a result of the illness that she was being treated for,” it reads. “We will issue a further statement shortly but for now ask for privacy to deal with this tragedy.” Though her family did not share a cause of death, Tyler had already been experiencing health issues this year; in May, the singer was placed in a medically induced coma after emergency intestinal surgery. Tyler was 75 years old.

Though Tyler’s success in the United States peaked in popularity in the 1980s, she enjoyed a long career in Europe, from her first singles in 1976 to hits in the new millennium. In 2013, she represented the United Kingdom in Eurovision. Over the course of her career, Tyler was nominated for three Grammy Awards. 

Born in Wales in 1951 as Gaynor Hopkins, Tyler got her first taste of the stage performing at open mics and talent shows. In 1975, she was spotted by a talent agent and signed to RCA. Her first hit, “Lost In France,” which peaked at number nine on the U.K. singles chart, came the following year. “[T]hen all of a sudden, I had all these nodules on my vocal cords – I thought my career was over,” she reflected to The Guardian in 2009. She ended up having surgery to remove them, and wasn’t supposed to talk for months. “But after I got my voice back, I went into the studio for the first time and started singing. The band said, ‘Woah, your voice sounds great.’ My voice was huskier than before, and had more of an edge.” Her first hit in the United States—”It’s A Heartache,” which hit number three on the Billboard Hot 100—came in 1977. 

But the song that would truly break through in the United States came years later with “Total Eclipse Of The Heart.” At that point, as People reported in 1983, Tyler had already been considered a one-hit wonder with “It’s A Heartache.” But “Total Eclipse Of The Heart” marked the first collaboration between Tyler and songwriter Jim Steinman, which ended up providing her most recognizable hits in the U.S. “I never thought it had a prayer as a single,” Steinman said about “Total Eclipse Of The Heart” in a contemporary interview. “It was an aria to me, a Wagnerian-like onslaught of sound and emotion. I wrote it to be a showpiece for her voice.” The two would work together again for “Holding Out For A Hero,” which appeared on the Footloose soundtrack. 

Tyler didn’t achieve any hits in the U.S. after the mid-1980s, but her success continued in Europe through the 1990s. In 2003, she recorded a duet version of “Total Eclipse Of The Heart” with singer Kareen Antonn in French, titled “Si demain… (Turn Around).” The recording was a major success in the country and reinvigorated her career in France. In 2013, Tyler represented the U.K. in Eurovision with the song “Believe in Me,” and placed 19th. Her final album, The Best Is Yet to Come was released in 2021. While promoting the album, she was proud of how consistently she had worked throughout her singing career. Her only extended break, she said, had been when she recovered from her vocal nodules. “Apart from that, I’ve worked all my life,” she told Goldmine. “And loved every minute of it, too.”



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New U.S. passports with Trump's image are available. Here's how to get (or avoid) one

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A new U.S. passport features an image of President Trump.

The passports feature an image of President Trump and are only available in person at the Washington Passport Agency — and only by appointment.

(Image credit: Michele Kelemen)

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'Knockoff' Browser Extension Hides Sketchy Brands on Amazon

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'Knockoff' Browser Extension Hides Sketchy Brands on Amazon

A software developer made a Chrome and Firefox extension called Knockoff that automatically hides, grays out, or filters products from sketchy brands on Amazon, which highlights just how many shady brands are on the platform and how commonly they show up on searches for basic items. 

In just a few minutes of using the extension, Knockoff dimmed product listings for screwdrivers made by “SUNHZMCKP,” spoons made by “SACATR,” and a lamp made by “ROTTOGOON.” In a tweet announcing the extension, developer Josh Pigford wrote “Sorry to brands like WNPETHOME, EHEYCIGA, YXYL, LU&MN, JOYIN, TOMY, GODONLIF, YOOJEE, LINGTENG, LANEIGE, VISCOO, BIODANCE, COOFANDY, BALENNZ, TOSY, and LUENX.” The extension can also hide all sponsored product listings. The extension quickly went viral as a much-needed filter for people who still use Amazon and, for those who don’t use Amazon because of its horrendous labor practices and other concerns, it is evidence of what an incredible wasteland the platform has become. 

In a video call, Pigford told me that he had been thinking about making Knockoff for a while but that he finally decided to do it last weekend. “I was cutting the grass and about to get my trimmer out to do some weed eating, and it wouldn’t crank. So I decided to get some specific tools, and I searched for them and was like ‘What are these brands? Am I going insane?’ I just wanted something from a common brand or something I was familiar with,” he said. “I was like ‘man, I’ve gotta build something.’”

Pigford said that Knockoff is essentially building a list of brands to allow or not allow, and that it uses several different criteria to do this, including looking at the names of the brands: “Basically number of consonants, number of vowels, how they are grouped together, whether they’re in all caps or not,” he said. This means that brands like “EHEYCIGA” will be automatically added to the filter list. But the list of blocked brands is intended to be determined by its community of users, and any user can ask the extension to allow or block any specific brand for themselves. The project builds on previous similar attempts to highlight sketchy brands on Amazon, including one called AmazonBrandFilter and The Markup’s Amazon Brand Detector. The extension also allows anyone who has downloaded it to report potentially sketchy brands and to report brands that have been accidentally flagged as knockoffs. 

The extension runs locally and doesn’t require an account to use, and doesn’t send data back to any server. It is free. “I stand to benefit nothing directly economically, it’s a nice little tool I wanted to make,” Pigford said.

Knockoff is pretty useful whether you use Amazon or not. For those who don’t use Amazon, it highlights a problem repeatedly shown by Joe Biden’s Federal Trade Commission in an antitrust lawsuit against the company, which is that much of Amazon is pay-to-play, with brands needing to buy ads or placement boosts in order to be featured at the top of search results. The platform has also become an algorithmic and financial race to the bottom, with companies stealing others’ designs, jamming their product pages with keywords that will perform well in search, and creating fly-by-night brands to try to end up at the top of search results.

“There was somebody who sent me a screenshot from using the extension and the first 20 items or something were all grayed out. Like there were all these knockoff brands before they could find a legitimate item,” Pigford said. “It’s like, OK, that about sums it up.” 

“I think people want control over what it is that they're seeing on the internet,” he added. “This sort of gives some control back to just getting everything shoved in your face. It’s like fighting back against the algorithm to some extent.”

 

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