"People just seem to really enjoy coming together to pretend fake things are real," writes the Guardian.

"Thousands of Tumblr users have been making posters, soundtracks, drawings and fan fiction for a 1973 Scorsese film starring Robert De Niro — but it never existed." Released in 1973, the little-seen Scorsese flick starred Robert De Niro as Goncharov, "a former discotheque owner who comes to Naples after the fall of the Soviet Union" with the goal of becoming a mob boss. Harvey Keitel plays the eye-patched Andrey (or Andrei) "The Banker" Daddano; Gene Hackman plays Valery Michailov; Al Pacino appears as Mario Ambrosini and Cybill Shepherd plays Goncharov's wife, Katya. Apparently, it was really good and was added to the Criterion Collection.

And you've never heard of it because it doesn't actually exist....

A few years ago, a Tumblr user posted a photo of some "knockoff boots" they had ordered online that had a very strange tag on the tongue: "The greatest mafia movie ever made. Martin Scorsese presents GONCHAROV. Domenico Proccacci production. A film by Matteo JWHJ0715. About the Naples Mafia." This mostly went ignored until 2020, when another Tumblr user reblogged a comment made on the original post, reading: "this idiot hasn't seen goncharov...."

The internet works in mysterious ways; earlier this month, Tumblr user beelzeebub made a fake poster for the film, tens of thousands of people were suddenly sharing it and lo: a new Scorsese film was born... [L]ike all of the best jokes, people have really committed to the bit. There's the film's poster, which has the tagline "greatest mafia movie (n)ever made". A music teacher in Indiana composed a theme song for Goncharov, inspired by The Godfather. There is also a cash-in video game, with an accompanying soundtrack, and a fake VHS.

"Academics" wrote essays analysing the film, which were published in (fake) film journals. A representative for the movie reviewing platform Letterboxd even told the New York Times that they had had to remove multiple reviews for the film that had been submitted by users.

For the last thirteen years the Free Software Foundation has published its Ethical Tech Giving Guide, notes a recent FSF blog post. "The right to determine what a device you've purchased does or doesn't do is something too valuable to lose."

Or, as they put it in the guide: It's time to reclaim our freedom from the abuse of multinational corporations, who use proprietary software and malicious "antifeatures" to keep us powerless, dependent, and surveilled by the devices that we use. There's no time at which it's more important to turn these unfortunate facts into positive action than the holiday season.

The gifts that we recommend here might not be making headlines, but they're the rare exception to the apparent rule that devices should mistreat their users.
For technical users, the guide recommends pairing the FSF-sponsored Replicant, a fully-free distribution of Android, with the F-Droid app repository, which has hundreds of applications including Syncthing, Tor, Minetest, and Termux.

They also praise the X200 laptop, "one of the few home user devices that's able to run fully free software from top to bottom." With easy-to-repair hardware, it's the laptop most frequently used in the FSF's own office — just one of several freedom-respecting devices from Vikings. And there's shout-outs to MNT's Reform laptop, products from PINE64 and Purism, plus a freedom-respecting VPN, and a mini wifi adapter .

The guide even recommends places to buy DRM-free ebooks, including No Starch Press, Smashwords, Leanpub, Standard Ebooks, Nantucket E-Books, Libreture (which also offers a storage solution). Meanwhile for print books, there's the Gnu Press Shop

And it also recommends sources for DRM-free music (including Bandcamp, Emusic, the Smithsonian Institute's Folkways, the classic punk label Dischord, HDTracks, and Mutopia).

And it also tells you where to find free (as in freedom) films...

Despite Apple Music supporting lossless streaming, wireless AirPods only support lossy Bluetooth codecs. Apple engineer Esge Andersen tells WhatHiFi that's not really an issue: "We want to push the sound quality forward, and we can do that with a lot of other elements. We don't think that the codec currently is the limitation of audio quality on Bluetooth products."

Last.fm turned 20 years old over the weekend and users are still tracking their music playback hundreds of thousands of times a day. The Verge's Jacob Kastrenakes writes: Last.fm felt just a little bit revolutionary when it was first introduced in the early 2000s. The site's plug-ins -- which were originally created for a different service called Audioscrobbler -- tapped into your music player, took note of everything you listened to, and then displayed all kinds of statistics about your listening habits. Plus, it could recommend tracks and artists to you based on what other people with similar listening habits were interested in. "If this catches on, a system like this would be a really effective way to discover new artists and find people with similar tastes," the blogger Andy Baio wrote in February 2003 after first trying it out.

This was very much a precursor to the algorithmic recommendation systems that are built into every music streaming service today. Spotify, Apple Music, Tidal -- whatever it is you're listening to, they're all tracking your habits and using that to recommend new tracks to you. But on those services, your data is kept hidden behind the scenes. Using Last.fm was like having access to your year-end Spotify Wrapped but available every single day and always updating.

Streaming services' automated recommendations have largely obviated the need for a platform like Last.fm (I certainly haven't scrobbled anything in more than a decade). But I poked around, and it turns out there are still corners of the internet building vibrant communities around its features. One of the big uses is on Discord, where third-party developers have built a service called .fmbot that integrates scrobbling data into the popular chat room app. Thom, a backend developer based in the Netherlands, says the bot has more than 400,000 total users, with 40,000 people engaging with the service each day. It's particularly popular in Discords based around specific musical artists or genres -- where people "want to compare their statistics to each other" -- and among servers for small friend groups, so they can "dive deeper into what everyone is listening to," he says. The bot pulls in fun stats that people can brag about: the date of when they first listened to a given song, just how many days' worth of music they consumed each year, or a list of their top albums. In 2008, we ran a story from Slashdot reader Rob Spengler about Last.fm's "mountain of data." Not only did he note how Last.fm was the "largest online radio outlet" at the time, surpassing Pandora and others, but he (hilariously, in hindsight) posed the question: "Does sitting on a mountain of data make Last.FM powerful enough to start making a stand against the record industry?"

An anonymous reader quotes a report from Ars Technica: Amazon is going through the biggest layoffs in the company's history right now, with a plan to eliminate some 10,000 jobs. One of the areas hit hardest is the Amazon Alexa voice assistant unit, which is apparently falling out of favor at the e-commerce giant. That's according to a report from Business Insider, which details "the swift downfall of the voice assistant and Amazon's larger hardware division." Alexa has been around for 10 years and has been a trailblazing voice assistant that was copied quite a bit by Google and Apple. Alexa never managed to create an ongoing revenue stream, though, so Alexa doesn't really make any money. The Alexa division is part of the "Worldwide Digital" group along with Amazon Prime video, and Business Insider says that division lost $3 billion in just the first quarter of 2022, with "the vast majority" of the losses blamed on Alexa. That is apparently double the losses of any other division, and the report says the hardware team is on pace to lose $10 billion this year. It sounds like Amazon is tired of burning through all that cash.

The BI report spoke with "a dozen current and former employees on the company's hardware team," who described "a division in crisis." Just about every plan to monetize Alexa has failed, with one former employee calling Alexa "a colossal failure of imagination," and "a wasted opportunity." This month's layoffs are the end result of years of trying to turn things around. Alexa was given a huge runway at the company, back when it was reportedly the "pet project" of former CEO Jeff Bezos. An all-hands crisis meeting took place in 2019 to try to turn the monetization problem around, but that was fruitless. By late 2019, Alexa saw a hiring freeze, and Bezos started to lose interest in the project around 2020. Of course, Amazon now has an entirely new CEO, Andy Jassy, who apparently isn't as interested in protecting Alexa. The report says that while Alexa's Echo line is among the "best-selling items on Amazon, most of the devices sold at cost." One internal document described the business model by saying, "We want to make money when people use our devices, not when they buy our devices."

That plan never really materialized, though. It's not like Alexa plays ad breaks after you use it, so the hope was that people would buy things on Amazon via their voice. Not many people want to trust an AI with spending their money or buying an item without seeing a picture or reading reviews. The report says that by year four of the Alexa experiment, "Alexa was getting a billion interactions a week, but most of those conversations were trivial commands to play music or ask about the weather." Those questions aren't monetizable. Amazon also tried to partner with companies for Alexa skills, so a voice command could buy a Domino's pizza or call an Uber, and Amazon could get a kickback. The report says: "By 2020, the team stopped posting sales targets because of the lack of use." The team also tried to paint Alexa as a halo product with users who are more likely to spend at Amazon, even if they aren't shopping by voice, but studies of that theory found that the "financial contribution" of those users "often fell short of expectations."

In a public note to employees, Jassy said the company still has "conviction in pursuing" Alexa, but that's after making huge cuts to the Alexa team. One employee told Business Insider that currently, "There's no clear directive for devices" in the future, and that since the hardware isn't profitable, there's no clear incentive to keep iterating on popular products. That lack of direction led to the internally controversial $1,000 Astro robot, which is basically an Amazon Alexa on wheels. Business Insider's tracking now puts Alexa in third place in the US voice-assistant wars, with the Google Assistant at 81.5 million users, Apple's Siri at 77.6 million, and Alexa at 71.6 million.

In 1999, Slashdot editor Hemos said Greg Bear was "rightly recognized as a master of hard science fiction" (introducing a review of Bear's then-new book, Nebula-winning book Darwin's Radio). In 2011 Bear began writing the Forerunner Saga , a trilogy of books set 100,000 years before the events in the game Halo.

Today theGamer.com writes that Bear has passed away at age 71: Bear's family and fans are paying tribute to the legendary author, who had more than 50 sci-fi novels to his name. Many share fond memories of reading Bear's work and meeting him at conventions, describing him as generous, welcoming, and brilliant. Fans are also sharing their favourite books from Bear in tribute, encouraging others to explore his works to celebrate his legacy.

Bear's wife, Astrid Bear, confirmed the news of his passing in the early hours of Sunday. This was after she revealed that her husband has been placed on life support, with no chance of making a full recovery after the stroke.
More from File770.com: Bear's novels won Nebulas for Moving Mars (1995) and Darwin's Radio. Three other works of short fiction won Nebulas, and two of those — "Blood Music" (1984) and "Tangents" (1987) — also won the Hugo....

Bear sold his first short story, "Destroyers", to Famous Science Fiction at age 15, and along with high-school friends helped found San Diego Comic-Con.

He also published work as an artist at the beginning of his career, including illustrations for an early version of theÂStar Trek Concordance,Âand covers forÂGalaxyÂandÂF&SF. He was a founding member of the Association of Science Fiction Artists. He even created the cover for his novel, Psychlone...

Ticketmaster provoked ire with a botched sale of tickets to Taylor Swift's first concert in five years. NPR reports: On Thursday afternoon, the day before tickets were due to open to the general public, Ticketmaster announced that the sale had been cancelled altogether due to "extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand." Taylor Swift broke her silence on Friday in statement on Instagram in which she said it is "excruciating for me to watch mistakes happen with no recourse." She said there are many reasons people had a hard time getting tickets, and she's trying to figure out how to improve the situation moving forward. "I'm not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could," she wrote, without naming Ticketmaster.
America's Justice Department "has opened an antitrust investigation into the owner of Ticketmaster," reports the New York Times. But the investigation "predates the botched sale" and "is focused on whether Live Nation Entertainment has abused its power over the multibillion-dollar live music industry." The new investigation is the latest scrutiny of Live Nation Entertainment, which is the product of a merger between Live Nation and Ticketmaster that the Justice Department approved in 2010. That created a giant in the live entertainment business that still has no equals in its reach or power.... The debacle involving Ms. Swift's concert tickets this week has exacerbated complaints in the music business and in Washington that Live Nation's power has constrained competition and harmed consumers.
Or, as NPR puts it, "The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers." Would-be concertgoers have complained vocally about recent incidents with near-instant sellouts and skyrocketing prices, and artists like Pearl Jam and Bruce Springsteen have feuded with it over the decades. One common complaint is that there doesn't seem to be a clear alternative or competitor to Ticketmaster, especially after it merged with concert provider Live Nation in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).

Now Tennessee's attorney general, a Republican, is opening a consumer protection investigation into the incident. North Carolina's attorney general announced on Thursday that his office is investigating Ticketmaster for allegedly violating consumers' rights and antitrust laws. And multiple Democratic lawmakers are asking questions about the company's dominance â" not for the first time.... "Taylor Swift's tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly," tweeted Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long called for investigation and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.
The article also cites a Thursday statement from Ticketmaster: The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn't the case on Tuesday. "The staggering number of bot attacks as well as fans who didn't have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests â" 4x our previous peak," it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.

It estimates that about 15% of interactions across the website experienced issues, which it said is "15% too many."
The Tuesday sale also broke Ticketmaster's record for most tickets sold for an artist in a single day," reports People, "selling two million tickets."

Thanks to long-time Slashdot reader SpzToid for submitting the story.

The Justice Department has opened an antitrust investigation into the owner of Ticketmaster, whose sale of Taylor Swift concert tickets descended into chaos this week, The New York Times reported Friday, citing sources. The investigation is focused on whether Live Nation Entertainment has abused its power over the multibillion-dollar live music industry. From the report: That power has been in the spotlight after Ticketmaster's systems crashed while Ms. Swift fans were trying to buy tickets in a presale for her upcoming tour, but the investigation predates the botched sale, the people said. Staff members at the agency's antitrust division have in recent months contacted music venues and players in the ticket market, asking about Live Nation's practices and the wider dynamics of the industry, said the people, who spoke on condition of anonymity because the investigation is sensitive. The inquiry appears to be broad, looking at whether the company maintains a monopoly over the industry, said one of the people. Officials in the Biden administration have spent the last two years trying to push the boundaries of antitrust law. The Justice Department has mounted several challenges to major mergers, successfully convincing a judge to block Penguin Random House's purchase of Simon & Schuster but losing some other cases. The Federal Trade Commission has sued to block Meta, Facebook's parent company, from acquiring a small virtual reality start-up.

A new study has found that Apple's wireless earbuds can serve as a more affordable and accessible sound amplification device than medical hearing aids. Gizmodo reports: Inspired by a feature called Live Listen released in 2016 by Apple, which allows an iPhone or iPad to be used as sound-boosting microphone, researchers from the Taipei Veterans General Hospital wondered whether the performance of AirPods 2 and the original AirPods Pro using this feature could compare to medical hearing aids. Apple does not position Live Listen as a tool for those dealing with hearing loss but as a way for users with normal hearing to boost desired sounds, like the calls of a bird. However, the researchers found that, in some situations, consumer-level personal sound amplification products faired quite well against pricier medically prescribed solutions, and given the popularity of products like Apple's AirPods, there's no stigma associated with wearing them.

The researchers tested the $129 AirPods 2 and $249 AirPods Pro paired with iPhone XS Max smartphones running iOS 13. They compared these against the $10,000 OTICON Opn 1 behind-the-ear hearing aids and a more affordable alternative, the $1,500 Bernafon MD1. The four options were tested with 21 participants dealing with mild to moderate hearing loss, who were asked to repeat short sentences read to them by the researchers in varying environments. In a quiet setting, the AirPods Pro were found to perform as well as the cheaper hearing aids and almost as good as the premium model, while the Air Pods 2 performed the worst of all four tested devices but still helped participants hear what was being read to them more clearly than not using a sound-enhancing device at all. In a noisy environment, the AirPods Pro performed even closer to the premium hearing aid model, thanks to their built-in noise cancellation, but only when the distracting noises were coming from the sides of the participant. When the noise was coming from the front, alongside the sample sentences being read by the researchers, both wireless earbud products failed to help improve what was being heard. "Hearing aids remain the best option for those dealing with hearing loss, but for those who don't have access to them for whatever reason, a cheaper product like Apple's AirPods Pro could provide noticeable improvements in hearing and clarity for those dealing with mild-to-moderate hearing loss and could serve as a useful alternative until over-the-counter solutions are more readily available and affordable," concludes the report.

Earlier this year, the Food and Drug Administration decided to allow hearing aids to be sold over the counter and without a prescription to adults, a decision that "could fundamentally change technology," said Nicholas Reed, an audiologist at the Department of Epidemiology at Johns Hopkins Bloomberg School of Public Health. Sony's first OTC hearing aids were announced last month.

An anonymous reader quotes a report from Motherboard: Over a dozen public libraries in the U.S. and Canada have begun offering their own music streaming services to patrons, with the goal of boosting artists and local music scenes. The services are region-specific, and offer local artists non-exclusive licenses to make their albums available to the community. The concept originated in 2014 when Preston Austin and Kelly Hiser helped the Madison Public Library build the Yahara Music Library, an online library hosting music from local artists. By the time they completed their work on Yahara, they were confident they had a software prototype that other interested libraries could customize and deploy. "That became kind of the inspiration for building MUSICat," Austin told Motherboard, referring to the software platform he and Hiser created under a startup called Rabble.

Now, public libraries in Pittsburgh, Nashville, Fort Worth, and most recently New Orleans have launched their own community-oriented streaming services using MUSICat's open source software. Joshua Smith works at New Orleans Public Library and has been embedded in the city's rich music scene for over a decade. He oversaw the launch of Crescent City Sounds with help from a team of curators that represent local artists and business owners, music journalists and historians and more. "They helped me get the word out to the music community," Smith told Motherboard, noting that their community status helped spread the word that the library now accepts digital music submissions. Smith says that for this first round, the curators accepted albums from artists that were released in the last five years, and that while living within city limits wasn't necessarily a deal breaker, not gigging regularly in the area was. To be considered, applicants needed to submit at least one track from their album. [...] He says each selected artist received a $250 honorarium to license their music to the New Orleans Public Library for five years -- a far cry from the fractions-of-a-penny per stream paid to independent artists by platforms like Spotify. This honorarium and licensing agreement is roughly the standard for public libraries following Rabble's process model. Austin does insist that libraries using MUSICat meet the basic criteria of paying artists to license their work to their libraries. But for everything else, Austin notes that these pre-established models are guidelines, not guardrails.

One example of a public library that took MUSICat and ran with it is Capital City Records -- the music streaming platform of the Edmonton Public Library in Alberta, Canada. An early adopter of MUSICat, the library's collection has grown to amass over 200 local musicians. The project also created opportunities for the library to engage in spin-off projects like limited run of vinyl pressings and running library-focused music events throughout the city. While over 2,000 artists are featured on one of MUSICat's music platforms, Austin says the company wants to continue forming partnerships with libraries on the local level. So for music lovers looking to jump ship from Spotify, he has a clear message: "This is not Spotify for libraries," Austin said. "It's a little different. The localness is kind of key. I don't think we could, for example, use the same strategy on the same fee to license on aggregate collection, which was all the local music from all the libraries available on the music hat app, right, like something like that would need to, it would need to be about the local collections and take people to them and let them play that music in context."

"Apple is facing a class action lawsuit for allegedly harvesting iPhone user data even when the company's own privacy settings promise not to," reports Gizmodo: The suit, filed Thursday in California federal court, comes days after Gizmodo exclusively reported on research into how multiple iPhone apps send Apple analytics data, regardless of whether the iPhone Analytics privacy setting is turned on or off. The problem was spotted by two independent researchers at the software company Mysk, who found that the Apple App Store sends the company exhaustive information about nearly everything a user does in the app, despite a privacy setting, iPhone Analytics, which claims to "disable the sharing of Device Analytics altogether" when switched off.

Gizmodo asked the researchers to run additional tests on other iPhone apps, including Apple Music, Apple TV, Books, and Stocks. The researchers found that the problem persists across most of Apple's suite of built-in iPhone apps....

[I]n the tests, turning the iPhone Analytics setting off had no evident effect on the data collection, nor did any of the iPhone's other built-in settings meant to protect your privacy from Apple's data collection. Mysk's tests on the App Store found that Apple receives that data along with details that can identify you and your device, including ID numbers, what kind of phone you're using, your screen resolution, your keyboard languages and how you're connected to the internet — the kind of information commonly used for device fingerprinting.

Google today announced it's expanding its user choice billing pilot, which allows Android app developers to use other payment systems besides Google's own. The program will now become available to new markets, including the U.S., Brazil and South Africa, and Bumble will now join Spotify as one of the pilot testers. From a report: Google additionally announced Spotify will now begin rolling out its implementation of the program starting this week. The company had first announced its intention to launch a third-party billing option back in March of this year, with Spotify as the initial tester. Since then, the program has steadily expanded. Last month, for example, Google invited other non-game developers to apply for the user choice billing program in select markets, including India, Australia, Indonesia, Japan and the European Economic Area (EEA). The company also introduced a similar policy for developers in the EEA region in July, but the new guidelines raised the commission discount from 3% to 4% for developers who opted in. With today's expansion, user choice billing will be made available to 35 countries worldwide. Google says it's been working with Spotify to help develop the experience and now the streaming music service will begin to put the new features into action in supported markets. The experience could still change over time, Google warned, as this is still the early days of the pilot test.

When it comes to getting into the groove on the dancefloor, it really is all about the bass, researchers have found. From a report: Scientists say when very low frequency (VLF) sound was introduced during a live electronic music event, gig-goers moved more even though they could not hear the frequencies. "This is real world -- real electronic music dance concert -- validation that the bass really does make people dance more, and this isn't just something that comes from our conscious awareness," said Dr Daniel Cameron, a neuroscientist and first author of the work from McMaster University in Canada. Cameron and colleagues note that previous studies suggested music that induces dance has more low frequency sound, and that low pitches help people to move in time to music.

However, it was not clear this impact of low frequencies would be seen in the real world, or when such sounds are not consciously detectable. Writing in the journal Current Biology, the team report how they set up an electronic music concert by the Canadian duo Orphx at McMaster and asked attenders to wear motion-capture headbands before turning on and off specialised VLF speakers every 2.5 minutes during the 55-minute performance. Results from 43 attenders who agreed to wear a headband revealed they moved 11.8% more, on average, when the VLF speakers were turned on. Cameron noted this meant people danced more vigorously, or with more exaggerated movements. At the end of the concert, 51 attenders completed a questionnaire that asked whether they could feel the music in their body, and whether the bodily sensations affected their compulsion to move.

Remember Amazon's announcement Tuesday that Prime members would get free access to ad-free podcasts and a library of 100 million songs?

It made Slashdot reader ayjaym cancel their Amazon Prime subsciption. Because despite the upgrade to 100 million tracks, "all of these — including the albums that were available on Prime Music previously — can only be played in random order!" You can't skip forward or back while playing a song either. And, if you like to listen to classical music you now have the travesty of having great works chopped up and reshuffled into a random play order.
A headline at Inc. magazine says Amazon's change "Is Making Everyone Angry." "Hey Alexa, play Taylor Swift's Anti-Hero," used to be a simple thing you might say. When you did, your Echo would do exactly that. It would play Taylor Swift's newest song as long as it was in the catalog of songs available. Now, however, that's not what happens at all. If you're lucky, Alexa will start playing songs from Midnights, Swift's latest album. That, however, is not a given. It might play some of her older songs. It might start playing songs from other artists instead. Why does Amazon think anyone wants this?

Here's why: It's cheaper for a streaming service to not let you choose the song you want, but to let you give it an input and start playing similar music. Also, because Amazon clearly sees Amazon Music as a thing you use in the background when you just want music playing as you do other things.... If what you want to do is listen to Taylor Swift's latest album, you're going to have to choose Apple Music or Spotify Premium, both of which charge more than $10 a month, or Amazon Music Unlimited, which is $8.99 per month.

According to Amazon, 80 percent of people will never do that. They will never pay $10 a month to stream music. They will, however, use a free streaming service even if it means giving up the ability to actually choose the song they want to listen to. Okay, fine, except that's not the thing Amazon had made before.
Inc's conclusion? "If you give someone a thing as a benefit because they gave you money for your $140 a year subscription membership, it's not great if you suddenly make that thing dramatically worse and expect them to pay you more to make it a better experience."

So if you're not going to pay extra to upgrade to Amazon's "Unlimited Music" service, Fast Company explains that "It's probably better to think of Music Prime as a Pandora-like service wherein you pick an artist or genre you like and let Amazon sort out which songs are going to be played for you." The only catch there is that if you're streaming Music Prime to an Amazon Echo device — which we do non-stop around my house — it'll time out after an hour of inactivity. So if you're thinking of throwing a party and asking Alexa to spin up '80s music all night, you're going to have to keep asking every hour.

Another sticking point for some: Music Prime sound quality is available in "standard" definition, whereas Music Unlimited subscribers get access to "HD" and "Ultra HD" tracks depending on how each album is mastered.

Some Music Unlimited tracks can also be played in "spatial audio" — which is touted as "a multidimensional audio experience, adding space, clarity, and depth that is not achievable with traditional stereo music." Far out, man.
Deep in the fine print of the Amazon Music FAQ, you'll find a couple more options. There's also a $4.99-a-month "single device" plan, and a "Family Plan" offering six accounts for $14.99 a month. But Amazon is apparently offering its biggest savings to students enrolled in a degree-granting college or university, with a sharply discounted "Amazon Music Unlimited for Students" program.

Long-time Slashdot reader destinyland writes: 70 new text adventures are now online and available for playing — as a long-standing tradition continues. The 70 new games are the entries in the 28th annual Interactive Fiction Competition (now administered by the Interactive Fiction Technology Foundation, a charitable non-profit corporation).

With wacky titles like "Lazy Wizard's Guide" and "Elvish for Goodbye," each game offers its own original take on the classic choice-based text adventures, sometimes augumented with ambient background noises and even music. Each of the 70 games has some kind of fanciful "cover art" — one even generated using OpenAI's image-generating tool DALL-E.

And you're invited to help judge the games! Just create an account, and then play and rate at least five of the games by November 15...

Slashdot first covered the competition back in 2004. (And in 2006, Slashdot editor Hemos called interactive fiction games "some of the best I've ever played.") But this year the competition raised over $10,000 (so far!) to be distributed among the top two-thirds of entries, with the first-place finisher receiving $489 and each subsequent finisher receiving a little less, with the lowest-finishing prize recipient awarded $10. (And in addition, top entrants are each allowed to choose one prize from a pool of donations.)

Game on!

An anonymous reader quotes a report from Ars Technica: In late October, a Swedish software engineer named Linus Akesson unveiled a playable accordion -- called "The Commodordion" -- he crafted out of two vintage Commodore 64 computers connected with a bellows made of floppy disks taped together. A demo of the hack debuted in an 11-minute YouTube video where Akesson plays a Scott Joplin ragtime song and details the instrument's creation.

A fair amount of custom software engineering and hardware hackery went into making the Commodordion possible, as Akesson lays out in a post on his website. It builds off of earlier projects (that he says were intentionally leading up to this one), such as the Sixtyforgan (a C64 with spring reverb and a chromatic accordion key layout) and Qwertuoso, a program that allows live playing of the C64's famous SID sound chip.

So how does the Commodordion work? Akesson wired up a custom power supply, and when he flips the unit on, both Commodore 64 machines boot (no display necessary). Next, he loads custom music software he wrote from a Commodore Datasette emulator board into each machine. A custom mixer circuit board brings together the audio signals from the two units and measures input from the bellows to control the volume level of the sound output. The bellows, composed of many 5.25-inch floppy disks cut and taped into shape, emit air through a hole when squeezed. A microphone mounted just outside that hole translates the noise it hears into an audio envelope that manipulates the sound output to match. The Commodordion itself does not have speakers but instead outputs its electronic audio through a jack.

Last week, Meta announced an AI-powered audio compression method called "EnCodec" that can reportedly compress audio 10 times smaller than the MP3 format at 64kbps with no loss in quality. Meta says this technique could dramatically improve the sound quality of speech on low-bandwidth connections, such as phone calls in areas with spotty service. The technique also works for music. Ars Technica reports: Meta debuted the technology on October 25 in a paper titled "High Fidelity Neural Audio Compression," authored by Meta AI researchers Alexandre Defossez, Jade Copet, Gabriel Synnaeve, and Yossi Adi. Meta also summarized the research on its blog devoted to EnCodec.

Meta describes its method as a three-part system trained to compress audio to a desired target size. First, the encoder transforms uncompressed data into a lower frame rate "latent space" representation. The "quantizer" then compresses the representation to the target size while keeping track of the most important information that will later be used to rebuild the original signal. (This compressed signal is what gets sent through a network or saved to disk.) Finally, the decoder turns the compressed data back into audio in real time using a neural network on a single CPU.

Meta's use of discriminators proves key to creating a method for compressing the audio as much as possible without losing key elements of a signal that make it distinctive and recognizable: "The key to lossy compression is to identify changes that will not be perceivable by humans, as perfect reconstruction is impossible at low bit rates. To do so, we use discriminators to improve the perceptual quality of the generated samples. This creates a cat-and-mouse game where the discriminator's job is to differentiate between real samples and reconstructed samples. The compression model attempts to generate samples to fool the discriminators by pushing the reconstructed samples to be more perceptually similar to the original samples."

An anonymous reader quotes a report from Ars Technica: According to the Recording Industry Association of America's Mid-Year 2022 report (PDF), vinyl is continuing a trend initiated in 2020, when vinyl revenue surpassed CD revenue -- a state of affairs we haven't seen since 1986, according to the RIAA [PDF]. The RIAA reported that vinyl revenue grew 22 percent in the first half of this year to $570 million, outpacing CDs ($200 million) and representing physical music's largest revenue share. Japanese audio brand Audio-Technica has seemingly taken note of this trend and has decided to rerelease its Sound Burger portable record player. The product is one of several that the company is releasing to celebrate its 60th birthday. Based on a plate on the player's side, the company is producing just 7,000 units.

Debuting in 1980, the original Sound Burger AT727 offered a way for people to listen to their 33-1/3 and 45 vinyl records outside of their homes. There were some caveats, though; records stuck precariously out of the unit and, as noted by SlashGear, the player needed to sit on a flat surface during operation. The new Sound Burger AT-SB2022 looks much like the old one, but Audio-Technica added Bluetooth 5.2 support, so you can listen to your vinyl through wireless headphones. There's also a 3.5 mm jack this time around instead of stereo RCA outputs, but Audio-Technica is also including a dual RCA adapter. Additionally, there's no longer a need for clunky batteries, as the refreshed portable record player charges over USB-C. Audio-Technica claims the record play will last for about 12 hours before needing a charge, which it says will take around 12 hours to complete.

As noted by Digital Trends, the original Sound Burger, also known as Mister Disc in some geographies, required user maintenance to make sure records continued spinning at the proper speed. But Audio-Technica's 2022 record player has a DC servo motor driving its belt-drive system for "stable rotation," the record player's product page says. "Designed for both portability and stability, the tonearm employs a dynamic balance system in which stylus pressure is applied through a spring," the page says. Audio-Technica says its ATN3600L stylus works with the new record player. Other specs for the Sound Burger include a 50 dB output and a 20-20,000 Hz transmission band. Audio-Technica is selling the 2022 Sound Burger for $200.

Amazon today announced a new benefit for its Prime members which could lure some subscribers away from other music services, like Apple Music or Spotify. From a report: The company said it will now offer Prime subscribers a full music catalog with 100 million songs, instead of the previously more limited selection of just 2 million songs, and will make most of the top podcasts on its service available without ads. In addition, the Amazon Music app is getting a revamp, which includes a new "Podcast Previews" feature that will allow customers to listen to short clips as a way to discover new podcasts they may like. The move is a direct shot at streaming music competitors, especially Spotify, which has been moving into the podcasts market as a means of generating additional revenue. But Spotify's paying subscriber base is growing frustrated with the fact that they still have to listen to podcast ads, despite paying for the service. Amazon Music's promise of ad-free podcasts along with a full music catalog could make for a compelling alternative, the retail giant hopes.

Among the ad-free podcasts are shows from top brands like CNN, NPR, The New York Times, and ESPN. Other ad-free shows include the Wondery catalog of podcasts, like "Dr. Death," "SmartLess," and "Even the Rich," and new Amazon Exclusive shows including "MrBallen Podcast: Strange, Dark & Mysterious Stories;" "Suspect: Vanished in the Snow;" "COLD Season Three: The Search for Sheree;" "Killer Psyche Daily;" "I Hear Fear," narrated by Academy Award-nominated actress Carey Mulligan; and a weekly bonus episode of "The Old Man and the Three," hosted by former NBA player JJ Redick. The Amazon Exclusive podcast series "Baby, this is Keke Palmer," from the actress and entrepreneur Keke Palmer (NOPE) also debuts today.

Apple is increasing the prices across its services, including Apple Music, Apple TV Plus, and its overarching Apple One subscription, according to a report. This marks the first time the company has raised the prices of these services in the US. From a report: Here's a breakdown of the new pricing: Apple Music for individuals will increase by $1 a month to $10.99, or by $10 for the annual plan, which will now cost $109 a year. Apple Music for families is going up by $2 a month to $16.99. Apple TV is going up by $2 a month to $6.99 or $20 annually to $69.