An anonymous reader shares a report: Spotify Technology is developing a new version of its free music service, the first big product change since the streaming company went public last week, according to people familiar with the matter. The company is tweaking the free service to make it easier to use, especially for customers on mobile phones, said the people. An announcement is expected within a couple weeks. Spotify needs to attract large numbers of new listeners to satisfy investors who value the newly public company based on user growth. The free service generates customers that the company can steer into its paid offerings. The paid version accounts for less than half of Spotify's customer base, but generated about 90 percent of its 4.09 billion euros in 2017 revenue. [...] With the updated service, free mobile listeners will be able to access playlists more quickly and have more control over what songs they hear on top playlists, mimicking Spotify's ad-free subscription product. The basic package is $9.99 a month.

Several high-profile music videos on YouTube were mysteriously deleted early Tuesday, in what appears like the result of a security compromise. Some of the videos that have been pulled from Google's video platform include Luis Fonsi and Daddy Yankee's "Despacito" -- which is also the most popular video on the platform. Users reported Tuesday that the thumbnail of the video was replaced by a masked gang holding guns, who identify themselves as "Prosox and Kuroi'sh." Several songs from DJ Snake, Drake, Katy Perry, Selena Gomez, Shakira, and Taylor Swift have also been either deleted or altered with. On Twitter, a person who claims to be one of the hackers, said, "@YouTube Its just for fun i just use script "youtube-change-title-video" and i write "hacked" don t judge me i love youtube." Google has yet to acknowledge the incident. Further reading: BBC.

According to The New York Times, "Facebook employees were in an uproar on Friday over a leaked 2016 memo from a top executive defending the social network's growth at any cost -- even if it caused deaths from a terrorist attack that was organized on the platform." From the report: In the memo, Andrew Bosworth, a Facebook vice president, wrote, "Maybe someone dies in a terrorist attack coordinated on our tools. And still we connect people. The ugly truth is that we believe in connecting people so deeply that anything that allows us to connect more people more often is *de facto* good." Mr. Bosworth and Facebook's chief executive, Mark Zuckerberg, have since disavowed the memo, which was published on Thursday by BuzzFeed News.

But the fallout at the Silicon Valley company has been wide. According to two Facebook employees, workers have been calling on internal message boards for a hunt to find those who leak to the media (Warning: source may be paywalled; alternative source). Some have questioned whether Facebook has been transparent enough with its users and with journalists, said the employees, who asked not to be identified for fear of retaliation. Many are also concerned over what might leak next and are deleting old comments or messages that might come across as controversial or newsworthy, they said. In the aftermath, some Facebook executives have taken to Twitter for a public charm offensive, sending pithy phrases and emoticons to reporters who cover the company. Adam Mosseri, Facebook's head of news, in recent days wrote unprompted to a BuzzFeed editor and to its chief executive reminiscing and telling a story about his mother. He also wrote to a reporter from the Verge tech site about the songs played at his wedding reception.

Amazon announced last year that it intends to shut down its dedicated cloud music locker. Now, the company has elaborated on its thinking. From a report: In an email to Amazon Music users, the company says uploaded songs will be removed from a user's library on April 30th, 2018. You can however keep any music in the cloud by proactively going to your Music Settings and clicking the "Keep my songs" button. Back in December, Amazon stopped letting users upload new tracks to Music Storage, which holds up to 250 songs for free. The company said at the time that by January 2019, users wouldn't be able to download or stream tracks they've uploaded to Music Storage, so it sounds like you'll still have many months between April and next January to get your music downloaded and onto a different storage platform or hard drive.

An anonymous reader shares an update on Artur Sargsyan, who owned the music-pirating site Sharebeast as well as Newjams and Albumjams. TorrentFreak reports: Thursday a U.S. District Judge sentenced the 30-year-old to five years in prison, three years of supervised release, and more than $642,000 in restitution and forfeiture... The RIAA claimed that ShareBeast was the largest illegal file-sharing site operating in the United States... "Millions of users accessed songs from ShareBeast each month without one penny of compensation going to countless artists, songwriters, labels and others who created the music," RIAA Chairman & CEO Cary Sherman commented at the time...

If Sargsyan had responded to takedown notices more positively, it's possible that things may have progressed in a different direction. The RIAA sent the site more than 100 copyright-infringement emails over a three-year period but to no effect. This led the music industry group to get out its calculator and inform the Deparmtment of Justice that the total monetary loss to its member companies was "a conservative" $6.3 billion "gut-punch" to music creators who were paid nothing by the service... "His reproduction of copyrighted musical works were made available only to generate undeserved profits for himself," said U.S. Attorney Byung J. "BJay" Pak. "The incredible work done by our law enforcement partners and prosecutors in light of the complexity of Sargsyan's operation demonstrates that we will employ all of our resources to stop this kind of theft."
David J. LaValley, Special Agent in Charge of FBI Atlanta, said "His sentence sends a message that no matter how complex the operation, the FBI, its federal partners and law enforcement partners around the globe will go to every length to protect the property of hard working artists and the companies that produce their art."

Today if you visit ShareBeast.com or AlbumJams.com, they display an "FBI anti-piracy warning" image notifying visitors the domain has been seized, adding "Willful copyright infringement is a federal crime that carries penalties for first time offenders of up to five years in federal prison, a $250,000 fine, forfeiture and restitution." The image is surrounded by a red border with the word "seized" written over and over again.

An anonymous reader shares an excerpt from a report written by Scott E. Page, who explains why hiring the "best" people produces the least creative results: The burgeoning of teams -- most academic research is now done in teams, as is most investing and even most songwriting (at least for the good songs) -- tracks the growing complexity of our world. We used to build roads from A to B. Now we construct transportation infrastructure with environmental, social, economic, and political impacts. The complexity of modern problems often precludes any one person from fully understanding them. The multidimensional or layered character of complex problems also undermines the principle of meritocracy: The idea that the "best person" should be hired. There is no best person. When putting together an oncological research team, a biotech company such as Gilead or Genentech would not construct a multiple-choice test and hire the top scorers, or hire people whose resumes score highest according to some performance criteria. Instead, they would seek diversity. They would build a team of people who bring diverse knowledge bases, tools and analytic skills. That team would more likely than not include mathematicians (though not logicians such as Griffeath). And the mathematicians would likely study dynamical systems and differential equations.

Believers in a meritocracy might grant that teams ought to be diverse but then argue that meritocratic principles should apply within each category. Thus the team should consist of the "best" mathematicians, the "best" oncologists, and the "best" biostatisticians from within the pool. That position suffers from a similar flaw. Even with a knowledge domain, no test or criteria applied to individuals will produce the best team. Each of these domains possesses such depth and breadth, that no test can exist. When building a forest, you do not select the best trees as they tend to make similar classifications. You want diversity. Programmers achieve that diversity by training each tree on different data, a technique known as bagging. They also boost the forest 'cognitively' by training trees on the hardest cases -- those that the current forest gets wrong. This ensures even more diversity and accurate forests.

dryriver writes: The BBC has posted a very interesting article that investigates whether people claiming all over the internet that "pop music just isn't what it used to be" are simply growing old, or if there actually is objective science capable of backing up this claim of a "steady decline in music quality." The findings from five different studies are quoted; the findings from the fourth study is especially striking:


1. Pop music has become slower -- in tempo -- in recent years and also "sadder" and less "fun" to listen to.
2. Pop music has become melodically less complex, using fewer chord changes, and pop recordings are mastered to sound consistently louder (and therefore less dynamic) at a rate of around one decibel every eight years.
3. There has been a significant increase in the use of the first-person word "I" in pop song lyrics, and a decline in words that emphasize society or community. Lyrics also contain more words that can be associated with anger or anti-social sentiments.
4. 42% of people polled on which decade has produced the worst pop music since the 1970s voted for the 2010s. These people were not from a particular aging demographic at all -- all age groups polled, including 18-29 year olds, appear to feel unanimously that the 2010s are when pop music became worst. This may explain a rising trend of young millennials, for example, digging around for now 15-30 year-old music on YouTube frequently. It's not just the older people who listen to the 1980s and 1990s on YouTube and other streaming services it seems -- much younger people do it too.
5. A researcher put 15,000 Billboard Hot 100 song lyrics through the well-known Lev-Zimpel-Vogt (LZV1) data compression algorithm, which is good at finding repetitions in data. He found that songs have steadily become more repetitive over the years, and that song lyrics from today compress 22% better on average than less repetitive song lyrics from the 1960s. The most repetitive year in song lyrics was 2014 in this study.

Conclusion: There is some scientific evidence backing the widely voiced complaint -- on the internet in particular -- that pop music is getting worse and worse in the 2000s and the 2010s. The music is slower, melodically simpler, louder, more repetitive, more "I" (first-person) focused, and more angry with anti-social sentiments. The 2010s got by far the most music quality down votes with 42% from people polled on which decade has produced the worst music since the 1970s.

dryriver shares a report from the BBC, highlighting "a new album that features everything from cowboy sci-fi to Europop." What's special about the album -- Hello World by Canadian singer Kiesza -- is that it's the first full-length mainstream music album co-written with the help of artificial intelligence. You can judge the quality for yourself: First, view the single "Hellow Shadow" with Canadian singer Kiesza. Next, the BBC story, which seems to think that the album is actually rather good: "Benoit Carre has written songs for some of France's biggest stars: from Johnny Halliday -- the French Elvis, who died last year -- to chanteuse Francoise Hardy. But this month, the 47-year-old is releasing an album with a collaborator he could never have dreamt of working with. It's not a singer, or rapper. It's not even really a musician. It's called Flow Machines, and it is, arguably, the world's most advanced artificially-intelligent music program. For musicians, there's been one good thing about these projects so far: the music they've produced has been easy to dismiss, generic and uninspiring -- hardly likely to challenge Bob Dylan in the songwriting department. But Carre's album, Hello World, is different for the simple reason that it's good. Released under the name SKYGGE (Danish for shadow), it features everything from sci-fi cowboy ballads to Europop, and unlike most AI music, if you heard it on the radio, you wouldn't think something had gone horribly wrong. Flow Machines, developed at Sony's Computer Science Laboratories in Paris, does indeed write original melodies, Carre adds. It also suggests the chords and sounds to play them with. But Carre says a human is always needed to stitch the songs together, give them structure and emotion. Without people, its songs would be a bit rubbish. "There were many people involved in this," he says, listing the likes of Belgian house producer Stromae and Canadian pop star Kiesza. "They gave their soul, their enthusiasm. I think that's the most important point of the album, in a way -- that it's a very human one.'"

The Wixen Music Publishing company, which administers song compositions by Tom Petty, Dan Auerbach, Rivers Cuomo, Stevie Nicks, Neil Young, and others, has hit Spotify with a copyright lawsuit seeking $1.6 billion in damages. The publishing company filed the lawsuit on December 29, alleging the streaming giant is using Petty's "Free Fallin" and tens of thousands of other songs without license or compensation. SPIN reports: Back in September, Wixen objected to a $43 million settlement Spotify had arranged over another class action lawsuit brought by David Lowery (of Cracker and Camper van Beethoven) and Melissa Ferrick, stating it was "procedurally and substantively unfair to Settlement Class Members because it prevents meaningful participation by rights holders and offers them an unfair dollar amount in light of Spotify's ongoing, willful copyright infringement of their works." A judge has yet to rule on that settlement, and in the meantime, Wixen has moved to file its own lawsuit, which purports "as much as 21 percent of the 30 million songs on Spotify are unlicensed," according to The Hollywood Reporter.

"Spotify brazenly disregards United States Copyright law and has committed willful, ongoing copyright infringement," the complaint reads. "Wixen notified Spotify that it had neither obtained a direct or compulsory mechanical license for the use of the Works. For these reasons and the foregoing, Wixen is entitled to the maximum statutory relief."

Amazon is planning to retire its Music storage subscription service, the plan that enabled Amazon customers to upload their own music to the company's servers. From a report: Amazon Music Storage subscription plans, which let users upload music from their Mac or PC and stream them alongside the in-app on-demand and radio options, will be accepted until Jan. 15, 2018. Then, the service will run until January 2019, when it will be removed entirely. As of Monday this week, free plans -- which allow for 250 songs to be stored in the cloud -- are no longer able to upload new music to their MP3 locker.

An anonymous reader quotes a report from Bloomberg: Apple agreed to acquire music-identification service Shazam, taking ownership of one of the first apps to demonstrate the power of the iPhone, recognizing songs after hearing just a few bars of a tune. Terms of the deal weren't disclosed, but a person familiar with the situation said Apple is paying about $400 million for the U.K.-based startup. That would be one of Apple's largest acquisitions ever, approaching the size of its 1996 purchase of Next Computer Inc. which brought co-founder Steve Jobs back to the company. That transaction would be worth more than $600 million in today's dollars. The Shazam app uses the microphone on a smartphone or computer to identify almost any song playing nearby, then points users to places they can listen to it in future, such as Apple Music or Google's YouTube.

"Apple Music and Shazam are a natural fit, sharing a passion for music discovery and delivering great music experiences to our users," Apple said in an emailed statement on Monday. "We have exciting plans in store, and we look forward to combining with Shazam upon approval of today's agreement. Since the launch of the App Store, Shazam has consistently ranked as one of the most popular apps for iOS," Apple also said. "Today, it's used by hundreds of millions of people around the world, across multiple platforms." The acquisition would help Apple embed that capability more deeply into its music offerings. The company's digital assistant Siri gained Shazam integration in 2014, so users could ask it what song is playing in the background.

Tristan Greene reports via The Next Web: A universal basic income (UBI), wherein government provides a monthly stipend so citizens can afford a home and basic necessities, is something experts believe would directly address the issue of unemployment and poverty, and possibly even eliminate hundreds of other welfare programs. It may also be the only real solution to the impending automation bonanza. According to AI expert Steve Fuller, the problem is, giving people money when they lose jobs won't fix the issue, it's a temporary solution and we need permanent ones. Sounds fair, and he even has some ideas on how to accomplish this end: "We could hold Google and Facebook and all those big multinationals accountable; we could make sure that people, like those who are currently 'voluntarily' contributing their data to pump up companies' profits, are given something that is adequate to support their livelihoods in exchange."

It's an interesting idea, but difficult to imagine it's implementation. If the government isn't assigning a specific stipend value, we'll have to be compensated individually by companies. One way to do this, is by emulating the old coal mining company scrip scams of early last century. Employees working for companies would be paid in currency only redeemable at the company store. This basically created a system where a company could tax its own workers for profit. Google, for example, could use a system like that and say "opt-in for $10 worth of Google Play music for free," if they wanted to. Which doesn't help pay the bills when machines replace you at work, but at least you'll be able to voice search for your favorite songs. Another idea is to charge companies an automation tax, but again there's concerns as to how this would be implemented. A solution that combines government oversight with a tax on AI companies -- a UBI funded by the dividends of our data -- may be the best option. To be blunt: we should make Google, Microsoft, Facebook and other such AI companies pay for it with a simple data tax.

Hal_Porter shares a report from The Register: If the tech industry wants another wave of innovation to match the PC or the internet, Google and Facebook must be broken up, journalist and film producer Jonathan Taplin told an audience at University College London's Faculty of Law this week. He was speaking at an event titled Crisis in Copyright Policy: How the digital monopolies have cornered culture and what it means for all of us, where he credited the clampers put on Bell then IBM for helping to create the PC industry and the internet. Taplin told his audience that he'd been moved by the fate of his friend Levon Helm, The Band's drummer, who was forced to go back on the road in his sixties, after radiation therapy for cancer. Helm died broke. Today, Taplin points out, YouTube accounts for 57 per cent of all songs streamed over the internet, but thanks to a loophole returns just 13.5 per cent of revenue. "That's not a willing buyer-seller relationship," he said, referring to the UGC loophole that Google enjoys, one not available to Spotify or Apple Music. But it isn't just songwriters and musicians who are poorly paid. The average person "works for two hours a day for Mark Zuckerberg" generating a data profile. Taplin pointed out that Bell held patents on many technologies including the transistor, the laser and the solar cell, that it agreed to license, royalty free, as part of a 1956 consent decree.

Taplin saw history repeated with IBM. Under the 1956 (again) consent decree IBM was obliged to unbundle software from hardware in the 1960s. But competition authorities again opened up an investigation in 1969 which ran for 13 years. Caution made IBM ensure its first microcomputer, the IBM PC, launched in 1981, was an open platform. IBM chose three operating systems to run on the first PC but clearly favoured an outsider, from a tiny Seattle outfit originally called "Micro-Soft." Then Microsoft got the treatment. "Every 20 years we have this fight -- and we're about to have it again," Taplin told the audience. Antitrust was necessary "not because they're too big, but because there's no market solution" to Google and Facebook. The barriers to entry are now so high nobody is going bust open the ad duopoly. Taplin cited Snapchat an example of a company that tried to innovate, but refused to take Facebook's buyout offer. Facebook has simply copied its features.

An anonymous reader writes: Instant messaging client Telegram has for the first time blocked access to an entire channel following pressure from Google and Apple. A channel, called Any Suitable Pop, was found distributing copyright infringed copies of songs from Taylor Swift's new album 'Reputation'. It's understood that following complaints from Universal Music, Google and Apple ordered Telegram to take action.

An anonymous reader quotes Bloomberg. [Alternate version here]: During her 10-year career, she's released more than 100,000 songs in a variety of languages and opened shows for Lady Gaga. And yet Hatsune Miku, who boasts 2.5 million Facebook followers, doesn't actually exist -- at least not in the typical way we think of a flesh-and-blood diva. Miku is a computer-simulated pop star created more than a decade ago by Hiroyuki Ito, CEO of Crypton Future Media in Sapporo, Japan.

She started life as a piece of voice-synthesis software but since has evolved to become a singing sensation in her own right -- thanks to the creativity of her legions of fans. Crucial to Miku's success is the ability for devotees to purchase the Yamaha-powered Vocaloid software and write their own songs for the star to sing right back at them. Fans then can upload songs to the web and vie for the honor of having her perform them at "live" gigs, in which the computer-animated Miku takes center stage, surrounded by human guitarists, drummers and pianists.
Bloomberg's article includes some video clips of the virtual artist -- as well as her real-world fans.

An anonymous reader shares a report from VentureBeat, written by Emil Protalinski: The most interesting Google Pixel 2 and Pixel 2 XL feature, to me, is Now Playing. If you've ever used Shazam or SoundHound, you probably understand the basics: The app uses your device's microphone to capture an audio sample and creates an acoustic fingerprint to compare against a central song database. If a match is found, information such as the song title and artist are sent back to the user. Now Playing achieves this with two important differentiators. First, Now Playing detects songs automatically without you explicitly asking -- the feature works when your phone is locked and the information is displayed on the Pixel 2's lock screen (you'll eventually be able to ask Google Assistant what's currently playing, but not yet). Secondly, it's an on-device and local feature: Now Playing functions completely offline (we tested this, and indeed it works with mobile data and Wi-Fi turned off). No audio is ever sent to Google.

Long-time Slashdot reader troublemaker_23 quotes ITWire: German Linux company SUSE Linux is well-known for its Linux and other open source solutions. It is also known for producing videos for geeks and debuting them at its annual SUSECon conference. This year, in Prague, was no different. The company, which marked its 25th year on 2 September, came up with two videos, one to mark the occasion and the other all about Linux and open source. Both videos are parodies of well-known songs: the video Linus Said is based on "Momma Said", while 25 Years is a parody of "7 Years". Some of the lyrics in both SUSE videos would be meaningless to the average person -- but every word will ring a bell, sometimes a very poignant one, with geeks. And that's the primary audience it targets.
The article embeds both videos -- and also links to the music videos they're parodying. And it includes links to SUSE's two previous annual music video parodies -- Uptime Funk (based on Bruno Mars' blockbuster hit "Uptown Funk"), and Can't Stop the SUSE, a parody of Justin Timberlake's "Can't Stop the Feeling".

Microsoft announced today that it will soon shutter both its Groove Music Pass streaming service and the ability to purchase songs and albums in the Windows Store. The biggest surprise isn't that the service never took off, it's that Microsoft has partnered with Spotify to move all its Groove Music Pass customers over to Spotify. TechCrunch reports: Starting December 31, the Groove Music app will lose its features for streaming, purchasing and downloading music. Microsoft promises that moving to Spotify will be pretty seamless and that virtually all the songs and playlists that Groove users created over the years will transfer to the new service. Windows Insiders will be able to test this out with the next update, which is scheduled to roll out next week. Users will have until at least January 31, 2018 to make the move, though. For the most part, Spotify offers a superset of Groove's music catalog, so except for a few edge cases, there's no reason to believe that moving to Spotify would be a great loss for Groove Music Pass customers. And because Spotify is available on Windows Phone, too, even the few users still left on Microsoft's failed mobile platform won't miss out. As for Groove Music itself, Microsoft says the actual app won't go away anytime soon. It'll still be available for playing back and managing music that's stored locally.

Slashdot reader unixisc writes: While it's always been well known that Windows phones in the market have floundered, one saving grace has always been that one could at least use it for the barest minimum of apps, even if updates have stopped... Aside from a door stop or a hand me down to someone who'll use it like a dumb phone, what are your suggested uses for this phone? A music player (if the songs are on an SD card)? Games? As far as phones go, I have what I need, so for this, anything it's good for?
The original submission suggests problems connecting to wi-ifi -- something partially corroborated by complaints at Windows Central -- though Microsoft's site says they're still supporting wifi connections.

Slashdot reader thegreatbob suggested "shuffleboard puck" -- then added, "Snark aside, if you're into writing custom applications and such for them, there's probably a bootloader/root solution for you out there."

Leave your own best suggestions in the comments. What can you do with an old Windows Phone?

Facebook is offering major record labels and music publishers hundreds of millions of dollars so the users of its social network can legally include songs in videos they upload, Bloomberg reported on Tuesday. From the report: The posting and viewing of video on Facebook has exploded in recent years, and many of the videos feature music to which Facebook doesn't have the rights. Under current law, rights holders must ask Facebook to take down videos with infringing material. Music owners have been negotiating with Facebook for months in search of a solution, and Facebook has promised to build a system to identify and tag music that infringes copyrights. Yet such a setup will take as long as two years to complete, which is too long for both sides to wait, said the people, who asked not to be named discussing details that aren't public. Facebook is eager to make a deal now so that it no longer frustrates users, by taking down their videos; partners, by hosting infringing material; or advertisers, with the prospect of legal headaches. The latest discussions will ensure Facebook members can upload video with songs just as it's rolling out Watch, a new hub for video, and funding the production of original series. Facebook is attempting to attract billions of dollars in additional advertising revenue and challenge YouTube as the largest site for advertising-supported video on the web.