Vangelis, the Greek composer and musician whose synth-driven work brought huge drama to film soundtracks including Blade Runner and Chariots of Fire, has died aged 79. The Guardian reports: Born Evangelos Odysseas Papathanassiou in 1943, Vangelis won an Oscar for his 1981 Chariots of Fire soundtrack. Its uplifting piano motif became world-renowned, and reached No 1 in the US charts, as did the accompanying soundtrack album. [...] Chariots of Fire became inextricable from Vangelis's timeless theme, and the music became synonymous with slow-motion sporting montages. "My music does not try to evoke emotions like joy, love, or pain from the audience. It just goes with the image, because I work in the moment," he later explained. His score to Blade Runner is equally celebrated for its evocation of a sinister future version of Los Angeles, where robots and humans live awkwardly alongside one another, through the use of long, malevolent synth notes; saxophones and lush ambient passages enhance the film's romantic and poignant moments. "It has turned out to be a very prophetic film -- we're living in a kind of Blade Runner world now," he said in 2005.

Later in the decade he scored the Palme d'Or-winning Costa-Gavras political drama Missing, starring Jack Lemmon; the Mel Gibson and Anthony Hopkins drama The Bounty; and the Mickey Rourke-starring Francesco. He worked again with the Blade Runner director, Ridley Scott, on 1992 film 1492: Conquest of Paradise, and elsewhere during the 1990s, soundtracked Roman Polanski's Bitter Moon and documentaries by Jacques Cousteau. [...] A fascination with outer space found voice in 2016's Rosetta, dedicated to the space probe of the same name, and Nasa appointed his 1993 piece Mythodea (which he claimed to have written in an hour) as the official music of the Mars Odyssey mission of 2001. His final album, 2021's Juno to Jupiter, was inspired by the Nasa probe Juno and featured recordings of its launch and the workings of the probe itself in outer space.

An anonymous reader shares a report: Humaira Asghar, known as "Dolly" to her 11.5 million TikTok fans, faces charges for allegedly setting a forest fire while shooting a TikTok video in Pakistan's capital city Islamabad. In the 11-second clip that has since been taken down, Asghar dramatically walks down a forested hill covered in flames in slow motion with a trending pop song that mentions "setting fire" playing in the background. The caption posted with the video shot in the Margalla Hills National Park reads, "fire erupts wherever I am." Asghar is not the only Pakistani TikToker who has been accused of setting a forest fire for views. Officials say it is an emerging trend in a country that is suffering from a record-breaking heatwave.

"Young people desperate for followers are setting fire to our forests during this hot and dry season," tweeted Islamabad Wildlife Management Board chairperson Rina S Khan Satti. "These psychotic young people have to be caught and put behind bars immediately." Earlier this month, a man in Abbottabad city was arrested for intentionally starting a forest fire to use as a backdrop in his video. In another recently released video, two men are seen appearing to start a forest fire then running away from it while music plays in the background.

Japanese conglomerate Sony said it is well-positioned to play a leading role in the metaverse, or immersive virtual worlds, which commentators speculate will massively disrupt industries and establish new powerhouses. From a report: "The metaverse is at the same time a social space and live network space where games, music, movies and anime intersect," Chief Executive Kenichiro Yoshida said at a strategy briefing on Wednesday, pointing to the use of free-to-play battle royale title Fortnite from Epic Games as an online social space. Sony's game, music and movie units contributed two-thirds of operating income in the year ended March, underscoring the group's transformation from consumer electronics maker into a metaverse-ready entertainment juggernaut under Yoshida and predecessor Kazuo Hirai. The firm is a gaming gatekeeper with its PlayStation 5 console, however observers point to the risk presented by the growth of cross-platform, cloud-based titles and their potential to reduce the influence of proprietary platforms. Sony has been adjusting its approach, enabling cross-play in Fortnite in 2018.

Napster has been acquired again, this time by two companies from the web3 sector: Hivemind and Algorand. "Dear friends, we are excited to share that we've taken Napster Group private, and to bring the iconic music brand to web3," wrote Hivemind founder Matt Zhang on LinkedIn. From a report: "Volatile market and uncertain times often bring exciting opportunities. At Hivemind, we believe in developing thesis and building enduring value. Music x Web3 is one of the most exciting spaces we've come across, and we are thrilled to work with Emmy Lovell and many talents to unlock value for the entire ecosystem and revolutionize how artists and fans enjoy music."

Lovell has been named interim CEO of Napster, with the former WMG exec stepping up from her previous role as chief strategy officer, having joined the company in April 2021 shortly after its last acquisition by music VR company MelodyVR. The newly-merged company then delisted from the AIM stock exchange in the UK as part of its plan to relaunch a hybrid music streaming / video / VR service later this year, and then go public again in the US. The new owners appear to be pivoting that strategy with a web3 focus. There will be plenty to unpack around these plans. For example, Hivemind and Algorand aren't the only companies involved: they have an 'investor consortium' that includes ATC Management, BH Digital and G20 Ventures.

Spotify is testing a way for artists to display their non-fungible token (NFT) collections. From a report: The music streaming platform has rolled out the test for some users on Android in the US and currently includes NFT previews for artists like Steve Aoki and The Wombats. "Spotify is running a test in which it will help a small group of artists promote their existing third-party NFT offerings via their artist profiles," a Spotify spokesperson said in a statement to Music Ally. "We routinely conduct a number of tests in an effort to improve artist and fan experiences. Some of those tests end up paving the way for a broader experience and others serve only as an important learning." More companies are trying to catch the NFT wave, but it looks like that initial surge could be petering out (at least for the time being). According to The Wall Street Journal, daily NFT sales have dipped 92 percent from 225,000 in September of last year to just 19,000 as of May 3rd. The number of active NFT wallets is also on the decline, from about 119,000 in November to 14,000 toward the end of April.

Task and Purpose reports on "a new and somewhat unnerving recruiting pitch from the U.S. Army's 4th Psychological Operations Group" that asks viewers one simple question: "Have you ever wondered who's pulling the strings?" The three-and-a-half minute, movie trailer-esque video was released by the 4th PSYOP Group on Youtube on May 2. Since then it's brought in 329,396 views, and it's not hard to see why: This is not your father's recruiting commercial. Complete with eerie whistling in the background and suspenseful music, the video is far from the sometimes-cheesy Army recruiting commercials we often see on television. It's dark and palpably tense, the clips of old cartoons and radio segments from world events combining perfectly to create something that is both intriguing and unsettling.

It accomplishes exactly what psychological operations soldiers set out to do: Influence an audience. As one commenter on Youtube pointed out: "Everything is a weapon. Even this video." Col. Chris Stangle, commander of 4th PSYOP Group, told Task & Purpose on Friday that the video was created in-house, both as a recruitment effort but also to literally show people what they can do — part of psychological operations is creating persuasive media.... Throughout the world, Stangle said, psychological operations are occurring "literally everywhere, every day, in every component of our lives." We're seeing it play out in real-time in eastern Europe, where Ukraine is proving much more successful in the information war than the Russians.

That's no coincidence. Stangle said after the annexation of Crimea in 2014, the U.S. PSYOP community, along with other NATO allies and special operations communities around the world, got to work helping Ukraine build their own abilities.... "We've helped through [military-to-military] partnerships, us as well as more than 12 allies and partners. And what we've been able to do is just sit and watch how amazing their arguments are ... Ukraine has done a masterful job, they've taken the training and the work we've done with them, as well as their own inherent skill, and have just really blown it up...."

U.S. Army PSYOP soldiers are working daily with over 40 countries around the globe, according to Stangle. And those partnerships will be critical to success both in preventing future conflicts, and in future conflicts as they unfold.

As the video says: "Warfare is evolving, and all the world's a stage."
Thanks to Slashdot reader schwit1 for sharing the link!

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

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

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

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

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

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

Onkyo, one of the best-known Japanese manufacturers of home theater equipment, has "filed for bankruptcy at Osaka District Court on Friday, with total liabilities of around 3.1 billion yen ($24 million)," reports Nikkei Asia. The report is sparse on details but attributes the bankruptcy to a "market shift to streaming and smartphones."

In mid-2020, Onkyo USA Corporation ended a 45-year run as Onkyo's exclusive sales, marketing and distribution division for the Americas, according to Audioholics.

Onkyo has appeared in a few stories on Slashdot over the years. Our personal favorite was a story in 2003 about a new use of embedded Linux in Onkyo's home music server.

An anonymous reader quotes a report from Ars Technica: Windows' Sound Recorder app has gone through a few iterations since its initial release in Windows 3.0 back in 1990, when it launched as a simple app that could only record 60 seconds of audio at a time. But the app vanished altogether in Windows 10, replaced by a totally new app called Voice Recorder, which can record and trim basic sound recordings and save them as m4a files. Sound Recorder is now making a comeback, and Microsoft is currently testing a revamped version for Windows Insiders in the Dev channel. The company announced the redesign in a blog post summarizing Windows 11's updates to built-in Windows apps.

The new Sound Recorder uses a two-column layout similar to Voice Recorder's, with playback and trimming controls to the right and a list of all the files you've recorded on the left. But it adds some old Sound Recorder features that disappeared from the app years ago, when it was boiled down to almost nothing in Windows Vista. The app has a waveform visualizer that appears during recording and playback, and you can once again choose to save or open files in multiple formats (including the default m4a, as well as mp3, wma, FLAC, and WAV). The new Sound Recorder can also adjust audio playback speed from 0.25x to 4 and set markers so you can easily jump from place to place within a large audio recording.

Google announced several new gadgets during its I/O developer conference on Wednesday, including its long-awaited Pixel Watch, a new budget Pixel 6a phone and headphones. It also teased its flagship Pixel 7 phone, which is coming this fall. From a report: The Google Pixel Watch offers features similar to the Apple Watch's and sports a refined and sleek look that could appeal to customers who use Android instead of the iPhone, which it doesn't work with. It will integrate Fitbit's technology, allowing it to pull on years of research and development from the fitness startup it acquired last year. The Fitbit tech will let users track their sleep, heart rate and workouts. The watch runs Google's Wear OS software that lets users do things such as check messages and download music. Users can also get directions with Google Maps or connect it with their smart home devices, so they can, for example, change their thermostat temperature or make sure the lights are turned off.

Google will release its latest budget Pixel phone this summer. The Pixel 6a has mostly the same design as the Pixel 6, but will be slightly smaller and cost $449. Google promised an all-day battery that can last up to 72 hours when in the Extreme Battery Saver mode, which it said is a first for Pixel phones. It also uses Google Tensor, so the budget phone will have the same power as the more expensive Pixel 6 and Pixel 6 Pro. [...] Google teased the new Pixel 7 and Pixel 7 Pro flagship phones. They'll use the next generation of the Google Tensor chip and will ship with Android 13. The company didn't provide pricing, but the Pixel 6 had been targeted at the midrange market with a $599 starting price, while the 6 Pro started at $899.

According to figures from trade group IAB and PwC, the podcast advertising business in the United States is expected to grow to an estimated $4.2 billion in 2024. Variety reports: The sector hit $1.45 billion in 2021, representing 72% annual growth, according to the report. In 2021, U.S. podcast advertising revenue grew twice as fast as the total internet advertising market, which was up 35% last year, according to the 2021 PwC/IAB Internet Advertising Revenue Report. Still, U.S. podcast advertising revenue is poised to continue double-digit growth, growing more than 100% over the next two years to an estimated $4.2 billion in 2024, per the report.

According to the latest IAB/PwC podcast report, three key factors are driving podcast ad revenue growth: the ongoing increase in listeners and content; increased use of automated ad tech, as ad revenue served via dynamic ad insertion (DAI) has almost doubled in two years to take 84% share in 2021 (versus ads embedded in podcast audio); and growth of ad spending in categories that historically had lower spend volumes like sports and true crime. "Everything right now is aligned to drive growth," said Chris Bruderle, IAB's VP of research and insights. "There's more engaging and diverse podcast content than ever, and that is translating into larger, more attractive audiences. But more than anything, podcasting has proven that it can deliver beyond direct-to-consumer advertising to support brand-building and drive business outcomes."

An anonymous reader shares a report: Last October marked 20 years of the iPod. It's a remarkable run in the cutthroat, always-iterating world of consumer electronics. And while it's undoubtedly true that life hasn't been particularly fruitful for the music player in a product lineup that includes various iPhones and iPads, the beloved music player has somehow managed to hang on. That is, until today.

Apple this morning announced that the iPod is dead. That is, as much as a particular gadget can ever be dead. Rather, it will shuffle off this mortal coil slowly, remaining for sale while supplies last. So if you were considering purchasing one for any reason, buy now or forever hold your peace. The iPod's death has been a protracted one. I can hear those "the iPod was still around?" posts clogging up the comments section as I type this. The iconic clickwheel model, which later gave rise to the Classic, was discontinued back in 2014. The Shuffle and Nano, meanwhile, were killed off three years later. Until today, the seventh-generation iPod Touch stubbornly clung to life, three years after its debut.

Following up on its earlier move to pull Audible audiobook purchases from its Play Store app, Amazon is also turning off Kindle digital book purchases on Android. Ars Technica reports: The Google Play purchasing crackdown is to blame, of course. Starting on June 1, Google will require all Play Store apps to use Google Play billing for digital purchases or face removal from the marketplace. Google Play billing technically has been in the rules for a while, but Google is ending a hands-off enforcement policy that effectively allowed companies to run their own billing systems. When you visit the Amazon app, you can still buy physical books, but digital purchases now show a "Why can't I buy on the app?" link instead of a purchase button. Amazon's link shows a popup that says, "To remain in compliance with the Google Play Store policies, you will no longer be able to buy new content from the app. You can build a reading list on the app and buy on [the] Amazon website from your browser."

Amazon Music purchases have also been shut down on the Google Play app. The move brings Amazon's Google Play app in line with the iOS app, which also doesn't allow digital purchases. On Android, Amazon is pushing users to the website, where they can still buy digital content or sign up for an unlimited subscription, which avoids the Play Store purchase lockdown. Google Play billing takes a percentage of in-app purchases (usually 30 percent, though media can be as low as 10 percent), and several big companies have responded to the rule change by removing purchases from their Android apps.

Spotify co-founder Daniel Ek said on Friday that he's pouring $50 million into the music streaming service, driving its stock price up by more than 3% to a high of $108.98 per share during regular trading hours. From a report: The momentary rise, however, is a blip on the radar for Spotify, which has taken a beating this year -- in part over its recent, weaker-than-expected growth forecasts (just like plenty of other streaming and software firms). As for the reasoning behind Ek's purchase, the Spotify CEO wants you to know he believes. "I've always been vocal about my strong belief in Spotify and what we are building. So I am putting that belief into action this week by investing $50M in $SPOT. I believe our best days are ahead...," he said, adding that he didn't have to tell you about it, but wanted to.

According to some iPhone users, the Apple Music iOS app is installing itself directly to the iPhone's dock when downloaded, instead of to the phone's home screen. "It's also kicking out other apps users had set up in their dock and taking their spot, which is not something apps would normally do," adds TechCrunch. From the report: Some iPhone owners also found the bug was causing Apple Music to establish itself as the default music service for Siri requests, even if another service had previously been configured for this, like Spotify. It's unclear how widespread the bug is at this time, as we've tested it internally with mixed results. However, we've seen the dock issue taking place across different versions of iOS 15, old and new, so it does not appear to be related to a recent iOS update. It's also been seen impacting different iPhone models. [...] Apple was not able to provide further details about the bug, but said it's looking into it. You can view the "odd behavior" in a video posted on Twitter by iOS developer Kevin Archer.

Cameo, the celebrity video greetings startup, laid off 87 of staffers Wednesday, a move that CEO Steven Galanis described as "right-sizing." From a report: The layoffs also affected some of Cameo's most senior executives, Protocol has learned. Leadership departures included Cameo CTO Rob Post, top marketing executive Emily Boschwitz, CPO Nundu Janakiram and Chief People Officer Melanie Steinbach, according to a source close to the company. The team in charge of music partnerships saw big cuts, according to a LinkedIn post. Also affected by the layoffs were the company's international operations, including much of its London office, as well as a number of employees in sales and marketing, the source told Protocol. In some other lay off news: On Deck, a tech company that connects founders to each other, capital and advice, has laid off 25% off its staff, TechCrunch reported. The publication also reported that MainStreet, a startup that helps other startups uncover tax credits that was valued at $500 million last year, has laid off about 30% of its staff.

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

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

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

New data shared by tracking company MUSO shows that the number of visits to pirate sites has increased by nearly 30% compared to last year. The publishing category is growing particularly hard, mostly driven by manga piracy. The United States continues to harbor the most pirates in absolute numbers. TorrentFreak reports: During the first quarter of 2022, pirate site visits increased by more than 29% compared to a year earlier, which is good for a dazzling 52.5 billion visits. Nearly half of this traffic (48%) goes to TV-related content. The publishing category takes second spot with 27%, followed by the film (12%), music (7%), and software (6%) categories. The traffic increase is noticeable across all types of piracy but the publishing category stands out. Compared to the first quarter of 2021, the number of visits in this category has grown explosively. Software piracy is lagging behind, but the category still continues to grow. The strong growth in the publishing category is largely driven by manga, comics or graphic novels originating from Japan. Some of the pirate sites dedicated to this 'niche', such as Manganato.com, attract well over 100 million 'visits' per month. That's more than iconic pirate sites such as The Pirate Bay and Fmovies.to.

The United States is the country that sends most visitors to pirate sites. With well over 5.7 billion 'visits' in the first three months of the year, the U.S. is good for more than 10% of all piracy traffic. With a 39% increase compared to last year, pirate audience growth exceeds the global average. Russia and India follow at a respectable distance with just over 3 billion visits to pirate sites, followed by China and France, with 1.8 and 1.7 billion visits, respectively. There is no single explanation for the apparent piracy boom. However, MUSO sees the upward trend as an alarming signal and expects that the 'streaming wars' and growing subscription fatigue may play a role.

An anonymous reader shares a report: If you'd told us that Bandcamp's acquisition by Epic Games would lead fairly swiftly to an argument with a tech giant, our money would have been on that giant being Apple. Nope. Epic Games is seeking a court injunction against Google, over changing rules on its Google Play Store for Android. Bandcamp CEO Ethan Diamond blogged about the dispute overnight, noting that since 2015, Bandcamp has used its own billing system to process payments made for music and merch within its Android app. "However, Google is now modifying its rules to require Bandcamp (and other apps like it) to exclusively use Google Play Billing for payments for digital goods and services, and pay a revenue share to Google," wrote Diamond. "If Google's policy changes stand, beginning on June 1st, we would have to either pass Google's fees on to consumers (making Android a less attractive platform for music fans), pass fees on to artists (which we would never do), permanently run our Android business at a loss, or turn off digital sales in the Android app." Diamond also said that the new policy could see a delay in payments for artists and labels, from the current 24-48 hours to "15 to 45 days after a sale," while Epic's filing notes that Google's system can't be used for purchases of physical items (merch and physical music), which would force it to use two separate payment systems anyway.

A report released last week contends that Amazon uses voice data from its Echo devices to serve targeted ads on its own platforms and the web. The Verge reports: he report, produced by researchers affiliated with the University of Washington, UC Davis, UC Irvine, and Northeastern University, said the ways Amazon does this is inconsistent with its privacy policies. Titled, "Your Echos are Heard: Tracking, Profiling, and Ad Targeting in the Amazon Smart Speaker Ecosystem," the report concludes that Amazon and third parties (including advertising and tracking services) collect data from your interactions with Alexa through Echo smart speakers and share it with as many as 41 advertising partners. That data is then used to "infer user interests" and "serve targeted ads on-platform (Echo devices) as well as off-platform (web)." It also concludes that this type of data is in hot demand, leading to "30X higher ad bids from advertisers."

Amazon confirmed to The Verge that it does use voice data from Alexa interactions to inform relevant ads shown on Amazon or other sites where Amazon places ads. "Similar to what you'd experience if you made a purchase on Amazon.com or requested a song through Amazon Music, if you ask Alexa to order paper towels or to play a song on Amazon Music, the record of that purchase or song play may inform relevant ads shown on Amazon or other sites where Amazon places ads." Amazon spokesperson Lauren Raemhild said in an email.

The company also confirmed there are targeted ads on its smart speakers. "Customers may receive interest-based ads when they use ad-supported premium content -- like music, radio or news streams," said Raemhild, pointing out that this is the same experience if they engaged with that content on other channels. She went on to say that Amazon does not share voice recordings with developers. "Developers get the information necessary to fulfill your requests within their skills, such as answers when you play a trivia skill, or the name of the song you want to play," she said. "We do not share our customers' personal information to third-party skills without the customer's consent." Amazon allows Alexa users to opt out of ad targeting as well (see sidebar). "Many of the conclusions in this research are based on inaccurate inferences or speculation by the authors, and do not accurately reflect how Alexa works," added Raemhild. "We are not in the business of selling our customers' personal information and we do not share Alexa requests with advertising networks."