An anonymous reader quotes a report from 404 Media: Mikey Shulman, the CEO and founder of the AI music generator company Suno AI, thinks people don't enjoy making music. "We didn't just want to build a company that makes the current crop of creators 10 percent faster or makes it 10 percent easier to make music. If you want to impact the way a billion people experience music you have to build something for a billion people," Shulman said on the 20VC podcast. "And so that is first and foremost giving everybody the joys of creating music and this is a huge departure from how it is now. It's not really enjoyable to make music now [...] It takes a lot of time, it takes a lot of practice, you need to get really good at an instrument or really good at a piece of production software. I think the majority of people don't enjoy the majority of the time they spend making music."

Suno AI works like other popular generative AI tools, allowing users to generate music by writing text prompts describing the kind of music they want to hear. Also like many other generative AI tools, Suno was trained on heaps of copyrighted music it fed into its training dataset without consent, a practice Suno is currently being sued for by the recording industry. In the interview, Shulman says he's disappointed that the recording industry is suing his company because he believes Suno and other similar AI music generators will ultimately allow more people to make and enjoy music, which will only grow the audience and industry, benefiting everyone. That may end up being true, and could be compared to the history of electronic music, digital production tools, or any other technology that allowed more people to make more music.

Delta Air Lines has partnered with YouTube to provide ad-free YouTube Premium and YouTube Music to SkyMiles members on flights. "The deal includes a selection of curated content from key YouTube creators," notes Variety. The airline also said it would upgrade its fleet with better Wi-Fi and 4K HDR QLED displays, alongside AI-driven enhancements like a personal assistant on the Fly Delta app to improve travel experiences. From the report: Delta executives announced the YouTube deal and other flight-experience enhancements to its Delta Sync platform as the aviation giant gave an expansive presentation Tuesday evening at the Sphere in Las Vegas, in connection with the Consumer Electronics Show. Delta touted plans to mark the company's 100th anniversary this year, noting that it is the first airline to reach the centennial mark.

It's also no surprise that Delta is leaning hard into AI tech. The company hopes its Delta Concierge AI-powered personal assistant feature that is rolling out this year on its Fly Delta app will make strides in improving the overall customer experience. The goal is that with repeated use the Concierge tool will come to anticipate individual consumers' needs and help them streamline the logistics of travel -- or what Delta dubbed "contextualized guidance" on everything from departure gates to baggage claim details to alerting travelers to weather conditions at their destinations. [...]

Mary Ellen Coe, chief business officer of YouTube, emphasized that the ad-free YouTube offering will allow viewers to access streaming content as well as podcasts and music. She also asserted that consumers are increasingly gathering travel tips and inspiration through YouTube creators. "Creators are producing the must-see TV of today," Coe said.

An anonymous reader shares a report: As music sales and streaming revenue reaches a high of $3 billion -- the highest since 2001, not accounting for significant inflation -- the UK video game market, which has grown almost continually for decades, has shrunk by 4.4%. The most significant decline was in boxed video game sales, down 35%.

Data from Digital Entertainment and Retail Association (ERA) puts the total worth of the UK video game market in 2024 at $5.7 billion, double the music market and behind TV and movies at $6.2 billion. The numbers show a shift in players' purchasing habits that has been ongoing for years, from physical games to digital downloads and in-game purchases in popular, established games such as Fortnite and Roblox. Boxed games now account for 27.7% of new game sales in the UK, according to ERA data.

An anonymous reader quotes a report from Wired: Laptop screens can feel cramped. But what if you could magically get more real estate without having to carry around a portable monitor? That's precisely the purpose of Lenovo's ThinkBook Plus Gen 6 Rollable AI PC -- yes, rollable. It has an OLED display that, with the push of a button, extends the 14-inch screen upward to make for an awkward aspect ratio, but roughly doubles the screen space to 16.7 inches. Two screens are better than one for productivity, but what if one screen could be two but still one? Yes.

It plays a fun animation and some music when it does its rolling thing. You can also activate the rolling action with a palm gesture; once it scans your palm, shift it up or down to raise or lower the screen. (Pressing the button on the keyboard is way faster.) You can take advantage of Windows 11 window snapping features to put apps one on top of the other. I stacked two browser windows, but you can put other apps below too. Considering I'm already that guy who brings a spare portable monitor everywhere, this just seems like a more elegant solution that takes up less space in my bag. And of course, anyone can take advantage of the long aspect ratio to get a better look at documents, PDFs, and web pages.

Lenovo says it has tested the rolling function 30,000 times, and it has performed without flaws, so you can rest a little easier about reliability, though repairing this machine sounds like it will be a task. The whole laptop doesn't feel significantly different from a normal machine, weighing just 3.7 pounds -- that's 1 pound less than the 16-inch MacBook Pro. However, walking with your laptop open in your hand might be weird, as it feels a little top heavy. When closed, it's 19.9 mm thin -- the 16-inch MacBook Pro is 15.4 mm, so Lenovo's machine is thicker, but not as thick as a gaming laptop. Lenovo published a concept video on YouTube.

Samsung and Google are introducing Eclipsa Audio, an open-source 3D audio standard set to debut on select YouTube videos and Samsung's 2025 TVs and soundbars. The new format "could eventually serve as a free alternative to Dolby Atmos, the dominant 3D audio format that hardware makers like Samsung pay to license for TVs and other equipment," reports The Verge. "Samsung says that similar to Atmos, this audio format supports adjusting 'audio data such as the location and intensity of sounds, along with spatial reflections' to create a 3D experience." From the report: The two companies first announced a partnership to develop spatial audio technology in 2023, initially calling it Immersive Audio Model and Formats (IAMF). At the time, Samsung spatial audio head WooHyun Nam said the format would provide "a complete open-source framework for 3D audio, from creation to delivery and playback."

The IAMF spec has also been adopted by the Alliance for Open Media, a group that has been pushing for royalty-free codec support since 2015 and counts companies like Amazon, Apple, Microsoft, and Netflix -- along with Samsung and Google -- among its members. If they also add support for this audio format, it could help it catch on, although it's already taken years for their AV1 video codec to see more use. Samsung and Google are also creating a certification program with the Telecommunications Technology Association "to ensure consistent audio quality" across devices using the format, which also sounds similar to the way companies like Dolby and THX manage the labeling for their specs.

An anonymous reader quotes a report from the Hollywood Reporter: A trio of major music publishers suing Anthropic over the use of lyrics to train its AI system have reached a deal with the Amazon-backed company to resolve some parts of a pending preliminary injunction. U.S. District Judge Eumi Lee on Thursday signed off on an agreement between the two sides mandating Anthropic to maintain existing guardrails that prevent its Claude AI chatbot from providing lyrics to songs owned by the publishers or create new song lyrics based on the copyrighted material.

In a statement, Anthropic said Claude "isn't designed to be used for copyright infringement, and we have numerous processes in place designed to prevent such infringement." It added, "Our decision to enter into this stipulation is consistent with those priorities. We continue to look forward to showing that, consistent with existing copyright law, using potentially copyrighted material in the training of generative AI models is a quintessential fair use." [...] Under the agreement, Anthropic will apply already-implemented guardrails in the training of new AI systems. The deal also provides an avenue for music publishers to intervene if the guardrails aren't working as intended.

"Publishers may notify Anthropic in writing that its Guardrails are not effectively preventing output that reproduces, distributes, or displays, in whole or in part, the lyrics to compositions owned or controlled by Publishers, or creates derivative works based on those compositions," the filing states. "Anthropic will respond to Publishers expeditiously and undertake an investigation into those allegations, with which Publishers will cooperate in good faith." Anthropic has maintained in court filings that existing guardrails make it unlikely that any future user could prompt Claude to produce any material portion of the works-in-suit. They consist of a "range of technical and other measures -- at all levels in the development lifecycle -- that aim to prevent users from simply prompting Claude to regurgitate training data," said a company spokesperson. The court is expected to issue a ruling in the coming months on whether to issue preliminary injunction that would bar Anthropic from training future models on lyrics owned by the publishers.

Thousands of copyrighted works from 1929, including Mickey Mouse's first speaking appearance and original versions of comic characters Popeye and Tintin, entered the U.S. public domain on January 1, 2025, as their 95-year copyright terms expired.

Popeye debuted in E.C. Segar's "Thimble Theatre" comic strip, while Tintin first appeared in Georges Remi's "Les Aventures de Tintin." These original character versions can now be freely used without permission or fees. Literary classics joining the public domain include William Faulkner's "The Sound and the Fury," Ernest Hemingway's "A Farewell to Arms," and Virginia Woolf's "A Room of One's Own."

Musical compositions entering the public domain include George Gershwin's "An American in Paris," Maurice Ravel's "Bolero," and Fats Waller's "Ain't Misbehavin'." The original 1929 recordings remain protected until 2030 under separate copyright rules.

Notable films becoming public domain include the Marx Brothers' first feature "The Cocoanuts," Alfred Hitchcock's first sound film "Blackmail," and several Mickey Mouse animations where the character debuts his white gloves and speaks his first words. Sound recordings from 1924, including performances by Marian Anderson and George Gershwin, also entered the public domain under the Music Modernization Act's 100-year term for historical recordings.

An anonymous reader quotes a report from The Guardian: Despite having an endless amount of music to pair with their short, scrollable videos, TikTok users have been raiding the back catalogues of artists from yesteryear including Bronski Beat and Sade to soundtrack their posts. This year set a new high for use of old tracks on British TikTok posts, with tunes more than five years old accounting for 19 out of its 50 top tracks this year. It is the highest proportion since TikTok started monitoring the trend in 2021, when just 8 out of the 50 tracks were from back catalogues. The trend is also global, with 20 out of the top 50 tracks worldwide coming from back catalogues, led by 80s hit Forever Young by German synth-pop band Alphaville. Here are the top back catalogue tracks (must be more than five years old) on TikTok this year:

1. Blood Orange - Champagne Coast [2011]: 1.1m posts
2. Alphaville - Forever Young [1984]: 458,000 posts
3. Redbone - Come and Get Your Love [1974]: 386,000 posts
4. Tom Odell - Another Love [2012]: 238,000 posts
5. Pavement - Harness Your Hopes [1999]: 219,000 posts
6. Natasha Bedingfield - Unwritten [2004]: 207,000 posts
7. Christina Aguilera - Genie in a Bottle [1999]: 207,000 posts
8. Sade - Kiss of Life [1993]: 194,000 posts
9. Sophie Ellis Bextor - Murder on the Dancefloor [2001]: 191,000 posts
10. The Fray - Look After You [2005]: 188,000 posts

Airports are facing a growing nuisance as travelers increasingly watch videos and take calls on speakerphone without headphones, creating tension among passengers at gates and lounges.

Flight attendants at American Airlines, Alaska Air, and Delta have begun addressing the issue through announcements and website notices, though enforcement remains challenging, WSJ reports. Passengers report confrontations rarely end well, with offenders often dismissive or hostile when asked to use headphones. The story adds: The headphones-optional attitude isn't limited to air travel. Podcasts and sports games blare in open-plan offices. You can catch snippets of conversations on the sidewalk, some phones held aloft for video calls. Transit authorities in big cities have struggled to get passengers to keep their music to themselves on subways and commuter trains.

Witnesses say offenders span the generational and socioeconomic spectrum, from grandparents on speakerphone to toddlers on iPads and from first class to coach.

Air travel already overloads the senses with a cacophony of boarding announcements, beeping vehicles and crying babies. U.S. airlines generally don't allow voice and video calls in the air. But by takeoff, the damage has been done.

A new study reveals that the widely accepted "sophomore slump" phenomenon -- where a band's second album is perceived as significantly worse than the first -- exists primarily in professional critics' reviews, not fan ratings. Researchers suggest this bias stems from social conformity among critics, while fans provide more consistent and reliable evaluations across albums. "If every music critic has heard of a sophomore slump and everyone knows it happens, they might be convinced to over-apply it in their reviews," said Gregory Webster, Ph.D., the R. David Thomas Endowed Professor of Psychology at the University of Florida and co-author of the new study. "We suspect it's a kind of social conformity, which we see in a lot of social groups." Phys.Org reports: Webster and his co-author, University of Hannover Professor of Educational Science Lysann Zander, Ph.D., analyzed thousands of albums rated by professional critics and amateur fans. Both critics and fans said that bands' albums generally got worse over time.

But critics were exceptionally harsh with the second album, which was an outlier in this downward trajectory. "It's only critics that show substantial evidence of a sophomore slump bias, whereby they are giving artists' second albums unusually low reviews compared to their first and third albums," Webster said. "Fans show no evidence of a sophomore slump bias."

Webster and Zander expected that fan ratings would reflect a broader consensus about a band's true performance. Fans aren't pressured by the same social norms as professional critics. And with ratings from thousands of fans, the researchers could average across a large group to find more reliable ratings.

Launched in 2013, itch.io lets users host and sell indie video games online — now offering more than 200,000 — as well as other digital content like music and comics. But then someone uploaded a page based on a major videogame title, according to Game Rant. And somehow this provoked a series of overreactions and missteps that eventually knocked all of itch.io offline for several hours...

The page was about the first release from game developer 10:10 — their game Funko Fusion, which features characters in the style of Funko's long-running pop-culture bobbleheads. As a major brand, Funko monitors the web with a "brand protection" partner (named BrandShield). Interestingly, BrandShield's SaaS product "leverages AI-driven online brand protection," according to their site, to "detect and remove" things like brand impersonations "with over 98% success. Our advanced takedown capabilities save you time..." (Although BrandShield's CEO told the Verge that following AI reports "our team of Cybersecurity Threat hunters and IP lawyers decide on what actions should be taken.") This means that after automatically spotting the itch.io page with its web-crawling software, it was BrandShield's "team of Cybersecurity Threat hunters and IP lawyers" who decided to take action (for that specific page). But itch.io founder Leaf Corcoran commented on social media: From what I can tell, some person made a fan page for an existing Funko Pop video game (Funko Fusion), with links to the official site and screenshots of the game. The BrandShield software is probably instructed to eradicate all "unauthorized" use of their trademark, so they sent reports independently to our host and registrar claiming there was "fraud and phishing" going on, likely to cause escalation instead of doing the expected DMCA/cease-and-desist. Because of this, I honestly think they're the malicious actor in all of this.
Corcoran says he replied to both his registrar (iwantmyname) and to his site's host, telling them he'd removed the offending page (and disabled its uploader's account). This satisfied his host, Corcoran writes — but the registrar's owner later told him they'd never received his reply.

"And that's why they took the domain down."

In an interview with Polygon, Corcoran points out that the web page in question had already been dealt with five days before his registrar offlined his entire site. "No communication after that.... No 'We haven't heard from you, we're about to shut your domain down' or anything like that."

Defending themselves over the incident, BrandShield posted on X.com that they'd identified an "infringement" (also calling it an "abuse"), and that they'd requested "a takedown of the URL in question — not of the entire itch.io domain." They don't say this, but it seems like their concern might've been that the page looked official enough to impersonate Funko Fusion. But X.com readers added this context. "Entire domains do not go down on the basis of a copyright takedown request of an individual URL. This is the direct result of a fraudulent claim of malicious activity."

And Corcoran also posted an angry summation on X.com: I kid you not, @itchio has been taken down by @OriginalFunko because they use some trash "AI Powered" Brand Protection Software called @BrandShieldltd that created some bogus Phishing report to our registrar, @iwantmyname, who ignored our response and just disabled the domain.
The next day Funko's official account on X.com also issued their own statement that they "hold a deep respect and appreciation for indie games, indie gamers, and indie developers." (Though "Added Context" from X.com readers notes Funko's statement still claimed a "takedown request" was issued, rather than what Corcoran says was a false "fraud and phishing" report.)

Funko.com also posted that they'd "reached out" to itch.io "to engage with them on this issue." But this just led to another angry post from Corcoran. "This is not a joke, Funko just called my mom." Cocoran then posted what looks like a screenshot of a text message his mother sent him. Though she doesn't say which company was involved, his mother's text says she "Got a strange call from a company about accusatory statements on your social media account. Call me..."

Thanks to ewhac (Slashdot reader #5,844) for sharing the news.

Over 300 musicians have signed an open letter defending the Internet Archive against a $621 million copyright infringement lawsuit over its preservation of 78 rpm records. The letter, organized by Fight for the Future, opposes the lawsuit filed by major record labels including Universal Music Group and Sony Music.

The labels claim the Archive's Great 78 Project, which digitizes shellac discs from the 1890s-1950s, amounts to widespread copyright infringement. Musicians argue the lawsuit prioritizes corporate profits over artists' interests.

The Guardian reports: People working in the music sector will lose almost a quarter of their income to artificial intelligence within the next four years, according to the first global economic study examining the impact of the emerging technology on human creativity. Those working in the audiovisual sector will also see their income shrink by more than 20% as the market for generative AI grows from €3bn (A$4.9bn) annually to a predicted €64bn by 2028.

The findings were released in Paris on Wednesday by the International Confederation of Societies of Authors and Composers (CISAC), representing more than 5 million creators worldwide. The report concluded that while the AI boom will substantially enrich giant tech companies, creators' rights and income streams will be drastically reduced unless policymakers step in...

The study concluded that under current regulatory frameworks in most countries, creators stand to lose on two fronts. Unauthorised use of their works by generative AI models will eat into remuneration earned through copyright, while at the same time work opportunities will shrink as AI-generated outputs become more competitive against human-made works. The report predicted that by 2028, exponential growth in generative AI music would account for about 20% of traditional music streaming platforms' revenues, and about 60% of music libraries' revenues.
The report warned of revenue "derived directly from the unlicensed reproduction of creators' works, representing a transfer of economic value from creators to AI companies," according to the article.

On a hopeful note, it adds that the CISAC's president also applauded Australia and New Zealand for their thoughtful response to the issue. "By setting a gold standard in AI policy, one that protects creators' rights while fostering responsible and innovative technological development, Australia and New Zealand can ensure that AI serves as a tool to enhance human creativity rather than replace it."

Thanks to Slashdodt reader Bruce66423 for sharing the news.

Getty Images CEO has criticized AI companies' stance on copyright, particularly pushing back against claims that all web content is fair use for AI training. The statement comes amid Getty's ongoing litigation against Stability AI for allegedly using millions of Getty-owned images without permission to train its Stable Diffusion model, launched in August 2022.

Acknowledging AI's potential benefits in areas like healthcare and climate change, Getty's chief executive argued against the industry's "all-or-nothing" approach to copyright. He specifically challenged Microsoft AI CEO Mustafa Suleyman's assertion that web content has been "freeware" since the 1990s. The Getty chief advocated for applying fair use principles case-by-case, distinguishing between AI models for scientific advancement and commercial content generation. He also drew parallels to music streaming's evolution from Napster to licensed platforms like Spotify, suggesting AI companies could develop similar permission-based models.

He adds: As litigation slowly advances, AI companies advance an argument that there will be no AI absent the ability to freely scrape content for training, resulting in our inability to leverage the promise of AI to solve cancer, mitigate global climate change, and eradicate global hunger. Note that the companies investing in and building AI spend billions of dollars on talent, GPUs, and the required power to train and run these models -- but remarkably claim compensation for content owners is an unsurmountable challenge.

My focus is to achieve a world where creativity is celebrated and rewarded AND a world that is without cancer, climate change, and global hunger. I want the cake and to eat it. I suspect most of us want the same.

Brazilian antitrust regulator Cade said this week that Apple must lift restrictions on payment methods for in-app purchases, among other things, as the watchdog moved to proceed with an investigation into a complaint filed by Latin America e-commerce giant MercadoLibre. From a report: MercadoLibre's complaint, filed in 2022 in Brazil and Mexico, accused Apple of imposing a series of restrictions on the distribution of digital goods and in-app purchases, including banning apps from distributing third-party digital goods and services such as movies, music, video games, books and written content.

In the complaint, MercadoLibre criticized the California tech giant for requiring developers that offer digital goods or services within apps to use Apple's own payment system and stopping them from redirecting buyers to their websites. Cade ruled that Apple must allow app developers to add tools so customers can buy their services or products outside the app, such as through the use of hyperlinks to external websites.

A new bill introduced by Sen. Peter Welch (D-Vt) aims to make it easier for human creators to find out if their work was used without permission to train artificial intelligence. NBC News reports: The Transparency and Responsibility for Artificial Intelligence Networks (TRAIN) Act would enable copyright holders to subpoena training records of generative AI models, if the holder can declare a "good faith belief" that their work was used to train the model. The developers would only need to reveal the training material that is "sufficient to identify with certainty" whether the copyright holder's works were used. Failing to comply would create a legal assumption -- until proven otherwise -- that the AI developer did indeed use the copyrighted work. [...]

In a news release, Welch said the TRAIN Act has been endorsed by several organizations -- including the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), the American Federation of Musicians, and the Recording Academy -- as well as major music labels -- including Universal Music Group, Warner Music Group and Sony Music Group.

An anonymous reader quotes a report from Ars Technica: The Supreme Court signaled it may take up a case that could determine whether Internet service providers must terminate users who are accused of copyright infringement. In an order (PDF) issued today, the court invited the Department of Justice's solicitor general to file a brief "expressing the views of the United States."

In Sony Music Entertainment v. Cox Communications, the major record labels argue that cable provider Cox should be held liable for failing to terminate users who were repeatedly flagged for infringement based on their IP addresses being connected to torrent downloads. There was a mixed ruling at the US Court of Appeals for the 4th Circuit as the appeals court affirmed a jury's finding that Cox was guilty of willful contributory infringement but reversed a verdict on vicarious infringement "because Cox did not profit from its subscribers' acts of infringement." That ruling vacated a $1 billion damages award and ordered a new damages trial. Cox and Sony are both seeking a Supreme Court review. Cox wants to overturn the finding of willful contributory infringement, while Sony wants to reinstate the $1 billion verdict.

The Supreme Court asking for US input on Sony v. Cox could be a precursor to the high court taking up the case. For example, the court last year asked the solicitor general to weigh in on Texas and Florida laws that restricted how social media companies can moderate their platforms. The court subsequently took up the case and vacated lower-court rulings, making it clear that content moderation is protected by the First Amendment.

Nvidia has introduced Fugatto, an AI music editor that can generate never-head-of audio combinations, including instruments mimicking animal sounds.

The tool processes both text and audio inputs to create music, sound effects, and modified speech. The system can isolate vocals, swap instruments, and alter voice characteristics.

Longtime Slashdot reader theodp writes: Past corporate-sponsored Hour of Code tutorials for the nation's schoolchildren have blurred the lines between coding lessons and product infomercials. So too is the case again with this year's newly-announced Hour of Code 2024 flagship tutorials, which include Microsoft Minecraft, Amazon Music, and Transformers One movie-themed intros to coding. The press release announcing the tutorials from tech-backed nonprofit Code.org, which organizes the Hour of Code and counts Microsoft and Amazon as $30+ million donors, boasts of its "decade of partnership with [Microsoft] Minecraft this year, reaching more than 300 million sessions of Minecraft Hour of Code since 2015!"

Interestingly, The Transformers (Paramount Pictures, which released Transformers One in the U.S., is a $25,000+ Code.org donor) is cited as one of the OG's of children's Saturday morning cartoon advertising (aka 30-minute commercials) that prompted the Children's Television Act (CTA) of 1990, an act of Congress that ordered the FCC to put in place regulations to protect children from advertising. Throughout the 1980s, Action for Children's Television (ACT) criticized children's television programs that "blur(red) the distinction between program content and commercial speech."

An anonymous reader quotes a report from Ars Technica: Who up missing Musi?" a Reddit user posted in a community shocked by the free music streaming app's sudden removal from Apple's App Store in September. Apple kicked Musi out of the App Store after receiving several copyright complaints. Musi works by streaming music from YouTube -- seemingly avoiding paying to license songs -- and YouTube was unsurprisingly chief among those urging Apple to stop allowing the alleged infringement.

Musi was previously only available through the App Store. Once Musi was removed from the App Store, anyone who downloaded Musi could continue using the app uninterrupted. But if the app was ever off-loaded during an update or if the user got a new phone, there would be no way to regain access to their Musi app or their playlists. Some Musi fans only learned that Apple booted Musi after they updated their phones, and the app got offloaded with no option to re-download. Panicked, these users turned to the Musi subreddit for answers, where Musi's support staff has consistently responded with reassurances that Musi is working to bring the app back to the App Store. For many Musi users learning from others' mistakes, the Reddit discussions leave them with no choice but to refuse to update their phones or risk losing their favorite app. The app may remain unavailable for several months as the litigation unfolds. "After Apple gave in to the pressure, Musi sued (PDF) in October, hoping to quickly secure an injunction that would force Apple to reinstate Musi in the App Store until the copyright allegations were decided," reports Ars. "But a hearing on that motion isn't scheduled until January, making it appear unlikely that Musi will be available again to download until sometime next year."

Further reading: Google, Apple Drive 'Black Box' IP Policing with App Store Rules