Google is today expanding its premium YouTube TV streaming service to the majority of locations in the U.S., with the rest to follow shortly. From a report: At launch, YouTube TV was available through mobile apps in five markets. In the nearly two years since its introduction, it has arrived on the big screen via apps for Android TV and Xbox, as well as Apple TV and Roku, and expanded to 100 U.S. markets, covering 85 percent of households. Now it's landing in an additional 95 markets, which will extend this coverage to 98 percent of households. Other markets not yet covered will soon be added to the mix.

An anonymous reader quotes a report from Hollywood Reporter: Netflix has joined the membership ranks of the Motion Picture Association of America alongside the six major Hollywood studios, the top lobbying group said Tuesday, The unprecedented move -- coming on the same day that the streamer landed its first Oscar nomination for best picture -- was endorsed by Disney, Fox, Paramount, Sony, Universal and Warner Bros. It is the first time in history that a non-studio has been granted entry. It also is a defining moment for MPAA chairman-CEO Charles Rivkin 18 months into his tenure. The Netflix-MPAA union coincides with the streamer becoming a card-carrying member of the Oscar race after securing an unprecedented 15 nominations on Tuesday morning. Netflix CEO Reed Hastings and Sarandos are intent on upping the company's profile as a legitimate force in the movie business, and joining the MPAA will further that goal. Additionally, once Fox is merged with Disney, the MPAA will have one less member, meaning a loss of as much as $10 million to $12 million in annual dues. Sources say the MPAA is courting other new members as well (Amazon could be a candidate). Prior to joining the MPAA, Netflix "departed from the Internet Association -- a major industry trade group representing tech companies including Google, Amazon, and Facebook," Engadget notes. "Netflix had been a member of the internet association since 2013."

According to new research from marketing technology firm Audience Project, the majority (57%) of UK customers would stop watching Netflix if commercials were introduced, and even lowering subscriptions would cause a significant drop off of 42%. Here are some of the other key findings: - In the UK, Netflix takes the lion's share of the streaming audience at 70%, followed by BBC iPlayer (61%). Interestingly, YouTube, ITV Player and All4, all of which host ads, saw a decline.

- TV is still the preferred streaming device in the UK used by 42% of respondents.

- Streaming is on the rise particularly amongst the young, with almost as many 15-25 year olds streaming/downloading (63%) as watching traditional TV (65%) "This is proof, if it were needed, that Netflix is right to focus on growing through its investment in content rather than considering hosting advertising any time soon," Netimperative reports.

Martyn Bentley, Commercial Director UK at Audience Project, comments: "Our findings highlight the growing importance of targeting and relevance in advertising. As consumers have increasing choice over whether or not they see ads, both broadcasters and advertisers alike need to work hard to ensure that campaigns enhance experience, rather than detract -- plus it suggests that greater inroads need to be made with Connected TV as a means to help tailor advertising at a granular level."

Spotify, one of the largest music streaming platforms available, is readying a "don't play this artist" feature in its apps that will let you mute artists you don't want to hear from. "The feature simply lets you block an entire artist from playing, so that songs from the artist will never play from a library, playlist, chart list, or even radio stations on Spotify," reports The Verge. From the report: The block feature works on songs by an individual artist, but it doesn't currently apply to tracks that an artist is featured on. Thurrott first spotted the feature, and notes that Spotify originally decided not to offer blocking "after serious consideration" back in 2017. Spotify has now reversed that decision.

From a report: While our ears may be attuned to lossy compressed audio in most everyday scenarios, the experience of rediscovering high-fidelity lossless digital audio can be nothing short of a revelation. Fine details reappear, performers have more space, sounds have more definition, audio feels warmer, sounds clearer, and is noticeably more pleasurable to listen to. The higher you go with audio file resolution, the better it gets. Thanks to the new range of streaming apps delivering CD-quality or higher, our beloved "universal jukebox" is undergoing a significant upgrade.

Consumer demand for high-resolution audio has been growing steadily, for example users of Deezer HiFi have increased by 71% in the past 12 months alone, and the product is now available in 180 countries and works with a wide range of FLAC streaming compatible devices. Bang & Olufsen's most senior Tonmeister (sound engineer) Geoff Marti believes that demand for hi-fi streaming audio is growing due to a rise in the number of people buying high-end audio devices. "It used to be that you bought an iPhone and you used the white earbuds, but nowadays people are upgrading to better headphones, so they want a better file and a better app to play it on. The potential is there for somebody that wants to get high quality, and they don't have to spend a lot of money to get it."

MIDI was introduced at the 1983 NAMM show as a means to connect various electronic instruments together. Since then, our favorite five-pin DIN has been stuffed into Radio Shack keyboards, MPCs, synths, eurorack modules, and DAWs. The standard basically hasn't changed. Now, ahead of the 2019 NAMM show, the MIDI Manufacturers Association (MMA) in conjunction with AMEI, Japan's MIDI Association, are announcing MIDI 2.0. From a report: The new features include, "auto-configuration, new DAW/web integrations, extended resolution, increased expressiveness, and tighter timing." It will retain backwards-compatibility with MIDI 1.0 devices. The new initiative, like the release of the first MIDI spec, is a joint venture between manufacturers of musical instruments. The company lineup on this press release is as follows: Ableton/Cycling '74, Art+Logic, Bome Software, Google, imitone, Native Instruments, Roland, ROLI, Steinberg, TouchKeys, and Yamaha.

Popular music is shrinking. From 2013 to 2018, the average song on the Billboard Hot 100 fell from 3 minutes and 50 seconds to about 3 minutes and 30 seconds. From a report: Six percent of hit songs were 2 minutes 30 seconds or shorter in 2018, up from just 1% five years before. Take Kendrick Lamar. One of the world's most popular musicians right now. The average track length on Lamar's breakout 2013 album good kid, m.A.A.d city is 5 minutes 37 seconds. All are 3 minutes 30 seconds or longer. On Lamar's most recent album DAMN., the average song is 3 minutes and 57 seconds. DAMN. won the Pulitzer Prize for music, going to show that this trend isn't necessarily lowering the quality of music. It's not just Lamar. The trend can be seen in albums of music's biggest stars, like the rapper and singer Drake, perhaps pop music's most dominant force.

An anonymous reader shares a report: It's not Disney's new streaming video service or HBO or Amazon that Netflix is worried about, the company said this week in its letter to shareholders. Netflix estimates it has already earned about 10 percent of all U.S. television screen time. The company also shared viewership statistics for some of its exclusives, boasting that "Bird Box" netted 80 million viewers in its first four weeks on Netflix, while "You" will get about 40 million over the same period.

Instead, it's newer forms of entertainment -- such as Fortnite and Google's YouTube -- that got shout-outs in the company's letter as stronger competitors. "Our focus is not on Disney+, Amazon or others, but on how we can improve our experience for others," Netflix said in its shareholder letter. "We compete with (and lose to) Fortnite more than HBO. When YouTube went down globally for a few minutes in October, our viewing and signups spiked for that time." Further reading: Netflix's Biggest Competition Isn't Sleep -- It's YouTube.

The Huffington Post recently published a post by one of the 300 members of the Broadcast Film Critics Association -- and a contributing writer to Variety: I saw "Aquaman" on a brisk Monday morning in December. Though I appreciated that star Jason Momoa didn't take himself too seriously while playing an underwater superhero, the glut of CGI effects distracted me from the story. Which was hollow and nonsensical anyway. As with every movie I watch -- up to four a week, hundreds a year -- I expressed my opinion in print and online for Us Weekly, as well as my own site, MaraMovies.com. The review was also linked on Rotten Tomatoes, where I'm a Top Critic.

Since I had a lot of films on my busy holiday schedule, I quickly moved on. Hundreds of men who read my review did not.... [Example comment: "I will kill your mom, dad and friends Bcoz I want [you] to regret for what u did. I have your address and details about your family members."] I reported the messages to Instagram and was rebuffed because, per the automated response, the vitriol didn't "violate community guidelines." Didn't matter. They found me on Facebook and Twitter, too.... Nearly 2,000 people "liked" a post in which some guy made a collage of my face and a few negative reviews.... I wasn't scared by the threats as I much as I was disheartened. One guy summed it up when he messaged me: "How many of us are you going to block? There are thousands of us."
Ironically, the review wasn't all negative. It called Aquaman "the first live-action D.C. Comics movie in which a superhero actually appears to be having fun. Batman, Superman, the Suicide Squad, even our beloved Wonder Woman tend to behave as if they just lost their 401(k) savings during the apocalypse." Yet rifing on the critic's last name, one commenter still wrote "hope another Holocaust happens."

Instead of "thousands" of angry fans, it could just be hundreds who are using multiple accounts. But there's a larger issue. "I worry that reading volumes of hate mail is starting to get in my head and cause me to consider the potential angry male ramifications while I'm writing my reviews, thereby compromising my integrity."

An anonymous reader quotes the Internet Archive's blog Please join us for a Grand Re-opening of the Public Domain, featuring a keynote address by Creative Commons' founder, Lawrence Lessig, on January 25, 2019. Co-hosted by the Internet Archive and Creative Commons, this celebration will feature legal thought leaders, lightning talks, demos, and the chance to play with these new public domain works. The event will take place at the Internet Archive in San Francisco....

Join the creative, legal, library, and advocacy communities plus an amazing lineup of people who will highlight the significance of this new class of public domain works. Presenters include Larry Lessig, political activist and Harvard Law professor; Corynne McSherry, legal director of the Electronic Frontier Foundation; Cory Doctorow, science fiction author and co-editor of Boing Boing; Pam Samuelson, copyright scholar; and Jamie Boyle, the man who literally wrote the book on the public domain, and many others.
Attendees will also receive a discount on the world premiere of DJ Spooky's Quantopia: The Evolution of the Internet, a live concert commissioned by the Internet Archive "synthesizing data and art, both original and public domain materials, in tribute to the depth and high stakes of free speech and creative expression involved in our daily use of media."

Disney's Han Solo movie was the first Star Wars movie to lose money. But is there a larger problem? dryriver writes: Comic book news website Cosmic Book News reports that even though Disney put bucketloads of Star Wars out there in 2018, revenues from all things Star Wars have actually fallen, according to Disney SEC filings. Disney made more Star Wars money in 2017 -- when only Rogue One hit cinemas -- than in 2018, when Solo, Last Jedi and SW Battlefront 2 were released.

A Rian Johnson-led Star Wars trilogy appears to have been delayed or cancelled entirely. Rumored spinoff movies for Bobba Fett and Obi-Wan Kenobi appear to have been put on the backburner or cancelled. Disney's CEO has confirmed that the Star Wars movies are being slowed down.

A Star Wars fan named "Toos" told Newsweek he'd spent $150,000 of his own money on a fan film about Darth Vader -- and what happened next: Before the camera started rolling Toos said he contacted an employee at Lucasfilm [and] claims Lucasfilm gave him permission on two conditions: he couldn't crowdfund and he couldn't monetize the fan film on YouTube. Toos agreed to those conditions and shot for three full days in September. They ran post-production up until the release of "Vader Episode 1: Shards of the Past" on December 20. Star Wars fans, a notoriously tough group to please, had overwhelming praise for the video, which gathered more than six million views in one month and 40,000 likes.

On January 14, music group and corporate collective Warner/Chappell filed a copyright claim against the video. After filing the claim, the company (publisher for the Walt Disney Music Company) began to collect ad revenue for Toos' video by claiming that one of the songs used a rendition of "The Imperial March"... If Toos attempts to appeal and Warner/Chappell refutes his claim, he could get a copyright strike on his channel and lose complete ownership of the video...

Fan response on Reddit has been massive, with the post about Star Wars Theory and the strike reaching over 90,000 upvotes... In a new video on the StarWarsTheory channel, Toos told his fans that the claim on his video had been lifted due in part to the intervention of LucasFilm."They stepped up and told Disney or the other company that this wasn't okay, that this wasn't going to stand."
Newsweek points out that Disney doesn't own Warner/Chappell. "The music group merely licenses their music" -- and has been accused of making erroneous claims before.

They're the same group that claimed they owned the music rights on a YouTube clip from Star Wars with all the original music removed.

An anonymous reader shares a report: Thanks to such acts as Britney Spears, Twenty One Pilots and Guns N' Roses, along with soundtracks from the Guardians of the Galaxy franchise -- which boasts the year's top two sellers -- and Netflix's Stranger Things series, cassette tape album sales in the U.S. grew by 23 percent in 2018. According to Nielsen Music, cassette album sales climbed from 178,000 in 2017 to 219,000 copies in 2018. While that's a small number compared to the overall album market (141 million copies sold in 2018), that's a sizable number for a once-dead format. In 2014, for example, cassette album sales numbered just 50,000. But, 20 years before that, back in 1994, when cassettes were still very much a hot-selling format, there were 246 million cassette albums sold that year, of an overall 615 million albums.

In its fourth-quarter 2018 earnings report, Netflix disclosed some of its viewership numbers for hits such as "Bird Box." "Overall, Netflix said it serves about 100 million hours of video per day, earning an estimated 10 percent of all time spent in front of the TV in the U.S.," reports CNBC. The company also said "Bird Box" reached 80 million member households in its first four weeks on the streaming service. Unfortunately, it still didn't show exactly how many people have viewed the content. From the report: By way of comparison, during the week of Jan. 7, the top TV show was an NFL playoff game between the New Orleans Saints and Dallas Cowboys on Sunday, Jan. 13, which drew 33 million viewers, according to Nielsen. The top scripted show, "The Big Bang Theory," drew over 13 million. But Netflix does not view TV as its only competition. In its earnings note, it also said games such as Fortnite compete for attention. Fortnite reportedly draws 200 million players per week.

The company also highlighted several of its international projects. Netflix said its original from Spain, "Elite," was watched by over 20 million member households worldwide in the first four weeks. "Bodyguard," co-produced with BBC One; "Baby," an original series from Italy, and "Protector," an original series from Turkey, all reached more than 10 million member households in their first four weeks, the company said. There was still one notable hit that Netflix didn't disclose numbers for: "Black Mirror: Bandersnatch." Instead, the company discussed in its earnings letter that the technology used to create the movie, its first interactive choose-your-own-adventure-style flick, will be used for interactive projects in the future.

Researchers at cybersecurity firm Check Point say three vulnerabilities chained together could have allowed hackers to take control of any of Fortnite's 200 million players. "The flaws, if exploited, would have stolen the account access token set on the gamer's device once they entered their password," reports TechCrunch. "Once stolen, that token could be used to impersonate the gamer and log in as if they were the account holder, without needing their password." From the report: The researchers say that the flaw lies in how Epic Games, the maker of Fortnite, handles login requests. Researchers said they could send any user a crafted link that appears to come from Epic Games' own domain and steal an access token needed to break into an account.

Here's how it works: The user clicks on a link, which points to an epicgames.com subdomain, which the hacker embeds a link to malicious code on their own server by exploiting a cross-site weakness in the subdomain. Once the malicious script loads, unbeknownst to the Fortnite player, it steals their account token and sends it back to the hacker. "If the victim user is not logged into the game, he or she would have to log in first," a researcher said. "Once that person is logged in, the account can be stolen." Epic Games has since fixed the vulnerability.

Netflix is raising its U.S. prices by 13 percent to 18 percent, its biggest increase since the company launched its streaming service 12 years ago. From a report: Its most popular plan will see the largest hike, to $13 per month from $11. That option offers high-definition streaming on up to two different internet-connected devices simultaneously. Even at the higher price, that plan is still a few dollars cheaper than HBO, whose streaming service charges $15 per month. The extra cash will help to pay for Netflix's huge investment in original shows and films and finance the heavy debt it has assumed to ward off rivals such as Amazon, Disney and AT&T. This marks the fourth time that Netflix has raised its U.S. prices; the last hike came in late 2017. But this is the first time that higher prices will hit all 58 million U.S. subscribers, the number Netflix reported at the end of September.

An anonymous reader quotes a report from Engadget: High-fidelity music streaming service Tidal is under criminal investigation in Norway for allegedly inflating album streams for Beyonce's Lemonade and Kanye West's The Life of Pablo. The alleged faking of streaming numbers was exposed last year by Norwegian newspaper Dagens Naeringsliv (DN), which said it had obtained a hard drive with the tampered data. Around 1.3 million accounts were supposedly used to lift the play counts of said albums by "several hundred million," with Tidal paying out higher royalty fees to the two artists and their record labels as a result.

In the wake of the report, a Norwegian songwriter's association known as Tono filed an official police complaint against Tidal. The Jay-Z-owned streaming service denied the accusations and subsequently launched an internal review to be conducted by a third-party cyber security company, which is still ongoing. Today, DN revealed that Norway's National Authority for Investigation and Prosecution of Economic and Environmental Crime (Okokrim) has begun an investigation into data manipulation at Tidal. Though still in its early stages, Okokrim says that at least four former Tidal employees (including its former head of business intelligence -- responsible for analyzing streams) have been interrogated in front of a judge as part of the investigation. The quartet have faced a total of 25 hours of questioning thus far. Three former staffers reportedly recognized signs of meddling with the albums and contacted a lawyer before notifying Tidal. "All three individuals resigned from the company in 2016 after signing what a DN source called 'the gold standard of confidentiality contracts,'" reports Engadget.

dryriver writes: Electronic Arts has mismanaged the Battlefield franchise in the past -- BF3 and BF4 were not great from a gameplay perspective -- but with Battlefield 5, Electronic Arts is facing a real disaster that has sent its stock plummeting on the stock exchanges. First came the fierce cultural internet backlash from gamers to the Battlefield 5 reveal trailer -- EA tried to inject so much 21st Century gender diversity and Hollywood action-movie style fighting into what was supposed to be a reasonably historically accurate WWII shooter trailer, that many gamers felt the game would be "a seriously inauthentic portrayal of what WW2 warfare really was like." Then the game sold very poorly after a delayed launch date -- far less than the mildly successful WW1 shooter Battlefield 1 for example -- and is currently discounted by 33% to 50% at all major game retailers to try desperately to push sales numbers up. This was also a disaster for Nvidia, as Battlefield 5 was the tentpole title supposed to entice gamers into buying expensive new realtime ray-tracing Nvidia 2080 RTX GPUs.

Electronic Arts had to revise its earnings estimates for 2019, some hedge funds sold off their EA stock, fearing low sales and stiff competition from popular Battle Royal games like Fortnite and PUBG, and EA stock is currently 45% down from its peak value in July 2018. EA had already become seriously unpopular with gamers because of annoying Battlefield franchise in-game mechanisms such as heaving to buy decent-aiming-accuracy weapons with additional cash, having to constantly pay for additional DLC content and game maps, and the very poor multiplayer gameplay of its two Star Wars: Battlefront titles (essentially Battlefield with laser blasters set in the Star Wars Universe). It seems that with Battlefield 5, EA -- not a company known for listening to its customers -- finally hit a brick wall, in the form of many Battlefield fans simply not buying or playing Battlefield 5.

Video arcades -- those recreational arenas of illuminated screens and 8-bit soundtracks -- have been fading from the cultural landscape since the end of the Donkey Kong '80s. The advent of home video game consoles, hand-held gaming devices and smartphones has all but rendered them relics of a Gen X childhood. Yet somehow, Chinatown Fair Family Fun Center lives on. From a report: The cramped downtown institution is among the last of the city's old-school arcades, often filled with gamers too young to remember Street Fighter IV a decade ago, let alone Missile Command in the Reagan years. "Chinatown Fair should have closed years ago, along with all the other arcades in the city, due to rising rent and the shift to online gaming," said Kurt Vincent, who directed "The Lost Arcade," a 2016 documentary about the arcade's enduring legacy in the city. "But it's still there on Mott Street after all these years because young people need a place to come together."

Say this about Chinatown Fair: It has been defying the odds for decades. The place opened in the 1940s as an "amusement arcade" in an era when Skee-Ball represented the apex of arcade fun. As youth tastes changed in the ensuing years, so too did Chinatown Fair. The arcade survived the rise and fall of pinball, the rise and fall of Pac-Man, the rise and fall of Super Nintendo, and perhaps most unimaginably, the rise, and rise some more, of Manhattan real estate prices.

An anonymous reader shares a report: Disney and WarnerMedia are each launching their own streaming services in 2019 in a challenge to Netflix's dominance. Netflix viewers will no longer be able to watch hit movies such as "Black Panther" or "Moana," which will soon reside on Disney's subscription service. WarnerMedia, a unit of AT&T, will also soon have its own service to showcase its library of blockbuster films and HBO series. Families will have to decide between paying more each month or losing access to some of their favorite dramas, comedies, musicals and action flicks. "There's definitely a lot of change coming," said Paul Verna at eMarketer, a digital research company. "People will have more choices of what to stream, but at the same time the market is already fragmented and intimidating and it is only going to get more so."

Media companies are seeking to capitalize on the popularity and profitability of streaming. But by fragmenting the market, they're also narrowing the once wide selection that fueled the rise of internet-based video. About 55 percent of U.S. households now subscribe to paid streaming video services, up from just 10 percent in 2009, according to research firm Deloitte. Just as Netflix, Hulu and Amazon Prime tempted people to "cut the cord" by canceling traditional cable TV packages, the newer services are looking to dismember those more-inclusive options. [...] The cost of multiple streaming services could quickly approach the average cost of a cable bill -- not counting the cost of internet service. That's around $107 per month, according to Leichtman Research Group.