"Need an easy way to make $23 million?" asks Mashable.

"Have you ever considered just claiming music others uploaded to YouTube as your own and collecting the royalties? That's basically all two Phoenix men did to swindle Latin music artists like Daddy Yankee and Julio Iglesias out of millions of dollars in royalties, as detailed in a new piece from Billboard last week.

According to Kristin Robinson of Billboard, Jose "Chenel" Medina Teran and Webster Batista set up a media company called MediaMuv and claimed to own the rights to various Latin music songs and compositions. In total, MediaMuv claimed to own more than 50,000 copyrights since 2017, when Teran and Batista began their scheme.

In order for MediaMuv to claim these copyrights and collect royalties through YouTube's Content ID system, the fraudulent company needed to partner with AdRev, a third-party company that has access to YouTube's CMS and Content ID tools and helps artists manage their digital copyrights. MediaMuv created a few fake documents and provided AdRev with this paperwork in order to prove ownership over the music it claimed. From there, AdRev not only helped MediaMuv collect royalties for those copyrights but also provided Terana and Batista with direct access to YouTube's CMS so they could claim copyrights on its own.

Teran and Batista's four-year-long royalties heist came to an end late last year following an investigation from the IRS. According to Billboard, the two were indicted on "30 counts of conspiracy, wire fraud, money laundering and aggravated identity theft."
Mashable calls it "a huge reminder that online copyright is deeply flawed..."

"[J]ust think about how many more careful scammers are still skimming royalties off of an untold number of artists."

How some people tricked Google into getting their own knowledge panels and fooled Amazon-owned IMDb into believing they are top stars in dozens of movies. From a report: I was casually browsing IMDb when I landed on the page for an upcoming Ranbir Kapoor starrer movie "Animal." I saw the cast details and I found a face and a name I didn't recognize. Finding out about this guy led me to a whole new world of how so many young Indian men from small towns are gaming the system to manufacture their own fake online clout. So who is this guy? I had not heard of him before and he is named in the "Top cast" category for this movie, alongside Indian actor Ranbir Kapoor. According to his IMDb page, he has acting credits in some big-budget productions. I am beginning to suspect that this could be a case of IMDb vandalism. IMDb allows anyone to add and edit pages. They don't allow you to see the edit history of a page though like Wikipedia and evidently, the edits are not reviewed effectively either.

I googled this guy. Wow, so Google has a knowledge panel on him. There are also links to his music on various music platforms. Okay, so probably he is pretending to be an actor on IMDb but according to his google search results, he is actually a legit musician? Skimming through the search results, I found biographies written about him on a few websites of doubtful credibility. Like this one on a website called issuewire.com. I looked at his YouTube and other social media profiles and he doesn't have a lot of followers or any music content on there. I shazamed a couple of his songs and they're just copies of existing random music mashed together with some audio editing tool like Audacity. Possibly to avoid getting copyright notices. Hmm. I think I am now beginning to get a clearer picture of what's going on here.

He set up a profile on a bunch of different music streaming platforms. Uploaded remixed mash-up of existing songs using some audio editing software. Published biographies and profiles about himself on sites that do not verify submissions. Set up an IMDb page with fake credits. All this to trick google into believing he is a person of eminence. [...] I went back to his IMDb and checked the cast details of some of the movies he is part of. And I found a few dozen profiles with the exact same modus operandi.

An anonymous reader quotes a report from Ars Technica: Charter Communications has agreed to settle piracy lawsuits filed by the major record labels, which accused the cable Internet provider of failing to terminate the accounts of subscribers who illegally download copyrighted songs. Sony, Universal, Warner, and their various subsidiaries sued Charter in US District Court in Colorado in March 2019 in a suit that claimed the ISP helps subscribers pirate music by selling packages with higher Internet speeds. They filed another lawsuit against Charter in the same court in August 2021.

Both cases were settled. The record labels and Charter told the court of their settlements on Tuesday in filings (PDF) that said (PDF), "The Parties hereby notify the Court that they have resolved the above-captioned action." Upon the settlements, the court vacated the pending trials and asked the parties to submit dismissal papers within 28 days. Charter subsidiary Bright House Networks also settled (PDF) a similar lawsuit in US District Court for the Middle District of Florida this week. The record labels' case in Florida was settled one day before a scheduled trial, as TorrentFreak reported Tuesday. The case was dismissed with prejudice (PDF) after the settlement.

No details on any of the settlements were given in the documents notifying the courts. A three-week jury trial in one of the Colorado cases was scheduled to begin in June 2023 but is no longer needed. The question for Internet users is whether the settlements mean that Charter will be more aggressive in terminating subscribers who illegally download copyrighted material. Charter declined to comment today when we asked if it agreed to increase account terminations of subscribers accused of piracy. "Even if the settlements have no specific provision on terminating subscribers, Charter presumably has to pay the record labels to settle the claims," adds Ars' Jon Brodkin. "That could make the country's second-biggest ISP more likely to terminate subscribers accused of piracy in order to prevent future lawsuits."

Long-time Slashdot reader destinyland writes: Today sees an event celebrating the 50th anniversary of 1970s children's programming giants Sid & Marty Krofft. (Born in 1929, Sid Krofft will turn 93 in July). And reportedly Marty Krofft has now partnered with NFT producer Orange Comet "in a multiyear contract to release NFTs based on the often enigmatic and much-beloved television shows they have brought to us since 1969."

The first one commemorates Land of the Lost — dropping sometime after September.

Today I learned their big break in America came from making puppets for Dean Martin's show, followed by designing and directing the Banana Splits and a string of successful children's shows on Saturday mornings. ( Land of the Lost, H.R. Pufunstuf, Lidsville, Sigmund and the Sea Monsters...) Looking back, Krofft muses that even today somewhere in New York City, "some guy 50 years old, remembers the damn theme songs. Because there were only three networks, so basically every kid in America saw our shows." In the article Marty Krofft describes their style as "a nightmare and bizarre" — or, more pragmatically, as "Disney without a budget" (while crediting future Disney CEO Michael Eisner for being their mentor).

Yet the article adds that "They were nearly unstoppable with styrofoam, paint and cloth. In a digital universe of truly endless possibilities, there is no telling where they could take their stories."

"After they broke up four decades ago, ABBA famously refused all kinds of money for reunion ABBA-tars and performances," writes Rolling Stone.

"But a few years ago, British entrepreneur Simon Fuller pitched an idea that piqued the Swedish superstars' interest..." "We got sort of turned on by the thought that we could actually be onstage without us being there," ABBA singer-songwriter Benny Andersson says over Zoom.

The band, along with Fuller and their producers Ludvig Andersson (Benny Andersson's son) and Svana Gisla (music-video producer for the likes of Radiohead and Beyoncé), initially explored reproducing themselves by hologram technology, but that didn't pan out. They finally realized a grander dream: ABBA Voyage, the 196-show concert residency at newly built ABBA Arena in London's Queen Elizabeth Olympic Park that begins May 27. Made with help from George Lucas' Industrial Light & Magic, digital avatars (also known as ABBA-tars) embody the stars in their Seventies prime, performing a 22-song set alongside a flesh-and-blood backing band assembled by James Righton of the Klaxons and including U.K. singer Little Boots on keys....

The band and the team and ILM realized early on that an existing venue wasn't going to work for the residency. There are 1,000 visual-effects artists on ABBA Voyage, making it the biggest project ILM has done, according to Gisla (and this is the company behind Star Wars, Marvel, and Jurassic Park). The roof of ABBA Arena was reengineered three times to fit the complicated lighting system. Where many concerts might use only one lighting rig, this one uses 20.

There was a lot of work put into making the ABBA-tars — which, the band stresses, are not holograms, but digital versions of the members that look like real, physical performers. Not too long before the pandemic put things to a near-halt, the four members of ABBA met from 10 a.m. to 5 p.m. each day, for four and half weeks straight, performing for 200 cameras and a crew of nearly 40 people while wearing motion-capture suits. They posted up in a sound studio within the Swedish Film Institute, playing all the songs they had carefully curated for their first show in 40 years. "It was really a pleasure for all of us," Andersson says.

Back in London, body doubles emulated the performances, but with a younger energy. "We are sort of merged together with our body doubles. Don't ask me how it works because I can't explain that," Andersson continues. "If you're 75, you don't jump around like you did when you were 34, so this is why this happened."
Producer Ludvig Andersson adds: "We hear often, 'This is the dawn of a new era in live entertainment.' I think that's an incorrect statement. I don't think it is. This is unique."

An anonymous reader quotes a report from The Guardian: YouTube is showing videos that promote skin-bleaching, weight loss, drug culture and firearms to children as young as two, a new investigation of the company's "Kids" app has found. YouTube Kids, an app and website released in 2015, is supposed to be a safer, curated version of the video-sharing website aimed at children under 13. It tailors content to three age groups: "older," "younger" and "preschool," roughly corresponding to those aged nine to 12 years old, four to seven, and under four. The company says it ensures that the videos on the service are family-friendly through "a mix of automated filters built by our engineering teams, human review and feedback from parents to protect our youngest users online." But, it cautions users "no system is perfect and inappropriate videos can slip through."

Research from the Tech Transparency Project, a US-based non-profit, shows that the system is indeed far from perfect. Using three different accounts, each set to one of app's age groups, the analysts discovered numerous videos that should not have made it past Google's filters. A Breaking Bad-themed cooking show, for instance, in which the hosts dress up in respirators and make jokes about the risk of inhaling the fumes, might be light-hearted viewing for adults or teens, but has been categorized by YouTube as being appropriate for "younger children" -- as has a Minecraft project to recreate the RV, "where the crystal meth is cooked," from the hit show. Songs sometimes slip mature themes into the children's app, too. Eric Clapton's Cocaine -- sample lyric "When your feeling is gone, and you wanna ride on, cocaine" -- is available to children as young as five as part of a guitar tuition series. Content aimed at gun users slips through the net, leading to younger children being shown a ranking of recoil pads, which protect shooters from the kickback of a firing gun, and older children being offered step-by-step instructions on how to build a shelf with a hidden compartment to conceal a pistol. Most alarming was content for kids that could lead to harmful body image issues. A popular Indian beauty influencer's post on how to apply skin-bleaching products was available for older kids, while even preschool children were shown a cartoon about the importance of burning calories to lose weight, which exhorted them to "wiggle your jiggle". In a statement, a YouTube spokesperson said: "We built YouTube Kids to create a safer environment for kids to explore their interests and curiosity, while giving parents the tools to customize the experience for their kids. We have a higher bar for which videos can be a part of the app and also empower parents to control what content their child can and cannot see. Upon review we have removed or age-gated a number of the flagged videos from the Kids app."

Sonos is preparing to introduce its own voice assistant service within the next few weeks, according to people familiar with the company's plans. The voice functionality will let customers play and control music on Sonos' whole-home audio platform. The Verge reports: It will be part of a forthcoming software update set to arrive first to customers in the US on June 1st, with an international rollout to follow. Sonos Voice will serve as an alternative to Amazon Alexa and Google Assistant, which Sonos already supports on its smart speakers and voice-enabled soundbars. All Sonos products that run the company's S2 software will support Sonos Voice Control.

Sonos has recently posted job openings related to the "Sonos Voice Experience," with the company saying its ambition is to "make voice interactions fully private, more personal, and more natural." The debut of Sonos Voice will mark a pivotal moment in Sonos' expansion into services as the company seeks to augment its hardware business. (Sonos Radio and the paid, higher quality Sonos Radio HD were the first such forays into services.) The offering will provide core conveniences that are similar to existing competitors, allowing Sonos product owners to play specific songs, artists, or playlists with voice commands, among other functions.

At launch, Sonos Voice will work with Apple Music, Amazon Music, Pandora, Deezer, and the company's own Sonos Radio. Spotify and Google's YouTube Music aren't yet on board. In keeping with Sonos' interest in privacy, the feature will not record user audio commands or relay them to the cloud for processing. "Hey Sonos" will be the wake word for Sonos Voice Control, and the company's internal tests show it to be quicker than competing assistant services at core music tasks. [...] The Sonos Voice Experience will stick to the fundamentals at launch. But if people are able to use Alexa at the same time -- Sonos calls this feature "voice concurrency" -- they'll be able to give the Sonos offering a shot without sacrificing smart home integrations or other more varied features that the Sonos voice service may lack.

"Music was one of the first industries that felt the sonic boom of the internet, starting with song-sharing websites like Napster in the late 1990s and iTunes digital downloads later," writes the New York Times.

They take a quick look at how the music industry "survived an online revolution," arguing that streaming services "saved the music industry from the jaws of the internet," making it financially healthy and giving it a wider reach.

"But all is not entirely well." Even now, the music industry in the United States generates less revenue than at the peak of the CD. There's a raging debate about how long the gravy train from streaming will last. And many musicians and others say that they're not sharing in the spoils from the digital transformation....

First, I'll lay out the case that the music industry is doing awesome. More than 500 million people around the world pay for digital music, mostly in fees for services such as Spotify, Apple Music or Tencent Music, which is based in China. Those services have given the industry something it has never had before: a steady stream of cash every month. The industry also is making money a gazillion ways. When you watch a music video on YouTube, money flows to the people responsible for that song. TikTok pays record companies when videos feature their popular songs....

Revenue for the music industry has been increasing consistently since 2015, but revenue from all sources — including streaming subscriptions, CDs and royalties from elevator music — is still less than it was in 1999. Total industry revenue back then was about $24 billion adjusted for inflation, and revenue in 2021 was $15 billion, according to the Recording Industry Association of America. (Global sales data from a different music trade group show a similar trajectory.) There aren't an infinite number of people who are willing to pay the going rate in many countries of $10 a month to access a whole bunch of songs on their phones via a service like Spotify. That's what worries people who believe the music industry's digital success has peaked.
Finally, the article points out that even the most-popular songs...aren't as popular as songs got in the past. And then it links to a story headlined "Streaming Saved Music. Artists Hate It."

"The big winners are the streaming services and the large record companies. The losers are the 99 percent of artists who aren't at Beyoncé's level of fame. And they're angry about not sharing in the music industry's success."

DevNull127 writes: More bad news for Spotify from Conde Naste via their music site Pitchfork:

Last month, in the tone of a band reluctantly summoned from some deep seabed, My Bloody Valentine issued a prickly public service announcement: "Just noticed that Spotify has put fake lyrics up for our songs without our knowledge," the Irish shoegazers tweeted. "These lyrics are actually completely incorrect and insulting." Cocteau Twins' Simon Raymonde chimed in to report that they, too, had found gibberish transcriptions of their famously elliptical songs on streaming services.

The lyric snafu was not limited to Spotify. Over the past decade, a data platform called Musixmatch has assumed dominion over the world of lyrics, securing sub-licensing deals with the major publishing companies. The lyrics you see on Spotify, Tidal, and Amazon Music usually come through Musixmatch, via a data pipeline that links the platform's enormous transcriber community with a small core of paid quality-control monitors. (Apple Music has a dedicated lyrics team handling most of its transcriptions.)

The affair illustrates tech capitalism's discombobulation when faced with a key element in art, which is the inexplicable. I think the problem, though, is not Musixmatch and its protocol so much as the service's unilateral rollout, with quasi-official imprimatur, on platforms already under fire for flattening artistic identity and repackaging music as scaleable content. Having sub-licensed the rights, Musixmatch is perfectly entitled to crowd-source transcriptions and sell them on. But artists should know whose words are being put in their mouths—and that, should they wish, they have the right to opt out.

"Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm." So writes Ted Gioia, author of the Substack music/pop culture newsletter "The Honest Broker". But it gets worse: "The new-music market is actually shrinking. All the growth in the market is coming from old songs. The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago....."

The signs are everywhere — including the fact that viewership for the music industry's Grammy awards plummeted 53% this year to just 8.8 million. "More people pay attention to streams of video games on Twitch (which now gets 30 million daily visitors)."

And even then, "When a new song overcomes these obstacles and actually becomes a hit, the risk of copyright lawsuits is greater than ever before.... Adding to the nightmare, dead musicians are now coming back to life in virtual form — via holograms and 'deepfake' music — making it all the harder for young, living artists to compete in the marketplace."

But in the end the real problem may ultimately be that "nothing is less interesting to music executives than a completely radical new kind of music." Who can blame them for feeling this way? The radio stations will play only songs that fit the dominant formulas, which haven't changed much in decades. The algorithms curating so much of our new music are even worse. Music algorithms are designed to be feedback loops, ensuring that the promoted new songs are virtually identical to your favorite old songs. Anything that genuinely breaks the mold is excluded from consideration almost as a rule. That's actually how the current system has been designed to work.

Even the music genres famous for shaking up the world — rock or jazz or hip-hop — face this same deadening industry mindset. I love jazz, but many of the radio stations focused on that genre play songs that sound almost the same as what they featured 10 or 20 years ago. In many instances, they actually are the same songs.

This state of affairs is not inevitable. A lot of musicians around the world — especially in Los Angeles and London — are conducting a bold dialogue between jazz and other contemporary styles. They are even bringing jazz back as dance music. But the songs they release sound dangerously different from older jazz, and are thus excluded from many radio stations for that same reason. The very boldness with which they embrace the future becomes the reason they get rejected by the gatekeepers. A country record needs to sound a certain way to get played on most country radio stations or playlists, and the sound those DJs and algorithms are looking for dates back to the prior century. And don't even get me started on the classical-music industry, which works hard to avoid showcasing the creativity of the current generation. We are living in an amazing era of classical composition, with one tiny problem: The institutions controlling the genre don't want you to hear it.

The problem isn't a lack of good new music. It's an institutional failure to discover and nurture it.
So while the author acknowledges that "The fear of copyright lawsuits has made many in the industry deathly afraid of listening to unsolicited demo recordings," far deeper than that is the problem that, "The people running the music industry have lost confidence in new music."

Yet if there's any hope, the author argues, it's that people "crave something that sounds fresh and exciting and different.... Songs can go viral nowadays without the entertainment industry even noticing until it has already happened. That will be how this story ends: not with the marginalization of new music, but with something radical emerging from an unexpected place...."

"The CEOs are the last to know. That's what gives me solace.... The decision makers controlling our music institutions have lost the thread. We're lucky that the music is too powerful for them to kill."

Spotify has removed famed singer-songwriter Neil Young's recordings from its streaming platform. From a report: On Monday, Young had briefly posted an open letter on his own website, asking his management and record label to remove his music from the streaming giant, as a protest against the platform's distribution of podcaster Joe Rogan. Rogan has been widely criticized for spreading misinformation about coronavirus vaccines on his podcast, which is now distributed exclusively on Spotify. Late Wednesday, the musician posted two lengthy statements on his website, one addressing the catalyst of his request and the other thanking his industry partners. In the first, he wrote in part: "I first learned of this problem by reading that 200-plus doctors had joined forces, taking on the dangerous life-threatening COVID falsehoods found in Spotify programming. Most of the listeners hearing the unfactual, misleading and false COVID information of Spotify are 24 years old, impressionable and easy to swing to the wrong side of the truth. These young people believe Spotify would never present grossly unfactual information. They unfortunately are wrong. I knew I had to try to point that out."

As of last week, more than 1,000 doctors, scientists and health professionals had signed that open letter to Spotify. According to Rolling Stone, Young's original request on Monday, which was addressed to his manager and an executive at Warner Music Group, read in part: "I am doing this because Spotify is spreading fake information about vaccines -- potentially causing death to those who believe the disinformation being spread by them ... They can have Rogan or Young. Not both." The letter was quickly removed from Young's website. Spotify's scrubbing of Young from its service was first reported on Wednesday afternoon by The Wall Street Journal. His removal from the streaming platform makes him one of the most popular musical artists not to appear on Spotify, where his songs have garnered hundreds of millions of streams.

An anonymous reader quotes a report from Reuters: A British-Belgian teenager became the youngest woman to fly solo around the world on Thursday and the first person to do so in a microlight plane after a five-month, five-continent odyssey in her Shark ultralight. Nineteen-year-old Zara Rutherford landed back at Kortrijk-Wevelgem Airport in Belgium after flying 51,000 km (32,000 miles) over 52 nations since her Aug. 18 departure in the world's fastest microlight aircraft. "It's just really crazy, I haven't quite processed it," Rutherford, smiling broadly and cloaked in British and Belgian flags, told reporters.

After the penultimate leg to a German village on Wednesday, she said it was an exploit she would never repeat. After North and South America, Rutherford was stuck for a month in Alaska because of weather and visa delays. A winter storm forced another long stop in far eastern Russia, before she travelled to South Asia, the Middle East and back to Europe. Her favorite flyovers were New York and an active volcano in Iceland, but there were moments when she feared for her life, including her flight across Siberia's frozen wastes and a narrow escape from entering North Korean air space during bad weather. "They have been testing missiles with no warning," she said of her concerns as she considered cutting across the reclusive authoritarian state during a detour from Russia to South Korea. [...]

To meet criteria for a round-the-world flight, Rutherford touched two points opposite each other on the globe: Jambi in Indonesia and Tumaco in Colombia. Rutherford took the record from Afghan-born American Shaesta Wais, who in 2017 became the youngest woman to fly solo around the world at 30. The youngest male record holder, American Mason Andrews, was 18 when he did it in 2018. She also became the first Belgian to circumnavigate the world solo in a single-engine aircraft, getting through the long days by shuffling through a 40-hour playlist of songs. [...] Rutherford dreams of being an astronaut and hopes her voyage will encourage women in science, technology and aviation.

Under a new decree, all web traffic will be routed through a government portal. Rights groups say a crackdown on digital expression is about to get worse. From a report: The day Kea Sokun was arrested in Cambodia, four men in plainclothes showed up at his photography shop near Angkor Wat and carted him off to the police station. Mr. Kea Sokun, who is also a popular rapper, had released two songs on YouTube, and the men said they needed to know why he'd written them. "They kept asking me: âWho is behind you? What party do you vote for?'" Mr. Kea Sokun said. "I told them, 'I have never even voted, and no one controls me.'" The 23-year-old artist, who says his songs are about everyday struggles in Cambodia, was sentenced to 18 months in an overcrowded prison after a judge found him guilty of inciting social unrest with his lyrics. His case is part of a crackdown in which dozens have been sent to jail for posting jokes, poems, pictures, private messages and songs on the internet.

The ramped-up scrutiny reflects an increasingly restrictive digital environment in Cambodia, where a new law will allow the authorities to monitor all web traffic in the country. Critics say that the decree puts Cambodia on a growing list of countries that have embraced China's authoritarian model of internet surveillance, from Vietnam to Turkey, and that it will deepen the clash over the future of the web. Cambodia's National Internet Gateway, set to begin operating on Feb. 16, will send all internet traffic -- including from abroad -- through a government-run portal. The gateway, which is mandatory for all service providers, gives state regulators the means to "prevent and disconnect all network connections that affect national income, security, social order, morality, culture, traditions and customs." Government surveillance is already high in Cambodia. Each ministry has a team that monitors the internet. Offending content is reported to an internet crime unit in the Ministry of Interior, the center of the country's robust security apparatus. Those responsible can be charged with incitement and sent to prison.

Boomy is a new AI startup that helps users create their own songs using artificial intelligence software that does most of the heavy lifting. The BBC reports: You choose from a number of genres, click on "create song", and the AI will compose one for you in less than 30 seconds. It swiftly picks the track's key, chords and melody. And from there you can then finesse your song. You can do things such as add or strip-out instruments, change the tempo, adjust the volumes, add echoes, make everything sound brighter or softer, and lay down some vocals.

California-based, Boomy, was launched at the end of 2018, and claims its users around the world have now created almost five million songs. The Boomy website and app even allows people to submit their tracks to be listed on Spotify and other music streaming sites, and to earn money every time they get played. While Boomy owns the copyright to each recording, and receives the funds in the first instance, the company says it passes on 80% of the streaming royalties to the person who created the song. [CEO Alex Mitchell] adds that more than 10,000 of its users have published over 100,000 songs in total on various streaming services.

David Bowie's estate has sold his entire songwriting catalog to Warner Music, including classics like "Space Oddity," "Let's Dance" and "Heroes," in the latest blockbuster deal for music rights. The New York Times reports: Warner's music publishing division, Warner Chappell, announced the agreement on Monday, saying that it encompassed Bowie's entire corpus as a songwriter, from the material on his 1967 debut album, "David Bowie," to his final album, "Blackstar," released just before Bowie's death in 2016 at age 69. The deal, for more than 400 songs, also includes soundtrack music; the material for Bowie's short-lived band Tin Machine from the late 1980s and early '90s; and other works. The price of the transaction was not disclosed, but is estimated at about $250 million. "These are not only extraordinary songs, but milestones that have changed the course of modern music forever," Guy Moot, the chief executive of Warner Chappell, said in a statement. David Bowie, the so-called "most wired rock star on the planet," has been featured in a number of Slashdot stories over the years.

In 2002, Bowie talked about his new album, distribution deal with Sony, and how he's "fully confident that copyright, for instance, will no longer exist in 10 years, and authorship and intellectual property is in for such a bashing."

In the late 90s, Bowie advocated for MP3s, telling The Guardian that they "could change the entire idea of what music is -- and that isn't so bad." Years later, he seemed to agree that concert ticket prices needed to increase to offset the rise in P2P file sharing and illegal downloads.

Apple is rebuilding Apple Music as a full native app with the first beta of macOS Monterey 12.2. 9to5Mac reports: Back in 2019, when Apple introduced macOS Catalina, the well-known iTunes was replaced by the Music app to better reflect the company's strategy on iOS and tvOS. However, although under a new name, the Music app on macOS retained the iTunes backend, which was basically a bunch of web content loaded into an app. While this works for most users, having web content within apps makes the experience less fluid. Luckily Apple is finally changing this with macOS Monterey 12.2 beta, which includes some big changes to the Music app backend.

As first noted by Luming Yin on Twitter, Apple Music in macOS 12.2 beta now uses AppKit -- which is macOS' native interface framework. 9to5Mac was able to confirm based on macOS code that the Music app is now using JET, which is a technology created by Apple to turn web content into native apps. Some parts of the Music app were already native, such as the music library. But now Mac users will notice that searching for new songs in Apple Music is much faster as the results pages are displayed with a native interface instead of as a webpage. Scrolling between elements has also become smoother with the beta app, and trackpad gestures are now more responsive.

Football clubs have potentially made hundreds of millions of dollars selling controversial crypto "fan tokens." From a report: Analysis commissioned by BBC News estimates more than $350m has been spent on the virtual currencies. Some of the tokens are marketed as offering real-world perks to the buyer. But critics say these perks are insignificant - one offered the chance to vote for songs to be played in stadiums - and clubs have insufficient protection for supporters.

So far, across the five major European leagues 24 different clubs have launched or are considering fan tokens, including eight Premier League sides. Most offer tokens akin to a club-specific crypto-currency - virtual coins can be bought and sold and their value rise and fall depending on supply and demand. Some clubs, such as Manchester City, also sell digital collectibles known as NFTs (non-fungible tokens). Most of the clubs offering fan tokens have signed up to a company called Socios that organises the initial sale and subsequent trading of the virtual coins - but other platforms, including Binance and Bitci, are growing too.

An Ontario grandmother who bought an educational toy for her 15-month-old granddaughter was shocked when the dancing cactus started swearing and singing about doing cocaine. From a report: "This toy uses swear words and talking about cocaine use," Ania Tanner told CTV News Toronto. "This is not what I ordered for my granddaughter." The cactus was sold on Walmart's website as an educational toy for about $26 and sings songs in English, Spanish and Polish. But Tanner, who is Polish, said when she listened to the Polish lyrics, the cactus was singing about doing cocaine, drug abuse, suicide, depression and used profanities. "It just so happens that I am Polish and when I started to listen to the songs and I heard the words," she said. "I was in shock. I thought what is this some kind of joke?" The song is by Polish Rapper Cypis, who is reportedly unaware his song was used by the Chinese manufacturer of the children's toy. "It's about taking five grams of cocaine and being alone ... It's a very depressing song," Tanner said. This singing cactus toy was also sold in Europe through Amazon and in July 2021 other families also noticed and complained about the lyrics that many felt were inappropriate for a children's toy.

Rockstar has issued an apology for the "unexpected technical issues" that marred the release of Grand Theft Auto: The Trilogy - The Definitive Edition last week and led to the quick removal of the PC version from Rockstar's online store. From a report: Last week, Rockstar said that the PC version of the game was being taken down "as we remove files unintentionally included in these versions." That led to reports that the package included copies of original soundtrack songs that had not been re-licensed for the new release. Other reports suggested that the original package accidentally included uncompiled source code and revealed some interesting programmer comments, including references to the infamous "hot coffee" scene that caused the game so much controversy back in 2005. Today, though, the developer admitted in a blog post that "the updated versions of these classic games did not launch in a state that meets our own standards of quality, or the standards our fans have come to expect."

We noted some of the remaster's many issues in our initial impressions, which recommended that you skip the bundle for now. Since then, players have chronicled countless bugs and questionable "remastering" decisions. Those range from disturbing textures to eye-searing rainfall to hilariously broken cutscenes to car-inflating wiggles to odd-looking character models and plain old typos that weren't in the original game.

Kotaku reports: Grand Theft Auto: The Trilogy — Definitive Edition was released on November 11 on all major platforms including the Switch. However, for folks who bought the game on PC, they've been unable to play the game since just shortly after it was released. Now three days later, [PC] fans are still unable to access the game they bought days ago with no update from Rockstar on when the GTA Trilogy will become playable again.

The remastered Grand Theft Auto trilogy has had a very, very rocky launch, with players across all platforms reporting various graphical bugs, gameplay glitches, and other annoying changes and tweaks to the classic PS2-era games. But while players on Xbox One or PS5 or Switch are dealing with annoying bugs and odd visual problems, players on PC are left unable to play any of the games included in the collection.
In a review Screen Rant writes that all three games "look better here than they ever have before." But... The visual improvements don't discount the fact that there are a lot of things missing in Grand Theft Auto: The Trilogy — Definitive Edition, including basic functions like the series' iconic cinematic camera mode which premiered in GTA 3. Gone also from GTA 3 is the top-down camera angle which was added in to please players coming over from GTA 2. Both of these camera angles were also missing in previous re-releases of GTA 3, but not including them in what is called the Definitive Edition feels like a mistake.
On the plus side, they write that "Some new but fun inclusions also make returning to Liberty City, Vice City, and San Andreas enjoyable, like San Andreas' updated bridge facts or the new cheat which lets players turn on Big Head Mode in all GTA Trilogy games if they enter the Konami code. The ability to instantly restart missions after being killed, busted, or otherwise failing is also much appreciated."

But Eurogamer reports that unhappy fans are now review-bombing the newly-released game on Metacritic: At the time of writing, the trilogy has 2000+ user reviews on the aggregate site. Of the 2054 reviews recorded by PC users on Metacritic, the combined score is a miserable 0.5. It peaks at 1.0 for PS5 players, but otherwise, most other platforms boast a similarly low score...

"This is it! This is the end of Rockstar, this is just too much," opines one particularly unhappy Xbox One customer, who has the highest number of "helpful" points.... "This so-called definitive edition is one of the most pathetic remasters of all time, especially considering how amazing Rockstar used to be. They were the top. They were the best there ever was. They showed other developers what can be done. I just can't believe that the end of Rockstar would be like this..."

Rockstar is now being inundated with refund requests as the Grand Theft Auto: The Trilogy — The Definitive Edition backlash intensifies.
Oh, and one more thing. IGN reports that the game also appears to contain files for the infamous deleted sex mini-game "Hot Coffee."