Investigative journalist discusses his new book about a ‘hacktivist’ collective

The Cult of the Dead Cow collective started in Texas in 1984.

Although its title sounds like a fitting name for a slaughterhouse, the group actually specialized in online hacking, said journalist Joseph Menn.

Menn investigated the history and mission of the multidecade hacking group in his new book, “Cult of the Dead Cow: How the Original Hacking Supergroup Might Just Save the World.” The Hammer Museum hosted a conversation to discuss the book Wednesday, featuring Menn and documentarian Brian Knappenberger, who made the film “We Are Legion: The Story of the Hactivists” about the international hackers Anonymous.

The conversation touched upon Cult of the Dead Cow’s social impact, but Menn particularly emphasized the very human narrative his book follows. Its plot consensually outed several of the group’s founding members to reveal an ensemble cast of oddball teenagers who went on to make a difference in protecting the consumer from tech companies, he said.

“In the very beginning, the unifying characteristic was that these were people who were going to extraordinary lengths to connect with their peers,” Menn said. “These guys are the liberal arts wing of the hacker underground and that is one of the reasons that they survived.”

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Members of Cult of the Dead Cow started by reaching out to one another through bulletin boards and by sending text files back and forth, Menn said, often connecting to discuss music or make satirical content. Over time, however, they joined forces with L0pht, a more technologically focused hacking group. Cult of the Dead Cow eventually developed its own conference called HoHoCon and began exploring deeper topics, such as a widely publicized stunt in which they exposed flaws in Microsoft’s security, he said.

Menn, who has been covering cybersecurity for 20 years, said that while his previous book, “Fatal System Error: The Hunt for the New Crime Lords Who Are Bringing Down the Internet,” had clear cut “good” investigative characters and “bad” criminals, it was far more challenging to weave a narrative about a diverse collective of hackers. His research into the group spanned three years, and he said the best way to trace the growth of Cult of the Dead Cow’s goals was through introducing characters, such as founder “Swamp Ratte,” at pivotal points.

“The group evolved multiple times,” Menn said. “In the beginning, these teenagers in Texas worked on the underground newspapers of the day (through dial-up bulletin boards), and for a variety of reasons, they ended up surviving into the web era. … I identified the core people involved in the leaps when the plot called for it.”

In addition to the chronological perspective, Menn said the book contains chapters on events related to the development of “hacktivism,” a now-common term coined by Cult of the Dead Cow itself. Hacktivism, Knappenberger said, is defined as using electronic systems or connected networks in order to make a political point. This involves “white hat” hacking, in which hackers like those in Cult of the Dead Cow expose companies’ security flaws and ultimately create a better world for the consumer, he said.

“Over their evolution, the Cult of the Dead Cow began to realize that what they’re fighting for is the user and when that mission was broadened in some people’s minds, it became about civil liberties online,” Knappenberger said. “It’s about rights of people not to be surveilled by their government. This is a movement.”

In the conversation, Knappenberger questioned Menn about his book’s intentions. The journalist said he wanted to take a positive perspective on the issues of cybersecurity. His intention was not to harp on criminal aspects of hacker groups, he said, but to highlight the achievements of hacktivists who have made a difference through their ingenuity and their willingness to push boundaries for the public good.

“Hackers are critical thinkers and critical thinking is at an all time low (currently). … I want to hold people up who have done important, helpful work to society by thinking hard and getting out of their depth at times,” Menn said.

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The conversation concluded with a question and answer portion that led to discussion regarding Julian Assange’s WikiLeaks story, as well as revelations about where previous group members have ended up today. Former member and attendee Adam O’Donnell spoke up during the Q&A to provide context. Attendees were even surprised by the fact Democratic presidential candidate Beto O’Rourke was a member of the hacktivist group in his youth under the pseudonym “Psychedelic Warlord.” Knappenberger reiterated how Cult of the Dead Cow, whose founders are now in various fields, sparked in-depth conversations about online security far before anyone else.

“This group that has always been on this balance between chaos and the most important discussions you can have in the modern age,” Knappenberger said.

Lili Raygoza, a graduate student in world arts and cultures/dance, said she just began reading Menn’s book and attended the event as a student interested in how technology influences education. Hacktivism in particular could empower younger people to explore the inequalities that are emerging from the internet and the broad influence of tech companies, she said.

“(We should be) thinking about (technology) critically … as we did the question portion of this discussion, thinking of the shortcomings and the biases encoded in these algorithms,” Raygoza said. “I was interested to learn more about how hacktivists are combating that and resisting those types of structural issues.”

Graduate student Menelik Tafari asked a question about the controversial “doxing” process employed by hackers, which involves publishing others’ private information with malicious intent. Public interest in hacktivism groups such as Cult of the Dead Cow will only increase as users become more aware of their own reliance on technology, he said.

They planned things out, they developed an actual strategy and their tactics reinforced it,” Tafari said. “We’re invariably going to have to talk about what tactics should we take as citizens in order to make sure we’re getting a fair shake in our society.”

Second Take: Black lead in ‘Little Mermaid’ remake brings welcome tide of representation

Looks like dreads are the new red.

“Grown-ish” actress Halle Bailey and her signature locks have been cast as Ariel in Disney’s live-action remake of the 1989 classic, “The Little Mermaid.”

The news of Bailey’s casting ran like wildfire across the internet after director Rob Marshall announced that Bailey, one half of the R&B sister duo Chloe x Halle, would star as the titular character. Though Bailey doesn’t have the fair skin, blue eyes or red hair traditionally associated with the role, Marshall said in a statement that she embodied all the character traits Ariel represents. He also added that her stellar singing voice, which has been honed by Beyoncé’s tutelage, made her casting an obvious choice.

However, not everyone shared Marshall’s enthusiasm. Social media became a podium for users to debate whether Ariel’s appearance is a necessary trait for her real-life counterpart. Many believe that changing Ariel’s appearance damages how viewers remember the original film – if Ariel is reimagined as a black woman, all of the memories made with her original likeness will become dissonant.

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Across the divide, many support the casting, as it promotes diversity in the franchise without hindering the story. Unlike “Mulan” and “Moana” – movies about princesses whose cultures are deeply integral to the plot – Ariel’s story is simply a romance between star-crossed lovers. In the eyes of Bailey’s supporters, being a black girl with dreads or a redheaded Dane has no effect on the story and its message.

Both sides have vocalized their own desires for the film, whether that be the preservation of a classic tale or the progression into a whole new, diverse world. While the argument regarding how Bailey’s casting could disrupt Ariel’s legacy is relatable, it is also irrelevant.

Ariel’s signature look and vocals might have captivated American audiences back in 1989, but today’s media – much like today’s Ariel – looks vastly different than that of the late ’80s. Disney has already made great strides to produce stories for today’s more diverse, forward-thinking audience by introducing the first Polynesian princess, LeFou’s homosexual innuendos in the 2017 remake of “Beauty and the Beast” and the first black lead to a Disney-produced Marvel film.

Choosing Bailey as the new Ariel is simply another effort on Disney’s part to cater to the fans who have been notoriously underrepresented in nearly a century’s worth of films.

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For those who feel as though their childhood will be ruined by seeing Bailey as the underwater princess instead of Madelaine Petsch or Holland Roden – two actresses that #NotMyAriel Twitter has called for – it is important to remember that there are several other white mermaids to reminisce upon. The teens of “H2O: Just Add Water” and “Aquamarine” instantly come to mind. Mera (Amber Heard) from “Aquaman” is even a redhead, if the hair is a must for their ideal version of a mermaid.

White children have clearly been able to relate to a number of mermaids growing up, so an underwater adventure featuring people of color is more than overdue.

It all boils down to this: Those who feel as though their nostalgic memories are being torn apart fail to contemplate whether little girls of color had the opportunity to make those memories in the first place. How many mermaids of color can be quickly brought to mind? For most, the answer is few to none. Diversity isn’t accomplished by simply putting more minorities on screen. It is accomplished by putting them in roles they are not traditionally seen in.

Bailey’s casting may seem unusual, but her voice and demeanor are gracefully Ariel in every way. Fans of Ariel should hold the character close to their hearts because of her sweetness and endearing curiosity – not just her pale skin. So, before claiming that she is “not your Ariel,” fans should decide whether their love for Ariel stems from her kindness and generosity, or if it is only skin deep.

Album review: ‘No.6 Collaborations Project’ shows off Ed Sheeran’s skills spanning genres

This post was updated July 15 at 10:12 a.m.

Ed Sheeran’s new album is as fiery as his ginger hair.

Sheeran’s fourth full-length release, “No.6 Collaborations Project,” dropped Friday and totes fifteen tracks – each one featuring a different artist. The release follows Sheeran’s 2011 EP fittingly titled, “No.5 Collaborations Project,” which includes 11 artists in addition to Sheeran across its eight tracks, but came before his worldwide fame. While Sheeran started by collaborating with lesser-known artists, his new album includes chart-topping names such as Travis Scott and Bruno Mars. Each track’s sound shifts and morphs across genres to best highlight the featured artists’ voices, showing that Sheeran is capable of branching beyond his typical acoustic love songs.

The opening track, “Beautiful People,” presents Khalid’s laid-back vocals alongside Sheeran’s soft singing as the album’s genre journey begins. The song creates a summertime feel as it unfolds, with echoing vocals and distorted synth sounds that beg to be blasted in a car with the windows down. Khalid’s easygoing style blends well with the softness of Sheeran’s voice as they unite to resist the negative effects fame can have on a person’s life and personality. The two insist on staying true to who they are as they sing, “We don’t fit in well ’cause we are just ourselves,” setting an uplifting tone for the album to follow.

Following the Spanish-inspired “South of the Boarder,” which includes contributions from Camila Cabello and Cardi B, the album takes a turn in a hip-hop direction. Chance the Rapper and PnB Rock lend their talents to the third track, “Cross Me.” Although Chance the Rapper’s verse features lyrics that could be considered cringe-worthy – “No one say hi to me without her/ Better pay your respect to the queen” – the song’s fast-paced synth beats alongside Sheeran’s high notes in the refrain make it lovable and endearing.

Although Sheeran plays with styles throughout the album, he remains true to his signature softer sound on a couple token tracks. “Best Part of Me” and “Way To Break My Heart,” featuring YEBBA and Skrillex respectively, are characteristic of Sheeran’s sensitive and slower hits. Guest appearances, however, breathe new life into what could have been a tried song structure. YEBBA’s voice adds a soulfulness that turns the cliche love song into something refreshing. The beats Skrillex adds into “Way To Break My Heart” turn the somber song on its head and keep it from becoming too melancholic for the LP’s overall upbeat feel.

Transitioning into yet another genre, the album’s sixth track “I Don’t Care” shows Sheeran taking on Justin Bieber’s pop style. While it is similar to other love-inspired songs throughout the album, the track’s fast tempo gives it a playful feel. Bieber’s ad-libbing toward the end of the track, combined with the clapping beat, results in a celebratory sound that is cheesy in its message, but enjoyable to sing along to.

Just as the album seems to take a stylistically pop direction, it takes a turn yet again. Travis Scott’s auto-tuned and bass-heavy sound gives “Antisocial” a dark and distant feel. The edgier sound is matched with equally edgy lyrics as Sheeran repeats “Don’t touch me” throughout the chorus. The track stands out among the positive songs that surround it, but once again adds an impressive variety to the sound and messages Sheeran is able to portray within a single album.

As the album draws to a close, tracks such as “Feels” and “Put It All On Me” begin to blend together due to the similarity in their beats and synth features. The R&B sound H.E.R. brings to “I Don’t Want Your Money” separates the recording from the songs around it, but does not compare to the final track.

“BLOW” picks the energy up, ending the LP with a bang. Sheeran’s newfound ’80s rock sound is something listeners have not heard in his past tracks. Chris Stapleton’s intense vocals mixed with the smoothness of Mars’ verse and Sheeran’s overall gritty vocals are topped with a sprinkling of grunge electric guitar solos. It is a track that will shock Sheeran’s devout fans, but is sure to please anyone with a soft spot for hard rock.

“No.6 Collaborations Project” shows every facet of sound that Ed Sheeran is capable of. A shift between rap, R&B and acoustic guitar within a single album could potentially feel disjointed. However, Sheeran is intentional in his mission to capture the distinct sound of each artist he works with, showing that he is capable of spanning all musical genres with his own work – even something as far from his wheelhouse as rock.

UC no longer has direct access to publications on Elsevier

This post was updated July 14 at 4:21 p.m.

The University of California lost access to the world’s largest scientific publisher Wednesday.

Elsevier, which provides access to over 2,500 journals, had been negotiating with the UC’s California Digital Library since early this year to provide UC students and researchers with access to its content.

While the contract between the UC and Elsevier ended Dec. 31, Elsevier continued to provide access to all UC campuses while it worked to form an agreement. As both organizations have been unable to find a solution, and the CDL hasn’t renewed its contract, Elsevier implemented CDL’s cancellation request, effective Wednesday.

Gemma Hersh, the senior vice president of global research solutions at Elsevier, said in an email statement that the cancellation will end a decades-long partnership between the company and the UC.

“It saddens us, because we believe it will have a negative impact on the UC’s renowned research community and because lack of our services will prevent UC students, faculty, researchers and medical professionals benefiting from reliable, real-time access to peer-reviewed, published research,” Hersh said.

The UC did not agree with Elsevier’s contract proposal, which would have placed new charges on top of the University’s current multimillion-dollar subscription while diminishing the UC’s rights to Elsevier content, according to an open statement published by the UC’s Office of Scholarly Communication on March 20.

“The University of California has taken a firm stand on both open access to publicly funded research and fiscal responsibility by deciding not to renew its journal subscriptions with Elsevier,” the UC-Elsevier negotiating team said in the statement.

University of California users of Elsevier downloaded around 11 million articles in 2018, which is approximately 30% of all downloads of all publishers, according to an email statement from Elsevier.

Ivy Anderson, director of collection development and management at CDL and co-chair of the UC’s negotiations team, said in an email statement that the UC hopes to enable all of its authors to publish their work as open access, in line with the University’s mission as a public institution.

“Elsevier, as one of the world’s largest academic publishers, was the first major publisher with which we sought to craft an innovative open access agreement,” Anderson said.

“Elsevier is also the most expensive publisher for UC, and we believe strongly that a transition to open access should not increase our costs; it is simply a change of business model for the same publishing service,” she added.

Anderson said Elsevier was unwilling to accept the UC’s proposal to transition all of its articles to open access without a large increase in cost, leading the UC to discontinue its agreement with the publisher.

Hersh said Elsevier had worked with CDL and extended access over the past six months in the hope that the two parties would reach a mutually beneficial compromise.

“We find it hard to believe this was about ‘open access,’” Hersh said. “Elsevier is already one of the world’s leading open access publishers and offered to support a five-fold increase in the number of UC open access articles published in its journals.”

The UC will continue to have access through Elsevier’s online platform to most articles that were published through the end of 2018 under the terms of previous contracts, Anderson said.

“There is a subset of journals, amounting to about 5% of previous usage, for which we will lose both historical as well as current access,” she said. “The Libraries have put a variety of mechanisms in place to help students, faculty and other UC researchers obtain any articles they need.”

She added that based on the experiences of other academic institutions that have taken similar actions, the UC believes the measures it has put in place will be sufficient to meet user demand for journals.

The UC is currently negotiating similar agreements with other publishers, Anderson said. She added CDL recently signed a transformative open access agreement with Cambridge University Press, which is the same type of agreement the UC was seeking with Elsevier.

“We’re quite excited about this new partnership with Cambridge, which will allow any UC corresponding author to publish their Cambridge articles with open access,” Anderson said. “We’re in similar discussions with a number of other publishers and hope to be able to announce additional agreements before the end of the calendar year.”

Mohammad Kachuee, a doctoral student in computer science, said he thinks the number of high-quality papers Elsevier has in computer science is very low and added he thinks the UC’s loss of access to Elsevier papers will have a minimal impact on his own research.

“I mean Elsevier is not, you know, (an) important source for our major,” Kachuee said. “I search for an Elsevier paper, open it up and mostly it’s not good. There are good papers, but it’s very rare.”

Kachuee said he thinks other publishers, such as The Institute of Electrical and Electronics Engineers and the Association for Computing Machinery, provide better services than Elsevier.

“The editorial service (Elsevier) offers, like reviewing papers (and) editing papers, is nothing compared to the IEEE or ACM (or) other publishers because Elsevier is mostly concerned about making money,” he said. “It’s not like, you know, some society contributing towards science. … Elsevier is just a publisher trying to sell more.”

Hersh said Elsevier still hopes to resume negotiations with CDL.

“We believe we can find a pragmatic way forward if there is will and engagement from both sides,” Hersh said.

Anderson said the UC is ready to reopen negotiations when it sees more progress toward its goals. She added the UC hopes Elsevier will recognize the opportunities of open access.

“Open access offers great promise to democratize access to knowledge, speed scientific advances, and accelerate innovation, for the benefit of California’s citizens and the world at large,” Anderson said. “UC is at the forefront of these developments – it’s an exciting time to be working in this arena.”

UCLA celebrates at the ESPYS with gymnast Katelyn Ohashi taking home 2 awards

This post was updated July 11 at 2:47 p.m.

Katelyn Ohashi’s viral floor routine earned 117 million views, a perfect 10 and now, two ESPYS.

The former UCLA gymnast’s Jan. 12 floor routine secured two awards at the 2019 ESPYS on Wednesday night at the Microsoft Theater in Los Angeles. Her performance bested a diving track athlete, a 7-year-old sprinter and a baseball-playing nun for Best Viral Sports Moment before taking home the award for Best Play later in the night.

“Not very many women took home awards last night,” Ohashi said. “It’s great to see how my routine was noticed by the people. I was talking before about beating Kawhi Leonard, an athlete I’ve looked up to for such a long time – it’s just crazy.”

Ohashi’s routine was the No. 5 seed in the Best Play fan vote bracket, and it took down a Texas A&M track and field photo finish – as well as a Wayne Rooney game-winning tackle and assist – to become a finalist. On Wednesday, Ohashi beat out a 99-yard touchdown, a series-winning buzzer-beater and a walk-off hook-and-ladder.

As her acceptance speech for Best Play, Ohashi recited a rhyming, spoken-word poem in the spirit of her upcoming book.

“I definitely want to continue doing speaking engagements,” Ohashi said. “I have an all-activism, poetry book coming out soon, too. I love inspiring people by speaking and writing.”

UCLA softball rising redshirt senior Rachel Garcia was nominated for Best College Athlete, but the honor ultimately went to Duke men’s basketball forward Zion Williamson.

Rising junior utility Kinsley Washington’s championship-clinching walk-off was one of the 16 other moments nominated for Best Play, but it was eliminated from contention prior to Wednesday night’s show.

Washington said the stage is larger than ever for women to be front and center in sports.

“It’s great to see the ESPYS recognizing female athletes’ accomplishments throughout their seasons and careers,” Washington said. “Especially with what the (U.S.) Women’s (Soccer) National Team is doing winning the World Cup – how they’re advocating for equal pay, fighting for what they believe in – it’s really inspiring for female athletes everywhere.”

Ohashi said having three female athletes representing UCLA was special because of the greater visibility it gave women’s athletics, but pointed out Garcia’s loss as an example of how much ground there is still left to cover.

“Women in sports are so overlooked,” Ohashi said. “You could even tell with some of the ESPYS nominations, seeing the voting percentages on Twitter for Best College Athlete on Twitter for (Garcia) at 7% versus players like (Williamson) and (Kyler Murray) getting 60 and 30%.”

Garcia turned in a 29-1 record and 1.14 ERA from the circle – along with a .343 average and 11 home runs at the dish – in her redshirt junior season. She also took home the Women’s College World Series Most Outstanding Player award after pitching in every game and launching a 10th-inning walk-off home run to send the Bruins to the finals.

Between her regular season, postseason and intersport accolades, Garcia said the past few months have been a whirlwind.

“All of it is crazy because I really haven’t had time to take anything in,” Garcia said. “I’m just so thankful for all softball has given me – representing UCLA and Team USA – and now this.”

City of stars

The trio of women weren’t the only Bruins at the ESPYS, however.

Just hours after the USWNT wrapped up its Women’s World Cup championship parade through Manhattan, the team – featuring former Bruins Mallory Pugh, Samantha Mewis, Abby Dahlkemper and coach Jill Ellis – made it to the ESPYS in time to win Best Team.

At the preceding red carpet, former UCLA men’s basketball big man Bill Walton praised Bill Russell, who received the Arthur Ashe Courage Award – named after the UCLA alumnus and International Tennis Hall of Famer.

Washington said Tuesday she was excited to witness moments like those first hand.

“One of the things I am looking forward to most is seeing the athletes,” Washington said. “The athletes that are always on TV all the time, seeing them in-person and interacting will be awesome. I really can’t wait to just be there and have fun.”

 

Court of Sciences Student Center identified as possible site of measles exposure

The Court of Sciences Student Center was identified as a possible measles exposure site after a UCLA employee was confirmed to have contracted the disease, according to a campuswide email sent by Administrative Vice Chancellor Michael Beck on Tuesday.

The Los Angeles County Department of Public Health informed UCLA of the infected employee Monday.

The employee ate at a fast-food restaurant in the Court of Sciences Student Center on July 2 and 3 while contagious, according to the email.

Anyone who visited the Court of Sciences Student Center between 9 a.m. and 11:30 a.m. on July 2 and 3 is advised to verify immunization records and contact medical centers on campus, such as the Arthur Ashe Student Health and Wellness Center, if a student and UCLA Occupational Health Services if an employee.

UCLA also identified several coworkers of the infected employee who may have been exposed. UCLA Occupational Health is currently verifying vaccination records for those employees.

There is no known current risk related to measles at the Court of Sciences Student Center at this time. This case is not related to the previous measles exposure at UCLA, according to a LADPH press release.

This is the 12th case of measles for residents of Los Angeles County this year. Most of the individuals who contracted the disease were unvaccinated, according to the press release.

Measles symptoms include fever, cough, runny nose and rash and typically occur 10 to 21 days after initial exposure, according to the press release.