Monday, June 25, 2018

GDPR forgive us, it's been one month since you were enforced… | The Register

… and we still aren’t accepting EU users

A month after the enforcement date of the General Data Protection Regulation – a law that businesses had two years to prepare for – many websites are still locking out users in the European Union as a method of compliance.…


Top 10 Most Pirated Movies of The Week on BitTorrent – 06/25/18 | TorrentFreak

This week we have five newcomers in our chart.

Rampage is the most downloaded movie.

The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are Web-DL/Webrip/HDRip/BDrip/DVDrip unless stated otherwise.

RSS feed for the articles of the recent weekly movie download charts.

This week’s most downloaded movies are:
Movie Rank Rank last week Movie name IMDb Rating / Trailer
Most downloaded movies via torrents
1 (…) Rampage 6.3 / trailer
2 (…) Ready Player One 7.7 / trailer
3 (1) Escape Plan 2: Hades 3.9 / trailer
4 (2) Tomb Raider 6.6 / trailer
5 (3) Pacific Rim: Uprising 5.8 / trailer
6 (…) Blockers 6.6 / trailer
7 (4) Avengers: Infinity War (HDCam) 9.1 / trailer
8 (…) Jurassic World: Fallen Kingdom (HDTC/CAM) 6.7 / trailer
9 (…) Truth or Dare 4.8 / trailer
10 (9) Black Panther 7.9 / trailer

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN reviews, discounts, offers and coupons.


Sunday, June 24, 2018

New Music Business UK magazine out now, subscribe today! | Music Business Worldwide

All you need to know about our brilliant new issue of Music Business UK magazine is that there is a column written by Cher.

Yes, actual Cher.

Her contribution comes amid an incredible, career-spanning, 20–plus-page profile of Rob Dickins – one of the most successful British  A&R executives of all time, the ex-boss of Warner Music UK… and not a man who regularly suffers from the urge to bite his tongue.

The Q2 2018 edition of Music Business UK is out now with physical subscribers, and will be with digital subscribers later this week.

There’s so much more in there, too – including…

  • A behind-the-scenes investigation into Kobalt’s AWAL, via a revelatory interview with the company’s Willard Ahdritz and Lonny Olinick. Can AWAL really reinvent A&R and the financial risk associated with signing artists? Do its numbers stack up? And can it prevent its biggest stars from being dazzled by major label cheques?
  • In-depth, inspirational interviews with some of the most interesting (and successful) people in the modern UK music business, including Virgin EMI GM Rob Pascoe, Red Light UK boss James Sandom, Sound Advice partner Sonia Diwan, Kobalt’s UK Head of Creative Alison Donald, Leland Music founder (and sync queen) Abi Leland, Ditto Music co-founder Lee Parsons and East West marketing whizz Angie Somerside;
  • Smart columns covering a wide range of topics,- from streaming to networking and, yes, even failure – from the likes of Peter Robinson, Cliff Fluet, Jane Dyball, Iain McNay and Steve Redmond;
  • A special celebration of the Now That’s What I Call Music! series as it celebrates its 100th edition;
  • A look-back at the launch of Craig David’s seminal Born To Do It album – by the people in the driving seat of its launch – in our regular The Reunion series.

Music Business UK is a premium publication stuffed with personality, intelligence, history, opinion, humour, revelations… and great writing.

We are proud to cover the British music industry like no-one else.

In order to get hold of MBUK, you require an annual subscription to either our physical or digital products. (All physical subscribers get a digital edition of each magazine free.)

For a limited time only, all of those who take out a physical subscription to Music Business UK from our Q2 2018 issue will receive our last two digital editions (Q4 2017 and Q1 2018) completely free.Music Business Worldwide


Censorship Machines are ‘Destroying The Internet’ As We Speak? | TorrentFreak

Online censorship has always been a hot topic and with the EU’s proposed “upload filters” hitting the headlines, it’s at the top of the agenda once again.

The fear of losing the ability to share ‘memes’ plays well on social media. Similarly, many journalists happily use ‘censorship’ in their headlines as, apparently, the fate of the Internet is at stake.

A common theme is that, if the plans are implemented, powerful corporations may soon decide whether you can share something online – fair use or not. While to a degree this fear is warranted, it’s also nothing new.

The ‘censorship machines’ are already up and running as we speak.

YouTube, to give an example, regularly takes down videos for dubious reasons. Some are pulled manually after rightsholders file complaints, while many more are targeted by YouTube’s automated piracy filters.

It’s not clear how many ‘memes’ are killed in the process, but what many people describe as the ‘censorship’ that will ‘destroy the Internet,’ is already fully operational on the largest video sharing platform of all.

But the problem goes even further. Aside from copyright issues, YouTube also demonetizes certain accounts because their content isn’t advertiser-friendly. There is still free speech, to a certain degree, but not all speech can be monetized.

Mind you, this policy is not forced by the EU. It’s regular business practice on the same platform where people are currently sharing their EU censorship warnings. Let that sink in for a minute…

Meme killers

These issues are not limited to YouTube of course. Many other sites have automated filters or approve questionable takedowns.

This week, for example, Twitter removed a video of a cheering kid, because the World Cup was playing on a TV in the background. Also, accounts – including prominent ones – are frequently suspended for alleged copyright infringements which may be fair use.

Similarly, Facebook is known to police its network for possibly infringing content. Like YouTube and others, they use automated filters to spot possibly infringing content, which it takes down before asking questions.

Given the above, there is some irony to the fact that sites like YouTube, Facebook and Twitter are the main venues used by people protesting the EU’s looming censorship machines.

Yes, the EU plans will force smaller companies to spend money on anti-piracy measures, above and beyond what they do now. They will potentially increase liability and uncertainty for startups too. That’s a legitimate concern. But censorship machines are nothing new.

If we use the same rhetoric seen in various “upload filter” protests, the Internet is already being ‘destroyed’ by the Twitters, Facebooks, and YouTubes of this world.

In the current climate, many large platforms will resort to filtering tools or other measures to stop copyright infringements. Their aim is to protect rightsholders, which is understandable, but unfortunately, that can also lead to collateral damage.

The good news is that YouTube, or Facebook, or Twitter, are not the Internet. The Internet will be totally fine. If history has shown us anything, it’s that clever people will come up with new ways to defeat censorship attempts.

While it may sound alien to many, there are alternatives for all these platforms – alternatives that people can host and control themselves. Not to pirate, but to ensure that people can share their legal work without having to worry about overzealous censorship machines.

The real question is, perhaps, if the broader public will ever be ready for these kinds of tools.

Twenty years ago the Internet was a place where a lot of people built stuff, but today it’s mostly a place to consume. There are still plenty of creators and contributors, but these mostly rely on large platforms over which they have no control themselves.

These platforms are convenient, have a broad audience, and even allow some people to make a living. However, they also have power and control over what people are allowed to do and share, memes included. And many (ab)use that power, whether the EU tells them to or not.

Instead of resorting to Twitter activism and YouTube outrage people can also take matters into their own hands, of course, but that would require some work…

Perhaps someone can start a campaign for that?

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN reviews, discounts, offers and coupons.


This Week In Music Commentary | hypebot

6a00d83451b36c69e201bb09aae429970d-100wiCommentators in the music industry this week weight in on the need for songwriters to have a copyright small claims court, how Spotify's stock behavior is being misread, and why the music business may start to see a stock growth slowdown.


ETTV Launches Official Proxy to Fight ISP Blocking | TorrentFreak

For several years, ETTV has been a household name in the torrent community.

The group, which distributes pirated TV-shows, originated at ExtraTorrent but when the site closed it built its own home.

Together with several like-minded uploaders, including ETHD, they launched last fall. While the groups still distribute their work on other mainstream torrent indexes, the site’s traffic has been growing steadily.

That doesn’t mean that it’s been a smooth ride though. Like many other sites that offer pirated content, ETTV has been subject to various blocking efforts. Some ISPs in India are blocking the site, for example, and this week Australian providers were ordered to do the same.

To counter these efforts has now launched its own proxy portal at The site currently lists one operational ‘alternative,’ but a site representative tells TF that other domains will follow.

“We’re going to launch more. This is just the beginning for us,” ETTV informs TorrentFreak.

“The goal here is to bypass these blocks they are trying to do. It’s not hard to evade their blocks at all, but for those that can’t be bothered ..we will have a bunch of domains which they can find us on.”

Generally speaking, ETTV is not overly concerned about the blocking efforts. While they are a nuisance, determined users have several options to circumvent them, even without a proxy site.

“We think the website blockades are useless. Some people are going to evade them using VPNs, some people using public DNS services such as Cloudflare ( or Google (, and others are using Tor.”

ETTV is also planning to launch its own Tor version of the site, to make it more resilient. Also, it will keep its proxies out of popular search engines, hoping to stay under the radar as much as possible.

As we highlighted in the past, ETTV, ETHD, and similar groups don’t rip or encode any releases themselves. They’re pretty much automated scripts that take scene releases, and put these out in public.

There’s a broad audience for this content as their torrents are downloaded millions of times every week. This has also inspired some copycats to take away some of their traffic. But, ETTV is not too worried about those.

“They do not provide original content, and they will never gain popularity especially since people know who we are and where to find us, so they will eventually shut down,” ETTV tells us.

The biggest threat are the copyright holders, perhaps. Many torrent sites have come and gone over the past decade and a half, and several operators have paid a high price for stepping into this business.

Again, ETTV doesn’t seem to be too bothered about the ever-looming crackdown.

“Let’s see how much progress they will make by 2028. Last 15 years was a complete failure for them. The only people that got something out of this are the lawyers. Everybody else lost. Some more, some less,” ETTV concludes.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN reviews, discounts, offers and coupons.


Saturday, June 23, 2018

Netflix Seeks to Boost its Global Anti-Piracy Team | TorrentFreak

For many years, Netflix relied on content supplied by other companies to satisfy its growing userbase. Now, however, that reliance is beginning to take a back seat to productions of its own.

Back in February, Netflix CFO David Wells said that his company was set to spend more than $8 billion on content in 2018, a figure that contributes to the 700 original TV shows and 80 movies it will offer globally this year. There can be little doubt, Netflix is now a powerful creator and commissioner of content in its own right.

This shift in strategy raises some interesting points, not least concerning the company’s attitude toward piracy. While the MPAA has spat venom over the issue for decades, Netflix has appeared somewhat more relaxed. Quietly, however, Netflix understands that scraping every possible dollar from consumers while restricting the availability of pirated content is something it must sink resources into.

Back in 2017, we revealed the existence of Netflix’s Global Copyright Protection Group when the company advertised for a Global Copyright Protection Counsel. Since then the company has recruited more individuals to the cause and this week advertised for another new recruit.

Netflix’s new Copyright and Content Protection Coordinator will work with the Global Copyright & Content Protection Group to protect Netflix Originals, the TV shows and movies for which Netflix owns the rights.

“The ideal candidate will have carried out a similar role at another company and can hit the ground running,” the listing for the position reads.

“He or she should have experience of anti-piracy initiatives and be very well versed in managing an effective notice and take down program and experience of working with YouTube, Facebook, Instagram, Google, Bing, VK, Daily Motion and other well known platforms.”

Although Netflix’s business model is somewhat different to that of more traditional studios, the company faces the same problems with pirate links appearing online. To that end, the successful applicant will be expected to disrupt this availability as much as possible, particularly through the management of the company’s DMCA notice sending systems.

The company’s new coordinator will be expected to carry out daily scanning of Facebook, YouTube, Twitter, Periscope, Google Search, Bing, VK, DailyMotion and other platforms used for piracy. Fingerprinting technologies on YouTube (ContentID) and Facebook (Rights Manager) will also need to be monitored, with attention paid to content that’s uploaded in a way that circumvents those recognition systems.

Of course, these legitimate platforms are just the tip of a very large iceberg. It seems likely that Netflix content is more likely to be found illegally on torrent and streaming platforms so these will need to be tackled too, with Netflix advising that the candidate will gather data on “pirate streaming sites, cyberlockers and usenet platforms.”

While Netflix is now a true competitor to the mainstream Hollywood studios and companies like Amazon, they all have to deal with piracy in roughly the same way. These synergies were formalized last June with the debut of the Alliance for Creativity and Entertainment, a coalition of 30 companies dedicated to presenting a united front against piracy.

As a founding member of ACE, Netflix contributes $5m per year to the alliance. This expensive relationship needs to be nurtured so the new coordinator will have responsibilities there too, working with other ACE members to tackle the piracy threat.

The full listing can be found here.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN reviews, discounts, offers and coupons.