State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

1:00 pm 7:00 pm

Current show
blank

State Champ Radio Mix

1:00 pm 7:00 pm


tech

Page: 36

HipHopWired Featured Video

Source: NurPhoto / Getty / X / Twitter
Elon Musk’s struggling social media platform, X, formerly known as Twitter, suffered another blackout, and he has nothing to say.
Spotted on Deadline, the sinking ship we all used to love suffered a major blackout on Wednesday night, just before 10 pm PT, according to Downdetector.

Users were greeted by a dormant site with no feeds or posts working and a ‘Welcome To X” greeting with a “Let’s Go” action button that took them nowhere, according to Deadline.
But, at the time of the blackout, #MyTwitter, #NotTwitter, Did Elon, and #TwitterDown were all trending, hilariously.
X began working again around 11 pm PT, but no explanation was provided by the social platform or its owner, who is usually very active regarding his platform.
If you search his timeline, the only thing you will see referencing X is him sharing a quote in a post claiming that “X/Twitter site traffic up 22.3% Year over Year from November 2022-2023,” with him writing in the caption “Growth is strong.”

A Breakdown of Elon Musk’s Fumbling
X has been dying slowly since Elon Musk reluctantly purchased it for $44 billion. Since then, he has put on a masterclass showing everyone how to ruin a company and lose billions successfully.
He stupidly changed the name from Twitter to X, with many still calling it Twitter. He’s seemingly cosigned an antisemitic conspiracy theory on X, leading to companies pulling advertising dollars from the platform.
Musk double-downed on his stubbornness by taking a dig at those advertisers, leading to IBM to say we are good with advertising on X.
In another head-scratching decision, Phony Stark reinstated far-right Hulk Hogan, Alex Jones’ account. 
We have no idea how much longer this platform will continue to function, y’all better start getting those Instagram Threads and TikTok accounts popping as soon as possible.

Photo: NurPhoto / Getty

HipHopWired Featured Video

Source: SOPA Images / Getty / PS5
When it comes to moving consoles, Sony remains king.
Sony has a lot to be happy about. Roughly three years after its release, the popularity of the PS5 console remains high, and according to Reuters, the company has reportedly sold over 50 million units.

The Japanese tech giant also says it has the best-ever Black Friday period for the video game console.
Per Reuters reporting, Sony expects to finish the year on a high note thanks to a strong holiday performance, putting the company on pace to reach its sales target of a record 25 million units to close out the current financial year ending March 31.

Eric Lempel, senior vice president for global marketing, sales, and business operations at Sony Interactive Entertainment, said, “Given the momentum we’ve had in November and a lot of what we’re seeing in December, just in general, we’re feeling very good about sales overall.”
Remember that this number could have been higher, but PS5 sales were hampered due to supply chain issues when the console first hit the market.
Still, despite that, you can expect to see a PS5 in a home thanks to a solid first-party game lineup with games like God of War: Ragnarok and, most recently, Insomniac Games’ Marvel’s Spider-Man 2.
Xbox & Nintendo Are Not Seeing The Same Success With Its Consoles
The outlook isn’t so rosy for the PS5’s direct competitors, Microsoft’s Xbox Series S | X and the Nintendo Switch.
IGN reports the Xbox sales have hit a snag. According to the website, PS5 sales are up “65% to 22.5 million units,” while Xbox’s sales took a dip to “about 15% to 7.6 million.”
The Nintendo Switch, which at one point was impossible to find on shelves during the pandemic, has fallen nearly 20%.
We are curious to see if Sony can continue its dominance in the gaming space in 2024.

Photo: SOPA Images / Getty

HipHopWired Featured Video

Source: Axelle/Bauer-Griffin / Getty / Zack Snyder
Zack Snyder is currently building a Star Wars-like world with his Rebel Moon franchise, but that’s not stopping him from looking toward the future and wanting to make a movie out of his favorite video game, Fortnite.

The architect of the now-dead DCEU is a huge fan of Fortnite, and who can blame him? The game is highly addictive, and its latest updates have injected new life into the video game.

During a recent interview for his new film Rebel Moon,   which critics lambasted by critics, Snyder was asked about the prospect of directing a Fortnite movie.
“I mean, of course,” Snyder told the interviewer, who asked if he ever “want to combine” his passion for filmmaking and playing the addictive video game.
Snyder even noted his valiant attempt to get free skins based on his Rebel Moon characters into the game.
“Look, Fortnite is an amazing world, and it is an amazing distraction for me,” Snyder said. “It’s really cool, and the alchemy that they’ve created there is really unique. When I started playing it, I thought I knew what it was, and then it was something entirely different.”
He continued, “You definitely don’t know. You definitely can never say never. That’s my mantra in this business.”

Consider us intrigued at the thought of a Snyder-esque Fortnite universe, full of his love for slow-motion shots and intense action.
But please, Zack, we know you love to make things rather dark, and Fortnite is far from that. We don’t need another DECU/Snydevers situation here.
Lighten it up a bit, and have some fun. Fortnite is a goofy game that makes it possible for hulky Peter Griffin and Optimus Prime to face off against each other.

Photo: Axelle/Bauer-Griffin / Getty

HipHopWired Featured Video

CLOSE

Source: Insomniac Games / Marvel’s Wolverine
Hacks are wack… PERIOD. The gaming community is rallying around Insomniac Games after files were stolen from their highly anticipated Marvel’s Wolverine game and other highly-sensitive information hit the web.
Full disclaimer: HHW Gaming stands in solidarity with Insomniac Games and other game studios and will not share any links to stolen material.
With that out of the way, leading up to last night’s unfortunate events, Rhysida, a ransomware group, demanded $2.3 million from Insomniac Games, the studio behind PlayStation-exclusive titles like Ratchet & Clank: Rift Apart, Marvel’s Spider-Man 2, Miles Morales and more.
According to Cyber Daily, after Insomniac Games did not meet Rhysida’s ridiculous demands, the ransomware group leaked 1.67 terabytes of data comprising over 1.3 million stolen files.
The files included level design and character information from Marvel’s Wolverine. Internal company presentations leaked Insomniac Games and Sony’s unannounced games like Marvel’s Spider-Man 3, Venom, an X-Men game, and, unsurprisingly, a new Ratchet & Clank game.
There were also screenshots of internal spreadsheets with other information on development and budgets.
The leak of the Insomniac Games employee’s personal information made this hack even more egregious.
Insomniac Games joined the growing list of other game studios that also experienced hacks. Rockstar Games saw early development footage of GTA 6 leak, Cyberpunk 2077, and The Witcher: Wild Hunt developer CD Projekt Red, Bandai Namco, and Riot Games.
The Gaming Community Denounced The Hacks On Social Media
While thirsty folks eager to feast their eyes on Insomniac’s Wolverine game circled the stolen material like hungry vultures on rotting flesh, the gaming community rallied around the studio to denounce the leaks.
“Leaks are scary, frustrating, damaging and often happen without consent or any planning,” one user on X, formerly Twitter, wrote.
“Our sympathies to @insomniacgames and all the affected team members. After all the effort and dedication they have poured into their games, they didn’t deserve this. No one does. The hackers also leaked employee’s personal information, which is truly disgraceful and shameful,” Alan Wake 2 developer Remedy wrote on its official X account. 

Add us to the list of people who feel for Insomniac Games and all of the other studios who were victims of bored losers who had nothing better to do with their computer skills.
You can see more reactions in the gallery below.

Photo: Insomniac Games / Marvel’s Wolverine

The European Union is looking into whether Elon Musk’s online platform X breached tough new social media regulations in the first such investigation since the rules designed to make online content less toxic took effect.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“Today we open formal infringement proceedings against @X” under the Digital Services Act, European Commissioner Thierry Breton said Monday in a post on the platform formerly known as Twitter.

“The Commission will now investigate X’s systems and policies related to certain suspected infringements,” spokesman Johannes Bahrke told a press briefing in Brussels. “It does not prejudge the outcome of the investigation.”

The investigation will look into whether X failed to do enough to curb the spread of illegal content and whether measures to combat ” information manipulation,” especially through its crowd-sourced Community Notes fact-checking feature, were effective.

The 27-nation EU also will examine whether X was transparent enough with researchers and will look into suspicions that its user interface, including for its blue check subscription service, has a “deceptive design.”

“X remains committed to complying with the Digital Services Act, and is cooperating with the regulatory process,” the company said in a statement. “It is important that this process remains free of political influence and follows the law. X is focused on creating a safe and inclusive environment for all users on our platform, while protecting freedom of expression, and we will continue to work tirelessly towards this goal.”

A raft of big tech companies faced a stricter scrutiny after the EU’s Digital Services Act took effect earlier this year, threatening penalties of up to 6% of their global revenue — which could amount to billions — or even a ban from the EU.

The DSA is a set of far-reaching rules designed to keep users safe online and stop the spread of harmful content that’s either illegal — such as child sexual abuse or terrorism content — or violates a platform’s terms of service, such as promotion of genocide or anorexia.

The EU has already called out X as the worst place online for fake news, and officials have exhorted owner Musk, who bought the platform a year ago, to do more to clean it up. The European Commission, the EU’s executive arm, quizzed X over its handling of hate speech, misinformation and violent terrorist content related to the Israel-Hamas war after the conflict erupted.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Staring at a screen for long periods of time have become the norm for most of us — especially if your […]

Universal Music Group (UMG) announced the launch of Beat Galaxy, a new “music hub” on Roblox, the popular gaming platform that boasted more than 66 million daily active users as of March 2023. 
Beat Galaxy includes a rhythm game component — the subgenre of games devoted to interacting with music — set to tracks from UMG artists as well as a future venue for virtual concerts, according to a press release.

“Beat Galaxy creates a next-generation music discovery experience on Roblox that not only provides an opportunity for a fun social gameplay, but creates true utility for music discovery beyond the algorithm in a community-driven way,” Yonatan Raz-Fridman, founder/CEO of Supersocial, said in a statement. (Supersocial makes games for Roblox.)

In recent years, the music industry has been increasingly interested in tapping into the gaming audience, which is massive, youthful and scattered around the globe. In 2021, the analytics company Midia Research called gamers “the new frontier of music’s fan-centric growth.”

That’s in part because there are plenty of statistics suggesting that gamers are actively interested in music. In 2022, the IFPI reported that 44% of gamers watched a virtual music concert on a gaming platform in the last three months. “42% of Gen Z gamers listen to other music while gaming,” according to a Deloitte study, “and 34% hear music in a game and then look it up online to stream or buy.”

In the case of Roblox, which grew rapidly during the pandemic, music industry interest has resulted in a steady stream of partnership announcements. A smattering from the last 19 months: Spotify teamed up with Roblox on a virtual music island, Elton John created his own virtual experience, Warner Music Group launched Rhythm City (a “music-themed social roleplay experience”) and the K-Pop group TWICE dove into the (virtual) fray. On Dec. 8, Cher announced a four-week Roblox event to promote her new Christmas album. 

Alvaro G. Velilla, senior vp of new business at UMG, described Beat Galaxy as “a living, breathing music experience.”

“Alongside Supersocial,” he added, “we believe that we’ve created the go-to music getaway on Roblox.”

The first UMG artist to partner with Beat Galaxy is YUNGBLUD.

Austin-based booking and live music management software company Prism.FM has secured $5 million in Series B funding, the company announced.
Andrew Lindner, founding partner of Frontier Growth, led the effort, personally investing $1.55 million through a syndicate investment pool with Connor Ryan and other members of Frontier Growth’s ecosystem. Existing investors also participated in the round including Stephen Cook, Jay Jensen, Kip Mclanahan, Advantage Capital, Rich Arnesen and more.

The new capital will be invested in product, engineering, and go-to-market strategy for the industry leading platform that brings venues, agencies, and promoters together in one system. Prism’s CEO and founder Matt Ford says that Prism has already been used to plan hundreds of thousands of shows at over 10,000 venues worldwide.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“We have seen unprecedented growth after supporting the live music industry during the pandemic,” says Ford, chief executive officer at Prism. “We saw the music industry nearly collapse and were fortunate to be in a position to help. We were one of the first funders of NIVA, continued investing in our product, and worked out payment arrangements with customers who were struggling. We will continue to stand with the industry and grow our product to help live music thrive.”

In addition to unprecedented growth in the talent buying ecosystem, Prism has also found significant traction in new market segments like touring promoters, performing arts centers, and Broadway presenters.

Lindner also recently made a $30 million investment in live music software platform at Venu, through Frontier Growth.

“Matt and I have a shared passion for the music industry,” says Lindner. “It’s an industry that is rapidly evolving and adopting technology at an accelerating pace. The Prism team has shown a deep commitment to supporting live music and have a real connection with their end users. Their platform gives promoters and independent venue operators a better way to manage the critical function of talent acquisition.”

Ford has launched multiple software companies servicing the live music industry, such as spotlight.fm and Solstice. He has also started and ran a concert promoter business, organizing an annual festival and booking thousands of shows annually at various venues in Austin, Texas.

HipHopWired Featured Video

CLOSE

Source: FREDERIC J. BROWN / Getty / E3
The zombie that was E3 finally got the blow to the head to keep it from returning. The Electronic Entertainment Expo announced via X, formerly Twitter, that it has run out of extra lives for the convention.
The great Gene Park at the Washington Post broke the story before E3 confirmed the sad news that the beloved convention born in 1995 will not return.
“After more than two decades of hosting an event that has served as a central showcase for the U.S. and global video game industry, the Entertainment Software Association (ESA) has decided to bring E3 to a close,” the Electron Entertainment Expo said in a statement. “ESA remains focused on advocating for ESA member companies and the industry workforce who fuel positive cultural and economic impact every day.”

In a post on X, E3 wrote, “After more than two decades of E3, each one bigger than the last, the time has come to say goodbye. Thanks for the memories.”

The once popular gaming convention has been on life support since COVID came through and shut down the in-person video game convention in 2020. The ESA tried to hand on for dear life with a virtual convention in June 2021 that everyone agreed was a mess.
The ESA did make a valiant attempt to bring the in-person convention back but failed in 2022 and 2023 due to the conference failing to attract exhibitors.
Before the then-raging pandemic officially killed E3, the convention was dying slowly. Game Awards founder Geoff Keighley, who claims he was at every E3 since its exception, pretty much assisted in taking down E3 by founding Summer Game Fest in 2020.
The last time there was an in-person E3 event, only 66,100 people came out.
Gamers Are Sharing E3 Memories
With the announcement, gamers and people in the gaming industry have shared their fondest memories while saying goodbye to the convention.
“I understand why this happened, but it’s heartbreaking all the same. E3 was like Christmas for gamers and having all the conferences take place in one week was such a treat. So many good memories spanning so many years. Thanks for everything, E3,” Sony Santa Monica writer Alana Pearce said on X.

“E3 has had a huge significance in my life,” Spawn On Me founder Kahlief Adams wrote in a post on X.

What a sad day for the gaming world. Attending E3 was a dream for me, and I was close to achieving it, only to learn this year’s convention was canceled.
So long E3.
You can see more reactions in the gallery below.

Photo: FREDERIC J. BROWN / Getty

A federal court jury has decided that Google’s Android app store has been protected by anticompetitive barriers that have damaged smartphone consumers and software developers, dealing a blow to a major pillar of a technology empire.
The unanimous verdict reached Monday came after just three hours of deliberation following a four-week trial revolving around a lucrative payment system within Google’s Play Store. The store is the main place where hundreds of millions of people around the world download and install apps that work on smartphones powered by Google’s Android software.

Epic Games, the maker of the popular Fortnite video game, filed a lawsuit against Google three years ago, alleging that the internet search giant has been abusing its power to shield its Play Store from competition in order to protect a gold mine that makes billions of dollars annually. Just as Apple does for its iPhone app store, Google collects a commission ranging from 15% to 30% on digital transactions completed within apps.

Apple prevailed in a similar case that Epic brought against the iPhone app store. But that 2021 trial was decided by a federal judge in a ruling that is under appeal at the U.S. Supreme Court.

The nine-person jury in the Play Store case apparently saw things through a different lens, even though Google technically allows Android apps to be downloaded from different stores — an option that Apple prohibits on the iPhone.

Just before the Play Store trial started, Google sought to avoid having a jury determine the outcome, only to have its request rejected by U.S. District Judge James Donato. Now it will be up to Donato to determine what steps Google will have to take to unwind its illegal behavior in the Play Store. The judge indicated he will hold hearings on the issue during the second week of January.

Epic CEO Tim Sweeney broke into a wide grin after the verdict was read and slapped his lawyers on the back and also shook the hand of a Google attorney, whom he thanked for his professional attitude during the proceedings.

“Victory over Google!” Sweeney wrote in a post on X, the platform formerly known as Twitter. In a company post, Epic hailed the verdict as “a win for all app developers and consumers around the world.”

Google plans to appeal the verdict, according to a statement from Wilson White, the company’s vice president of government affairs and public policy.

“Android and Google Play provide more choice and openness than any other major mobile platform,” White said.

Depending on how the judge enforces the jury’s verdict, Google could lose billions of dollars in annual profit generated from its Play Store commissions. The company’s main source of revenue — digital advertising tied mostly to its search engine, Gmail and other services — won’t be directly affected by the trial’s outcome.

The jury reached its decision after listening to two hours of closing arguments from the lawyers on the opposing sides of the case.

Epic lawyer Gary Bornstein depicted Google as a ruthless bully that deploys a “bribe and block” strategy to discourage competition against its Play Store for Android apps. Google lawyer Jonathan Kravis attacked Epic as a self-interested game maker trying to use the courts to save itself money while undermining an ecosystem that has spawned billions of Android smartphones to compete against Apple and its iPhone.

Much of the lawyers’ dueling arguments touched upon the testimony from a litany of witnesses who came to court during the trial.

The key witnesses included Google CEO Sundar Pichai, who sometimes seemed like a professor explaining complex topics while standing behind a lectern because of a health issue, and Sweeney, who painted himself as a video game lover on a mission to take down a greedy tech titan.

In his closing argument for Epic, Bornstein railed against Google for exploiting its power over the Android software in a way that “has led to higher prices for developers and consumers, as well as less innovation and quality.”

Google has staunchly defended the commissions as a way to help recoup the more than $40 billion that it has poured into building into the Android software that it has been giving away since 2007 to manufacturers to compete against the iPhone.

“Android phones cannot compete against the iPhone without a great app store on them,” Kravis asserted in his closing argument. “The competition between the app stores is tied to the competition between the phones.”

But Bornstein ridiculed the notion of Google and Android competing against Apple and its incompatible iPhone software system. “Apple is not the ‘get out of jail for free’ card that Google wants it to be,” Bornstein told the jury.

Google also pointed to rival Android app stores such as the one that Samsung installs on its popular smartphones as evidence of a free market. Combined with the rival app stores pre-installed on devices made by other companies, more than 60% of Android phones offer alternative outlets for Android apps.

Epic, though, presented evidence asserting the notion that Google welcomes competition as a pretense, citing the hundreds of billions of dollars it has doled out to companies, such as game maker Activision Blizzard, to discourage them from opening rival app stores. Besides making these payments, Bornstein also urged the jury to consider the Google “scare screens” that pop up, warning consumers of potential security threats when they try to download Android apps from some of the alternatives to the Play Store.

“These are classic anticompetitive strategies used by dominant firms to protect their monopolies,” Bornstein said.

Google’s empire could be further undermined by another major antitrust trial in Washington that will be decided by a federal judge after hearing final arguments in May. That trial has cast a spotlight on Google’s cozy relationship with Apple in online search, the technology that turned Google into a household word a few years after two former Stanford University graduate students started the company in a Silicon Valley garage in 1998.