An anonymous reader shares a report: Every week millions of these requests are sent to hosting platforms, as well as third-party services, such as search engines. Quite a few of the major players, including Twitter, Google, and Bing, publish these requests online. However, due to the massive volume, it's hard for casual observers to spot any trends in the data. Researchers from Queen Mary University of London and Boston University aim to add some context with an elaborate study covering a broad database of takedown requests. Their results are now bundled in a paper titled: "Who Watches the Watchmen: Exploring Complaints on the Web."

The research covers all takedown requests that were made available through the Lumen Database in 2017. The majority of these were sent to Google, with Bing, Twitter, and Periscope as runners-up. In total, more than one billion reported URLs were analyzed. Most takedown requests or 'web complaints' were copyright-related, 98.6% to be precise. This means that other notices, such as defamation reports, court orders, and Government requests, make up a tiny minority. The researchers report that the complaints were submitted by 38,523 unique senders, covering 1.05 billion URLs. While that's a massive number, most reported links are filed by a very small group of senders.

Three iTunes customers have filed a lawsuit against Apple accusing the company of sending personal user data to third parties to boost its revenues. "It is alleged that Apple is selling, renting or disclosing full names, addresses, genres of music and specific titles of songs purchased on the iTunes Store app on iPhones without consent or notification," reports CNET. From the report: According to documents filed with the United States District Court for the Northern District of California on Friday, Apple does this "to supplement its revenues and enhance the formidability of its brand in the eyes of mobile application developers," the lawsuit alleges. "None of the information pertaining to the music you purchase on your iPhone stays on your iPhone," the lawsuit further alleges. "While Apple profits handsomely from its unauthorized sale, rental, transmission and/or disclosure of its customers' Personal Listening Information, it does so at the expense of its customers' privacy and statutory rights."

First reported by Bloomberg, the plaintiffs -- Leigh Wheaton from Rhode Island, and Jill Paul and Trevor Paul from Michigan -- allege third parties then use this data to append several more categories, including age, gender, income, educational background and marital status. This "enhanced" data is then allegedly sold on to other third parties, the lawsuit says. The plaintiffs are representing other iTunes customers in their respective states, seeking $250 for Rhode Island class-action members under the Video, Audio, And Publication Rentals Privacy Act and $5,000 for Michigan class-action members under the Preservation of Personal Privacy Act.

An anonymous reader quotes a report from Ars Technica: YouTube Gaming is more or less shutting down this week. Google launched the standalone YouTube gaming vertical almost four years ago as a response to Amazon's purchase of Twitch, and on May 30, Google will shut down the standalone YouTube Gaming app and the standalone gaming.youtube.com website. The plan to shut down the gaming portal was announced in September, with a report from The Verge saying the site was dying because it simply wasn't popular. YouTube serves more than 50 billion hours of gaming content a year, but people just aren't viewing those hours through the gaming-specific site and apps. "A support page does detail some of the changes users will have to deal with, like the merging of YouTube Gaming and normal YouTube subscriptions," the report adds. "Users will also lose their list of followed games, which isn't supported on YouTube."

"Google is directing former YouTube Gaming users to a gaming sub-page on YouTube.com, which has some of the YouTube Gaming features intact, like the top live games list. On the Web, the gaming section is at YouTube.com/gaming, and you can find it in the regular YouTube app by tapping on 'trending' and then 'gaming.' Just like the standalone site, though, a normal person would be hard-pressed to discover these special interfaces."

The companies behind the movies "Singularity," "Once Upon a Time in Venice," "Mechanic: Resurrection," "The Hitman's Bodyguard," "I Feel Pretty," "Boyka: Undisputed" and "Hunter Killer," accuse the alleged operators of YIFYMovies.is and YTS.am of inducing and contributing to massive piracy. From a report: "Plaintiffs bring this action to stop the massive piracy of their motion pictures brought on by websites under the collective names YIFY and YTS and their users," it reads. The case was filed last month but has thus far remained under the radar. The names of the alleged site operators are not known. They are referred to as Doe 1 and Doe 2 respectively. "Defendants DOE 1 and DOE 2 cause harm to Plaintiffs' business within this District by diverting customers in this District to unauthorized Internet based content distribution services through, at least, the websites yifymovies.is and yts.ag."

Both sites operate differently. YTS.ag, which now uses the YTS.am domain name, is a torrent site and by far the most popular of the two. YIFYMovies.is, on the other hand, allows users to stream content directly on the site. The movie companies accuse both site operators of intentional inducement of copyright infringement as well as contributory copyright infringement.

"Netflix has 175 days left to pull off a miracle... or it's all over," argues a headline at Forbes for an article by the chief analyst at disruption research firm RiskHedge: Netflix is not the future of TV. Netflix changed how we watch TV, but it didn't really change what we watch... Netflix has achieved its incredible growth by taking distribution away from cable companies. Instead of watching The Office on cable, people now watch The Office on Netflix. This edge isn't sustainable.

In a world where you can watch practically anything whenever you want, dominance in distribution is very fragile. Because the internet has opened up a whole world of choice, featuring great exclusive content is now far more important than anything else... Netflix management knows content is king. The company spent $12 billion developing original shows last year... To fund its new shows, Netflix is borrowing huge sums of debt. It currently owes creditors $10.4 billion, which is 59% more than it owed this time last year. The problem is that no matter how much Netflix spends, it has no chance to catch up with its biggest rival...

in about 175 days, Disney is set to launch its own streaming service called Disney+. It's going to charge $6.99/month -- around $6 cheaper than Netflix. And it's pulling all its content off of Netflix. This is a big deal. Disney owns Marvel, Pixar Animations, Star Wars, ESPN, National Geographic, Modern Family, and The Simpsons. Not to mention all the classic characters like Mickey Mouse and Donald Duck. In six of the past seven years, Disney has produced the world's top-selling movie... Disney has shown it can produce movies and shows people want to watch. No competitor comes within 1,000 miles of Disney's world of content. Disney's ownership of iconic franchises like Star Wars gives it something no money can buy.

Meanwhile, Netflix will lose a lot of its best content -- and potentially millions of subscribers who switch to Disney+. While Netflix is running into debt "trying out" new shows, Disney already has the best of the best in its arsenal.

Friday the MIDI Association published an introduction to MIDI 2.0, describing updates to the already-evolving 36-year-old standard, including MIDI-CI, Profiles and Property Exchange: MIDI 2.0 updates MIDI with new auto-configuration, extended resolution, increased expressiveness, and tighter timing -- all while maintaining a high priority on backward compatibility. This major update of MIDI paves the way for a new generation of advanced interconnected MIDI devices, while still preserving interoperability with the millions of existing MIDI 1.0 devices. One of the core goals of MIDI 2.0 is to also enhance the MIDI 1.0 feature set whenever possible.

The additional capabilities that MIDI 2.0 brings to devices are enabled by MIDI-Capability Inquiry (MIDI-CI). The basic idea is that if devices have a bidirectional connection, they can exchange their capabilities with each other. Devices can share their configuration and what MIDI functions are supported. Devices use a bidirectional link to configure MIDI features when both devices agree to support that feature. MIDI-CI discovers and configures device features using three categories of inquiry: Profile Configuration, Property Exchange, and Protocol Negotiation. If a device does not support any new features, it uses the MIDI 1.0 as usual. Devices connected to that device will continue to use MIDI 1.0 in communication with that device...

MIDI 2.0 has a new Universal MIDI Packet format for carrying MIDI 1.0 Protocol messages and MIDI 2.0 Protocol messages...

The foundational specification, MIDI-CI has been published and is available for download. Other key MIDI 2.0 specifications are nearing completion in the MIDI Manufacturers Association. But it will take several years to write numerous Profile and Property Exchange specifications to follow.... [W]e do not expect any MIDI 2.0 products to be released in 2019. For MIDI to be fully useable, the industry needs devices, applications, operating systems, and DAWs to support these new specifications. It will take time for a whole system of devices to be available.
The post emphasizes that the original MIDI 1.0 "is not being replaced. Rather it is being extended and is expected to continue, well integrated with the new MIDI 2.0 environment. It is part of the Universal MIDI Packet, the fundamental MIDI data format...

"MIDI 2.0 is just part of the evolution of MIDI that has gone on for 36 years. The step by step evolution continues."

"The Resistance's war against Skynet rages on with the sixth installment of the Terminator series," reports Variety, adding that the James Cameron-produced film "serves as a direct sequel to the first two movies in the franchise, relegating the events of the intervening films to alternate timelines."

Or, as ET Online: puts it, "Arnold Schwarzenegger, Linda Hamilton and James Cameron are together again!" On Thursday, Paramount Pictures released the first trailer for Terminator: Dark Fate, and it's a reunion for the film franchise's original stars and filmmaker. Hamilton steps back into her role as the badass Sarah Connor, who teams up with Grace (Mackenzie Davis), a woman from the future who shows up in New Mexico and first appears much like Schwarzenegger's character did in the first movie. Directed by Deadpool's Tim Miller, Cameron wrote the story treatment for the sequel and was a producer on the film.

After several action scenes, Sarah Connor knocks on the door of an old house, and the original Terminator (Schwarzenegger) appears with a salt-and-pepper beard. "We're back," Schwarzenegger, 71, tweeted along with the trailer, alluding to his iconic line "I'll be back."
After two days the trailer has racked over 12.5 million views on YouTube, and James Cameron "not only assures that the new entry will be R-rated, but he makes it clear this will be, in more than one way, much more similar to the first two movies in the series," reports Movieweb -- quoting these remarks from one of Cameron's recent interviews.

"I think, tonally, what makes this a direct sequel to T1 and T2 is as much about the tone as it is about the narrative: it's R rated, it's grim, it's gritty, it's fast, it's intense, it's linear."

PC Magazine interviewed Neal Stephenson about his new upcoming book Fall; Or, Dodge in Hell, as well as "the digital afterlife, and why social media is a doomsday machine." [Possible spoilers ahead]: The hybrid sci-fi/fantasy novel begins in the present day with Richard "Dodge" Forthrast, an eccentric multibillionaire who made his fortune in the video game industry. When a freak accident during a routine medical procedure leaves him brain-dead, his family is left to contend with his request to have his brain preserved until the technology exists to bring him back to life. The near-future world of Fall is full of familiar buzzwords and concepts. Augmented reality headsets, next-gen wireless networks, self-driving vehicles, facial recognition, quantum computing, blockchain and distributed cryptography all feature prominently. Stephenson also spends a lot of time examining how the internet and social media, which Dodge and other characters often refer to in Fall as the Miasma, is irrevocably changing society and altering the fabric of reality...

Q: How would you describe the current state of the internet? Just in a general sense of its role in our daily lives, and where that concept of the Miasma came from for you.

Neal Stephenson: I ended up having a pretty dark view of it, as you can kind of tell from the book. I saw someone recently describe social media in its current state as a doomsday machine, and I think that's not far off. We've turned over our perception of what's real to algorithmically driven systems that are designed not to have humans in the loop, because if humans are in the loop they're not scalable and if they're not scalable they can't make tons and tons of money.

The result is the situation we see today where no one agrees on what factual reality is and everyone is driven in the direction of content that is "more engaging," which almost always means that it's more emotional, it's less factually based, it's less rational, and kind of destructive from a basic civics standpoint... I sort of was patting myself on the back for really being on top of things and predicting the future. And then I discovered that the future was way ahead of me. I've heard remarks in a similar vein from other science-fiction novelists: do we even have a role anymore?
Stephenson answered questions from Slashdot's reader in 2004, and since then has "spent years as an advisor for Amazon CEO Jeff Bezos' private space company Blue Origin," the article points out. He's also currently the "chief futurist" for Magic Leap -- though he tells his interviewer that some ideas go back much further.

Part of his new book builds on "a really old idea" from security researcher Matt Blaze, who in the mid-1990s talked about "Encyclopedia Disinformatica", which Stephenson describes as "a sort of fake Wikipedia containing plausible-sounding but deliberately false information as a way of sending the message to people that they shouldn't just believe everything that they see on the internet."

Director Jeff Fowler has announced that Paramount had delayed the release of 'Sonic the Hedgehog' by three months, to allow the visual effects team some more time to work on the central character's redesign. A report adds: To say that reaction to the first 'Sonic the Hedgehog' trailer was mixed would be overly diplomatic. But at least fans were able to look beyond the thin premise and bizarre Jim Carrey turn for long enough to focus on what was really important: the weird-ass Sonic design.

harrymcc writes: In the 1960s, Bob Moog helped invent electronic music as we know it by popularizing the synthesizer. He died in 2005, but Moog synthesizers are still widely used by top musical acts. And now his life, work, and legacy are the subject of a new museum in Asheville, NC, his hometown. Over at Fast Company, Sean Captain took a look at the museum, Moog's accomplishments, and the history of music produced with his instruments -- from the classical blockbuster "Switched-On Bach" onwards.

More changes are coming to review site Rotten Tomatoes. As of Thursday, the audience score for new movies added to the site will default to show ratings from fans confirmed to have purchased tickets to those films. From a report: "The goal is to strengthen consumer confidence around that audience score," said Greg Ferris, vice president of product for Rotten Tomatoes' parent company, Fandango. Here's how it'll work: Any site user will still be able to write a review of a film. But now users can opt to have their rating and review marked as "verified." That means they bought their film ticket on Fandango, the movie-ticketing site that owns Rotten Tomatoes. Later this year, AMC Theatres and Regal and Cinemark ticketing sites will also be participating. So if you buy your ticket for Aladdin at the box office, for example, sorry, but you can't get verified for that review. (At least for now: Dana Benson, Fandango vice president for communications, says that the site is "exploring options" for ways to verify box office purchases.)

Reviews associated with a ticket purchase will be marked with a "verified" icon. By default, the verified reviews will be used to make up the audience score shown on Rotten Tomatoes. To see the total audience score, including reviews by those who didn't purchase through Fandango or didn't opt in to the verification, users can select the "all audience" tab. "Every rating counts, but the score that we're putting out there is verified," Ferris said. The Rotten Tomatoes site will automatically verify that a ticket was purchased and that the time for that movie showing has already passed. For now, only one verified review will be allowed per transaction, no matter how many tickets were purchased.

Last week, the last episode of the final season of "The Big Bang Theory" was broadcasted on CBS. Say what you will about the show, but one thing is clear: it was popular. While the average episode in Season 11 received over 18.6 million views, the season finale ended its run with an audience of 23.44 million viewers. The New Yorker's Neima Jahromi reflects on the show and how it "normalized nerd culture": On Thursday night, "The Big Bang Theory" closed out its run with an audience of eighteen million viewers. Despite all the cast changes, Sheldon remained emphatically misanthropic, self-centered, and alienated. In the end, the reason he became a kind of dweeby Fonz has to do with the structural tendencies of the oft-dismissed multi-camera sitcom. Such shows extract empathy in real time. With a live audience, silence is not an option: if a joke or a scene doesn't land, if real people aren't feeling it, then the writers storm the soundstage and change it. Alienated characters, who are the least likely to garner empathy, require extra attention from writers, and therefore often gravitate toward the center of a show. As a result, viewers come halfway, too. It's unlikely that a curmudgeonly Archie Bunker on "All in the Family" or an uptight Alex P. Keaton on "Family Ties" will remain detestable for long, even if their creators did set them up to be antagonists. Eventually, audiences saw that Sheldon was as befuddled by the world as they were uncomprehending of his intellectual pursuits. They also learned that he hated change as much as they did. In this way, an outmoded form of television cushioned the anxiety of the brave new tech culture for a generation. How do you feel about the ending of The Big Bang Theory?

Millions of golfer records from the Game Golf app, including GPS details from courses played, usernames and passwords, and even Facebook login data, were all exposed for anyone with an internet browser to see -- a veritable hole-in-one for a cyberattacker looking to build profiles for potential victims, to be used in follow-on social-engineering attacks. Threatpost reports: Security Discovery researcher Bob Diachenko recently ran across an Elastic database that was not password-protected and thus visible in any browser. Further inspection showed that it belongs to Game Golf, which is a family of apps developed by San Francisco-based Game Your Game Inc. Game Golf comes as a free app, as a paid pro version with coaching tools and also bundled with a wearable. It's a straightforward analyzer for those that like to hit the links -- tracking courses played, GPS data for specific shots, various player stats and so on -- plus there's a messaging and community function, and an optional "caddy" feature. It's popular, too: It has 50,000+ installs on Google Play.

Unfortunately, Game Golf landed its users in a sand trap of privacy concerns by not securing the database: Security Discovery senior security researcher Jeremiah Fowler said that the bucket included all of the aforementioned analyzer information, plus profile data like usernames and hashed passwords, emails, gender, and Facebook IDs and authorization tokens. In all, the exposure consisted of millions of records, including details on "134 million rounds of golf, 4.9 million user notifications and 19.2 million records in a folder called 'activity feed,'" Fowler said. The database also contained network information for the company: IP addresses, ports, pathways and storage info that "cybercriminals could exploit to access deeper into the network," according to Fowler, writing in a post on Tuesday. No word on whether malicious players took a swing at the data, as it were, but the sheer breadth of the information that the app gathers is concerning, Fowler noted.

Netflix and other online video services have expanded their customer-satisfaction lead over cable and satellite TV, the American Customer Satisfaction Index (ACSI) found in its annual telecommunications report released today. Ars Technica reports: Streaming-video services averaged a score of 76 on the ACSI's 100-point scale, up from 75 last year. Meanwhile, the traditional subscription-TV industry's score remained unchanged at 62. "For the past six years, customer satisfaction with subscription TV has languished in the mid-to-low 60s, not recovering enough to effectively compete with streaming services," the ACSI report said. "In 2018, subscription sales declined 3 percent to $103.4 billion. Customer service remains poor, and cord cutting is accelerating. As video-streaming services gain traction, a growing number of households may never subscribe to pay TV in the first place."

Pay-TV and broadband -- two services that are generally offered in bundles by the same companies -- each posted an industry average of 62, which is again in "last place among all [46] industries tracked by the ACSI," the report said. Pay-TV's satisfaction score peaked at 68 in 2013 and has dropped steadily since. Streaming services rated significantly higher than cable and satellite in many categories, including the ease of understanding bills, mobile app quality and reliability, and call-center satisfaction. Comcast remained near the bottom of pay-TV rankings with a score of 57, while AT&T's U-verse led the ranking despite dropping from 70 to 69. Coincidentally, AT&T's streaming service -- DirecTV Now -- also fell from 70 to 69. But while the AT&T U-verse TV score of 69 was good enough to lead all cable and satellite TV providers, the DirecTV Now score of 69 was in second-to-last place among streaming providers. Netflix took the top spot in streaming satisfaction by raising its score from 78 to 79.

Does the overcrowded and cut-throat music streaming business have room for an additional player? The world's most valuable startup certainly thinks so. From a report: Chinese conglomerate ByteDance, valued at more than $75 billion, is working on a music streaming service, two sources familiar with the matter told TechCrunch. The company, which operates popular app TikTok, has held discussions with music labels in recent months to launch the app as soon as the end of this quarter, one of the sources said. The app will offer both a premium and an ad-supported free tier, one of the sources said. Bloomberg, which first wrote about the premium app, reported that ByteDance is targeting emerging markets with its new music app. Further reading: Chinese Video Sensation TikTok Surpassed Facebook, Instagram, Snapchat and YouTube in Downloads in October 2018.

Four years after announcing a 9% tax on streaming entertainment services, the city has collected $2 million in sales tax from Sony and two online ticketing services, making it the first major city to collect such a tax successfully. CBS News reports: The city collected $1.2 million from Sony in January, on services including PlayStation Video live events and purchases of music and video, according to Bloomberg. It also collected nearly $800,000 from Eventbrite and $70,000 from Fandango, the outlet said. The levy has been dubbed the "Netflix tax" because it targets streaming video services in addition to gaming and other digital entertainment.

While Chicago seems to be the first city to successfully tax streaming services, it probably won't be the last. Rhode Island's governor proposed a budget this year that includes new sales taxes on digital videos, books and music. Pennsylvania enacted a similar tax in 2016 and is set to start enforcing it this summer. Chicago's expanded digital entertainment and services tax could raise up to $12 million per year, according to estimates issued at the time it passed in 2015. A lawsuit filed by a libertarian group on behalf of Netflix, Spotify and Amazon Prime customers is currently in the appeal stage.

Taking a page from the Marvel playbook, Sony Interactive Entertainment is reportedly launching its own studio to take its video games to the movie and TV screen. From a report: PlayStation Productions is a new division of Sony Interactive Entertainment with the task of adapting PlayStation games into films and TV shows, The Hollywood Reporter reported Monday. Heading up the new studio will be Asad Qizilbash, who was vice president of marketing for Sony Interactive Entertainment of America, according to the report. Overseeing the studio will be Shawn Layden, chairman of SIE Worldwide Studios, The Hollywood Reporter said. [...] The new PlayStation Productions will reportedly work with Sony Pictures for distribution of the new batch of movies and TV shows.

An anonymous reader quotes ABC News: The final result of Russia's version of the popular TV singing talent show, "The Voice Kids," has been cancelled after it was found that thousands of automated calls and text messages were used to rig voting in favor of its 10-year-old winner. Moscow-based cybersecurity firm Group-IB was brought in to examine the results after complaints were raised over the victory of Mikella Abramova, the daughter of well-known Russian popstar Alsou and millionaire Yan Abramov...

On Thursday, Group-IB's researchers said that, after analyzing the voting data, there had been "massive automated sending of SMS messages in favour of one participant." Sequential phone numbers were used to make more than 30,000 automated calls into the show's voting line for the contestant, IB Group wrote in a statement on its website. Another 300 telephone numbers were used to send 8,000 text messages, the statement said, noting that the automated calls and messages were made by so-called 'bots' -- software programs that can be directed to repeat tasks over and over.

The findings prompted Channel 1 to announce that it was annulling the results, saying the investigation had confirmed there was "an outside influence" that had affected the outcome. In a statement on its website, the channel said it would now organize a new "special show" in which all the contestants would compete again on May 24.
One of show's hosts warned their audience not to take the reality competition too seriously. "Let's not forget that it is only a jolly game of 'who sings best.'"

Jason Koebler shares Vice's analysis of demoparties -- "gatherings where programmers showcase artistic audiovisual works, known as demos, after a day- or days-long coding marathon that is part bacchanal and part competition" -- starting with a visit to New York's Synchrony. I had arrived just in time to catch the end of a set by the electronic musician Melody Loveless, who was at a folding table near the front of the room writing code that generated the music. These sorts of live coding performances have been a staple of demoparties -- gatherings organized by and for the creative computing underground -- for decades... Demos are often made by teams of programmers and are almost always rendered in real time (as opposed to, say, an animated movie, which is a pre-rendered recording). Demoparty competitions, or compos, are generally divided into categories where demo submissions must adhere to certain restrictions. For example, some compos only allow demos that were made on a Commodore 64 computer or demos that were created using under 4,000 bytes of data. In every case, however, the point of the competition is to push computing hardware to its limits in the service of digital art...

Given the abundance of digital art institutions in New York -- Eyebeam, Rhizome, LiveCode.NYC, and the School for Poetic Computation -- the lack of demoparties is conspicuous and in stark contrast to the European demoscene, which boasts dozens of annual demoparties, some of which attract thousands of participants. With this discrepancy in mind, I tagged along with the Synchrony crew this year in pursuit of an answer to a deceptively simple question -- who killed the American demoscene...?
The article traces the demo scene back to the "cracktros" which introduced pirated Commodore 64 video games (and their associated "copyparties") on floppy disks in the 1980s. Eventually this even led to police raids, but "The crackdown on software piracy was not evenly spread throughout Europe, however. Countries like the Netherlands, Greece, Finland, Sweden, and Norway didn't have strict software piracy laws, if they had any at all, which allowed the warez scene to flourish there." And by the early 1990s games "became a taboo when the community started defining its borders and aggressively distancing itself from other communities occupying the same computer hobbyist domain," wrote Markku Reunanen, a lecturer at Aalto University, in 2014.

Vice adds that "Although the demoscene has many elements in common with the warez scene from which it emerged, it differentiated itself by emphasizing technically challenging aesthetics. Whereas software cracking was largely pragmatic and gaming was about entertainment, the demoscene was about creating computer art that was difficult to produce at the level of the code, but also visually and aurally pleasing to consume. It was, in short, a competitive form of digital art.... Today, the fundamental aspects of the demoscene are the same. Demoparties are still organized around a competition and remain an almost exclusively European phenomenon. Demosceners still police the boundaries of their discipline vis-a-vis gaming and some sceners continue to work exclusively with retro machines like the C64 and Amiga."

Ben Sisario, American author, academic, and journalist who covers the music industry for The New York Times, shares why he still likes to list to compact discs: I try to keep an eye on all the major platforms out there, which means regularly poking around on about a dozen apps. My go-to sources are Spotify, SoundCloud, Bandcamp and Mixcloud, which has excellent D.J.-style mixes and to me feels more human than most. At home I have a Sonos Play:5 speaker, which plays streaming music and podcasts, and is a piece of cake to use. I also have Google Chromecast Audio, a little plug-in device (now discontinued) that allows me to send high-fidelity streams to my stereo. It sounds better that way, but it's not nearly as easy to use as the Sonos. To be honest, my preferred way to listen to music is on CD, as unfashionable as that might be. You push a button, the music plays, and then it's over -- no ads, no privacy terrors, no algorithms! Do you share the same sentiment as Sisario, or have you gone all in on music streaming? Why or why not?