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Yahoo Mail logo is displayed on a smartphone Access Now, an international digital rights group, wrote to Verizon on Tuesday about scanning conducted in 2015 at the behest of U.S. intelligence authorities and first reported by Reuters last week. Federal officials said the search was at the direction of the Foreign Intelligence Surveillance Court and sought emails containing a specific set of characters associated with a terror group backed by another government. Access Now pressed the communications carrier to make sure that Yahoo does more to protect user data, keeps security staff informed of relevant policy decisions and keeps its commitments to surveillance reform. "We have an ongoing and constructive engagement with Access Now and will review their recommendations and consider them carefully," Verizon said in an emailed statement. The letter, provided to Reuters in advance of its publication on Wednesday on the group's website, points to mixed feelings among privacy and security experts about the pending $4.8 billion acquisition. Yahoo has in past years enjoyed a good reputation for protecting users from government pressure, lobbying for restrictions on broad searches and appealing warrantless inquiries from the secret U.S. intelligence court. Like other major telecommunications carriers, Verizon has been seen by privacy experts as more closely aligned with the interests of government regulators, law enforcement and intelligence agencies.

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"That's easy. I would watch videos of RZA producing Wu-Tang tracks, and he would take samples, run them through processors, whatever, and make them sound grittier or dirtier. The main thing that I took away from that was how to manipulate sounds texturally - that was the main thing that inspired me at the start to make beats and music." Clams started out creating sonic backdrops for neighborhood friends. ("Nothing major, just pals who rapped in Jersey.") Confidence emboldened him to start sending his instrumentals - "via MySpace - sounds so old now, right?" - to rappers such as Lil B and A$AP Rocky, cloud-rap kings attracted to woozy sampled sound and dreary ambient rushes. "It was just exciting for my mind to be as free as Clams' music is," Lil B said in a rare interview with Noisey. Working with B, A$AP Rocky, and others on 32 Levels in a studio setting wasn't demonstrably different than working online or in separate places, Clams says. "Yeah, there was probably a certain amount of control I was able to have in doing this stuff without seeing the people I'm working with, but I like the collaboration." Clams' instrumentals - found on his mixtapes, his work with rap's already rich and famous, or his own Levels - are simply beautiful, but they conjure up a range of emotions. Take, for example, the ragged soul of "Into the Fire," recorded with Mikky Ekko in Nashville, or the murky "All Nite," featuring rap's dark angel, Vince Staples. Casino seems like a guy who is always deep in thought, even when instinct is his guide.

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