Through AP’s support, he secured $10,000 in funding to purchase professional tents, sleeping bags and stoves, moving from improvised to structured services. Sunny Hostel has now begun working with tour operators such as OshTrips and Visit Alay, and involves young people: students volunteer as city guides to practise English before moving into jobs in tourism. “Sustainability is not just a word for us. We want to preserve nature, avoid artificial experiences and focus on real culture,” he says.
Other entrepreneurs have followed similar paths. Support from AP helped Meergul Karakozueva plan her project, set prices and establish a yurt camp in the Alay mountains. In 2019, she received two yurts and a solar panel that remain central to the camp. Electricity was added only recently, and water supply is the next priority. She later expanded her business by opening the Art Hotel in Osh city, and in 2023 received in-kind technical assistance (washing machine, built-in dishwasher, steam generator) after pitching at the Women CUP incubation programme.
Baktybek Nuridinov and his friends began by leading informal tours in Osh, introducing friends and visitors to Kyrgyz landscapes and culture. As demand grew, they joined AP’s acceleration programme, receiving training, mentorship and financing. This support helped them move from “amateur to professional tourism”, expand their tours, hire more guides and improve service quality, turning Around.kg. into a rising force for community-based travel in the region.
From high-altitude domes and mountain cottages to yurt camps, hostels and locally led tours, these and other entrepreneurs supported by AKDN are transforming the Kyrgyz mountains. Their ventures are creating jobs, preserving cultural heritage and offering lasting opportunities for communities in some of the country’s most remote regions.
One of the great lost albums in rock history is to finally see the light of day, as Bruce Springsteen announces the release of the electric version of his 1982 album Nebraska.
The original was famously recorded in the bedroom of his New Jersey home, unaccompanied, on a four-track tape recorder rather than a multitrack studio setup. Springsteen attempted to work the songs up into more fleshed-out versions but felt the studio versions lacked the ghostly drama of the originals, and – to some confusion in his fanbase and record label – insisted on releasing the stark four-track takes.
Despite the move away from the full-bodied sound of hit albums Born to Run and The River, Nebraska reached No 3 in the US and UK and is seen as one of the most distinctive and influential albums in Springsteen’s catalogue.
As recently as June, Springsteen was denying that the electric versions existed: “I have no recollection of it, but I can tell you there’s nothing in our vault that would amount to an electric Nebraska,” he told Rolling Stone. But he later updated the journalist, saying: “I checked our vault and there is an electric Nebraska record, though it does not have the full album of songs.”
Those electric versions have now been pulled from the archives and will be included on a five-disc expanded edition of Nebraska, to be released on 17 October in CD and vinyl formats. The “electric Nebraska” disc contains versions of Nebraska’s title track plus its songs Atlantic City, Mansion on the Hill, Johnny 99, Open All Night and Reason to Believe.
It also features Downbound Train and Born in the USA, which both appeared in different versions on the Born in the USA album in 1984, for which Springsteen re-embraced studio recording and created the biggest hit album of his career.
The electric Nebraska version of Born in the USA has been released alongside the album announcement. It’s a radically different take to the later version that hit the US and UK Top 10, with a more brooding vocal melody and outlaw-country backing.
Also in the expanded album edition is a 2025 remaster of the original album; a disc of Nebraska outtakes, featuring unreleased songs such as Gun in Every Home, Child Bride and On the Prowl; and a disc plus a Blu-ray of a live concert from Count Basie theatre in Red Bank, New Jersey.
The release is timed to coincide with a biopic that documents this chapter in Springsteen’s life.
Entitled Deliver Me from Nowhere and written and directed by Scott Cooper, it stars Jeremy Allen White as Springsteen alongside Jeremy Strong as manager Jon Landau, Odessa Young as semi-fictional love interest Faye Romano, Stephen Graham as Springsteen’s father and Paul Walter Hauser as Mike Batlan, who oversaw the Nebraska recording sessions at Springsteen’s home.
The film, released 24 October, explores Springsteen’s burgeoning fame after the successful single Hungry Heart and his quest to write, record and release Nebraska in a way that honours the original sessions.
Springsteen has been digging further into his archive lately. In June, he released Tracks II: The Lost Albums, a box set of seven full-length unreleased albums of material he made between other album projects. It was the sequel to his 1998 box set Tracks.
He said a Tracks III box set, made up of individual tracks rather than full lost albums, is also incoming. “Still a lot of music in the vault, and that’s something that I’ve finished and is ready to be released,” he told Rolling Stone in June. “It’s just a question of when we have time to put that out, considering that I have a variety of other things that I’m interested in releasing soon also … I suppose it’ll come out in the next three years or so.”
How does it feel to finally be making your West End debut in Hadestown, after City of Angels was cancelled due to Covid? LucyHampton6
Super exciting. It feels like I’m experiencing a new way of performing. I said to the director when we first started that I wanted to throw myself into this and to be pushed as far as I can. When you’re in a band, or you’ve been perceived a certain way for a very long time, it’s nice to go into something where you can shake off the Post-it notes that have been put on you by yourself, or by other people.
If there was to be a musical made with the Girls Aloud soundtrack like Mamma Mia!, or Here & Now, what do you think the plot should be? Sophieeh
Our experience of going from complete normality into a talent competition and becoming somewhat famous overnight, and then the trials and tribulations that follow with teenagers trying to navigate new national fame, is enough of a plot. I don’t need to drum up some new far-fetched stories, because I feel like the things that were happening were far-fetched enough.
How was it interviewing Lady Gaga? alexgibbon
It was an experience. My TV plugger was also Lady Gaga’s TV plugger and she had this thing lined up with MTV. The plugger, who’s very much a friend, was like: “It’s just a girly chat, would you be up for doing it?” I was still very much in my shell. I said: “If it’s a girly chat and a fun conversation, I would absolutely love to do it, but I’m not a presenter, so if it turns into that then it’s not gonna work.” Lo and behold, it turned into that. I was in the deep end with this global icon. She was lovely to me. It’s hilarious that it’s become this meme that pops up. [At one point Nicola asks Gaga to pick a dangerous thing she would do once with no risk, to which she replies: “Die.” Later Gaga says “the moon”, when asked if she could be anyone for a day.] I’m quite a literal girl, so when she’s saying “the moon”, I’m like, where the hell am I going with this? Where do I go next?
In Hadestown, what parts of Persephone’s character do you see in yourself? Sophieeh
The fact that she loves spring and she loves love. She loves to be lighthearted. I completely identify with her. In the past, people might say that I wasn’t lighthearted because of the circumstances I was in and the environment I was having to navigate: who is going to be lighthearted when they’re basically being bullied by the media? They’re not. It’s not normal to be like, sure, I’m going to come on to your radio show and act like we’re best friends and sell our song and stand for a picture when you’ve been bullying me. It’s just not natural. But I feel like my environment now is a lovely one.
A world with social media or a world without it, which do you choose? AmongstTheWaves
Growing up without social media, the artist didn’t have a platform to have their say, and so the media would be able to portray you in a certain way. They could just write any little clickbait story and get away with it. Whereas now with social media, I feel like it gives people the opportunity to say, actually, that’s not what happened. Or maybe see it from my point of view. But equally, I hear so often from younger artists who can’t focus on their craft because they’re constantly being told: “You need to do more TikToks.” So that’s another pressure.
What was your most chaotic backstage moment being solo or in Girls Aloud? Sharonteeny
We had a moment on this last tour where Sexy! No No No … basically wasn’t working until the first show. We were struggling with the inflatable skirts. They weren’t being put on in time. The crew weren’t quite making the fan cue. There was a conversation that happened where we thought about scrapping it. Somehow, the stars aligned and it just worked. Did my skirt ever deflate? Cheryl’s deflated. Mine went half up, half down.
What is the story behind the Sophie and AG Cook collab you did called Potion? SunnysideUp20
I was in the studio on a typical writing session and on the mixing desk they had this little figurine. I just Instagrammed it very innocently with the caption “Hey QT” [the title of Sophie and Cook’s 2014 single], like, that’s cute. Then there was a headline saying: “Nicola’s working with PC Music.” I wasn’t, I was just in some random session. But from that headline, AG Cook got in touch and was like: “Should we grab a coffee?” We met, talked about our approach to music and the state of what music was at that time. Then we got into the studio together. The very beautiful human that was Sophie was there plus a couple of other people. And we were just experimenting. I was just going from room to room and they had this track and we created Potion. That was that. Things just moved on. Maybe a year or so ago I messaged AG Cook and asked if they were doing anything with the song. He said that, obviously, all of Sophie’s music rights are with Sophie’s family now.
If Girls Aloud were to have an exhibition, what key pieces from your career would you have on display? AMac10
We should do a hair exhibition and have hundreds of wigs from throughout our career. You’d have short ones, pink ones, black ones, brown ones, blond ones, short hair, long hair. Is there a wig I regret? Oh, babe. There are many wigs I regret. I regret having brown hair. I regret having frazzled, tangled hair. I regret having almost black hair, purple hair. I regret experimenting. I absolutely love my red hair and I moved away from it because I felt like it was bothering certain people. So, to try to fit in I’d just have brown like everyone else, or I’d put highlights in.
Will we ever get to hear the Girls Aloud versions of Alesha Dixon’s The Boy Does Nothing, Annie’s My Love Is Better and Kylie’s Giving You Up [all created by Girls Aloud’s production team Xenomania and demo’d by the group]? MikeS88
I was in a shop and I remember hearing Kylie’s Giving You Up and freaking out for a split second, being like: what the hell, how has someone got this? And then realising, no, no, it’s Kylie’s version. But I feel like that song is Kylie’s song now. You make a song your own: The Boy Does Nothing is Alesha’s song. While a listener would love to hear a different artist doing it for their own entertainment, for the artist it becomes your baby.
Why has there never been a follow-up to [2011’s solo debut album] Cinderella’s Eyes? splazsh
There have been moments where I’ve started a project, but then just moved on quickly, creatively. I’m sure that the right time will come, and I’m totally open to it. But when I got on the circuit of writing for other artists, I wasn’t necessarily inspired. There was a theory of: write for other artists and then one song will pop up that you’ll just want to keep for yourself. But I never came across any producers that were willing to experiment because it would always be following a brief. That’s why I loved PC Music – there were no rules to it.
How serious were you about working with Kate Bush on Cinderella’s Eyes? MrRaysWigworld
It was just a huge pipe dream. I would drop everything and fly to wherever she was in the world for us to collaborate and make my version of Running Up That Hill. I’d just be ultimately satisfied for life.
What is your favourite song to sing in Hadestown? Sophieeh
There’s a song called How Long?, which is a duet between myself and Hades. It’s intense, but the melody is really beautiful. I also sing a song called Our Lady of the Underground. Do I ever accidentally sing Sound of the Underground? No, because this is American folk and New Orleans jazz, not frenetic drum’n’bass – but every now and then in the rehearsal room, I’ll add a little trill and they’ll be like, nope, that’s not what the melody is.
Have you noticed a difference rehearsing in a theatre setting compared with your previous Girls Aloud rehearsals? Sharonteeny
In the Girls Aloud setting, we have more tea breaks. The theatre setting is a little bit more professional. With Girls Aloud, you’re very much playing the bigger version of yourself. You’re engaging directly with the audience constantly and you’re feeding off their energy. Whereas with Hadestown, this is me fitting into a cog and I have to portray my part of the story. It’s like rubbing the belly and patting the head.
It feels as though there is currently a welcome profusion of female solo artists. Who do you most rate and why? CatzPyjamas
I’m loving watching what Jade is doing. I wanted to do something different [with Cinderella’s Eyes] and I wanted to experiment. It’s really refreshing to watch her have that similar approach and navigate the line of: what can I get away with, and how can I experiment but equally still have it sound current?
What does the future hold for Girls Aloud now that the reunion tour has finished? JosiahLumumba
We all had a really amazing time together and it was so heartwarming to feel the support that we came back to. It really surprised us. And it surprised us how much we came together as women and where we’re at now. Back in the day, it would be like: “OK, we’ve just done a tour, now we’re gonna do this and we’re on a roll.” Everybody’s got different responsibilities now. But I think that it would be lovely to be back on stage again with the girls at some point.
Bus operator McGill’s have unveiled plans for a £25m depot near Glasgow city centre.
The firm – the UK’s largest independent bus company – say the proposal for the Tradeston area could create up to 850 jobs.
The Greenock firm aims to expand its bus fleet to about 300 vehicles, while the depot would serve as a “hub to drive McGill’s continued expansion”.
McGill’s said the plan would help ensure regeneration continued in the Tradeston area.
This week the company acquired a 6.55 acre brownfield site on Kilbirnie Street
McGills said the location provided “excellent transport connectivity” as it looks to expand across Scotland.
Ralph Roberts, the chairman of McGill’s Group, said: “This is a strategic purchase that fits squarely within McGill’s three-year plan.
“In little over five years, we have added operations in Dundee, Stirling, Falkirk, Edinburgh, Livingston, Aberdeen, Inverness and now Glasgow.”
The company added that the depot could become “strategically important” should bus franchising be introduced in the Strathclyde region.
This would see fares, routes and ticketing would controlled by a local public body such as Strathclyde Partnership for Transport (SPT).
Last year recommendations to introduce bus franchising were approved, but SPT said the idea could take several years to set up.
McGill’s said the new depot would not affect operations at any of its current sites.
James Easdale, co-owner of McGill’s Group, said the plans would keep McGill’s at the forefront of the sector.
He said: “This Glasgow depot is another major step forward in our mission to transform transport across Scotland – and with further acquisitions and expansion opportunities in the pipeline, there is much more to come.”
His brother Sandy, with whom James established the firm in 2001, said Tradeston was the ideal location for the depot.
He added: “This project is not only about our own growth – it’s about creating up to 850 jobs and driving further regeneration in this part of the city.”
Reigning Olympic tennis champion Novak Djokovic of Serbia will square off against five-time Grand Slam winner and current world No. 2 Carlos Alcaraz in the men’s singles semi-finals at the US Open 2025 on Saturday.
The Novak Djokovic vs Carlos Alcaraz US Open 2025 semi-final will be available to watch on live streaming and live telecast in India. The match is scheduled to start at 12:30 AM IST.
The last time that Novak Djokovic, 38, faced off against 22-year-old Carlos Alcaraz was in the quarter-finals of the Australian Open in January. The Serbian legend beat the Spaniard 4-6, 6-4. 6-3, 6-4 on that instance.
Seventh-seeded Novak Djokovic, who boasts the most men’s Grand Slam titles (24) in history, has a 5-3 head-to-head lead over Carlos Alcaraz.
The Serb had also beaten Carlos Alcaraz in straight sets in the final of the Paris 2024 Olympics.
A four-time US Open winner, Novak Djokovic’s last defeat to Carlos Alcaraz came in the final of Wimbledon 2024.
Carlos Alcaraz, the 2022 US Open champion, has never beaten Novak Djokovic on hard courts.
While Novak Djokovic, also a bronze medallist at the Beijing 2008 Olympics, has dropped three games during his run to the US Open semis, Carlos Alcaraz is yet to concede a single one.
Live streaming of the Novak Djokovic vs Carlos Alcaraz US Open 2025 men’s singles tennis semi-final match will be available on the JioHotstar app and website in India. Live telecast of the semi-final will be on the Star Sports Network TV channels in India.
KARACHI: While Pakistan’s southern Sindh province remains busy with safety precautions as it braces for floods heading downstream from Punjab, farmers in the province’s coastal district await the arrival of river water, saying it would prevent the sea from swallowing their lands and provide better catch for fishers.
Devastating floods in Punjab have killed 43 and displaced more than 1.8 million people, authorities have said. Excess releases from Indian dams and heavy monsoon showers have destroyed crops in Punjab, caused rivers to swell and affected more than 3.6 million people.
Sharjeel Inam Memon, information minister of the Sindh government, said floodwaters are expected to enter the province at Guddu Barrage between September 5 and 6, adding that the administration was “fully prepared” to deal with the situation.
“All the arrangements have been made, the government has established relief camps and is evacuating the population along with animals and livestock,” he told Arab News, adding that he could not rule out the possibility of “super floods.”
The term is used by officials in Pakistan to describe exceptionally high flood levels that exceed normal seasonal flows, often overwhelming barrages and embankments.
The National Disaster Management Authority (NDMA) warns that floods heading downstream may cause similar devastation in Sindh, Gulab Shah, a 52-year-old farmer from Jhaloo village near the coastal town of Keti Bunder in Thatta district, waits for the river water to arrive.
Seawater intrusion into the delta, where the Indus River meets the Arabian Sea in Sindh, has triggered the collapse of farming and fishing communities.
“Our ancestors have lived here for centuries,” Shah told Arab News. “There was a time when we owned thousands of acres of land, but due to the drying up of the delta, the sea has swallowed it all.”
Shah said his family of 100 people, comprising 12 brothers and two sisters, now makes do with only 350 acres.
“Even on this land, rice no longer grows as it used to, and the banana crop has completely vanished,” he rued.
Shah says flood upstream sometimes translates into survival for areas downstream.
“We feel sorrow for those affected by floods in other regions, but whenever floods come, they bring water into the Indus River,” he said.
DYING RIVERS, INFERTILE PLAINS
Dr. Hassan Abbas, a hydrologist who earned his doctorate in water resources at Michigan State University, agrees the Indus Delta has shrunk and “almost died because the water did not reach there.”
“It’s just as important for the rivers to reach the sea as it is for the water to flow from your body,” Dr. Abbas explained.
The hydrologist said Pakistan’s rivers have gotten smaller due to dams, saying that they have almost become almost dry. He said due to this, ecological services and environmental systems are “dying and under extreme stress.”
Dr. Abbas added that when floods halt upstream, salts that once washed into the sea remain on farmland, damaging the soil.
“An estimated 60 million tons of salt, every year, used to be washed by the river into the sea,” he said. “Now, not even 10 million tons make it there.”
He noted that while floods cause destruction, they also make Pakistan’s plains fertile.
“You have to adapt to the floods,” he said. “This system of floods, if it doesn’t exist, then your food basket will collapse.”
’MAJOR THREAT FROM THE SEA’
Along the coast, residents describe how the sea has encroached over the years as freshwater declines. Younus Khaskheli, chairman of the Sindh-based fisherfolk association MaHajjiri Samaji Sangat, recalled how dams built on rivers since 1960 have led to a decline in the mud and silt that flowed downstream.
“So many islands have been cut off 1757008777 that the sea is four to six kilometers ahead,” Khaskheli said. “From 1960 till now, about 1.2 million people migrated from there and came here.”
Khaskheli said 80 percent of the people who migrated were from the fishing communities. Mangrove forests, once spread over a million hectares in the province, had now shrunk to around 70,000 hectares due to the drying riverbed.
“The people who say that the water of the river Sindh is wasted in the sea are not aware of the ecosystem,” he explained. “This is a natural process. The river brings silage and soil with it. The ecosystem circulates in this way.”
Memon shared Khaskheli’s concerns about the Indus Delta.
“The Indus Delta needs water every year,” he said, adding that it does not receive sufficient flows due to the decreased level of water in the Indus.
“This time there are chances, yes, that we will fulfill the requirement of the delta,” Memon added.
For others like Manzoor Ali Rind, who resides in Sindh’s Dadu district hundreds of kilometers away from the sea, previous floods wreaked havoc. Rind cultivates around 10 acres of farmland in Bux Ali Rind village in Dadu.
“When I hear the word flood, it takes me 15 years back when it wiped out my rice crops,” Rind told Arab News, recalling the devastation of the 2010 floods.
“It took me years to stand on my feet again.”
But for farmers like Shah, who reside in coastal areas, the approaching sea serves as a stark reminder. He said his village used to be 25 kilometers away from the sea.
Now, it is only three kilometers away.
“We don’t know when the sea will swallow the little land we have left,” Shah said. “We want to be protected from the sea, and for that, it is essential that water flows in the river.”
After monsoon rains lashed Sindh in June, Shah saw something he hadn’t in a decade: the hilsa fish.
“Now, whenever water comes, whether from rains or floods, we feel happy,” Shah said. “Because it brings prosperity for us and also protects us from a major threat from the sea.”
The battle against cheats and hacks is a serious challenge
for games companies. A recent study as reported in
GamesIndustry.biz suggests that 80% of players across both the
UK and the US have experienced cheating in online games. There have
also been multiple reports of publishers acting against cheating
activity to protect the integrity of their online
experience.
Our article (by Aaron Trebble, Adrian
Aronsson-Storrier and Jemma Costin) on video game mods, hacks and
cheats and the Sony v Datel dispute has just been
published in the Interactive Entertainment Law Review (IELR).
The IELR is the leading academic peer-reviewed journal for legal
analysis of video games and digital interactive entertainment. This
blogpost summarises the key takeaways from our article, provides
guidance on the full range of legal tools that game developers can
use to address cheats, and updates on recent related legal
developments in Germany.
Imagine that you are a games developer or publisher. After years
of hard work and financial investment, your game – complete
with original animation, music, artwork, code and mechanics –
is ready for release. It gains traction and grows a loyal player
base … and then player mods start to alter your designs; and
cheats and hacks allow players to progress through your game in
unintended ways or, worse, to disrupt the game’s online
multiplayer experience.
Whilst it is not always possible, or commercially desirable, to
take action in the face of these activities, one option a gaming
company might consider is intellectual property (IP) enforcement.
The manufacture, distribution and use of mods, cheats and hacking
software are likely to involve acts that may infringe copyright and
will also often involve breach of the contractual terms set out in
the game’s End-User Licence Agreement (EULA).
The role of IP protection in addressing the risk of hacks and
cheats was recently considered in the EU in the Court of Justice
decision in the long running Sony v Datel dispute. This
blog post considers the implications of the CJEU decision on the
protection of video games under the Software Directive, as well as
the other IP rights than can be used by a developer to protect
their gameplay. For those who want a deeper dive into these issues,
including a discussion of the two previous occasions where the UK
High Court has considered the issue of copyright infringement in
relation to mods, cheats and hacks, please read our longer article published in the
IELR.
Mods, or modifications, are alterations of one or more elements
of a video game in ways not intended or enabled by the original
developer. Mods are software add-ons to the base game and can range
from minor cosmetic changes to extensive overhauls that add new
content or change the gameplay mechanics. Examples include
enhancements to lighting or texture, convenience mods such as
auto-loot, and new content like new characters, skins, quests or,
famously in the case of Skyrim, a mod that replaces dragon enemies with Thomas the Tank
Engine. Mods are usually created for personalisation or
enhancement in a single-player game but are occasionally used in
multiplayer games either on a private server or with the consent of
the developer. Many developers actively encourage mods to foster
community engagement, but only if they comply with a game’s
EULA. Unauthorized mods that copy or redistribute game assets or
code could be considered a breach of contract if contrary to the
EULA and/or copyright infringement under the Copyright, Designs and
Patents Act 1988 (CDPA 1988).
Cheats and hacks are activities which interfere with the
integrity of the video game or the experience of other players.
This includes tools or software that give a player an unfair
advantage in the game, often in a multiplayer environment. These
are distinguished from in-built cheats that are intended for player
use by the developer of a game, such as the famous Konami Code. Cheating can involve altering
local files or running unauthorized tools, codes or software to
provide benefits like unlimited health or resources, auto-aim
software or revealing hidden items in the game. Cheating may give
rise to a breach of contract claim if it violates the EULA. It can
also result in a copyright infringement claim if the software
copies part of the game’s code or other IP assets.
Following almost a decade of litigation in Germany, the CJEU in
Sony v Datel was recently asked to consider whether, and
in what circumstances, certain cheat tools can be used to
circumvent game design without infringing copyright subsisting in
computer programs under the EU’s Software Directive (which has
been implemented in the UK in the CDPA 1988). The case concerned
Datel’s ‘Action Replay’ software, which modified RAM
variables in the PlayStation Portable console (PSP). The Action
Replay software unlocked restricted features in PSP games that
would otherwise only be accessible for players after obtaining a
certain number of points. Rather than altering or reproducing the
original game’s source or object code, the Action Replay
manipulated variables transferred to the console’s RAM during
gameplay.
At first instance in Germany, Sony was partially successful in
its claim for copyright infringement. That decision was reversed on
appeal and, on further appeal to the Bundesgerichtshof (the German
Federal Court of Justice), the proceedings were stayed while the
Court referred questions of legal interpretation of the Software
Directive to the CJEU. The key question that was referred to the
CJEU was whether altering the value of a game variable without
copying or changing the game code infringe copyright in the
code?
Under Article 1(3) of the Software Directive, the expression of
a computer program (but not its underlying ideas and principles) is
protected as a literary work if it is original in the sense that it
is the author’s own intellectual creation. The CJEU recited
previous case law confirming that it is the source code and the
object code specifically which are protected, as it is the code
that constitutes the expression of the computer program. Other
elements of a computer program, such as the functionalities and its
user interface, are not protected through the Software
Directive.
The CJEU decided that altering RAM variables does not involve
copying or altering original elements of the game’s code and,
as a result, such modifications fall outside the scope of copyright
infringement under the Software Directive. As a result, the Action
Replay tools marketed by Datel did not infringe.
While Sony v Datel establishes that copyright in video
game code protected under the Software Directive may not extend to
the values of variables, its potential impact on a games
company’s ability to control hacks and cheats should not be
overstated. For example, the CJEU did not resolve the question of
whether a change to the value of variables, which causes copyright
protected content to be temporarily instantiated in the
cheater’s game, is infringing under the Copyright Directive
– something which had arisen in earlier UK litigation in
Take-Two v. James, discussed in our full article.
Effective policing of cheats, hacks and mods requires a
combination of technical, legal and community measures. The most
successful strategies will involve robust anti-cheat systems,
active monitoring of player activities to detect signs of
third-party software, clearly drafted and enforceable EULAs and a
comprehensive policy for identifying, protecting and enforcing
intellectual property rights.
Whilst identifying claims in breach of contract and copyright
infringement will often be straightforward with cheats, hacks and
mods (particularly in an online environment), it is important to be
aware of the various potential claims, which may exist in a given
case, including in respect of database rights and registered
intellectual property rights such as patents and trade marks. Such
rights may be helpful in a case where there is not a clearly
identifiable infringement of copyright. It is also important to
consider intellectual property infringement which may have occurred
during the development of the cheat or hack, and not just that
which occurs whilst it is being used with the video game.
Our flowchart exploring the various legal tools available for a
video game developer to take action against an unauthorised mod,
hack or cheat is below. The considerations relevant to the
deployment of each alternate legal remedy to combat hacks and
cheats are discussed in our full article.
Following the finalisation of our article, the Sony v
Datel dispute returned to the Bundesgerichtshof for further
hearing and for the Court to apply the interpretation of the
Software Directive which had been elaborated by the CJEU. In
applying the CJEU’s decision, the Bundesgerichtshof confirmed
that the action replay software only altered the values of variable
data stored in the console’s RAM, and not the program commands
of the game software. As a consequence the defendant’s
activities were outside the scope of protection of Article 1 of the
Software Directive (and domestic German legislation implementing
the Directive in section 69a of the German Copyright Act),
and Sony’s appeal was dismissed. This brought to an end the
long running saga of this litigation, which had been commenced in
2012.
Some of the more complex and unresolved questions about the
implications of the CJEU decision discussed in
section 2.3.5 of our full article were sadly not addressed by
the Bundesgerichtshof, and will need to wait to be clarified in a
future decision. The German Courts may however soon have such an
opportunity in the Adblocker IV litigation. The
Bundesgerichtshof handed down a judgement in that dispute on the
same day as the Sony v Datel dispute, overturning a
decision of the Hamburg Higher Regional Court and referring the
dispute back to the lower court to resolve.
The Adblocker case similarly considers the scope of
protection available under the Software Directive, and the decision
explicitly refers to the CJEU decision in Sony v Datel. In
the Adblocker dispute a German online media company Axel
Springer brought action against the developer of ad blocker
software “Adblock Plus”. The publisher claimed that the
commands in the website HTML files used to give instructions to web
browser on the display of their news websites are a computer
programs within the meaning of the Software Directive. They argue
that the modifications made by the ad blocker software on the data
structures generated by a user’s browser when parsing the HTML
code (carried out to prevent adverts from displaying) were unlawful
modifications of their computer program. The Bundesgerichtshof
considered that the factual findings previously made by the German
Court of Appeal were insufficient for resolving the dispute, as it
was unclear whether the ad blocker merely interfered with the
execution of the HTML code or whether instead protected program
commands were blocked and overwritten and the protected computer
code was actively and directly changed. The eventual resolution of
the Adblocker dispute may address some of the unresolved
questions following the Sony v Datel CJEU decision, and
will have implications for not only games companies, but more
generally for the providers of cloud-based software.
As discussed above, while the CJEU and subsequent
Bundesgerichtshof decisions in the Sony v Datel dispute
establish that copyright in video game code protected under the
Software Directive may not extend to the values of variables, the
case’s potential impact on a games company’s ability to
control hacks and cheats should not be overstated, given the range
of other legal tools that a games developer can use to address
hacks and cheats.
A balanced approach to enforcement is also recommended.
Developers should seek to maintain a dialogue with their player
communities on modding and cheating issues. Permitting some
activities, such as controlled modding within suitable
single-player environments, may encourage a positive relationship
with the player base that can enhance a game’s longevity and
reputation. By balancing enforcement and engagement, developers can
safeguard their IP whilst supporting the community and creativity
that defines the gaming industry.
The content of this article is intended to provide a general
guide to the subject matter. Specialist advice should be sought
about your specific circumstances.
Maurizio Fava, MD
Credit: Massachusetts General Hospital
A single 100 μg dose of MM120 (lysergide D-tartrate, LSD) significantly reduced anxiety symptoms in adults with generalized anxiety disorder (GAD), with improvements sustained through 12 weeks, according to the first randomized, placebo-controlled trial of its kind published today in JAMA.1
“This study is a true turning point in the field of psychiatry,” investigator Maurizio Fava, MD, member of the MindMed Scientific Advisory Board and chair of Mass General Brigham Department of Psychiatry, said in a statement.2 “For the first time, LSD has been studied with modern scientific rigor, and the results are both clinically meaningful and potentially paradigm-shifting for the treatment of GAD.”
Despite 26 million adults in the US diagnosed with GAD, the US Food & Drug Administration (FDA) has not approved a new medication for this indication since 2007.2 However, 50% of patients fail first-line GAD treatments.
“I have seen firsthand the devastating toll GAD takes on patients and their families, which is why it is so significant that a single dose of MM120 delivered rapid, robust, and lasting effects,” Fava continued.2 “These results highlight the promise of psychedelics in psychiatric medicine.”
MindMed conducted MMED008, a multicenter, randomized, placebo-blind, phase 2b study evaluating a single administration of MM120 at 4 dose levels (25 [n = 39], 50 [n = 40], 100 [n = 40], or 200 [n = 40]) μg as monotherapy, without any psychotherapeutic intervention, in adults with moderate to severe GAD.1 The sample included 198 adults aged 18 – 74 years (mean age, 41.3 years), with 56.7% female and 83% White (7.7% Black or African American and 3.6% Asian). The dose-response relationship was evaluated using the multiple comparison procedure modeling (MCP-Mod) method for change in Hamilton Anxiety Rating Scale at week 4.
The study met its primary endpoint, with MM120 demonstrating a dose-response relationship at week 4 with the 100 μg (least-squares mean difference, −5.0 points; 95% confidence interval [CI], −9.6 to −0.4 points) and the 200-μg (−6.0 points; 95% CI, −9.8 to −2.0 points) dose groups vs placebo. The study found no significant difference between the 25 μg (least-squares mean difference, −1.2 points; 95% CI, −6.0 to 3.5 points) and 50 μg (−1.8points; 95% CI, −7.6 to 4.0 points) doses compared with placebo.1
The trial also met its key secondary endpoint, demonstrating a significant symptom improvement versus placebo on the Hamilton Anxiety Rating Scale (HAM-A). The analysis showed that 100 μg was the optimal dose of MM120. At week 4, this dose achieved a 7.6-point greater reduction in HAM-A scores compared to placebo (-21.3 vs. -13.7; P <.0004). Participants on MM120 100 μg had a 65% clinical response rate and a 48% clinical remission rate sustained to week 12.1
This study also met other secondary outcomes, including clinician-rated disease severity measured by the Clinical Global Impression-Severity (CGI-S) scale, changes from baseline in the Montgomery-Åsberg Depression Rating Scale (MADRS), and measures of functional disability and quality of life.
On average, CGI-S scores improved from 4.8 to 2.2 in the 100 μg dose group, reflecting a 2-category shift from “markedly ill” to “borderline ill” at week 12. This was compared to a 4.9 to 3.5 improvement in the placebo group (P =.003).1
Furthermore, MM120 showed rapid clinical activity, working as early as day 2 and sustained through week 4 and 12. MM120 100 μg also led to significant MADRS improvement vs placebo, with a difference of 5.7 points at week 4 (P ≤.05) and a difference of 6.4 points at week 12 (P ≤.05).1
The safety profile of MM120 was comparable to previous findings, with mild-to-moderate adverse events occurring on dosing day. Common adverse events included visual perceptual changes, including illusion, pseudo-hallucination, and visual hallucination.1 These visual perceptual changes occurred in 46.2% of participants who received 25 μg of MM120, 75% who received 50 μg, 92.5% who received 100 μg, 100% who received 200 μg, and 10.3% who received a placebo.
Another common adverse event included nausea, occurring in 7.7% receiving 25 μg, 27.5% receiving 50 μg, 40% receiving 100 μg, 60% receiving 200 μg, and 7.7% receiving placebo.1 Headaches occurred in 12.8%, 22.5%, 35.0%,27.5%, and 23.1% of participants, respectively.
The dose-response results inform MindMed’s ongoing phase 3 trial focusing on the MM120 Orally Disintegrating Tablet (ODT). Topline results for MindMed’s Voyage trial, evaluating the efficacy, durability, and safety of MM120 ODT for GAD, are expected in the first half of 2026.2
“Our Phase 2b results—marking the first well-controlled clinical study to evaluate dose-response relationships of LSD in a psychiatric population—demonstrate the meaningful impact of a single 100 μg dose of MM120 in significantly reducing anxiety symptoms,” said Daniel Karlin, MD, chief medical officer of MindMed.2
References
Alejandro Sanz kicked off his new world tour ¿Y Ahora Qué? on Wednesday (Sept. 3) at the Auditorio GNP Seguros in Puebla, Mexico — a country with which he shares a deep connection. The show marked the Spanish superstar’s return to the Latin American nation after two years, for the first leg of a tour that already includes over 20 scheduled dates in various Mexican cities.
As seen during the opening night, Sanz’s new show blends his iconic hits with tracks from his latest project, the 2025 EP ¿Y Ahora Qué?, which includes songs like “Palmeras en el Jardín,” “Bésame” with Shakira, and “Hoy No Me Siento Bien” featuring Grupo Frontera.
Dressed in a casual outfit consisting of dark pants, dark shirt and sunglasses, Sanz appeared on stage with his electric guitar and his band of musicians to an euphoric audience, who were excited and happy to reunite with the 56-year-old artist — one of the most beloved Hispanic musicians in Mexico. Visuals of antique clocks and hourglasses accompanied the opening song of the night, “Desde Cuándo.”
According to his official website, at least half of the announced shows in Mexico are completely sold out, just as they were during his previous tour in 2023, when he filled all venues in Mexico City, Guadalajara, Monterrey, and other cities.
Below is the full setlist from the inaugural ¿Y Ahora Qué? show at the Auditorio GNP Seguros in Puebla, where Sanz is set to perform again on Thursday night (Sept. 4). The singer-songwriter of “Amiga Mía” and “Corazón Partío” will soon arrive at Mexico City’s Auditorio Nacional for four scheduled shows on Sept. 12, 13, 17 and 18. For a full list of tour dates, click here.
Album: Paraíso Express (2009)
Album: La Música No Se Toca (2012)
EP: ¿Y Ahora Qué? (2025)
Album: El Tren De Los Momentos (2006)
EP: ¿Y Ahora Qué? (2025)
Album: No Es Lo Mismo (2003)
Album: El Alma Al Aire (2000)
EP: ¿Y Ahora Qué? (2025) (feat. Grupo Frontera)
Album: No Es Lo Mismo (2003)
Live Album: +Es+ El Concierto (2017) (feat. Marc Anthony)
Album: El Alma Al Aire (2000)
Album: El Alma Al Aire (2000)
Album: La Música No Se Toca (2012)
Album: La Música No Se Toca (2012)
Album: No Es Lo Mismo (2003)
EP: ¿Y Ahora Qué? (2025)
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