Shazam, the Apple-owned app that helps users identify songs playing around them, can now recognize songs you're listening to through your headphones when using an Android phone or tablet. From a report: Acquired by Apple for $400 million last year, the company introduced a feature called 'Pop-Up Shazam' to its Android app recently, which when enabled, works with any other Android app to track and identify songs playing externally or internally on the phone. It's a feature that many users have requested for years. Prior to this, when a user would chance upon a music track in say a YouTube video, they only had two inconvenient ways to shazam the song. They could either unplug the earphones from the phone and let the audio play through the built-in speakers, or draw an earpiece close to the mic of the phone. The new feature enables Shazam to track the audio signal beaming off of other apps, thereby not completely relying on just output from the surrounding and a phone's speaker. The app is tapping the audio signal by using a persistent notification that floats around and could be dragged -- like the ones from Facebook Messenger -- and can be activated by a single tap.

Radiohead have released a vast collection of unreleased tracks made during the sessions for 1997 album OK Computer, after a MiniDisc archive owned by frontman Thom Yorke was hacked last week by an unnamed person, who reportedly held the recordings to ransom for $150,000. From a report: The band have now made the 18 MiniDisc recordings, most of them around an hour in length, available on Bandcamp for $23. Proceeds will go to climate activists Extinction Rebellion. The band's guitarist Jonny Greenwood confirmed the hack, and said: âoeInstead of complaining -- much -- or ignoring it, we're releasing all 18 hours on Bandcamp in aid of Extinction Rebellion. Just for the next 18 days. So for $23 you can find out if we should have paid that ransom. Never intended for public consumption (though some clips did reach the cassette in the OK Computer reissue) it's only tangentially interesting. And very, very long. Not a phone download." Thom Yorke wrote of the 1.8 gigabyte collection: "It's not v interesting. There's a lot of it 0... as it's out there it may as well be out there until we all get bored and move on."

Spielberg's After Dark horror series will only be able to be streamed when it's dark outside. It'll be available exclusively on Quibi (short for "Quick Bites"), a new streaming platform dedicated to short-form video, created by former Disney executive Jeffrey Katzenberg and former HP CEO Meg Whitman. Variety reports: Spielberg had an unusual request however: He wanted viewers to only be able to watch the program after midnight. Given that phones can track where it is at the moment -- and keep tabs on when the sun rises and sets in its area -- Katzenberg and Whitman challenged their engineers to come up with an idea for how to view the show when it's spooky out. The result: A clock will appear on phones, ticking down until sun sets in wherever that user is, until it's completely gone. Then the clock starts ticking again to when the sun comes back up -- and the show will disappear until the next night. According to the report, Quibi is planning for an April 2020 launch, and is "hoping to trigger a 'third generation of film narrative,' following movies and TV."

"At launch, Quibi will offer a two-week free trial period, and have eight 'super premium' productions (which Katzenberg still called 'movies') ready to view," reports Variety. "After that, there will be 26 more 'lighthouse' (read: signature projects) productions that will roll out, every other Monday, for the first year."

The Supreme Court will consider whether a black television producer can pursue racial discrimination claims against Comcast for declining to carry his programming channels on its cable system (Warning: source paywalled; alternative source). The Wall Street Journal reports: The Comcast case stems from the cable operator's decision not to carry Pets.TV, Recipes.TV and other channels from Entertainment Studios Networks Inc. The Los Angeles company is solely owned by Byron Allen, who gained celebrity as co-host of "Real People," a 1980s reality show. Comcast has carried channels owned mostly or substantially by African-Americans, such as Magic Johnson's Aspire and Sean "Diddy" Combs's music channel, Revolt TV, as well as Black Entertainment Television, whose African-American founder, Robert Johnson, sold to Viacom in 2001.

The suit, filed under Reconstruction-era law affording "the same right" to contract "as is enjoyed by white citizens," alleges, however, that Comcast discriminated against "100% African American" owned media such as Entertainment Studios. A federal appeals court in San Francisco allowed the suit to proceed. "If discriminatory intent plays any role in a defendant's decision not to contract with a plaintiff, even if it is merely one factor and not the sole cause of the decision, then that plaintiff has not enjoyed the same right as a white citizen," Judge Milan Smith wrote for the Ninth U.S. Circuit Court of Appeals. Comcast denies the allegations and says it was concerned the Entertainment Studios programming wouldn't draw enough of an audience to justify allotting it bandwidth. The cable operator argues that federal law requires the plaintiff to show that he or she would have gotten the contract absent racial bias.

"So that Blair Witch reboot wasn't very good. But maybe a video game could change things up?" writes Engadget. Mashable has more details: Remember The Blair Witch Project, that viral horror sensation that made waves before social media was even a thing? Well, it's back. And it's an Xbox game.

Microsoft debuted a first look trailer for Blair Witch during its annual E3 press conference, and it's coming from Layers of Fear developer Bloober. We don't know much. It returns you to the Black Hills Forest, the site of the movie. There's a camcorder. Also, a dog.

I fear for that dog.
Kotaku writes that "According to the description the game will be a 'first-person, story-driven psychological horror game based on the cinematic lore of Blair Witch.'"

An anonymous reader quotes VentureBeat: CD Projekt Red showed off a new demo of Cyberpunk 2077 at Microsoft's Xbox press event at the Electronic Entertainment Expo, the big game trade show in Los Angeles. And actor Keanu Reeves surprised everyone by coming out on stage to say that he would be in it. The trailer reveals one of the key characters of Cyberpunk 2077, Johnny Silverhand. The legendary rockerboy is played by Reeves (The Matrix trilogy, John Wick series, Johnny Mnemonic). In addition to his appearance and voice, Reeves is also providing full-body motion capture for the character. The game debuts on April 16, 2020...

We all know that CD Projekt Red has a hell of a game in Cyberpunk 2077, which the company revealed in a 48-minute gameplay video last year. The video showed an amazingly detailed open world, as the narrator said the ambition was to create "the most believable city in any open world to date." I interpreted that as a shot across the bow of Rockstar Games and the Grand Theft Auto and Red Dead Redemption teams, as Cyberpunk 2077 was as incredibly hyper detailed as any Rockstar game I've ever seen. It's the only game I've seen with such density of interaction and the realism integrity of Grand Theft Auto V and Red Dead Redemption 2....

Last year's demo of the upcoming game promised deeper the details of the open world, with fascinating futuristic touches such as cranial chip implants, robotic body modifications, hyperfast video communications, and surveillance drones. The dystopic city seemed like a living thing, and the choices for getting things done seemed like they had no limits. You could be as peaceful or violent as you wished... It's a mature game, aimed at adults who can deal with subjects like nudity, drugs, and murder.

An anonymous reader quotes Slate: The overall argument of Billion Dollar Bully, the new documentary about Yelp released on Amazon and iTunes in May, is that Yelp extorts small business owners for advertising fees in return for helping to manage and improve reviews on their platform... Yelp has fought back against the allegations made in the film, arguing that "There has never been a connection between ratings and reviews on Yelp and buying advertising...." But the issue for small business owners has always been broader than advertising: Local businesses feel that Yelp offers no due process to resolve disputes and misunderstandings. That's because the company's standard position is to absolve itself of any responsibility to get involved....

Yelp is combating the claims made in the film by purchasing the domain BillionDollarBully.com and redirecting it to a Yelp page that explains that the company does not extort local businesses to manipulate ratings.
The Hustle argues that despite "legions" of anecdotal evidence from business owners, "the linkage between these two things ultimately can't be proven without transparency around Yelp's filtering algorithm." This is apparently leaving some restauranteurs feeling powerless and angry: In isolated bids to circumvent the "oppression" of online reviews, business owners have plunked "NO YELPERS" signs in their windows, shamed rude reviewers on Instagram, and launched anti-Yelp websites. Dan Neves, a waiter at a fine dining establishment in Austin, Texas, created YELP BULLIES EXPOSED, a private Facebook group that tracks down rude Yelpers and sends them a one-pound bag of animal feces... "I've had friends get fired over bad Yelp reviews, even if the review was untrue," says Neves.
ReviewFraud.org investigated the people interviewed for the documentary, and suggested that in some cases the real victims may be Yelp's unsuspecting reviewers. "A few negative reviewers claimed that the owner harassed them or contacted their employer to have them fired." Billion Dollar Bully raised money on Kickstarter. I was excited to see this film see the light of day. Sadly, I was disappointed... not all businesses are good, not all business owners are reputable, and not all pieces of investigative "journalism" are credible. Had the filmmakers taken a closer look at these business and other review platforms, I doubt that this movie would have been made. I've made that clear by looking at the reviews of those claiming extortion. For me, this was a massive failure and should be titled A Billion Dollar Scapegoat.

"I am not saying that Neal Stephenson is Satoshi Nakamoto," writes the features editor at Reason. "What I am saying is: Would it really be surprising if he were?"

This prompted a strong rebuke from CCN Markets: The article starts, "Consider the possibility that Neal Stephenson is Satoshi Nakamoto, the pseudonymous inventor of Bitcoin."

Let's not do that. That's like saying let's consider the possibility that anyone at all is Satoshi Nakamoto. In one respect, it doesn't matter. In another, it's exhausting the lengths people will go with this... if someone doesn't advance the idea that they are Satoshi Nakamoto themselves, there's no reason to put that sort of grief upon them. If someone is just brilliant, you can tell them that without insinuating that they invented the blockchain and Bitcoin.... You don't just off-handedly claim someone might be Satoshi Nakamoto. There needs to be a reason.
Reason had written that "For nearly three decades, Stephenson's novels have displayed an obsessive, technically astute fascination with cryptography, digital currency, the social and technological infrastructure of a post-government world, and Asian culture," and that the science fiction author "described the core concepts of cryptocurrency years before Bitcoin became a technical reality."

They also note later that "Satoshi Nakamoto's initials are SN; Neal Stephenson's are NS."

Coin Telegraph writes that the question "has seemingly come to a head over the last couple of months, as a number of people have gone a step further" -- not only publicly claiming to be the creator of bitcoin, but even filing copyright and trademark claims. Their list of "Satoshi posers" includes Craig Wright, Wei Liu, and the brother of Colombian drug lord Pablo Escobar. (And another new theory also suggests "global criminal kingpin" Paul Le Roux, the creator of encryption software E4M and TrueCrypt.

In a new essay Friday, technology pundit Robert Cringely remembers the day he got his first home fax machine in 1986, arguing that broadcast television is like a fax machine -- in that "they are both obsolete."

Then he offers a quick history of television, cable TV, and the rise of Netflix, concluding "I'll be surprised if broadcast TV in the U.S. survives another decade" -- also predicting the end of cable TV packages: 5G wireless networking, as I've written here before, has pretty much nothing to do with mobile phones. It has to do with replacing every other kind of data network with 5G wireless. No more land lines, no more cable systems, no more wires. Going all-wireless almost completely eliminates customer-facing labor. No more guy with a tool belt to keep you waiting for service. No more truck rolls. There will be 5G and there will be content, that's all.

Content can mean a phone call or a movie, a game, or anything else that involves electrons in motion. And given that we'll all have voracious and completely different demands for high-resolution content, 5G will suck-up all available bandwidth and then some. Legacy broadcast license holders like broadcast TV and radio stations will sell their airspace to 5G carriers and retire to Florida. They'll get offers they can't refuse....

Cable TV packages will fall apart with every network fighting for itself in an a la carte programming world.
"There's nothing sacrosanct about a broadcast network paradigm that we've been riding for a century," he concludes. "This too shall pass."

Most people know all too well that it's against the law to share a pirated copy of a movie or TV-show. Law and ethics are not always in sync. Not even among those who are schooled as lawyers. From a report: This is the conclusion of an intriguing new study conducted among Harvard lawyers by Prof. Dariusz Jemielniak and Dr. Jerome Hergueux. The research, published in The Information Society journal, found that many lawyers believe that casual piracy is ethically acceptable. The researchers polled the perceptions of more than 100 international Masters of Law (LL.M.) students at Harvard, who all have a law degree. They were asked to evaluate how acceptable various piracy scenarios are, on a five-point scale going from very unacceptable to very acceptable.

The piracy scenarios ranged from downloading a TV-show or movie which isn't legally available, through pirating music to simply save money, to downloading content for educational or even commercial purposes. In total, 19 different alternatives were presented. While the researchers expected that lawyers would have conservative ethical positions when it comes to piracy, the opposite was true. The average of all answers was 3.23, which means that it leans toward the "acceptable" point of the scale. "We find that digital file sharing ranks relatively high in terms of ethical acceptability among our population of lawyers -- with the only notable exception being infringing copyright with a commercial purpose," the researchers conclude.

AT&T's WarnerMedia has abandoned its plan for a three-tiered streaming service and instead will likely package HBO, sister channel Cinemax and the vast library of Warner Bros TV shows and movies into one offering at a price of between $16 and $17 a month, WSJ reported on Thursday, citing people familiar with the matter. From the report: The subscription service will debut in "beta" form later this year, the people said and is expected to be fully up and running as early as next March, according to one of them. WarnerMedia is also considering rolling out an ad-supported version of the streaming service -- at a cheaper price -- later in 2020, they said. It is unclear what the content makeup of that version would be. Further down the road, WarnerMedia could add an additional premium option for people to watch live events or sports, one of the people said.

"Chernobyl," HBO's gritty and horrifying retelling of the worst nuclear disaster in human history, has jumped to the No. 1 spot on IMDb's all-time TV rankings just days after the limited series concluded. From a report: As of Tuesday, "Chernobyl" had a 9.7-star (out of 10) average rating from about 140,000 users on the Amazon-owned IMDb site. The five-episode limited series finished its run on HBO Sunday, June 3. For now, that puts the critically acclaimed "Chernobyl" ahead of AMC's "Breaking Bad" (9.5), BBC's "Planet Earth II" (9.5), HBO's "Band of Brothers" (9.5), the original "Planet Earth" (9.4), HBO's "Game of Thrones" (9.3) and HBO's "The Wire" (9.3), according to IMDb's ranking of TV shows. (Fandango's Rotten Tomatoes currently doesn't provide an Audience Score for "Chernobyl.")

Variety TV critic Caroline Framke, in her review of the show, wrote, "Rather than bursting into shocking twists, writer Craig Mazin and director Johan Renck build a steadily creeping unease, allowing the scale of the atrocity to sink in with terrible, fitting gravity." "Chernobyl" dramatizes the story of the April 26, 1986, massive explosion of the nuclear power plant in Ukraise that released radioactive material across Belarus, Russia and Ukraine and as far as Scandinavia and western Europe.

simpz writes: Actor Paul Darrow, who played the greatest antihero in Blake's 7, Kerr Avon, has passed away. Avon was one of the few (only) computer experts in sci-fi to not be portrayed as a stereotyped geek. He also appeared in Doctor Who.

Slashdot reader Lasrick tipped us off to the first installment in a new series at the New York Times called "Op-Eds From the Future."

Science fiction authors, futurists, philosophers and scientists write op-eds that they imagine we might read 10, 20 or even 100 years in the future. The challenges they predict are imaginary -- for now -- but their arguments illuminate the urgent questions of today.
The first one is by science fiction writer Ted Chiang (best known for the short story which became the Hugo-winning movie Arrival). Apparently riffing on the college admissions scandal, Chiang writes that "It's 2059, and the Rich Kids Are Still Winning. DNA tweaks won't fix our problems..." His op-ed complains that a "philanthropic effort to bring genetic cognitive enhancements to low-income communities" has failed to get most of them into elite colleges or into jobs with good salaries and prospects for advancement.

"With the results in hand, it is time for us to re-examine the efficacy and desirability of genetic engineering...."

samleecole writes: Apple's AirPods are a tragedy. Ecologically, socially, economically -- they're a capitalist disaster. The opposite of AirPods, then, is this extremely punk pair of DIY wireless earbuds that someone on Reddit hacked together using an old pair of wired Apple headphones and some hot glue. "I started this project roughly two months ago when my friend got a new pair of AirPods for his birthday and I thought to myself, 'that's quite a lot of money for something I can make at home,'" Sam Cashbook, who is 15, told Motherboard in a Reddit message.

Cashook started watching videos of people making their own AirPods, but mostly found people chopping the wires off of Apple headphones as a joke. He decided to take his own approach. He bought a hands-free bone conduction headset from eBay, and took apart the casing to reveal the electronics. Then, he desoldered the wires from the original speaker in the headset, and connected his old Apple earbud speaker to the headset's printed circuit board. Maybe a little uglier, but the headphones work well, he said. The set has buttons for power, pausing music, volume controls and skipping tracks, and the battery is rechargeable.

dryriver writes: If you had asked someone doing 3D graphics seriously back in 2000 what 3D technology will look like two decades away in 2019, they might have said: "Most internet websites will have realtime 3D content embedded or will be completely in 3D. 3D Games will look as good as movies or reality. Everyone will have a cheap handheld 3D scanner to capture 3D models with. High-end VR headsets, gloves, bodysuits and haptics devices will be sold in electronics stores. Still and video cameras will be able to capture true holographic 3D images and video of the real world. TVs and broadcast TV content will be in holographic 3D. 3D stuff you create on a PC will be realtime -- no more waiting for images to slowly render thanks to really advanced new 3D hardware. 3D content creation software will be incredibly advanced and fast to work with in 2019. Many new types of 3D input devices will be available that make working in 3D a snap."

Except of course that that in the real 2019, none of this has come true at all, and the entire 3D field has been stagnating very, very badly since around 2010. It almost seems like a small army of 3D technology geniuses pushed and pushed 3D software and hardware hard during the 80s, 90s, 2000s, then retired or dropped off the face of the earth completely around 10 years ago. Why is this? Are consumers only interested in Facebook, YouTube, cartoony PlayStation graphics and smartphones anymore? Are we never going to see another major 3D technology innovation push again?

While it was initially reported that iTunes would live on in macOS 10.15, it now looks like the app will be retired, over 18 years after it was introduced by the late Steve Jobs at Macworld on January 9, 2001. MacRumors reports: Apple will be replacing iTunes with standalone Music, TV, and Podcasts apps in the next major version of macOS, expected to be unveiled at WWDC 2019 next week, according to Bloomberg's Mark Gurman: "iTunes has been the way Apple users listen to music, watch movies and TV shows, hear podcasts, and manage their devices for almost two decades. This year, Apple is finally ready to move into a new era. The company is launching a trio of new apps for the Mac -- Music, TV, and Podcasts -- to replace iTunes. That matches Apple's media app strategy on iPhones and iPads. Without iTunes, customers can manage their Apple gadgets through the Music app."

This information lines up with a recent report from 9to5Mac's Guilherme Rambo, who claimed that iTunes will be renamed to "Music" on the Mac. In other words, iTunes is going away and will be replaced by the new Music app, which is expected to become the new utility for syncing and managing Apple devices.

theodp writes: It's not just Hollywood that's running out of new story ideas. Fueled by a $1.1 million NSF award, PBS stalwart Roadtrip Nation is casting Computer Science Roadtrip (apply by June 14, kids!), which will send three young adults interested in computer science on a road trip across the country in a green RV to meet inspiring professionals working with cutting-edge technology. "This trip is about highlighting exciting careers connected to computer science and innovation," explains Roadtrip Nation, which just a few years back partnered with Microsoft on The Code Trip Roadtrip, which also sent three young people on a road trip across the country in a green RV to interview inspiring professionals (including Theranos founder Elizabeth Holmes) and "inform others of the many career routes one can take with a computer science background."

From a report: Recently, a musician signed to a major indie label told me they were owed up to $40,000 in song royalties they would never be able to collect. It wasn't that they had missed out on payments for a single song -- it was that they had missed out on payments for 70 songs, going back at least six years. The problem, they said, was metadata. In the music world, metadata most commonly refers to the song credits you see on services like Spotify or Apple Music, but it also includes all the underlying information tied to a released song or album, including titles, songwriter and producer names, the publisher(s), the record label, and more. That information needs to be synchronized across all kinds of industry databases to make sure that when you play a song, the right people are identified and paid. And often, they aren't.

Metadata sounds like one of the smallest, most boring things in music. But as it turns out, it's one of the most important, complex, and broken, leaving many musicians unable to get paid for their work. "Every second that goes by and it's not fixed, I'm dripping pennies," said the musician. Entering the correct information about a song sounds like it should be easy enough, but metadata problems have plagued the music industry for decades. Not only are there no standards for how music metadata is collected or displayed, there's no need to verify the accuracy of a song's metadata before it gets released, and there's no one place where music metadata is stored. Instead, fractions of that data is kept in hundreds of different places across the world. As a result, the problem is way bigger than a name being misspelled when you click a song's credits on Spotify. Missing, bad, or inconsistent song metadata is a crisis that has left, by some estimations, billions on the table that never gets paid to the artists who earned that money.

Netflix is to raise prices for UK subscribers by up to 20% as it looks to invest more in programmes ahead of the arrival of deep-pocketed rival Disney's eagerly anticipated service later this year. From a report: The streaming company, which has not raised prices in the UK since 2017, is increasing the cost of a standard plan by 1 Pound ($1.26) to 8.99 Pound ($11.3) and premium by 2 Pound ($2.52) to 11.99 Pound ($15.1). The price of a basic plan remains unchanged at 5.99 Pound ($7.5). The company, which has 10 million UK subscribers, said new customers will pay the higher rates immediately, while the increases will be implemented for existing users "over the coming weeks." Netflix has already raised prices in the US, as well as a number of markets in Latin America and the Caribbean that also use US dollars, with increases across western Europe also expected.