Apple Watch provides murder case clues

Police in Australia have presented data gathered from an Apple Watch as evidence in a murder trial.

Grandmother Myrna Nilsson was wearing the device when she was killed in 2016.

Her daughter-in-law Caroline Nilsson is accused of staging an ambush, after claiming she was tied up by a group of men who entered the house.

But data from the victim’s smartwatch suggests that she was ambushed as she arrived home, and died hours earlier than Ms Nilsson claims.

‘Ambush’

Ms Nilsson told police that her mother-in-law had been followed home by a group of men in a car.

According to ABC News, Ms Nilsson said her mother-in-law had argued with the men outside the house for about 20 minutes, but she did not hear the fatal attack because she was in the kitchen with the door closed.

A neighbour called the police when Ms Nilsson emerged from the house gagged and distressed after 22:00.

Ms Nilsson says the attackers had tied her up and that she had made her way out of the house as soon as they had left.

But prosecutor Carmen Matteo said evidence from the victim’s smartwatch suggested Ms Nilsson had staged the home invasion.

The body of 57-year-old Myrna Nilsson was found in the laundry room of her home in Valley View, Adelaide, in September 2016.

Evidence

“The evidence from the Apple Watch is a foundational piece of evidence for demonstrating the falsity of the defendant’s account to police,” said Ms Matteo.

“A watch of this type… contains sensors capable of tracking the movement and rate of movement of the person wearing it… it also measures the heart rate.”

The prosecution alleged that the watch had recorded data consistent with a person going into shock and losing consciousness.

“The deceased must have been attacked at around 6:38pm and had certainly died by 6:45pm,” she said.

“If that evidence is accepted, it tends to contradict the accused’s version of an argument occurring between the deceased and these men outside the laundry for a period of up to 20 minutes.

“Her emergence from the house was well after 10:00pm and if the Apple Watch evidence is accepted, that is over three hours after the attack on the deceased.”

Magistrate Oliver Koehn denied Ms Nilsson bail based on the “apparent strength of the prosecution’s case”. The trial will continue in June.

Facebook’s Zuckerberg fires back at Apple’s Tim Cook

Facebook’s chief executive has defended his leadership following criticism from his counterpart at Apple.

Mark Zuckerberg said it was “extremely glib” to suggest that because the public did not pay to use Facebook that the firm did not care about them.

Last week, Apple’s Tim Cook said it was an “invasion of privacy” to traffic in users’ personal lives.

And when asked what he would do if he were Mr Zuckerberg, Mr Cook replied: “I wouldn’t be in that situation.”

Facebook has faced intense criticism after it emerged that it had known for years that Cambridge Analytica had harvested data from about 50 million of its users, but had relied on the political consultancy to self-certify that it had deleted the information.

Channel 4 News has since reported that at least some of the data in question is still in circulation despite Cambridge Analytica insisting it had destroyed the material.

Mr Zuckerberg was asked about Mr Cook’s comments during a lengthy interview given to news site Vox about the privacy scandal.

He also acknowledged that Facebook was still not transparent enough about some of the choices it had taken, and floated the idea of an independent panel being able to override some of its decisions.

‘Dire situation’

Mr Cook has spoken in public twice since Facebook’s data-mining controversy began.

On 23 March, he took part in the China Development Forum in Beijing.

“I think that this certain situation is so dire and has become so large that probably some well-crafted regulation is necessary,” news agency Bloomberg quoted him as saying in response to a question about the social network’s problems.

“The ability of anyone to know what you’ve been browsing about for years, who your contacts are, who their contacts are, things you like and dislike and every intimate detail of your life – from my own point of view it shouldn’t exist.”

  • Facebook haunted by ‘ugly truth’ memo
  • Facebook privacy settings revamped after scandal
  • Zuckerberg will not appear before MPs

    Then in an interview with MSNBC and Recode on 28 March, Mr Cook said: “I think the best regulation is no regulation, is self-regulation. However, I think we’re beyond that here.”

    During this second appearance – which has yet to be broadcast in full – he added: “We could make a tonne of money if we monetised our customer, if our customer was our product. We’ve elected not to do that… Privacy to us is a human right.”

    Apple makes most of its profits from selling smartphones, tablets and other computers, as well as associated services such as online storage and its various media stores.

    This contrasts with other tech firms whose profits are largely derived from advertising, including Google, Twitter and Facebook.

    Mr Zuckerberg had previously told CNN that he was “open” to new regulations.

    But he defended his business model when questioned about Mr Cook’s views, although he mentioned neither Apple nor its leader by name.

    “I find that argument, that if you’re not paying that somehow we can’t care about you, to be extremely glib and not at all aligned with the truth,” he said.

    “The reality here is that if you want to build a service that helps connect everyone in the world, then there are a lot of people who can’t afford to pay.”

    He added: “I think it’s important that we don’t all get Stockholm syndrome and let the companies that work hard to charge you more convince you that they actually care more about you, because that sounds ridiculous to me.”

    Mr Zuckerberg also defended his leadership by invoking Amazon’s chief executive.

    “I make all of our decisions based on what’s going to matter to our community and focus much less on the advertising side of the business,” he said.

    “I thought Jeff Bezos had an excellent saying: “There are companies that work hard to charge you more, and there are companies that work hard to charge you less.”

    ‘Turned into a beast’

    Elsewhere in the 49-minute interview, Mr Zuckerberg said he hoped to make Facebook more “democratic” by giving members a chance to challenge decisions its own review team had taken about what content to permit or ban.

    Eventually, he said, he wanted something like the “Supreme Court”, in which people who did not work for the company made the ultimate call on what was acceptable speech.

    Mr Zuckerberg also responded to recent criticism from a UN probe into allegations of genocide against the Rohingya Muslims in Myanmar.

    Last month, one of the human rights investigators said Facebook had “turned into a beast” and had “played a determining role” in stirring up hatred against the group.

    Mr Zuckerberg claimed messages had been sent “to each side of the conflict” via Facebook Messenger, attempting to make them go to the same locations to fight.

    But he added that the firm had now set up systems to detect such activity.

    “We stop those messages from going through,” he added.

    “But this is certainly something that we’re paying a lot of attention to.”

Apple Music’s Jimmy Iovine says streaming services are ‘too similar’

Apple Music executive Jimmy Iovine says streaming services are too similar – and need to diversify to survive.

“The streaming services are all charging $9.99 and everyone has the same music,” he told the BBC.

“And it’s really nice. You get whatever song you want, you get your playlists – but there’s got to be more interaction between the artist and the audience.

“Sooner or later, something’s got to give,” he said, indicating that Apple Music wanted more original content.

“Netflix [is] spending $6bn (£4.2bn) a year on original content,” said Iovine. “They have a unique catalogue and they charge you $10.99.”

On streaming sites, however, “the labels want you to have the same music”.

He said: “So there’s a real rub there. Sooner or later something’s going to give.”

  • Streaming fuels music industry boom
  • How rock and rap combined to create Beats
  • Dr Dre makes rare live appearance in London

    Apple has had some success with exclusives in the past, scoring big hits with Drake’s Views and Frank Ocean’s Blonde.

    But it has recently moved away from the strategy, preferring to invest in filmed content, including the Carpool Karaoke series, and its Beats 1 radio station, which boasts shows presented by Elton John, Drake and St Vincent.

    The company’s chief rival, Spotify, has largely avoided exclusives. However it released its “first ever original new song” – by up-and-coming pop singers Nina Nesbitt, Charlotte Lawrence and Sahsa Sloan – earlier this week, indicating ambitions to become a virtual record label.

    Iovine, who produced records for Bruce Springsteen and U2 before founding Beats headphones and joining Apple, argues that streaming sites are still too limited in their scope.

    “They’re not enough as just a utility where you go there and you get the music. They have to move you, bring culture to you,” he said.

    “I don’t think any of the services are there yet. They need to be cultural hangars for people to go to, where artists communicate with their audience.

    “I’m very dedicated to that.”

    The executive was speaking as the US recording industry revealed its revenues had risen 16.5% to $8.7bn (£6.2bn) in 2017, with streaming contributing two-thirds of the total.

    Meanwhile, digital downloads – once seen as the saviour of the industry – are now being outsold by CDs and vinyl.

    Apple has previously denied rumours it would “phase out” the iTunes download store next year, but Iovine told the BBC such a move was inevitable.

    There is no concrete timescale, but he said: “If I’m honest, it’s when people stop buying.

    “It’s very simple.”

    Iovine was speaking to the BBC a few days before the Wall Street Journal reported he would step back from day-to-day involvement in Apple’s streaming business and move into a consulting role.

    The 65-year-old was in the UK to promote the HBO/Netflix documentary The Defiant Ones, which tells the parallel stories of Iovine and hip-hop producer Dr Dre, who became his partner in developing Beats Electronics.

    His rise to the top of the industry is chronicled in close detail – from the day he almost got sacked by Bruce Springsteen to the controversy he stoked by releasing records by Tupac Shakur and Marilyn Manson as the head of Interscope Records in the 1990s.

    Iovine reflects on some of those memories below.

    When Bono describes you in the film, he says: “There’s something in him that’s attracted to rage.” What do you make of that?

    He’s right! I like the edgier stuff. If I have a choice, I’ll always lean that way. It’s such an expression of someone’s power and commitment.

    I’m always looking for music that has a certain amount of dealing with social injustice, or screaming out loud, like Eminem.

    A pivotal moment in your career is recording Born To Run – but it was hard work, right?

    I come from a place where working hard is like: “It’s five o’clock, I’m getting the hell out of here.” When I met Bruce Springsteen, I was like: “This guy doesn’t stop until it’s right? What the hell has that got to do with anything?”

    So during the album, there’s this whole thing about the drums. I’m trying to get the drum sound and he just stands over me and says the word “stick” over and over again. And after what felt like six weeks, I just said: “I’m done. I can’t do this any more.”

    Bruce’s producer Jon Landau convinces you to stay. Why was he so persuasive?

    Landau looked at me and said: “Hang on a second. I’m going to teach you something that you can take with you for the rest of your life. This is not about you. This is about the greater good of the album.

    “Now you go back in there and tell Bruce Springsteen you are going to support him in whatever he wants, and for as long as it takes – and you’ll have learned a big lesson.”

    It hit me in the head like a two by four. I realised the amount of humility it takes [to make a hit record]. So I got my work ethic from Bruce Springsteen, period.

    Later on, you took Springsteen’s Because The Night and gave it to Patti Smith. Why did you think it would work for her?

    When I heard those lyrics – “Because the night belongs to lovers” – I said: “Wow, if Patti sings that, that’s going to sound so powerful from her perspective. Very different than if it comes from a man.”

    Of course, she didn’t want to do it in the beginning. She resisted at first. But as you see in the documentary, there’s a beautiful ballet that gets it done.

    Skip Youtube post by pattismithVEVO Warning: Third party content may contain adverts Report

    End of Youtube post by pattismithVEVO

    You were known for working rock musicians. How did you end up signing Dr Dre and Tupac to Interscope?

    These guys reminded me of Mick Jagger and Keith Richards. They scare you but their music draws you in.

    When you signed Dre, no-one wanted to play his records. How did turn it around?

    I played [Nothin’ But A] G Thang to my radio people, and they said: “Radio’s never going to play this, MTV’s not going to touch it, it’ll never be played in Europe, it’ll never be played in Asia. Never, never, never, never.” They thought I was nuts.

    So I told my radio guys: “Do me a favour, make me a one-minute edit and [send it to] 50 of the top [radio] markets in the country. They can’t stop that, because that’s an ad.”

    Now, it didn’t say Dr Dre on the ad. It didn’t say anything, it was just the music – but all of the sudden the phones started exploding. So then we made a clean version and radio started playing it.

    How did you end up starting an electronics company?

    The minute I saw Napster, I realised the record industry was toast. It was free, easy and just smarter than the way we were doing things.

    So I felt it would be trouble, and I was looking for stuff to do. Then I’m walking down the beach and Dre says: “Hey man, my lawyer wants me to sell sneakers.” I said: “Dre, nobody cares what sneakers you wear. That’s not what you’re about. You’re about audio. People will buy the audio you recommend.”

    And I said: “Screw sneakers, do speakers.”

    But you ended up making headphones instead…

    Headphones looked like medical equipment before Beats. The most popular company was saying: “You can go to sleep with our headphones.” We wanted to make headphones that were exciting. And that’s why I believe that Beats changed the industry.

    After Apple bought Beats, you ended up in the streaming business. Do you think artists are getting a fair deal out of it?

    Artists deserve to get paid, period. And get paid a lot.

    What’s happening right now, as far as paid-for streaming, it’s almost better for new bands than it is for the catalogue. The new bands are getting a lot of traction, because younger people are on streaming.

    Where it gets tricky is the artists’ relationship with the record label or the publisher [and how the money is distributed].

    The problem the artists have is not with the streaming services. I’ll stand behind that with everything from a calculator to my fingers.

    Bruce Springsteen says the key to your success is a “tremendous lack of fear”. How true is that?

    That’s the underlying theme of the documentary – channelling fear.

    When I was a kid, I was afraid of everything. I was in a neighbourhood where physicality was the currency and I was a little guy. I was terrified of school. I still have fear today, but you channel it and you use it as a tailwind instead of a headwind.

    I mean, you’re not supposed to walk into somebody who’s got a shotgun pointed at you. That’s stupid. But the normal, everyday fear that we all have? You can harness it and it’s a powerful, powerful thing.

    The Defiant Ones is streaming now on Netflix.

    Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

    • More on Dr Dre
    • BBC Music homepage
    • BBC Music News LIVE

Apple Music’s Jimmy Iovine says streaming services are ‘too similar’

Apple Music executive Jimmy Iovine says streaming services are too similar – and need to diversify to survive.

“The streaming services are all charging $9.99 and everyone has the same music,” he told the BBC.

“And it’s really nice. You get whatever song you want, you get your playlists – but there’s got to be more interaction between the artist and the audience.

“Sooner or later, something’s got to give,” he said, indicating that Apple Music wanted more original content.

“Netflix [is] spending $6bn (£4.2bn) a year on original content,” said Iovine. “They have a unique catalogue and they charge you $10.99.”

On streaming sites, however, “the labels want you to have the same music”.

He said: “So there’s a real rub there. Sooner or later something’s going to give.”

  • Streaming fuels music industry boom
  • How rock and rap combined to create Beats
  • Dr Dre makes rare live appearance in London

    Apple has had some success with exclusives in the past, scoring big hits with Drake’s Views and Frank Ocean’s Blonde.

    But it has recently moved away from the strategy, preferring to invest in filmed content, including the Carpool Karaoke series, and its Beats 1 radio station, which boasts shows presented by Elton John, Drake and St Vincent.

    The company’s chief rival, Spotify, has largely avoided exclusives. However it released its “first ever original new song” – by up-and-coming pop singers Nina Nesbitt, Charlotte Lawrence and Sahsa Sloan – earlier this week, indicating ambitions to become a virtual record label.

    Iovine, who produced records for Bruce Springsteen and U2 before founding Beats headphones and joining Apple, argues that streaming sites are still too limited in their scope.

    “They’re not enough as just a utility where you go there and you get the music. They have to move you, bring culture to you,” he said.

    “I don’t think any of the services are there yet. They need to be cultural hangars for people to go to, where artists communicate with their audience.

    “I’m very dedicated to that.”

    The executive was speaking as the US recording industry revealed its revenues had risen 16.5% to $8.7bn (£6.2bn) in 2017, with streaming contributing two-thirds of the total.

    Meanwhile, digital downloads – once seen as the saviour of the industry – are now being outsold by CDs and vinyl.

    Apple has previously denied rumours it would “phase out” the iTunes download store next year, but Iovine told the BBC such a move was inevitable.

    There is no concrete timescale, but he said: “If I’m honest, it’s when people stop buying.

    “It’s very simple.”

    Iovine was speaking to the BBC a few days before the Wall Street Journal reported he would step back from day-to-day involvement in Apple’s streaming business and move into a consulting role.

    The 65-year-old was in the UK to promote the HBO/Netflix documentary The Defiant Ones, which tells the parallel stories of Iovine and hip-hop producer Dr Dre, who became his partner in developing Beats Electronics.

    His rise to the top of the industry is chronicled in close detail – from the day he almost got sacked by Bruce Springsteen to the controversy he stoked by releasing records by Tupac Shakur and Marilyn Manson as the head of Interscope Records in the 1990s.

    Iovine reflects on some of those memories below.

    When Bono describes you in the film, he says: “There’s something in him that’s attracted to rage.” What do you make of that?

    He’s right! I like the edgier stuff. If I have a choice, I’ll always lean that way. It’s such an expression of someone’s power and commitment.

    I’m always looking for music that has a certain amount of dealing with social injustice, or screaming out loud, like Eminem.

    A pivotal moment in your career is recording Born To Run – but it was hard work, right?

    I come from a place where working hard is like: “It’s five o’clock, I’m getting the hell out of here.” When I met Bruce Springsteen, I was like: “This guy doesn’t stop until it’s right? What the hell has that got to do with anything?”

    So during the album, there’s this whole thing about the drums. I’m trying to get the drum sound and he just stands over me and says the word “stick” over and over again. And after what felt like six weeks, I just said: “I’m done. I can’t do this any more.”

    Bruce’s producer Jon Landau convinces you to stay. Why was he so persuasive?

    Landau looked at me and said: “Hang on a second. I’m going to teach you something that you can take with you for the rest of your life. This is not about you. This is about the greater good of the album.

    “Now you go back in there and tell Bruce Springsteen you are going to support him in whatever he wants, and for as long as it takes – and you’ll have learned a big lesson.”

    It hit me in the head like a two by four. I realised the amount of humility it takes [to make a hit record]. So I got my work ethic from Bruce Springsteen, period.

    Later on, you took Springsteen’s Because The Night and gave it to Patti Smith. Why did you think it would work for her?

    When I heard those lyrics – “Because the night belongs to lovers” – I said: “Wow, if Patti sings that, that’s going to sound so powerful from her perspective. Very different than if it comes from a man.”

    Of course, she didn’t want to do it in the beginning. She resisted at first. But as you see in the documentary, there’s a beautiful ballet that gets it done.

    Skip Youtube post by pattismithVEVO Warning: Third party content may contain adverts Report

    End of Youtube post by pattismithVEVO

    You were known for working rock musicians. How did you end up signing Dr Dre and Tupac to Interscope?

    These guys reminded me of Mick Jagger and Keith Richards. They scare you but their music draws you in.

    When you signed Dre, no-one wanted to play his records. How did turn it around?

    I played [Nothin’ But A] G Thang to my radio people, and they said: “Radio’s never going to play this, MTV’s not going to touch it, it’ll never be played in Europe, it’ll never be played in Asia. Never, never, never, never.” They thought I was nuts.

    So I told my radio guys: “Do me a favour, make me a one-minute edit and [send it to] 50 of the top [radio] markets in the country. They can’t stop that, because that’s an ad.”

    Now, it didn’t say Dr Dre on the ad. It didn’t say anything, it was just the music – but all of the sudden the phones started exploding. So then we made a clean version and radio started playing it.

    How did you end up starting an electronics company?

    The minute I saw Napster, I realised the record industry was toast. It was free, easy and just smarter than the way we were doing things.

    So I felt it would be trouble, and I was looking for stuff to do. Then I’m walking down the beach and Dre says: “Hey man, my lawyer wants me to sell sneakers.” I said: “Dre, nobody cares what sneakers you wear. That’s not what you’re about. You’re about audio. People will buy the audio you recommend.”

    And I said: “Screw sneakers, do speakers.”

    But you ended up making headphones instead…

    Headphones looked like medical equipment before Beats. The most popular company was saying: “You can go to sleep with our headphones.” We wanted to make headphones that were exciting. And that’s why I believe that Beats changed the industry.

    After Apple bought Beats, you ended up in the streaming business. Do you think artists are getting a fair deal out of it?

    Artists deserve to get paid, period. And get paid a lot.

    What’s happening right now, as far as paid-for streaming, it’s almost better for new bands than it is for the catalogue. The new bands are getting a lot of traction, because younger people are on streaming.

    Where it gets tricky is the artists’ relationship with the record label or the publisher [and how the money is distributed].

    The problem the artists have is not with the streaming services. I’ll stand behind that with everything from a calculator to my fingers.

    Bruce Springsteen says the key to your success is a “tremendous lack of fear”. How true is that?

    That’s the underlying theme of the documentary – channelling fear.

    When I was a kid, I was afraid of everything. I was in a neighbourhood where physicality was the currency and I was a little guy. I was terrified of school. I still have fear today, but you channel it and you use it as a tailwind instead of a headwind.

    I mean, you’re not supposed to walk into somebody who’s got a shotgun pointed at you. That’s stupid. But the normal, everyday fear that we all have? You can harness it and it’s a powerful, powerful thing.

    The Defiant Ones is streaming now on Netflix.

    Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

    • More on Dr Dre
    • BBC Music homepage
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