Ta l k i n g Po i n t s

FORBIDDEN SOVIET-ERA MUSIC ON X-RAY SNAPSHOTS By Alexander Zemlianichenko Associated Press

An exhibition describing a unique chapter in the history of Soviet culture — bootleg music recordings made on used X-ray film — has opened in Moscow.

From the late 1940s to the early 1960s, ingenuous Soviet music lovers made bootleg copies of banned music on used X-ray snapshots, bypassing strict official controls over record-ings people were allowed to listen to. They are played on nor-mal record players.

The Bone Music exhibition, which opened in Moscow’s Garage Museum of Contemporary Art last month, presents research by X-Ray Audio, a project by Stephen Coates and Paul Heartfield from London.

Coates, a composer and music producer, described the recordings as “images of pain and damage inscribed with the sound of forbidden pleasure; fragile photographs of the interiors of Soviet citizens layered with the ghostly music they secretly loved.”

The clandestine recordings weren’t limited to jazz and rock-n-roll, vilified by Communist propaganda as manifestations of Western decadence. They also featured Russian emigre music, as well as popular prison and Gypsy songs also tabooed by Soviet ideologists.

The industry that put bootleggers at risk of arrest gradually died out in the mid-1960s with the appearance of reel-to-reel recorders.

Along with the original recordings on X-ray film, the exhibition tells the stories of people who made, distributed and played them. The installation produced for the Moscow exhibition immerses the audience in an atmosphere that mixes underground technology, forbidden culture, Cold War politics and human ingenuity.

NETFLIX LOVES TO PICK HITS FOR EACH SUBSCRIBER – BUT HOW? By Frazier Moore Associated Press

Netflix wants subscribers to know it’s looking out for them.

For instance, the average Netflix subscrib-er might never guess that its dark super-hero drama “Jessica Jones” might strike similar chords as the zany hijinks of “Unbreakable Kimmy Schmidt.” Netflix is happy to help you make the connection.

Much of the attention showered on this streaming-video giant in recent years has dwelled on its insatiable appetite for original content and for creators to produce it.

“We want to appeal to as many different people as possible, and appeal to the many moods that each person has,” says vice presi-dent of product innovation Todd Yellin. “The more diverse our content, the more likely that someone, at their moment of truth about what they’re going to watch, will choose to go to Netflix.”

But this service’s multibillion-dollar annu-al outlay for new programming necessitates another challenge: helping each program get discovered by the subscribers most likely to enjoy it. Four out of five of the shows watched on Netflix were found by its subscribers thanks to recommendations offered them, Netflix says.

Those suggested new favorites are much more customized for each subscriber than might be evident from a glance at the Netflix home page.

Most every row of program suggestions (even generic-seeming categories like “Comedies” and “Dramas”) is tailored for each subscriber, Yellin says.

And how the rows are arranged vertically on the home page is a function of the subscriber’s demonstrated genre preferences.

“You might have ‘Comedies’ as your fifth row,” says Yellin, “and for another person it might be 25th. And someone else might not get a comedy row at all.”

So your Netflix is different from everybody else’s. But where do these tips come from?

“It’s very important that the titles most rel-evant to each person bubble up to the top of the catalog,” says Yellin. “And we want those relevant titles to be diverse. We don’t want to

make the amateur mistake of getting caught in an echo chamber, such as: Just because you watched one horror title, slapping in front of you nothing but more horror titles.”

Yellin likens the process of providing bespoke TV for each customer to a three-way collaboration.

First, a legion of Netflix “taggers” screens every program, tagging different elements that compose it. This data is crunched and con-tinuously refined by the company’s secret-sauce algorithm. And then viewer habits gathered by Netflix from its 100 million accounts world-wide add more grist to the mill.

Thus can Netflix take a “gateway” program and point the person watching it to other unexpected or unknown fare with presumably similar appeal.

Consider “Ozark,” which viewers might be led to from any of several directions, explains Yellin.

“Ozark” is a recently released original drama series starring Jason Bateman as a money-laundering family man who’s seriously jammed up with the Mexican drug cartel he works for.

“We’ve found that people who tend to watch ‘Blacklist’ and ‘House of Cards’ tend to like ‘Ozark,’” says Yellin. “But another kind of person who will find he likes ‘Ozark’ is a fan of ‘Narcos’ and ‘El Chapo’ and other drug-cartel-oriented dramas and documentaries.”

But, wait, there’s yet another “taste com-munity” rallying to “Ozark,” says Yellin: fans of the 2015 film “The Big Short,” which deals with Wall Street dirty tricks, have been found to respond to the money monkeyshines that animate “Ozark.”

“It’s not like we could have guessed this ahead of time,” says Yellin. “We just track which shows tend to cluster together. Who would have thought that ‘Jessica Jones’ and ‘Kimmy Schmidt’ would cluster together?” As well as — no kidding — “Making a Murderer” and a John Mulaney stand-up concert.

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