SpaceX will try a significantly different approach to landing its future reusable rocket boosters, according to CEO and founder Elon Musk. It will attempt to ‘catch’ the heavy booster, which is currently in development, using the launch tower arm used to stabilize the vehicle during its pre-takeoff preparations. From a report: Current Falcon 9 boosters return to Earth and land propulsively on their own built-in legs — but the goal with Super Heavy is for the larger rocket not to have legs at all, says Musk. The Super Heavy launch process will still involve use of its engines to control the velocity of its descent, but it will involve using the grid fins that are included on its main body to help control its orientation during flight to ‘catch’ the booster — essentially hooking it using the launch tower arm before it touches the ground at all. The main benefits of this method, which will obviously involve a lot of precision maneuvering, is that it means SpaceX can save both cost and weight by omitting landing legs from the Super Heavy design altogether. Another potential benefit raised by Musk is that it could allow SpaceX to essentially recycle the Super Heavy booster immediately back on the launch mount it returns to — possibly enabling it to be ready to fly again with a new payload and upper stage (consisting of Starship, the other spacecraft SpaceX is currently developing and testing) in “under an hour.” The goal for Starship and Super Heavy is to create a launch vehicle that’s even more reusable than SpaceX’s current Falcon 9 (and Falcon Heavy) system.

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Source: Slashdot – SpaceX Will Attempt To Recover Super Heavy Rocket by Catching it With Launch Tower

Spotify has joined the ranks of streaming services like SoundCloud and YouTube as a hub for bootlegs of popular songs. From a report: With obscured titles like “Jocelyn Flores but you’re in the bathroom at a party” by eraylandin, a new take on XXXTentacion’s popular “Jocelyn Flores,” and “Dead To Me — Kali Uchis (slowed + bass boosted)” by user Unreal sounds, a rework of Uchis’ popular track from her 2018 album “Isolation,” these underground remixers have chosen to upload their creations as podcast episodes, hoping to circumvent copyright infringement detection by the platform. Using simple keywords and terms like “chopped and screwed,” “slowed and reverbed,” “remix,” and “mashup” in Spotify’s search bar, users can track down bootlegged reworks of songs by many top artists which live on Spotify’s podcast hub. Late rapper Juice WRLD, who still commands a cult following, has a full ‘podcast series’ dedicated to revealing his unreleased songs, like user No Si’s podcast titled, “Instagram @xricardol.tx.” The podcast contains ‘episodes’ like “Sugarfish (Leaked),” a song Juice WRLD wrote with The Chainsmokers that was never officially released, despite online rumors that the collaboration would become available in December 2019. These podcasts, like “Instagram @xricardol.tx,” only contain the audio of specific songs and almost always list the tracks as individual episodes. There is nothing that resembles the typical characteristics of a podcast.

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Source: Slashdot – Spotify’s Podcasting Problem: Loophole Allows Remixes and Unreleased Songs To Hide in Plain Sight