Trump Education Department ends Biden era ‘Book Ban Hoax’ plan: What it means for school libraries across US

The US Department of Education has officially dismissed 11 complaints related to planned “book bans” and eliminated a Biden-era position tasked with investigating such cases. Announced last week, the department’s decision also involves rescinding previous guidance aimed at addressing the removal of books from school libraries. This marks a significant shift in the federal government’s approach to the contentious issue of

OpenAI sued by Indian publishers over copyright infringement allegations”

OpenAI, the leading artificial intelligence (AI) company, has been slapped with a copyright infringement lawsuit by Indian and international book publishers.

The case, filed in New Delhi, is part of a global legal effort to stop the ChatGPT chatbot from using copyrighted content.

Similar lawsuits have been filed against OpenAI in other countries, where authors, news outlets, and musicians have accused tech companies of using their copyrighted work to train AI services.

Rees leads Oregon State against Washington State after 22-point game

Washington State Cougars (12-10, 7-4 WCC) at Oregon State Beavers (9-12, 5-5 WCC)Corvallis, Oregon; Monday, 10 p.m. ESTBOTTOM LINE: Oregon State faces Washington State after Kelsey Rees scored 22 points in Oregon State’s 67-66 loss to the Pacific Tigers.The Beavers are 4-2 in home games. Oregon State gives up 65.3 points to opponents and has been outscored by 3.7 points per game.The Cougars have gone 7-4 against WCC opponents. Washington State is eighth in the WCC giving up 65.9 points while holding opponents to 39.1% shooting.Oregon State averages 61.6 points per game, 4.3 fewer points than the 65.9 Washington State allows. Washington State averages 7.0 made 3-pointers per game this season, 1.0 fewer made shot on average than the 8.0 per game Oregon State allows.The Beavers and Cougars square off Monday for the first time in WCC play this season.TOP PERFORMERS: Rees is scoring 13.1 points per game with 7.8 rebounds and 1.4 assists for the Beavers. AJ Marotte is averaging 11.3 points and 3.7 rebounds while shooting 40.0% over the past 10 games.Jenna Villa averages 1.5 made 3-pointers per game for the Cougars, scoring 6.4 points while shooting 35.9% from beyond the arc. Eleonora Villa is shooting 44.0% and averaging 14.2 points over the last 10 games.LAST 10 GAMES: Beavers: 5-5, averaging 63.1 points, 33.2 rebounds, 11.5 assists, 5.9 steals and 3.5 blocks per game while shooting 40.0% from the field. Their opponents have averaged 65.8 points per game.Cougars: 6-4, averaging 68.5 points, 32.2 rebounds, 15.6 assists, 6.7 steals and 5.7 blocks per game while shooting 42.7% from the field. Their opponents have averaged 62.5 points.The Associated Press created this story using technology provided by Data Skrive and data from Sportradar.

Ladine and Washington host Indiana

#inform-video-player-1 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

#inform-video-player-2 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

Indiana Hoosiers (12-7, 4-4 Big Ten) at Washington Huskies (13-7, 4-4 Big Ten)Seattle; Monday, 9 p.m. ESTBOTTOM LINE: Washington hosts Indiana after Elle Ladine scored 24 points in Washington’s 85-61 loss to the Iowa Hawkeyes.
The Huskies are 10-3 in home games. Washington ranks ninth in the Big Ten at limiting opponent scoring, allowing 62.9 points while holding opponents to 40.2% shooting.The Hoosiers are 4-4 against conference opponents. Indiana is eighth in the Big Ten allowing 62.8 points while holding opponents to 39.8% shooting.Washington averages 73.4 points, 10.6 more per game than the 62.8 Indiana allows. Indiana averages 6.5 more points per game (69.4) than Washington gives up (62.9).The matchup Monday is the first meeting of the season between the two teams in conference play.

Tina returner: why discovering lost songs, films and books is simply the best

I’ve been sitting here for the last few hoursLooking at youStretching my imagination through my form of workAnd maybe get my hands on youOh, we know you have, Tina. We know.When the first power chords and that unmistakable gravel-rock voice blasted out of our radios on Thursday, the first time that Hot for You Baby had ever been played after being discovered on a forgotten studio master tape, Tina Turner’s fans must have rocked and rolled like they had found the holy grail among their household mugs.A track – a foot-stomping, sweat-spraying, brilliant song – turning up out of the blue after rumours have circulated for generations is the stuff of music industry legend because it’s as if the artist herself has been keeping it back, just for you. A gift when you thought there was nothing more to give.The Indiana Jones excitement of discovering a long-lost work of art makes our pulses quicken because it doesn’t just add to the canon of a musician or writer’s work – it takes us back to the first time we discovered that novelist, that film-maker, that painter.So when we hear of the discovery of a short story by Charlotte Brontë, we don’t care that it was written when she was a teenager without the finesse of the adult author; with its very existence, we travel back to when we first opened the pages of Jane Eyre and fell into a world of harsh schools, troubled romance and dark family secrets.And, in part, it’s because we have exhausted the canon that we know. How many times have Turner’s fans played Private Dancer? How many times have they analysed every chord change, every lyric? Enough to know them better than their composers.Now there is something new to explore, to daydream about in the park or while performing the ephemeral tasks of daily life.It doesn’t even have to be much good. If you fancy wading through the turgid weeds of the obscure tragedy Double Falsehood, be my guest. But when the Arden Shakespeare in 2010 attributed it in part to the Bard, suddenly aficionados were clamouring to read it and in 2011 a new production advertised it as the first professional staging of the play in more than two centuries. Reviews were, umm, mixed. Later that same year, the RSC produced a “reimagined” version of the tragedy with much fanfare under the title Cardenio.No, not even Shakespeare has a perfect record, but rediscovered works aren’t about the artistic quality of the piece – they’re about who we are and how we define ourselves: as fans of Turner or Brontë, devotees of Claude Monet or Alfred Hitchcock.In part, we want to find new pieces by these masters because we never really want closure. Nobody wants to leave the party. What we want is eternal companionship: we need that artist to always be at our side, creating riffs or characters who will entertain, comfort or speak to us.skip past newsletter promotionafter newsletter promotionWe latch on to the writers and film-makers who help us understand ourselves, so dreaming that there’s a sequel to Jane Eyre or a deleted scene from Apocalypse Now out there somewhere reassures us that there are a few more clues to help. That human factor, somehow, makes finding lost works an act of rebellion against the algorithmed, catalogued and datasetted world that now dominates music, books and film.Netflix and Spotify tell us what to watch of listen to. Something not in their hard drives reasserts our control. It feels like a miracle, and Spotify can’t commodify those. Yet.Yes, it’s a reminder that art can’t be controlled and can still be lost if we’re not too careful , and that would mean losing a few more of the threads that bind us across time and place: gens X, Y and Z; fans in Aberdeen and Alabama.No, blaring out Hot for You Baby isn’t just about the music. It’s about how Private Dancer mounted the greatest global comeback in rock history after Turner had been reduced to living on food stamps. How her raw, hot talent electrified stadiums when the spotlight was turned back on, how she astonished us then and still has that power now.Because playing or reading or watching a rediscovered work – something you are doing for the first time alongside thousands or millions of other fans around the world – makes you a part of something. A movement which nurtures that song or book just as much as the original producers or editors – even the original creators. A song unheard is a song unfinished. Gareth Rubin is the author of the new authorised Sherlock Holmes novel, Holmes and Moriarty

Gabriel Gatehouse: What Trump’s tech bros really want

What do the CEOs of America’s biggest tech companies expect to get from Trump’s second presidency, asks the host of The Coming Storm podcast
Let us start with the photo: Donald Trump, swearing the oath of office; immediately behind him, the three wealthiest men in America: Elon Musk, Jeff Bezos and Mark Zuckerberg.Slightly off to the right of frame, grimacing visibly, sat Joe Biden, the outgoing president who warned in his farewell address of a new oligarchy “taking shape in America of extreme wealth, power and influence, that literally threatens our entire democracy.”Let us dispense with the obvious: the forces of extreme wealth, power and influence have been embedded within the American system for decades. Their influence has grown under successive administrations, both Republican and Democrat. There is no secret to how it works: big donors give money to a candidate’s election campaign, often anonymously through super-PACs. In return these purveyors of ‘dark money’ gain privileged access to shape policy in their favour, presumably so they can make more money and pump some of that into the next electoral cycle.Donald Trump did not pioneer this arrangement. Indeed, Democratic presidential candidates have far outspent their Republican rivals in every election going back at least to Obama’s first victory in 2008. And yet, the image of those titans of Silicon Valley mingling with the Trump family at the inauguration on Monday seemed to signal a vibe-shift in America’s increasingly troubled democracy.Perhaps it was the brazenness of it, a sense that the mask had slipped or – more accurately – been ripped off, by a president whose first term ended in chaos and ignominy and whose improbable second coming appeared like a phoenix rising from the ashes of the old rule book.There they stood, the CEOs of America’s biggest tech companies, flaunting their fealty to a man whose wild belligerence they had each excoriated in the past. High ideals and principles were always just window dressing, this picture seemed to say. That is past. Time to stop pretending. Time to show the world what America is really made of: the naked projection of pure power, driven by vast amounts of money.What, then, do they expect to get from the deal, these men of already unimaginable wealth and power? More of the same? Or something different?Musk, Bezos and Zuckerberg are merely the most visible of the tech billionaires now entering Washington on Donald Trump’s coattails. There are others: Peter Thiel, the billionaire investor whose protégé, JD Vance, is now Vice President; David Sacks, appointed as Trump’s AI and crypto czar.Musk, Thiel and Sacks are members of a hyper-libertarian group known unofficially as the ‘PayPal mafia’, men who helped found the online payments startup in the late 1990s and who went on to shape the culture of Silicon Valley.   It is a culture shaped by a fervent belief that there is no problem that free markets and unregulated technology cannot solve; a culture infused by ideas that came from the world of science fiction.In those early, heady days at PayPal, one author was particularly influential. In 1992, Neal Stephenson had written a book called Snow Crash. Set in a post-federal United States, the novel depicts a world in which central government has collapsed; sovereignty has fragmented into ‘burbclaves’, franchised corporate statelets, ruled by CEOs who “control society because they have this semi-mystical ability to speak magic computer languages.” In 1999, Stephenson wrote another influential book, Cryptonomicon, in which a group of entrepreneurs set up an off-shore ‘data haven’ in order to put control of money beyond the reach of governments.At the time, Peter Thiel’s ambition for PayPal was to create a crypto currency of the kind outlined in Stephenson’s work (a decade before Bitcoin appeared.) On his desktop computer, Thiel kept a “world domination index”, a little box that would pop up on screen tracking how many users had signed up that day.But PayPal was not just about making money. It was also an explicitly political project. Thiel told a reporter he hoped putting money beyond the reach of governments and central banks would lead to “the erosion of the nation state.”PayPal never quite lived up to Thiel’s subversive dreams (though it made him, Musk and others a lot of money.) But Stephenson’s anarcho-capitalist vision of the future, of a world unencumbered by taxes or government regulations, continued to animate the Silicon Valley elite. (Stephenson coined the word ‘metaverse’ in 1992, when Mark Zuckerberg was still at primary school; in 1999 a then little-known tech entrepreneur named Jeff Bezos hired Stephenson to work at his space company, Blue Origin.)Fast forward a quarter of a century and Elon Musk is in charge of Trump’s new Department of Government Efficiency, or DOGE, whose remit is to reduce the reach of the federal government. Could Musk use DOGE to usher in the world of Snow Crash?Elon Musk spent a quarter of a billion dollars on Donald Trump’s election campaign. Trump comes into office with a mandate to take down America’s establishment elite. Some of the people he’s tasked with that mission are from what – until this week – might have been called the ‘anti-establishment elite’: Musk, Thiel, Sacks. But now that they’re in power, what distinguishes them from the elite they’re supposed to take down?This irony has not gone unnoticed. Steve Bannon, the populist architect of Trump 1.0, has been railing against the “oligarchs” of Silicon Valley, saying their aim is to impose “techno-feudalism on a global scale.” Bannon’s ire has been particularly focused on Elon Musk, whom he called a “truly evil guy,” telling an Italian newspaper he would have the Tesla CEO “run out of here by inauguration day”.So far, in the civil war between the populist wing of the Maga movement and the billionaire cuckoos-in-the-nest, the latter appear to be winning. At least according to the pictures from the inauguration: Musk is front and centre; Bannon is nowhere to be seen.There was another picture that caught the eye on 20 January, at a party later in the day: Elon Musk clapping his right palm over his heart, then thrusting his arm out in what some interpreted as a fascist salute. Musk dismissed the accusation as “dirty tricks”, adding: “The ‘everyone is Hitler’ attack is sooo tired.”It’s true, the ‘f’ word is over-used. Hannah Arendt defined fascism as the “temporary alliance between the mob and the elite.” Donald Trump’s tens of millions of supporters do not constitute a mob. But as we saw on 6 January four years ago, Trump and his populist allies are capable of inspiring one.People who voted for Donald Trump because they’re struggling to pay for rent and groceries and don’t trust the Democrats to change anything aren’t fascists. They see that the American political and economic system, in its current form, isn’t working for them. They’re angry. Some of them want to bring the system down. Some members of the PayPal mafia want the same, but for different reasons.If the alliance between Bannon-Maga and Musk-Maga survives, what might the future look like? A leaner, more slimmed-down federal government, with less corruption and less dysfunction? Or something more like the world of Stephenson’s imagination, an anarcho-capitalist’s utopia in which the CEO is king of his own fiefdom?